Reviews

GUEST REVIEW: Star Wars: The Last Jedi (2018) Blu-ray bonus features

We’ve already reviewed the movie ad-nauseum, so here is something fresh:  a review of the Blu-ray bonus features by guest writer Kovaflyer!

Guest review by Kovaflyer

STAR WARS: The Last Jedi (2018 Lucasfilm blu-ray)

Directed by Rian Johnson

If you enjoyed The Last Jedi or if you have mixed feelings about the newest instalment of Star Wars and are trying to make sense of the film, the bonus features are a great in-depth look at where Rian Johnson took the galaxy that is so very far far away.

 

The Director and the Jedi – Full length documentary feature

The Director and the Jedi is your first behind the scenes look at The Last Jedi and the hard work that went into making this Star Wars movie. This part of the bonus features takes you behind the scenes of the building of up to 120 different sets, the creation of all the creatures that we have come to know and love, the eye-pleasing costumes, as well as the amount of detail involved in the makeup artistry; like the work done to create Kylo Ren’s scar.

The Director and the Jedi also features discussions with Mark Hamill about Luke Skywalker and the direction that Rian took with Luke in the film. Mark tells us that he was going to play the Skywalker that Rian envisioned regardless of how he felt about his own image of Luke. Early footage of Mark and Daisy going over lines and choreographing the Luke vs. Rey scene was fantastic.

The interviews and interactions with Carrie Fisher are both heart warming and fun and showcase Carrie at her best; the only way that Carrie knew how to be. Carrie was excited about the direction of Leia’s character in the movie, calling her strong and in charge.

 

Balance of The Force

Rian Johnson really wanted to hit the re-set button on “the Force” and what it means. He wanted to show new Star Wars fans that the Force is not a super power, but a balance between all things, the light and dark, in all living things.  It is a gift, and not all about moving rock or things across a room.

When he started writing The Last Jedi he had a look back at Star Wars and the main characters in the story and what challenges they would eventually come up against.

Rey is looking to find herself and where she comes from; who her mom and dad are and where they have been, and what her new powers mean and how to use them. With Rey there are no easy answers and if she wants them she is going to have to find them herself.

Finn has just woken up on a ship after being injured in a fight on Starkiller Base while trying to save Rey and the Resistance. He wakes up with the ship under attack and Rey missing, and therefore he has to think fast and take action to save Rey, himself and the ship.

Leia, facing more and more loss is taking charge and leading the Resistance in the biggest fight yet.

Luke is fighting his own internal battle that the Jedi must end. In his view, the Jedi have done nothing but added to the problems of the galaxy, and if he were to bring back the Jedi, the Sith would rise again. Luke believes if the Jedi die, that a new light could rise and win. Therefore, Luke Skywalker has exiled himself; he is being selfless. Rian knew that there was a reason why Luke went into hiding, that it was a selfless act and that he was not just cowering away.

Yoda, yes that Yoda (the puppet version brought to life by Frank Oz), comes to Luke when he needs him the most. Yoda reminds Luke of the same lessons he once taught him, to stop with all the big plans and to focus on the here and now, to be the Luke Skywalker that everyone needs; to be the myth, to be the legend of Luke Skywalker and to not let the light burn out. So, Luke must train Rey and keep her in the light. The most important message Yoda had for Luke, was that failure is the greatest teacher of all. Johnson insisted to have the original puppet version of Yoda and his puppeteer Frank Oz for the film. He wanted Mark Hamill to interact with Oz and not a CGI version of Yoda, and even procured the original Yoda puppet mold in order to fashion the latest version of the Jedi master.

 

Scene Breakdowns

The bonus features also offer the following scene breakdowns.

Lighting the Spark: Space battles are massive undertakings. You get the big explosions, the visual and auditory effects. However, Johnson explains that he felt that in this space battle, he wanted to show the humans behind the spaceships; to make you feel connected to what is happening based on the relevance of the battle to the characters. It is interesting and fun to learn where some of the sound effects that were used in the battle came from (e.g. a roll of duct tape), how some of the spacecrafts and battle sequences were modelled after WWII aircraft and aerial footage (e.g. a B-52 bomber), and how Kylo Ren’s spaceship was of course modelled after Vader’s own tie fighter. In this battle, that saw so many Resistance fighters lost, Johnson chose to highlight Leia’s struggle with loss and grief and her deep love for her people.

Snoke and Mirrors: Rian explains that in bringing Snoke to life, he wanted to ground him in reality; make him have a physical presence. He was worried, however, about the complexity of creating a believable character completely out of CGI technology. In utilizing a complete motion capture suit for Snoke’s character, however, they were able to use every nuance that Andy Serkis brought to the character’s physical being; every facial expression, every twitch, etc.

