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   CLUB SANDWICH 66

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DELIVERANCE THE REMIX Club Sandwich 66

            This is not a repeat. It is not, to quote TV parlance, "another chance to see...". Last issue we looked at the video for 'Hope Of Deliverance'. This time we're looking at 'Deliverance'.
            And it's no subtle sleight-of-hand variation either, for just as much as the 'Deliverance' remix differed from its parent recording, so the 'Deliverance' video differs from its predecessor...in other words, any similarity is almost coincidental.
            To remind: 'Deliverance' is one of the two remixes of 'Hope Of Deliverance' done by Steve Anderson at the back end of last year. Issued surreptitiously to clubs, without any clue as to the artist, it immediately became a fave with the raves beating a fast path up the British dance charts. Paul then came clean, admitted that it was him, and the tracks were issued to the British general public by Parlophone.
            It was in February that MPL commissioned London-based director Richard Heslop to put together a video to promote 'Deliverance' on television. "I had a meeting with Paul down at Docklands during the tour rehearsals," says Richard. "He told me not to play safe, basically, and that I could do the job in any "way I saw fit. He didn't want to appear in the video at all, wanting it to be a pure interpretation of the music."
            Richard had been recommended to Paul on the basis of two videos he'd done for the Shamen, including the one for 'Ebeneezer Goode', which - without resort to a defined storyboard - employed a rapid succession of disjointed images to produce, more than anything else, the right feeling. Or something like that anyway. Whatever, it was a technique of proven success, and one used to very good effect again for 'Deliverance' wherein a helter skelter of images -children, travel, kaleidoscopic effects, angular architecture, the ugliness of public disorder and the beauty of nature - somehow contrive to sum up the essence of hope and deliverance. It's clever stuff, actually. "I chose the images because of the theme of the song," responds Richard. "It's a journey, the extremes of happy and sad, of good or bad things overcoming other good or bad things, always using children as the focus because, even in their playing, you see happiness and unhappiness. It also gave me a good excuse to go through all my home movies, 8mm film that I've been collecting over the years. I'm in one shot very briefly, my nephew's in there, my girlfriend and her daughter, some kids at a friend's garden party and there's also some footage I shot outside Downing Street during the Poll Tax riots in London in March 1990."
            As Richard explained earlier, Paul didn't want to appear in the video. But...a photo of Paul does appear right at the end, and it's an unusual one at that: a childhood shot, circa late 1940s, showing him with his brother Mike, kitted out in fetching dungarees. "Yes, I did slip in that still at the end," admits Richard. "I think it rounds it all off nicely, returning the viewer to the childhood theme explored at the beginning."
            Any fear that Richard had overstepped his bounds was immediately dispelled when he received the McCartneys' response to the finished video. "They really enjoyed it," confirms the director, happily. "I got a wonderful fax from Linda which said 'Love love love the video' - it's the first time an artist has ever said thank you to me."
            And, emphasising their delight, MPL immediately commissioned Richard to put together a second video, for 'Biker Like An Icon', which was still being produced at the time of writing.
            Just as 'Deliverance' will go down as a sideshow attraction to the main event, meaning that it probably won't be classified as a pukka McCartney single release, so, likewise, will its' video sit nicely on the archive shelf alongside the promo for 'Party Party' and other such interesting curiosities. For as Paul has shown time and again, rock videos needn't always promote a single nor be made for any toweringly obvious purpose: as little artistic statements they're welcome at any time, and for any reason.