RECORD STORE TALES MkII:
Getting More Tale
Music, Movies, and more
Black Sabbath’s Live at Last (1980) has been reissued so often that its Discogs listing shows 81 distinct versions. Those don’t include the Black Sabbath live set Past Lives, of which Live at Last forms its first CD. The second disc is all unreleased live versions, from shows in 1970 and 1975. These consist of some of the big Sabbath numbers that weren’t on Live at Last (“Iron Man”, “Black Sabbath”) and more obscure material like “Hole in the Sky”.
“Hand of Doom” from Paranoid is an unusual though doomy way to open the CD. It rolls from gentle bass to a roaring mania. It is a taut performance largely because of Bill Ward’s enviable swing. “Hand of Doom” was recorded in 1970, but jumping ahead to ’75, Ozzy’s intro to “Hole in the Sky” is cute. It wasn’t out yet. “Listen to it, you might like it, OK?” asks Ozzy. Then, “Are you high? Are you high? So am I!”
Some Sabbath songs are like a brand new bulldozer, unrelentlessly heavy, yet shiny and cool. “Hole in the Sky” is one such riff-monster, an indispensable slab of heavy metal. It’s followed by another new one, and even heavier: “Symptom of the Universe”. Young, wasted Sabbath blast through it — and stay the fuck out of Bill Ward’s way! The drummer is a tornado. “Megalomania” makes it a perfect trifecta of new songs. It’s an epic 10 minutes of different paces, riffs and melodies. Unlike other metal bands, Sabbath often welded two or three unforgettable riffs together into mega-compositions. Look at “Black Sabbath” for example — they could have made two songs out of it, but instead we have one massive monolith. On stage, “Megalomania” is tense and never boring. Ozzy shreds his voice to pieces.
As far as Past Lives goes, these three songs (“Hole in the Sky”, “Symptom of the Universe” and “Megalomania”) are the nugget of gold in the middle. It’s a first official live release for most of them. A live “Symptom of the Universe” was issued by a Tony Martin-era lineup on 1995’s Cross Purposes ~ Live, but that cannot compete with the vintage original lineup.*
It’s only oldies from there in. “Iron Man”, “Fairies Wear Boots” and “Black Sabbath” (with unique Tony Iommi guitar intro) make up for their absence on Live at Last. “N.I.B.” and “Behind the Wall of Sleep” from the first Sabbath round out the set. Nobody did them better than the original band in the 1970s.
Today we have more original Sabbath to choose from that just Past Lives; two complete concerts were included in the recent Paranoid 4 CD box set. Back in 2002, this kind of release warranted bigger fanfare. The audio is not pristine. Flutter, static and amp hum are part of the deal. If you’re into buying archival live material, you know what this is about.
The original digipack release of Past Lives comes with a booklet, a poster, and most importantly a guitar pick. Collectors will probably want to hold out for a version with pick intact, though finding one might be a “holy grail” item. If you don’t care about such things, a simple jewel case release is widely available.
* Sorry Harrison.
Although the Black Sabbath discography is not that complicated, we still struggle to know exactly how to file Live at Last. Recorded in 1973 (Vol. 4 tour), it was shelved because the band were not happy with it. Much later on (1980) it was released officially but without the band’s consent or knowledge. They have shunned it, while Live at Last has enjoyed a number of re-releases and remasters. For maximum fun, why not track down an old vinyl pressing with the singer’s name spelled as Ossie Osbourne? (The vinyl pressing is also one way to get a completely unedited version; most CD releases lack at least the band intro.)
Live at Last was, for many many years, the only live Black Sabbath album with Ozzy. Live Evil, released in 1982, had then-current frontman Ronnie James Dio. Although considered a sub-par album, you didn’t have much choice back then. Excessive Tony Iommi guitar feedback may be one reason the band weren’t happy with it.
Starting with new single “Tomorrow’s Dream”, Sabbath sound coked to the brim. Iommi’s guitar pukes sonic sludge, Bill Ward floating behind, and Geezer playing bass melodies from another world. “Sweet Leaf” continues the trip; Ozzy howling “I love you!” while the stoned band pummels through. Original Sabbath has a looseness that no other lineup possessed. It’s just something special that happens with those four guys, and Bill Ward had the swing to it all.