Showdown on Crait: Johnson explains that the scene of the showdown on Crait was one of the first visions he had when he started working on the movie. To create the visual effects for the shots fired on the salt planet, the film crew went to the salt plains of Bolivia and filmed shooting sequences. It is amazing to hear just how many different options they went through when creating the red under the salt (e.g. shredded dyed red paper), how they reinvented the Walker from Empire into the Gorilla Walker using various sounds bytes to create its own unique ‘voice’, or how they used sounds from old beaten down cars in order to obtain the sounds for the Resistance fighter ships.

 

Andy Serkis Live! (One Night Only)

This part of the bonus features offers a look at the first meeting between Rey and Snoke with Andy Serkis in the full motion capture suit. It is amazing to see Andy’s performance in the raw without the CGI effects. To say that Andy’s performance was intense is a serious understatement!

 

Deleted Scenes

The bonus features also provide a look at some of the scenes that did not make the final cut for the movie; fun to watch but one can understand why they were left out for the most part.

 

In closing

In closing friends, I give this bonus footage 4/5 stars and highly recommend that you pick up the Blu-ray edition of The Last Jedi as you will enjoy some fabulous bonus features that will enhance your enjoyment of this Star Wars film.

 

 

 

 

Advertisements

REVIEW: Richie Kotzen – Mother Head’s Family Reunion (1994 Japanese import)

Kotzen’s music is cut for hard rockers who like insane playing and a side of R&B.

 

RICHIE KOTZEN presents the Mother Head’s Family Reunion (1994 Geffen, Japanese with bonus track)

Did anybody really expect Richie Kotzen to stay in Poison?  The chances of that happening were always about as good as a Beatles reunion tour — next to zilch.  Kotzen’s talent burst at the seams that were Poison.  He could not have been content for long.  Post-Poison he resumed business swiftly with Mother Head’s Family Reunion, his fifth overall recording.

A funky “Socialite” demonstrates Kotzen’s diversity.  Drummer Atma Anur breaks it down while Richie brings the soul.  Kotzen’s music is cut for hard rockers who like insane playing and a side of R&B.   The soulful profile is on full display with “Mother Head’s Family Reunion” which sounds like a Black Crowes cover.  Switch to blues balladeering on “Where Did Our Love Go”, and “Natural Thing” brings it all the way to funk again.

Listening closely, Mother Head’s Family Reunion sounds a lot like Native Tongue, Phase II.  It’s that album, but beyond:  it’s Kotzen completely unleashed and without Bret Michaels.  You could easily imagine a track like “A Love Divine” on side two of Native Tongue, among the more grooving material.  That connects seamlessly with “Soul to Soul”, another bluesy ballad, with a summery feel.  “Testify” has a similar bright side, and a wailing chorus.

Cover songs can be shaky ground, and “Reach Out I’ll Be There” sticks out like a sore thumb, a song from another era that doesn’t match up with Richie’s originals.  That’s not to say it’s bad.  Far from it — it’s one of the best covers of it that you’ll find.  It’s just on the wrong album, even as it jams on for seven minutes!

Through the last four tracks (“Used”, “A Woman & A Man”, “Livin’ Easy” and “Cover Me”) Richie and company rock it up and slow it down again with consistently impressive chops.  There are no weak songs, and Kotzen’s ballads have a genuine sound that stays timeless no matter the year.  The speedy funk-soul-metal soup of “Cover Me” concludes the standard domestic album by smoking your ears with blazing hot licks.

This album, long out of print, has been reissued in Japan with the bonus track intact, at a surprisingly low price.  (Amazon Canada had it in stock for $22.33.)  If you’re lucky enough to acquire it, you’ll get the extra song “Wailing Wall”.  Sometimes the Japanese fans got the best exclusives.  “Wailing Wall” is one.  It taps into the spirit of Tommy Bolin-era Deep Purple and it could be the best song of them all.

Easy decision:  Get some.

4.75/5 stars

REVIEW: Steph Honde – Covering the Monsters (2017)

STEPH HONDE – Covering the Monsters (2017 Musik records)

Steph Honde is a French guitar player, best known for his work with Paul Di’Anno (Iron Maiden) and Hollywood Monsters (including such players as Don Airey and Vinny Appice).  He’s rocked with Jim Crean and Danko Jones.  He can write and play multiple instruments.  And he can sing!

