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   CLUB SANDWICH 67

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BIKER LIKE AN ICON ICON ICON Club Sandwich 67

            After Pinewood three more videos for 'Biker' were produced, making (now let's see, ah yes) a total of four promos altogether. And, alright, we hear you saying it: "But 'Biker Like An Icon' wasn't even issued as a single!"
            So it wasn't. But (contrary to the theme of the 'Silly Love Songs' sermon opposite) the singles market has altered beyond recognition in recent years and, now, videos are equally effective as a tool for promoting albums.
            All three additional videos were directed by Richard Heslop, the man behind the 'Deliverance' promo discussed here in our Summer issue. And they're different - radically different - from the straight-ahead approach of Aubrey Powell's Pinewood promo. These are storyboard films, in which the lyric of the song, about the girl who loves her biker, is brought to the screen. "Paul just said 'Here's some money, go away and make a road movie,'" Richard comments. "And as the song contains that one line about Hollywood I promptly flew off to LA, spent two days trying to hire the right Harley and the right Thunderbird, headed for Las Vegas and had a good time, filming on the way. Paul didn't want it to be like Girl On A Motorcycle but I had something in mind and set off. I wanted to make it half-holiday and half-work, managed to do both and come in on budget."
            Maintaining the keep-it-in-the-family approach which marked out his 'Deliverance' video, Richard employed some familiar (familiar to him, that is) faces in his 'Biker' video, principally casting his girlfriend as the unnamed girl dedicated to pursuing her Harley-riding hero across America. Some shots of the biker -whose face one does not see - feature Richard himself, others his art director Mike. "He's a biker anyway and was useful for sorting out the machines when they broke down," Richard says, practically.
            After a five-day shoot Richard returned to England and began to cut the film into a finished production. In the end, three films evolved from his footage: one with the American film occupying the whole screen; one with the American film occupying three-quarters of the screen, the other quarter showing Paul and Linda in action at Pinewood; the third being a three-screen triptych edit by Robin Parsons showing the American film in the middle screen, flanked by Pinewood footage on either side.
            And very impressive they are too, all of them. Produced in sepia they really do bring a dramatic, cinematic dimension to the song, which surely can be no bad thing in this age of multi-media. Club Sandwich 67