Brand new tune “Killing Yourself to Live” hadn’t been released yet, but it’s pretty intact in live form. “Get high!” screams Oz. The challenging song demonstrates Sabbath’s ability to meld multiple memorable guitar riffs together into a single whole. “Killing Yourself to Live” has at least three distinct riff sections, each cooler than the last. Unfortunately the recording doesn’t allow us to really hear how the audience responded to the new material.
“Cornucopia” alone could be responsible for birthing half of grunge rock. The young band’s energy is remarkable. “Snowblind” is a blast, with Ozzy shouting “CO-CAINE!” rather than whispering slyly. Closing side one, we come to “Embryo/Children of the Grave” and its unforgettable chug riff that launched many a metal band. You can hear the crowd clapping madly at Ozzy’s command to “Embryo”, before the riff cascades down like the Biblical flood. Bill Ward paces it faster than the album version by several notches. “War Pigs” also swings, a little faster than album, but with an unusually jazzy touch.
For some serious swing, check out the 20 minute “Wicked World” medley. Ward jazzes it up like nobody’s business, when he’s not crushing the heavy parts. Tony Iommi has a varied guitar solo section, becoming “Into the Void”, then a blues jam and the old standard “Sometimes I’m Happy”. That turns into “Supernaut” and a drum solo, before reverting right back into “Wicked World” for the finale! This insane extended track is the one to buy the album for.
After asking the audience several times “What do you wanna hear?”, Ozzy closes with “Paranoid”. Once again it’s quite fast with Bill ahead of the beat. Osbourne tells the crowd that they’re beautiful and of course “we love you all!” and that’s that — a one hour live album on a single LP, all done. No “Black Sabbath”, no “Fairies Wear Boots” or “Iron Man”, but plenty of the blackest Sabbaths.
Recommended CD edition: Black Sabbath’s 2002 Past Lives set, which includes a slightly edited version of Live at Last plus a whole CD more of unreleased live stuff. It even has a sticker on the front that says “Live at Last…deluxe edition”! Full review of that CD tomorrow.
GETTING MORE TALE #672: “The”
In the spring of 1996, the Record Store chain expanded to its third location. This was a life-changer for me, as it was my store — the store that I had been assigned to manage. I spent eight years at that location, and that’s where most of Record Store Tales came from. Myself and a young employee who was obsessed with Pink Floyd stocked the place. It took weeks to manually clean, input and price thousands of used CDs. We had fun working in a closed store away from the public, but the used CD stock we opened with was very monotonous. It was just overflow crap from the other stores; a lot of the same-old-same-old.
When training the new young Floyd fanboy, the Boss told him, “When you enter a band’s name that starts with ‘The’, skip the word ‘The’.” This makes sense for three reasons:
It’s pretty logical.
This worked especially well with Fugees and the young guy’s favourite band, Pink Floyd. Both artists had a “The” in their name in the past. You don’t call them “The Pink Floyd” but it was certainly possible you’d see something when they still had the “The”. Dropping the “The” on our header cards kept things simple.
The young fella got it, but followed it a little too closely.
One of his header cards said simply:
“What is this one?” I asked and he showed me a CD by The The.
I told him to change it to The The, but he didn’t get it. The Boss told him to drop the “The” on every header card. But the header card didn’t make sense without it. He wouldn’t change it, so I did it myself.
It seemed pretty clear to me then, and still does now. The name “The The” just doesn’t make sense on a header card when it’s just “The”. Tell me I’m wrong.
I was at Sunrise Records the other day, where I found The Best of Sword on CD.* I eagerly put it under my arm, since I was missing the three previously unreleased bonus tracks. (In case you didn’t know, Sword recently reunited and are recording a brand new studio album.) But guess where I found the CD? Or, rather, guess what two bands were filed together under the same name?
Sword is from near Montreal, Quebec. The Sword is another band altogether, from Austin Texas. They both play heavy metal but are nothing alike. In this case, there need to be two header cards, and one needs the word “The”. It’s another rare exception. The Sunrise store should have made these two header cards:
But clearly nobody who worked there knows enough about either band to see this.
A customer who enjoys The Sword could be very disappointed by picking up The Best of Sword. Likewise, a fan of Sword might have thought the live Greetings From… CD was a reunion CD by the French Canadian metalers.