Honde’s 2017 album Covering the Monsters takes on a diverse batch of rock and metal.  He plays everything but drums, and does a damn fine job of it.  What makes the real difference is a unique selection of covers.  Saxon’s “Waiting For the Night” comes from 1986’s Rock the Nations, which garners a lowly 2.5/5 over at Heavy Metal Overload.  Yet from a so-so record comes a stunning pop rock track!  Honde’s vocals will divide listeners, but his playing should stun everyone.

“Turbo Lover” is a slick choice, and “Bring Your Daughter…To the Slaughter” unexpected.  Vocal cords are shredded on “Bring Your Daughter” just like Bruce did on the original.  There are also ballads.  “Edie (Ciao Baby)” has to be one of the most underrated of the 1980s.  It’s fun to just listen blindly awaiting the next track.  Danzig’s “Mother” leads into Guns N’ Roses (“It’s So Easy”).  Not just Danzig, but also Michael Graves (“Crying on a Saturday Night”).  Love and authenticity are poured into each one.

The best track is the one you’d think would be toughest to cover — the epic ballad “Take Me for a Little While” by Coverdale-Page.  Honde captured what makes it a powerful song.

We exeunt to some Nazareth (“Not Fakin’ It”), obscure Sabbath (“Zero the Hero”), a little Ramones (“Something to Believe In”) and epic Winger (“Headed for a Heartbreak”).  It’s a very satisfying mix of song choices, though Honde really has to stretch for notes on “Zero the Hero”.  Mission accomplished.

Great covers album, and that’s saying something, because covers albums are often not.

4/5 stars

 

#677: Rock Clocks (Happy Mother’s Day!)

No Sunday Chuckle this week — a special post instead.

 

GETTING MORE TALE #677: Rock Clocks (Happy Mother’s Day!)

My mom has always been creative.  Ever since we were kids, she’s been making things.  In my earliest memories, she learned how to make ceramics at home.  A prized possession of mine is my Darth Vader lamp.  It’s made of two ceramic pieces, the base and the Vader bust.  It has coloured lights in his chest, and his lightsaber lights up as well.  I got Vader, while my sister had an R2-D2.  I still have that Vader and she still has her R2.  Then she even bought a kiln so she could fire her ceramics at home.  My dad called it “that damned kiln” or “that god-damned oven” while my mom expanded to teaching ceramic classes in the basement.  She even started making stained glass ornaments!  My dad hated that we had a cottage industry in the basement, and her stuff always fought for space with my Transformers boxes.  But dad had to admit one thing, which is the ceramics not only paid for themselves, but also my mother’s annual vacations.

Vader lamp, far left

When I started working at the Record Store, one of my mom’s more successful creations were functional clocks.  You could buy a clockwork and put it in anything really, but CD clocks looked cool.  I convinced her and the Boss to work out a consignment deal.  I brought home a bunch of defective CDs that were written off in the back room.  I had her make a variety of clocks — Pink Floyd CDs, Bob Marley’s Legend, or anything with a cool picture on it.  We also had a few basic ones with just numbers glued to a blank CD face.

They weren’t great sellers, but she moved maybe two dozen over the years.  It didn’t cost the Boss anything to stock them, maybe 18″ of shelf space behind the counter, but it was more of a favour than a business move.  As cool as they were, they got dusty up there on that shelf, and were tricky to clean.  The little metal hands bent easily, and if you wiped too hard you could mark up the clock face, or remove one of the numbers!

One gimmick came up with was allowing customers to buy custom clocks made.  They could either a) bring in a CD to be made into a clock, or b) use one of the defects in the box in our back room for a clock.  We did a few of those, though it meant my mom had to go out and buy more clockworks.

I’ll never forget this one guy.  He came in one day but it wasn’t for a clock.

He approached the counter and asked “Do you buy CDs?”

“Yes we do!” I responded, and he pulled a CD from his jacket pocket.

I looked at the cover and did not recognise the name.  I flipped it over and looked at the back.  No label, no bar code…definitely some unknown artist.

“I’m sorry,” I said as I began explaining the part that I hated explaining.  “I’ll have to pass on this one.  We just generally don’t buy things like this because they tend to just sit on the shelves for years.  I can’t find a record label on the back, I don’t know this artist, and there’s nothing under this name in our system.”

“Oh, well that’s me,” he answered.

“Oh this is you!  Well, that’s cool, but still, it’s just not the kind of thing we would buy for stock.  The best I could do is offer to sell it on consignment here for you.  But I’ll be honest, we don’t sell a lot of consignment CDs here unless it’s a pretty popular local band.”

