Off to the BFI IMAX in Waterloo recently to see a cleaned-up version of a film that I have had on a dodgy VHS for as long as I care to remember. Dance Craze provides a fascinating snapshot of the 2Tone movement for want of a better word. The music that was served up, along with the clothing associated with it, was simply a life-changing moment for many. I was 18 when the film first surfaced and I was bang in the middle of it, wearing a bit of that look, with a bit of this look, to finally look a lot like that. I can also clearly remember seeing the bands who made up the scene – Madness, The Specials, The Selecter , the Beat – plus others on Top of The Pops for the first time, all putting on performances that have stayed with me. 

Going by the sold-out signs for the screening I attended, it was clear it meant as much to many others now, as it did the first time around. The crowd making its way through the labyrinth of tunnels into the IMAX, had a healthy mix of old mods and old skinheads indicating that look they adopted had never really left them.

Mrs Bax and I took our seats and noticed all round us members of the bands who we were soon to see on the screen. The IMAX experience is in truth a little odd, with the feeling of being very close physically to the screen, which added to the surround sound which envelops you, makes you feel immersed in the experience. I can honestly say, that within minutes of it starting, I could feel a similar excited energy I used get when attending a gig in my early 20s. I was swept away by the familiar music of the names I mentioned earlier, along with Bad Manners and The Bodysnatchers. The first thing I noticed was just how good they all sounded on film. Each band were very tight, a remarkable thing to pull off, when you clocked the often-chaotic scenes on the stage. Band members were bumping into other band members, on sometimes cramped stages, as well narrowly avoiding the film crew up there with them. But band after band hit their stride and refused to let you go.

Equally as fascinating, was the shots of the crowds in attendance. You couldn’t fail to notice the marked differences between the UK fans and those at the US gig, played by The Beat. The kids in the UK looked remarkably young, in some cases no more than 11/12, and all togged up in Fred Perry’s, Doc Martens, and braces, whereas in the States, there was a general vibe of them being older, more college age in truth, and wearing a mixture of band tee shirts in among a general New Wave look.

The musical highlights for me, included Let’s Do Rocksteady by The Bodysnatchers, with singer Rhoda Dakar out front, displaying an admirable amount of energy. Lip Up Fatty by Bad Manners, with singer Buster looking for all the world, that he was about to keel over, a heart attack seemingly only moments away. Swan Lake and Night Boat to Cairo  by Madness have always raised a smile and Three Minute Hero by The Selecter quickly reminded me of what a cracking tune that was. The Beat came over well, with Rankin’ Roger and Saxa supplementing the lead vocals of Dave Wakeling, with the mesmerising legs of bassist David Steele, almost stealing the show. With my fashion hat on, I have to say, Wakeling’s dodgy earring and New Balance trainers that he was wearing, definitely caused him to be docked points by the SE5 clobber jury (namely me!) Among all that great music though, seeing and hearing the cleaned-up version of Man at C&A by The Specials provided perhaps the highlight of the night.  I had goosebumps within seconds of Neville Staples shouting ‘Warning Warning…’ and the whole thing even more poignant now of course, what with the bands vocalist Terry Hall, having left us all so recently. The credits rolled over a performance of Nite Klub by The Specials which ended with 100s of kids out of the crowd, on to the stage with the band.  A perfect harmony of group and fans personified.

Then came the Q&A part of the evening, with many of the key players we had just watched on screen, now talking to film critic Mark Kermode. Central to it all was of course Jerry Dammers, who really kick started the whole 2Tone thing off. He explained that, yes, The Specials sounded tight, but it was not to be forgotten, that the bulk of their line-up had had been playing  together as The (Coventry) Automatics,  a punky ska type band, for a while, before hitting it big at the ripe old age24/25.  Representing Madness were keyboardist Mike Barson and drummer Dan ‘Woody’ Woodagte, with Pauline Black and Rhoda fronting up questions for the Selecter and the Boydsnatchers respectively.  Dougie Trendle AKA Buster Bloodvessel also appeared for his band Bad Manners. 

It was also great seeing and hearing from cameraman Joe Dunton, who’s previous body of  work included the film ‘Oliver’ and being in the employ of director Stanley Kubrick. Joe explained that the idea for the film, came from the son of Dance Craze’s American director Joe Massot,  who loved the music so much, he implored his father to capture the bands in their prime. At the time of filming in 1980, Dunton owned the only Steadicams in the UK, then a brand-new bit of kit at the time the film was made. These allowed the cameramen to get in right amongst what was happening on stage. He also explained that they had 24 microphones on stage to capture each instrument, all of which was then mixed on the Rolling Stones mobile studio.

He also explained that the use of the ‘Look at Life’ newsreel in the middle of the film, was placed there to give us, the audience, a rest, what with the footage of the gigs being so hectic!

Of course, I came away humming a lot of the tunes in the cab ride home, the genuine excitement of seeing those bands and performers in their pomp staying with me till the following day.

I strongly urge to see it on a big screen if you can.  You can then thank me later.

The Mumper of SE5

Read The Mumper’s other weekly musings on ‘The Speakeasy’ blog page

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