This is why it is critical to have staff who know music. It’s the kind of proficiency that in our insta-knowledge internet era, most people don’t maintain anymore. Proper header cards were a problem when I was managing the old Record Store too, and it was the same root cause: It’s hard to find staff who know and care about this stuff. And it’s not impossible to learn it. The truth is, if I were a young The Sword fan today I would already know there was another band called Sword, because I would have stumbled upon their albums and looked them up on Wikipedia.
You could take this header card business too far, of course. Just as you don’t need both “Pink Floyd” and “The Pink Floyd”, a record store doesn’t need two Queensryches or two L.A. Guns. But you do need two Swords…with “The” and without.
* Here I am nitpicking about proper filing of header cards, when I should be complaining about the mistakes on this Sword CD. Right there, on the back and inside covers, is a massive typo: “Get It Whole You Can”. Inside, the liner notes make the classic “there/their” screw-up. Can’t believe nobody caught these before they went to print, but there it is.
I poached this one from the social media of world famous bass clarinetist Kathryn Ladano. She blamed this mess on her Concerto for Bass Clarinet and Industrial Orchestra. [That show was
April 14 cancelled due to an ice storm.]
This just proves even world class musicians are human beings…who need coffee to function!
Over the past decade, Accept have joined a rare pantheon. They are among the few metal bands with “replacement singers” that have continued with honour, and without constant clamouring for older lineups. Mark Tornillo has, over the course over several great albums, earned his place without question. The Rise of Chaos (with producer Andy Sneap) continues the journey, full steam ahead.
The blue and orange swirl vinyl edition is a double record set, limited to 700 copies. Not only do they look stunning, but they sound vibrant and crisp. A 46 minute album could easily have fit on a single LP, so the fact they did a double means they wanted to ensure maximum musical reproduction for vinyl buyers.*
Wolf, Mark, Peter, Uwe and Christopher crush it throughout. “Die By the Sword”, the initial assault, is a lightning strike of sharp riffing and Baltes’ bass undercurrent. This is pure Accept: gothic backing vocals and overhead screams! “Hole in the Head” boils over with animosity, delivered molten. Then, like a Panzer division at full speed, “The Rise of Chaos” rips the heads off anything still standing.
Flip sides. “Koolaid” retells the story of Jim Jones and the cult of the damned, a topic previously explored by Manowar. With a riff written as if out of 1984, it takes on a mid-tempo groove rock march. Yes, it’s possible the best song on the Accept album is named “Koolaid”! Then the heat put off by “No Regrets” will blister the skin, if the drums don’t give you a concussion.
Flip sides. Taking it back to a sharp metallic groove, “Analog Man” is an amusing look at our high tech world. “Now there’s flat-screens and 3-D, my cell phone’s smarter than me!” They go for an anthemic style with “What’s Done is Done”, and plenty of guitar harmony solos to go around. “Worlds Colliding” has the “classic metal” sound, brilliant riff and chorus combined for a slick mercury-like sound.
Flip sides one more time. Neither “Carry the Weight” and “Race to Extinction” let up. It’s 10 more minutes of fast, heavy metal. Make no mistake, this is one punishing metal album. Is it a little paint-by-numbers? Yes — Accept albums are getting that way. Riffs might be interchangeable. But when the albums are still this good, it matters little.
* You could also choose from:
Expanding on Record Store Tales Part 58 – Klassic Kwotes VII
GETTING MORE TALE #671: A Clockwork Orange
Let’s back up a bit.
One of our early employees, Scott, made a critical error one Sunday at the Record Store. This is a great lesson for every retail employee, everywhere worldwide. Never, ever, ever tell a customer that you have something if you can’t sell it to them. Just lie. Claim you don’t have it. If you say, “We have it, but I can’t sell it to you,” then you are opening a potentially big can ‘o worms.
A very creepy dude came in one afternoon asking for the soundtrack to A Clockwork Orange by Wendy Carlos. It is a potent mix of classical music and synthesizer compositions. Beethoven was a major part of the film’s plot, and Beethoven is also a huge chunk of the soundtrack. This customer wanted the soundtrack to psych him up for his court date.
That’s right. For his court date.
Too much information? Customers often shared with us the weirdest details of their lives. We didn’t need to know he wanted A Clockwork Orange to pump himself up for court.
Thinking he was being helpful, Scott said, “Yes we have a used copy, we just bought it today. But we have to hold it for 15 days before we can sell it.”