“Can you make it into a clock?” he asked while pointing at my mom’s CD clocks.

“You want to make it into a clock?  Yes, absolutely we can do that!”

That took a twist I didn’t expect!  “I want to give it to my wife as a gift,” he said.

Well sure, why not!  I took his order down in a little yellow receipt book.  He chose the style of hands and numbers (gold coloured) and a week or so later, he had his clock.  Two AA batteries not included.

Here’s another clock memory for you.  Can you guess how often people looked up at the clocks and said, “Woah!  Is that the time?”  More frequently than you’d think.  No, those clocks don’t have batteries in them, they’re for sale and they’re all showing different times, you dumb ass.

We ended the clock collaboration shortly after.  At least I tried.  Not all my ideas were good ones.  It wasn’t a failure, it just wasn’t worth the effort after the novelty wore off.  It demonstrated one thing that remains true about retail:  things only have a limited shelf life.  People don’t want to see the same stuff sitting there year after year.  It was true for virtually everything we sold.  Bobble heads, action figures, Simpsons characters, Osbournes figures, accessories and impulse buys…they were all shuffled from one location to another when they were “dead”.  Then you’d sell a few more, and the product would die again.  Shuffle the remains to a sale bin in a third store and you’ll probably clear them all.  One of our stores had the Metallica McFarlane figure set opened up on display with the big stage and everything.  I was aghast!  You don’t open a toy for display, you idiots.  Nobody would buy it.  And guess what?  That open Metallica set was a shelfwarmer, as it slowly suffered from shelf abuse.

The only thing that was timeless and the never-ending star of the show?  CDs.  Music.

I left in 2006 and I know that music stores have changed in the last 12 years.  They’ve all had to diversify, and the old store I used to manage now sells board games and used Nintendo cartridges.  I got out at exactly the right time.  My passion has always been for the music.  The rest is just window dressing.

And that includes CD clocks.  Sorry mom!

 

 

 

 

 

 

 

GUEST REVIEW: Black Sabbath – Cross Purposes ~ Live (1995) Part Two – the VHS

BLACK SABBATH – Cross Purposes ~ Live (1995 IRS CD/VHS set)
Part Two: the VHS video by Harrison Kopp

As Mike’s VCR is currently stored away, he will be joined by Harrison, who was naughty and downloaded a 720p copy of the show when someone had it up on YouTube, and therefore will be reviewing the video half of this box set.

 

 

 


The video version is a great snapshot of the band at this period. The quality is quite good for a VHS, only betraying its origins with any large expanses of black shown. It also features some innovative action shots to capture the band, which is much appreciated as, although Geezer is still head banging away as usual, Bobby generally fades into the background and, as Mike has pointed out in other reviews, Tony Martin’s frontman-ship involves either singing up front or shaking his thinning hair by the drum riser.  As for Tony Iommi? Well he’s still the epitome of theatrical guitar playing.

The lighting is done well also, although the red occasionally gives the skin an overly pink tone. And for the first time, Geoff Nicholls is visible in the background of some shots, doing keyboards and backing vocals.

Puzzlingly, there is also a black and white filter used on a couple shots here and there, that really isn’t necessary. Those preceding niggles however, were only small nit-picks of a thoroughly enjoyable show to watch.

There are also three songs included on the video that aren’t on the CD and will be therefore be reviewed here. The first is fairly early in the set and is “Mob Rules”. Tony powers through verse after verse without fail. Although it inevitably falls short of the Dio renditions, it still deserved a place on the disc.

“Anno Mundi” is next. This is easily the best of the three. Tony Martin sings his heart out in an amazing performance of the only song from Tyr. This easily should have been on the disc as well.  (They all should have.)  On a side note, it’s really nice to see audience members head-banging and singing along to these Martin-era songs.  Last of these is a decent rendition of “Neon Knights” that just can’t compete with Dio’s versions. A couple subtle melody changes here and there don’t help it either.

Still, despite a couple small missteps:

4.5/5 stars, and Tony martin’s finest hour with Sabbath.

REVIEW: Black Sabbath – Cross Purposes ~ Live (1995) Part One – the CD

BLACK SABBATH – Cross Purposes ~ Live (1995 IRS CD/VHS set)
Part One: the CD

Metal fans who recall the 80s and 90s will remember that Black Sabbath struggled to be relevant, in a time when they should have been dominant.  While Soundgarden soared up the charts with a sound that could never have existed without them, Black Sabbath limped along, with new lineups annually.  Singer Tony Martin has been relegated to the footnotes of rock — unfairly for certain — thanks to a successful Black Sabbath reunion with Ozzy Osbourne.  Fans in the know appreciate the Tony Martin era, and the tunes it produced.

