THE INCREDIBLE STRING BAND
Be Glad For The Song Has No Ending (Weinerworld)
     With an opening sequence of Williamson and Heron in masks, and then a five minute 'ritual naming' of the instruments used for a live performance, it is clear that Peter Neal's documentary concerning life with The Incredible String Band is in itself as quirky as the band's music. Whether 'pretentious' or 'fabulous' are words that come to mind, is of course, open to subjectivity. But this was the 1960s and such bright young lights as Robin and Mike were breaking down boundaries. Everyone loved 'em: The Beatles, The Stones, Led Zep, Bolan, Donovan, Syd, and so on. And yes, Williamson talking about 'creating his own universe', quasi-mystic poetry, and the final Wicker Man-esque short The Pirate And The Crystal Ball may now seem like hippy-pap, but in its own way this document is in some ways as important to the '60s as Sergeant Pepper. The String Band were innovators, and may be either blamed or congratulated for the ensuing spiritualism that followed in music after their entry onto the London scene.
     Be Glad For The Song Has No Ending, originally intended to be shown as an episode of the BBC arts series Omnibus although never broadcast has since enjoyed short-runs around Art House cinemas across the US and Britain. It is in essence director Peter Neal's filmic interpretation of the band's music, and clearly an inspiration for Joe Massot's Zep movie The Song Remains The Same. Featuring a few live clips, and the added bonus of an in-depth interview with Peter Neal, this is recommended to all String Band and Wyrd Folk fans.
Jon 'Mojo' Mills

JIMI HENDRIX
The Dick Cavett Show (Universal)
     Admittedly the running time of this edit of Hendrix's two appearances on the Dick Cavett Show from '69 (including his first ever American chat show interview) are short, and only offer the merest musical snap-shot. However, for the hardened Hendrix fan this concise document, which conveys the legend's gentle manner, and clearly stoned-mind at work, is more than enough to cause excitement. Cavett's interview manner is comical, sharp and has dated incredibly well, resulting in these clips still being thoroughly watchable today. Throw in a 55 minute documentary, and if only a side-bar to the life and times of the '60s most idolised guitarist, this nicely restored package is a treat for those seeking the closing chapter to the end of an era.
Jon 'Mojo' Mills

GROUPIES (Cherry Red)
     This frank Cinema Verité documentary film, not unlike Frederick Wiseman's '69 hand-held feature Highschool, uses a gritty, fly-on-the wall methodology that allows the viewer to take on the role of a voyeur. Quite why Hollywood allowed such a glossed over idealised account of behind-the-scenes goings-on in early '70s rock as Almost Famous is beyond me. The era of the end of the '60s touring bands was the final curtain for innocence, and rock stars used, and abused; more often than not the lost teenage groupies, ended up as little more than glorified prostitute junkies. Watching Groupies really isn't an enjoyable experience. The two girls whom we see at the beginning of the film, are tough callous bitches who not only look like they've lived, but speak it too. Young angels attracted by rock they're not! Even worse is the fucked up gay latino guy obsessed by Terry Reid. However, out of all the wasters and losers, only a blonde interviewee at the beginning who recalls being stoned in a low cut vest and seeing herself in her mirror and thinking 'You whore! What the fuck are you into?' and school girl runaway Iris, a tough willed, independent beauty who actually breaks the hearts of every member of Dry Rock Creek stand out as victorious.
     Groupies is an interesting, exposure of what late '60s rock really was about. Spooky Tooth, Terry Reid, Ten Year's After and Joe Cocker's Grease band provide music and source material, with Terry Reid's drummer proving to be particularly comical.
Jon 'Mojo' Mills