Scott was an honest guy. According to the bi-laws, all used inventory had to be held for a 15 day waiting period. In a business where buying and selling stolen goods was always a danger, this helped protect us, and any victims of theft. 15 days gave the cops time to go over our purchase reports and see if anything matched up. If they did, then we already took the seller’s ID. The cops can track the thieves that way.
The 15 day holding period was standard but not all stores honoured it. We did, without fail. There was no breaking the 15 day hold. Not even for your court date.
The creepy guy tried to cajole Scott into selling the CD early and wouldn’t let up. He needed it before the court date, not after! He had to get psyched up! So much was riding on this one CD. The soundtrack was still somewhat rare as a used CD. The 1998 reissue was yet to come.
Eventually the creep tried to bribe Scott. “Do you like the drugs?” he asked, implying he could get Scott anything he needed.
To his credit, Scott didn’t budge, though he certainly wished he never told the guy about A Clockwork Orange in the first place. The customer asked to speak to the manager instead (me). He came back then next day when I was working.
The guy walked in, wearing a green suit and carrying a briefcase. He told me the whole story about how he “needed” that CD to get ready for court, but that nobody else in town had it. He begged me for the CD, though with me he neglected to ask if I “like the drugs”. He even said he’d pay over sticker price, but there was nothing I could do.
Scott was a little shaken by the creep. It’s not every day you are solicited at your workplace by a drug dealer bound for court. I can’t help it, but I think of him every single time I see the soundtrack for A Clockwork Orange.
Oh, and by the way: he did buy the CD when the 15 day waiting period was up! I didn’t ask how his court date went. Apparently well enough.
All hail the mighty Aaron of the KMA. He is a very generous man. He is known to send parcels to friends all over the world, and he always keeps an eye out for things that people look for. He’s incredible that way, and he deserves a tremendous amount of recognition for all he does for the Community.
Preamble: Although I forgot about this, back in the fall Aaron did his regular Toronto shopping excursion. He found a Bon Jovi 12″ single that I’d never seen before. But I was tapped out, cash wise. I had done my own Toronto trip to pick up an an absolutely massive toy for my collection. Apparently he texted me about the Bon Jovi, and I asked him to leave it there because I couldn’t afford it. Naturally he bought it anyway and secretly stashed it away.
Aaron sent me a big box of goodies for Christmas (and reviews of those will come too!) but the Bon Jovi was the centerpiece. I didn’t actually open this box of goodies until Easter. Due to illness and circumstance, our family finally just got around to celebrating Christmas. I saved his box until then.
This three song EP, on brilliant clear red vinyl, has two live tracks and one remix. “Hardest Part is the Night” (from 7800° Fahrenheit) was mixed by David Theoner though the differences are minor. Interestingly, it was also issued as its own single with “Always Run to You” on the B-side.
The other two tracks were recorded live in Japan in 1985. “Tokyo Road” was later released on the remastered 7800° Fahrenheit as a bonus track, but that CD doesn’t look nearly as pretty as this vinyl. It’s a little odd hearing Jon introduce it by saying, “Welcome back to ‘Tokyo Road’…” when in fact they were the visitors in Tokyo, but whatever! Jon’s the professional frontman, not me. “In and Out of Love” is the real treat, featuring an extended guitar solo, and a different version from the one on 7800° Fahrenheit. The track is still over 10 minutes long with all that (smoking) noodlin’, but Sambora fans who miss him will want to have this.
Fans of early Bon Jovi — hunt down this EP. Get it or live your life without this awesome live Bon Jovi that you won’t get otherwise.
Like any franchise with an extended lifespan, Trailer Park Boys has fans both devoted and hyper-critical. Many are just glad the series is still continuing and still funny. Others whine that the style has changed and many original cast members (Jonathan Torrens, Lucy Decoutere, Mike Jackson, Barrie Dunn) have left. The death of John Dunsworth (Mr. Lahey) late last year put things into perspective. Just be glad we have Trailer Park Boys at all. John finished season 12, which was lovingly dedicated to him.
What’s the Boys’ deal this time? After much pressuring from Bubbles, Ricky and Julian agree to go “legit”. Bubbles is already running a successful brewing company. Green Bastard beer is a hit. Julian gets a job working for Gary in security at the mall. And Ricky? Odd jobs around the park. The first is an unmitigated and hilarious disaster. Things go way off the rails from there.