With a lineup featuring original members Tony Iommi and Geezer Butler, Sabbath rolled tape at the Hammersmith for a live video also featuring their newest drummer Bobby Rondinelli (Rainbow) and longtime keyboardist Geoff Nicholls.  They were on tour supporting Cross Purposes, their first since an aborted reunion with Ronnie James Dio.  This video was released in 1995, packaged with a CD that was shortened by three songs.

Today we’ll review the audio, and tomorrow a guest will review the video.

Some context:  in some circles, Tony Martin was seen as a Dio clone.  Therefore, it was brave and somewhat cheeky for Black Sabbath to open the show with “Time Machine”, a song specifically recorded for the Dio reunion!  The whole Dehumanizer era was dicey to begin with.  Tony Martin supposedly recorded an alternate set of vocals for that album just in case it didn’t work out with Ronnie.  Cheeky or not, Tony Martin was more than capable of covering Dio’s song, though with less of Ronnie’s unmistakable grit.

Back to Master of Reality, “Children of the Grave” is bloody sharp with Bobby on drums.  Nothing against Vinnie Appice or Cozy Powell (or Eric Singer or Bev Bevan or Terry Chimes or Mike Bordin or Tommy Clufetos) but I think Bobby Rondinelli was absolutely perfect for Black Sabbath.  His hard-hitting style really turned up the heavy, and he also adapted it to the old Bill Ward songs better than some of the other drummers did.

Sabbath churned out album after album, year after year, and they always played new tunes live.  Cross Purposes was a remarkably solid album, probably due to Geezer Butler’s influence.  “I Witness” was worthy of the Sabbath canon, fitting perfectly among the speed rockers like “Neon Nights”.  Next in the set was “Mob Rules” which was cut from the CD for time, so we skip through to a pretty authentic and unabridged “Into the Void”.  With Tony Martin in the band, Black Sabbath were able to do songs from any era.  That’s due to his versatility and his ability to put ego aside.

“Anno Mundi” (from 1990’s Tyr) should be next but it’s axed for time and instead it’s straight into “Black Sabbath”, a song that makes fools out of most singers.  And truthfully, nobody but Bill Ward can capture the random madness that is his original drum performance.  Sabbath ’94 do OK.

Another track is edited out (“Neon Nights” of all songs; who chose these?) and an odd choice from Cross Purposes is left in:  “Psychophobia”, a stuttering metal slab of anger.  Aimed at Ronnie?  You be the judge, when Tony Martin howls, “It’s too late now, it’s time to kiss the rainbow goodbye.”  The groove is pretty unstoppable whatever the motivation.

The surprise plot twist is “The Wizard”, an Ozzy oldie that few singers have dared to attempt with Black Sabbath.  First time in 24 years, according to Tony.  The harmonica part brings it closer to the old blues that Sabbath began with, and Tony Martin does fine with his own take on it.  Then it’s time for the Cross Purposes ballad, a killer “Cross of Thorns”, though one gets the sense of anticlimax after a track like “The Wizard”.  It would have worked better early in the set, but it’s an example of the quality heavy rock songs that Sabbath were still writing.  Martin’s voice cracks raw at times from pouring it all in, and Iommi’s guitar solo is one of his most melodically enticing.

Back once again to the past, “Symptom of the Universe” is a smokeshow, including the oft-skipped psychedelic groovy outro.  It kills any version by any lineup except the original quartet, and that’s due to Tony Martin’s throat-destroying singing.  Bobby Rondinelli gets a drum solo before “Headless Cross”; not the first time he’s had to play drum parts originated by Cozy Powell!  “Headless Cross” is a rhythm-based song with or without Cozy.  Geoff Nicholls helps out Tony Martin for the impossible notes in the chorus.

“Paranoid”, “Iron Man” and a downtuned “Sabbath Bloody Sabbath” make for a fine conclusion, but “Heaven and Hell” was conspicuous by its absence on this tour.  It was only played in form of a brief segue between songs.

