King Rocker Download

SL: I wondered, Rob, when we went up on the mountain, at the stone circle, without being prompted you had a real sense of providing content that would drive the story forward. Were you thinking that at the time, or did it just kind of come out? You gave us so much stuff there that would create loads of different ways through the story.

RL: Originally, if I'm truthful about it, I thought the film was gonna be more about The Nightingales and less about Robert Lloyd, but as we've all said it was ad-libbed as we went along. I don't really care about other bands. I don't feel unified, part of the Indie Army or anything like that. It shows The Nightingales are an independent band and I don't mean that as in on an indie label, though we've been that. We've never had a manager or a booking agent or a publisher or any of the traditional things. We're friends with The Lovely Eggs and they just do their own thing. They just happen to be miles more popular. I know that independent bands can exist and do good work and remain free from all the bollocks. Whether the film shows that to be the case, I don't know. Our lack of success is part of the reason that the film exists, I suppose. I don't know if you agree with that Stewart.

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SL: It was about monuments. Years ago, Rob said he wanted this film made and I did try for five years before talking to Michael about it. And then when we did come to make the film, Rob sometimes seemed resistant to giving away the kind of information needed if there's a film being made about you. I thought going up to the stone circle would be a way of talking about memorials of things, and what he did want the film to be, and it came out very funny.

Our latest Patreon exclusive sees Mick and I looking at Michael Cumming's King Rocker, a delightful and slyly profound film in which Stewart Lee subverts a documentary about post-punk veterans The Nightingales into a mischievous essay on the value of making uncommercial art. Apart from the 'gales doc, though, we also have an interview with the band's drummer Fliss Kitson, who talks about working with Cumming and Lee, the musical chemistry of the band, the unexpected influence of turn-of-the-millennium skateboarding videos, and much more.

That's pretty much how Robert Lloyd introduces himself as he sits talking to Stewart Lee, which on paper might sound like he's feeling sorry for himself, but far from it, it's observation wryly told, which is pretty much what can be said about this documentary on Lloyd, who first joined The Prefects, which evolved into The Nightingales who are still going today, 40 years later.

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Lloyd emerges in the film as a quietly admirable figure, a specifically British type of cultural entrepreneur and outsider artist, making great art while doing everything possible to avoid looking like a great artist.

King Rocker is the idiosyncratically told story of Robert Lloyd and the Nightingales (taking in the Prefects, the New Four Seasons etc) and his unerring ability to avoid commercial success and mainstream acceptance.

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"Successfully landing this grant award is a great example of how our approach to working directly with local partners to address pressing challenges is delivering results," said Governor Brian Kemp. "By collaborating on this project and making a forceful case to USDOT on why these funds are needed, we're both working toward a solution to an issue affecting all of Millen and supporting the vital rail connection to the Port of Savannah that serves as a key economic driver for our state."

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In the Rhyme & Rhythms section of Sheffield Doc/Fest is King Rocker [+see also:

trailer

film profile], a beast of a movie directed by Michael Cumming (Brass Eye) and presented by Stewart Lee, a British stand-up comedian, writer and director. Most notably, Lee wrote and co-directed the West End hit musical Jerry Springer: The Opera, which was based on the titular talk show, and featured much profanity and dancing Ku Klux Klan members. For King Rocker, Lee has gone to the other end of the popularity scale, taking a nostalgia-filled, free-flowing voyage through Birmingham focusing on a giant King Kong statue and Robert Lloyd, who, you can be forgiven for not knowing, was the frontman of post-punk band The Nightingales and, before that, The Prefects.

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The pop statue of the ape, which had provisional residence in the West Midlands for six months in 1972 before being decisively rejected by Birmingham folk and sent on its way, is one of the seemingly-disparate threads that tie together an engaging and heartfelt new film by Lee about his friend, enigmatic, ever-present West Midlands punk rocker Robert Lloyd. 006ab0faaa