Lahey and Randy are back, with Bo-bandy trying to keep Jim from causing trouble. But they need help supervising the park, and hire old nemesis George Green. Barb Lahey’s still in charge, and a thorn in everyone’s side. Sarah, Trinity, Jacob and Corey still reside in Sunnyvale. And wait until you see what Ricky has done to the Shitmobile. (Turned it into a two storey home with two TVs and both upstairs and downstairs bathrooms.)
One of the reasons you don’t miss Lucy this season is because she’s been replaced by Susan (Susan Kent of This Hour Has 22 Minutes). She’s batshit crazy and mad for Ricky. Their on-off-on-off relationship is a source of many of Ricky’s problems. All he really needs is a break. Maybe he’ll catch one from some “Angel Shit Sent Down From Jesus God”.
Julian might even have a shot at love. An old girlfriend, from all the way back in season one, reappears in his life….
The season ties into the real world release of the official Trailer Park Boys beer called Freedom 35. It’s a fictional take on how that beer got to the store shelves. Bubbles, who now drives his own green truck, has a secret recipe and it’s caught the notice of the Halifax Beer company. They want to pay Bubbles to sell his brew! Can Bubbles ramp up his production, or will Ricky fuck it all up?
Without spoiling too much of the fun, the best episode this season is called “Happy Birthday Bubbles”. If you liked the old episode when the Boys played “space” and fired a rocket, you’ll love this one. I hope Steve Rogers makes a full recovery though his helicopter sure is fucked. Best of all, this season we return to the arena where Ricky shines like no other: the courtroom. Judge Ticklebury presiding.
Knowing that Jim Lahey has taken his last drinky-poo gives the season a bittersweet flavour. How does the show continue now? We don’t know, so just enjoy season 12 for what it is.
A good buddy of mine has three kids. He will often play them music via Youtube, and they have been enjoying classic Kiss lately. In fact about a year ago, I myself was trying to teach them the correct words to “Shout it Out Loud”, for which they were singing their own variation.
My buddy tells me that the other day, Youtube shuffled to the “Lick It Up” video and he pointed out, “Look kids, Kiss.” His infant daughter looked up, saw four guys with no makeup on, and yelled, “NOT KISS!”
Smart kid. Just a child and already knows “new” Kiss from “old” Kiss.
GETTING MORE TALE #670: Censor This Too! – The Star Chamber
This is the sequel to Getting More Tale #669: Censor This! In a footnote to that story, we discussed the evil, corrupt English department at Grand River Collegiate Institute in the school year 1990-1991. With music as part and parcel of everything I do, here is the students’ revenge.
This story was written by myself and Andrew “Abbis” anonymously. (You may remember “Abbis” was the subject of a Zeppelin-esque song I co-wrote called “Abbis’ Stomp”.)
Context: A brilliant young student named Danny was accused of plagiarism for his independent study on part of Milton’s Paradise Lost. The entire English department were united in their belief that he had cheated, not realizing this young dark-skinned kid with a strange sounding last name was actually just really gifted. In a parallel to Paradise Lost, Danny soon found himself in a hell of his own. The school treated him shamefully, but could not prove he cheated. Instead of the A+ he deserved, he got a “no report”. This was his final year of highschool, and he wanted that A+ to get into the university program he had applied to.
This story was our revenge on his behalf.
I take a lot of pride in our creative little rebellion. This was about as misbehaved as we got. Our scathing story The Star Chamber (an obvious mashup of MacBeth and Star Wars) was published in the underground school newspaper, in June of 1991, exactly as you see it below. Pay attention for a Zeppelin reference and plenty of Shakespeare. My character is an homage to Han Solo named…Guitar Solo.
THE STAR CHAMBER
(The Uncensored Version)
BY: Robin Hood and his Merry Men
A long time ago, in a Collegiate Institute far, far away, a battle was being waged between the forces of Good and English. The leader of the rebel forces, Danny “The Terror” Skywalker, had for months been a thorn in the side of the English Empire…
ACT I, SCENE I
In the caverns of Smithers the Hutt.
Enter with a flourish and really neato special effects, Darth Chamber and his English entourage.
DARTH: (To Smithers) By Jupiter! We must capture that foul wretch known to all as Danny “The Terror” Skywalker.
SMITHERS: I say yea my Lord.
Exuent Darth and entourage with an even bigger flourish.