The CD release is 71 minutes, so given time limits of the day, that was about as many songs as they could squeeze in.  If you want to be creative, why not find the other three tracks and add them as a bonus CD?  Until a complete deluxe edition comes our way, this will have to do for audio aficionados.  Our bonus CD is 16:08 of more Sabbath, though at a noticeably lesser quality.  Tony remarked that picking a setlist was near impossible, but that “Mob Rules” had a “fucking good place in this set”, so why not the CD?  It’s a full-speed cruise that is over before you can break a sweat.  “Anno Mundi” is a special treat, as it was only played on the UK tour dates.  Another fine example of underrated Martin-era material that wasn’t given a fair shake, but at 6:20 it takes a lot of space.  As for “Neon Nights”?  “This is a fucking good track,” says Martin accurately.  There’s a lot of speedy metal on Cross Purposes ~ Live, but two of the most important ones in “Mob Rules” and “Neon Nights” were not on the standard CD.  Surely a better series of cuts could have been made.

Tomorrow a guest reviewer will have a look at the VHS.  For the CD, the math is simple:

4.5/5 stars

– minus 1 star for the missing three songs equals =

3.5/5 stars

 

GUEST REVIEW: Rock and Rule (1983) by Robert Daniels

Please welcome guest writer Robert Daniels, from radio’s Visions In Sound 

ROCK AND RULE (1983 Nelvana)

“Oh what will the signal be for your eyes to see me…”

Back in about 1984 or 85 I remember watching TV one afternoon and stumbling on an animated movie. Interested, I stopped to watch. It had weird, trippy images and some scantily clad cartoon woman singing and a strange creature growling. My 14 year old mind was intrigued and then was completely blown when one of the animated characters said “Shit!” Cartoon characters were not supposed to swear!! Clearly this was a mistake. No, it was not a mistake, it was Rock and Rule. Although at the time I didn’t know the title and didn’t see the movie on TV again for a while.
Rock and Rule was set in a post apocalyptic future where the street animals evolved into a human like society. MOK is an aging rock star trying to find a specific voice in the guise of a worldwide talent search. MOK hopes to unleash a powerful demon from another dimension, his dwindling popularity driving him to destroy the world in vengeance and immortalize himself in the process. After returning to Ohmtown he finds the voice he’s looking for in Angel, a singer in a local band along with friends Omar, Dizzy and Stretch. MOK invites her to join him and when she refuses he kidnaps Angel and forces her to sing to raise the demon.

This was the era of the edgy “adult” cartoon, Heavy Metal, American Pop, Wizards, Starchaser: The Legend Of Orin and others. I do remember getting into an argument with my Mom back in 1981 about not being able to see Heavy Metal. “It’s a Cartoon…it HAS to be for kids!!!”.

It would be several years later when I was in high school that I described the ending scene to someone and they said “Oh yeah, that’s Rock and Rule…” Bingo, I had a title and looked high and low for a copy on VHS. Nothing. I was obsessed to find Rock and Rule. Of course, in the late 80s early 90s there was no internet so the only thing I could do was continue to bug the people at Steve’s TV to try and find a copy. Again, nothing. Then one day out of the blue I got a call from Steve’s. They said they found a copy and would order it for me. “Great” I said, “How much.” “$129.99”. My heart sank, that was far too expensive for my blood. So the film continued to sit in the back of my mind for years.

“My Name Is MOK, thanks a lot”

Then one day in (about) 2003, I heard of a showing at the former Hyland theatre. A local Anime expert and film buff rented the then-empty theatre to show the a cut of the film.

Also Don Francks, the voice of MOK, was going to be there. I jumped at the opportunity.

The film was nothing like I thought it was going to be. First, it was produced by Nelvana Studios that I only knew for Care Bears, Strawberry Shortcake, Droids and Ewoks, etc. All kids’ cartoons. It was also one of the first films I ever saw that listed “Songs by…” first above the main cast. This list included Cheap Trick, Debbie Harry, Lou Reed and Iggy Pop, with a special performance by Earth, Wind and Fire. After the movie there was a Q & A with Don Francks, who I later found out provided the voices for such characters as Dr. Claw from Inspector Gadget, Lackki from Captain Power and the un-credited voice of Boba Fett from the Star Wars: Holiday Special. I asked him if he based his performance of MOK on David Bowie. He said that he didn’t have any particular person in mind when he voiced MOK. I later found out that MOK’s full name was MOK SWAGGER a spin on Mick Jagger. However, the talent representation of The Rolling Stones’ lead singer objected and forced the producers to drop the character’s surname. It’s also interesting to note that David Bowie, Tim Curry, Michael Jackson, Mick Jagger and Sting were all considered for MOK but the budget of the film couldn’t afford them.

“I dunno about this, nobody seems to be buying these ‘I survived the MOK concert’ T-shirts.”

