Tracklist Hide Credits
| 1 | Adam And The Ants – |
Deutscher Girls
Producer – Guy Ford Written-By – Ant* |
2:31 | |
| 2 | Wayne County & The Electric Chairs – |
Paranoia Paradise
Producer – Peter Crowley Written-By – County* |
2:07 | |
| 3 | Chelsea (2) – |
Right To Work
Producer – Mark Perry Written-By – October* |
3:05 | |
| 4 | Maneaters – |
Nine To Five
Producer – Mark Perry Written-By – Ant*, Wilcox* |
2:40 | |
| 5 | Adam And The Ants – |
Plastic Surgery
Written-By – Ant* |
4:37 | |
| 6 | Suzi Pinns – |
Rule Britannia
Arranged By – Beckerman* Written-By – Thomson*, Arne* |
3:06 | |
| 7 | Suzi Pinns – |
Jerusalem
Arranged By – Beckerman* Written-By – Parry*, Blake* |
2:57 | |
| 8 | Amilcar – |
Wargasm In Pornotopia
Producer – Guy Ford Written-By – Amilcar |
4:04 | |
| 9 | Brian Eno – |
Slow Water
Producer – Brian Eno Written-By – Brian Eno |
3:21 | |
| 10 | Brian Eno – |
Dover Beach
Producer – Brian Eno Written-By – Brian Eno |
4:39 |
Credits
- Coordinator [Reissue Co-ordination] – Simon Hopkins
- Producer – Danny Beckerman (tracks: 5 to 7), Miles Copeland (2) (tracks: 2 to 4), Wil Malone (tracks: 5 to 7)
- Remastered By [High Definition Cd Remastering] – Simon Heyworth
Notes
CD reissue, originally released in 1978.
Cover reads:
The Outrageous Soundtrack From The Motion Picture "Jubilee" Cert. X
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[r621649]
The music and the film altogether are inseparable - a two hours royal hodge podge of sheer nihilism as crass entertainment, which Jarman addresses ticking Punk off as a fashion commodity rather than a movement provoking some serious social change (the rumour has it, Vivienne Westwood was so irritated by the film, she supposedly threatened Jarman).
Even though it's not a musical, 'Jubilee' acts like one - exchanging scenes of brutal violence, romance and punk-ish sing-alongs, throwing anything outrageous in the mix just for the stir (for example, the good ol' disco orgy scene acompanying Amilcar and Guy Ford's avant-disco number - 'Wargasm In Pornotopia'). In all of its decadence, the film and the soundtrack take massive inspiration from 'The Rocky Horror Picture Show' - however, albeit effective and amusing (plus a fine cast of crucial characters of the first punk generation era), the whole thing falls a bit flat on its face.
Music is interesting and should be given a fine re-release edition (CD+DVD package would be truly nice). It tends to be experimental but some of the pieces are not that much of a pleasure to listen to, even for a punk standard of the time (and maybe the word 'standard' is the problem - for much of Jarman's intention throughout the film is exposing the movement's immediate cliches, such as 'bad production' itself);
Adam & the Ants' 'Plastic Surgery' has a great idea about a socially aware song (almost X-Ray Spex by comparison) but sounds too ambitious with its own bad production. The same thing happens with 'The Right To Work' by Chelsea - a boring, cliched punk number. Meneaters' 'Nine To Five' is interesting as a 'blues' attempt due to a harmonica stretch over basic rock notes, but Toyah's presence is the only thing worth a check (especially her final stabbing echo-scream at the very end of the song) - although she is impersonating Johnny Rotten's sneers and 'rRrs' on one too many occasions during the song.
Of course, there are promising moments that create a suitable aura of mistique to 'Jubilee' - to start with, Adam & the Ants opening parody on post-symbolism in the excellent 'Deutscher Girls'. Impressive even more is Wayne (now Jane) County with a hillarious self-indulgent delivery in 'Paranoia Paradise' based on obvious rhymes as the ultimate recipe for a hit record to match (the song gets even funnier when Wayne appears in the film, as a superstar hedonist, sitting isolated in his mansion, with an astonished look on his face saying - '...Oh I'm on TV... AGAIN!!?' - and starts fooling with a vase, miming to his own song kicking from the TV screen). Suzi Pinns performs on two numbers, which, alongside Eno's two closing instrumentals, remain the most amazing moments on this record; 'Rule Britannia' is a truly bizarre, thrown-up excursion into hard rock, disco, opera and the third reich cliches - accompanied by Hitler's rally tape loops and stressing airplane sounds. It is often confused to be performed by Jordan (as she appears to this song in the film, in ancient Roman uniform after Jack Birkett's phenomenal manic introduction as his "Eurovision Song Contest number one"). Also appearing in 'Jerusalem', Pinns sounds like an ideal role model that helped defining downright amazing pop-careers of a certain Klaus Nomi or Nina Hagen, both of whom marched in the direction of cabaret/post punk-kitch ('Auf'm Bahnhof Zoo' in particular sounds like an honest tribute).