END OF SCENE
ACT I, SCENE II
Enter Danny, his faithful companion Guitar Solo at his side, zipping through space in the Tarachan Falcon.
Their favourite album, “Ten Classic Books in Ten Minutes” is suddenly drowned out by the wail of an intergalactic police siren.
Enter Robo Bolt, with colours and drums.
DANNY: What hast thou pulled me over for, sucka?
ROBO: Dost thou thinks that “E.N.G.-S.U.K.S.” is an appropriate licence plate for thine vehicle?
DANNY: What say you? Thou art a strange fellow.
ROBO: Your horrid image doth unfix my hair!
DANNY: Methinks thou art (and I quote Willie Shakespeare) “a coward, a rascal, an eater of broken meats, a beggar, and a lily livered knave”.
ROBO: Draw thine sword, I’ll make a sop’ o’ the moonshine of you! (they draw and fight, Guitar Solo slain by accident.)
GUITAR: To be…or not to be. What a stupid question! GAHK!!! (he dies. Robo is then slain.)
ROBO: I am slain, I am slain, dead, defunct, kicking the bucket, etc. etc. etc. (he dies.)
DANNY: What have I done, o Lord, o nature? What evil spirit hast possessed me?
Exit Danny, delirious from the battle.
END OF SCENE
ACT I, SCENE III
Enter Darth Chamber having been notified of Robo’s death, mad, and garlanded with wild flowers.
DARTH: Oh what foul deed, what evil, for my fair fair Robo. He is killed. (Enter Danny, furious with rage upon sighting Darth.) Draw, or surely thou shalt perish!
DANNY: Have at you, bud!
Enter Smithers from behind.
Smithers strikes Danny over the head with Roget’s Unabridged Dictionary, knocking him unconscious.
END OF SCENE AND ACT
ACT II, SCENE I
Later in the Star Chamber.
Trumpet answers within.
Enter Darth Chamber and Smithers, armed, a trumpet before them, attendants, the Fool, Edgar, Edmund, Oberon, The Duke of Cornwall, Elvis, drums and colours, Danny Skywalker in chains, Gloucester wandering around outside.
DARTH: Hark, four-score and seven years ago this treasonous wretch, Danny Skywalker, hath committed the ultimate crime against the English Empire. May his trunk be devoured by butterflies. By Jupiter! Behold his foul deed. (cries of astonishment within) He hast plagiarised the almighty Milton!!!
DANNY: Oh Hell! Oh spite me! What manner of accusation is this?
DARTH: Silence scurvy knave. (Darth to attendants) Place him in…(drum solo)…the machine!
SMITHERS: Goody goody gosh! By the fairies, Darth is mighty!
FOOL: (sings) O nuncle, court holy water in a dry house is better than this rain water out o’ door. For he’s buying a Stairway to Heaven.
Exuent all. Death march, colours and banners.
END OF SCENE
ACT II, SCENE II
Enter with a flourish, Darth Chamber and Smithers the Hutt, with entourage carrying fluorescent banners with matching tights, led by an Old Man. Danny strapped to the machine.
The machine, a relic left over from the late 20th century, known as a “Dunking Machine” is filled with water, with Danny strapped to a chair above it.
DARTH: By Jupiter! My seated heart dost knock at my ribs. For the time is near o’ blossom.
SMITHERS: Skywalker thy trial begins! If thou float’est, thou art guilty of plagiarism and shalt be sentenced to die…slowly. First we shall tear all the of the hair from thine body, then soak you in lemon juice, and Kraft salad oil. Then we shall take you out to the Dune Sea you shall be eaten alive by the almighty Mouth, while’st being garnished with tomatoes and olives! But if thou sink’est and die’est, we shall know that thou art innocent and we shall let’est you go.
DANNY: Sorry, but I’ve got a prior engagement.
Enter Abbis Man’s ghost. (See last issue — ed.)
Abbis Man runs onto the stage, dropkicks Darth, hits Smithers with the D.D.T. and frees Danny from the machine.
DANNY: Thanks bud!
ABBIS: No problem, let’s get a beer!
Exuent, too tired to flourish.
DARTH: Gosh darn it! Methinks this ending really sucks!
Exuent Darth and all remaining.
END OF SCENE AND ACT
Danny and Abbis Man, having formed a powerful alliance, travel to Earth where they take on aliases and fight crime as Siskel and Ebert.