This year (2018) is the 35th anniversary of this masterpiece of Canadian animation. Rock and Rule is the first English speaking Canadian animated feature film entirely produced in Canada itself. Unfortunately the film sat in near obscurity for years after being shelved by distributor MGM and never got released in North America. The film did develop a cult following after being shown on CBC (who held the Canadian TV Rights), HBO and Showtime. Bootleg copies would show up at comic book conventions oddly enough with Ralph Bakshi being credited as director.

“She can sing, or she can scream!!!”

Much like Heavy Metal from 1981 music was a huge part of the film and also much like Heavy Metal the music got tied up in rights issues.

Back in about 2005 just before the release of the Rock and Rule DVD, I was actually in contact with someone from Nelvana Studios who told me that director Clive A. Smith, whose wife Patricia Cullen had also written the score, had the tape masters for the soundtrack in his garage and that he might be willing to let me have them for mastering. Unfortunately nothing came of this as I lost contact but it was the closest I came to producing a soundtrack release. In 2010 the film was released on Blu-ray and unfortunately has become quite expensive on the used market.
It was previously believed that no official soundtrack album had ever been issued for Rock and Rule. In fact, Deborah Harry mentions on a “Making Of…” documentary that she hopes the music gets a soundtrack release.  However, as it turns out, a handful of film critics received a cassette tape featuring nine songs (“Hot Dogs and Sushi” and “Send Love Through” were omitted). All songs are extended from how they appear in the film and in familiar copies. “Born to Raise Hell,” “I’m the Man,” “Dance Dance Dance,” and “Ohm Sweet Ohm” have been officially issued on CD, along with an alternate version of “Pain and Suffering,” and “Maybe For Sure” (an alternate version of “Angel’s Song”).

Though a deliberate Google search will turn up a couple of versions of the soundtrack, this is the most common track list:

[2:46] 01. Born To Raise Hell (Cheap Trick – Album Version)
[5:14] 02 Angel’s Song (Deborah Harry)
[4:22] 03 My Name Is Mok (Lou Reed)
[2:11] 04. I’m The Man (Cheap Trick – Album Version)
[3:12] 05. Earth Wind And Fire – Dance Dance Dance
[2:49] 06. Ohm Sweet Ohm (Cheap Trick – Album Version)
[3:15] 07. Triumph (Lou Reed)
[1:28] 08. Hot Dogs & Sushi (Melleny Brown)
[3:28] 09. Invocation Song (Deborah Harry)
[3:41] 10. Pain & Suffering (Iggy Pop)
[5:56] 11. Send Love Through (Deborah Harry and Robin Zander)
[4:30] 12. Maybe For Sure (Deborah Harry)
[5:22] 13. Angel’s Song (Cassette Mix)
[3:29] 14. Invocation Song (Mono Cassette Mix)
[4:35] 15. My Name is Mok (Cassette Mix)
[3:42] 16. Pain And Suffering (Iggy Pop)
[0:52] 17. Triumph (Movie Mix)
[2:35] 18. Angel’s Song (Movie Mix)
[1:38] 19. Invocation Song (Movie Mix)
[1:49] 20. Pain & Suffering (Movie Mix)
[2:06] 21. My Name is Mok (Movie Mix)
[3:36] 22. Triumph (Mono Cassette Mix)

Rock and Rule falls into the category of “…what could have been”. Had MGM had more faith in the project and released it in North America it may have been a hit rather than the cult classic it would eventually become. If you haven’t seen it or are interested in a look at a piece of Canadian animation history check it out, you will not be disappointed.

A solid 4/5 stars.  Dark, and yet at the same time fun.

 

 

Robert Daniels

 

 

REVIEW: Led Zeppelin – “Rock and Roll” / “Friends” (2018 RSD remix single)

Unreleased Led Zeppelin?!  You don’t say!

LED ZEPPELIN – “Rock and Roll” / “Friends” (2018 Atlantic Record Store Day single)

The hype for Record Store Day exclusives is as strong as ever, but most of these releases are just empty cash grabs.  Coloured vinyl reissues of this, that or the other thing…nothing will compete with a mint original.  Sometimes you’ll see vinyl releases for albums that used to be exclusive to CD, but rarely will you be able to buy exclusive music.

Led Zeppelin saw to it that your Record Store Day dollars did not go to waste.

And as if you thought Led Zeppelin had “cleared the vaults” of unreleased material!  Here’s two more unheard mixes.  These cannot be found on the Zeppelin deluxe editions.  If you’ve collected all those already, then prepare to add two more tracks to your collection.  This is a pretty clear indication that Jimmy Page is not finished dusting off old tapes to sell.

There are no liner notes to explain when these mixes were done or by whom, but “Rock and Roll” was mixed at Sunset Sound.  Alternate mixes are fun for a fresh sound on an old favourite.  You can hear different nuances.  “Rock and Roll” has a nice clear heavy sound and maybe a little more echo.  “Friends” (from Olympic Studios) has a harsher sound, with the percussion part prominent in the mix.  The old intro is trimmed off in favour of a clean start with the acoustic guitar.

The yellow vinyl is a gorgeous bonus.  Add it to your Zep treasure chest.

4/5 stars

 

Thanks to Mr. James for picking this up for me.  You are a true gentleman, with a creepy Facebook avatar.

REVIEW: Guns N’ Roses – “Patience” (1989 12″ single)

GUNS N’ ROSES have announced an APPETITE FOR DESTRUCTION deluxe edition coming in June.  While “Rocket Queen” will certainly be on it, it’s highly unlikely the interview track below will.

GUNS N’ ROSES – “Patience” (1989 Geffen 12″ single)

Fans of vintage Guns N’ Roses (what other kind are there?) should always be alert and eyes open for old singles.  Whether CD or vinyl, some of those old Guns singles have buried treasure on them.  One is “Patience”, released several months after the Lies EP from which it sprang.

Here’s some truth for you, and it’s rather strange.  “Patience” simply sounds better with the crackle of vinyl.  I can’t explain it but I sure can testify.  Just a little bit.  Just enough to transport you back in time to 1989 when people were spinning Lies on vinyl (or at least cassette tape) nightly.  The delicate strum of acoustics accentuate one another, and hot-damn, it’s hard to deny the timelessness of “Patience”.  The missus and I played it at our wedding reception and it was a highlight of the evening.  Almost every couple dancing to it that night is still together.  Magic, people!  It’s real.

But no, the real treasure is on side two, and it’s not “Rocket Queen”.  Don’t get me wrong!  “Rocket Queen” is an amazing showcase and could still today be the best tune Guns have ever laid to vinyl.  It’s heavy, it’s soft; it has a bit of everything.  I’d put it in my top five.  But you already have Appetite for Destruction, so you know this already.  What you have probably never heard before is the second track on the B-side, a vintage interview (7:44 long) with the elusive W. Axl Rose himself.

Conducted in his apartment among his broken platinum albums, Axl is asked some point-blank questions.  Did you know Duff had his own comedy version of “Patience” that could have come out at some time?  Axl even dropped lyrics from a new Izzy Stradlin song still two years down the road.  “Double talking jive, get the money motherfucker, ’cause I got no more patience…”  He also revealed they had a lot of ideas…anything from “10 songs to 30 songs”.  (Turns out, it was 30.)

Axl confessed that his violent streak comes from frustration and stress, and that he has always smashed his things.  It’s clear that this guy, sitting at the very top of the rock pile, needed some mental health care.  Bon Jovi, after all, didn’t smash his platinum albums.  He even went as far as to warn psycho fans to stay away or deal with the consequences of getting in his face.

It’s an odd interview, and revealing.  That’s why it’s a treasure worth seeking.  A single like this is valuable to fans who need to know these bits of trivia and minutia.

4/5 stars

REVIEW: Sword – The Best Of (2009)

SWORD – The Best Of (2009 Unidisc reissue)

There are two versions of this CD:  a 2006 release on Aquarius, and a 2009 reissue on Unidisc.  Don’t waste your time on the 2006 CD, which is made up of previously released material.  Go for the 2009 disc, with three unreleased bonus tracks!

Sword (not The Sword) are a Canadian band from Quebec who released an impressive heavy metal debut album in 1986.  They gained the attention of Motorhead who took them out on tour.  They followed it in ’88 with Sweet Dreams, just as good as the first, but commercial success eluded the band.   They toiled away on a third album, but eventually the band dissolved leaving only singer Rick Hughes.   He returned in 1992 with Saints & Sinners, and a new hard rock sound, but that was fated to sell poorly too.  It was inevitable after grunge hit.

Rick Hughes remained active as a singer in Quebec and in 2016, he released a Sword live album, Live Hammersmith, recorded in ’87 on the Motorhead tour.   Then, unexpectedly in 2018, the original lineup reunited!  They have already played live gigs and are recording a new Sword album.  If you plan on catching up (and you should!) then check out the 2009 Best of Sword disc.  Besides the three unreleased demos, you’ll get a dozen rockers and thrashers that will melt skin.

The first salvo of “Stoned Again” and “F.T.W.” are a pair of killers.  They were the singles from the first album, well loved by Canadian fans of the Pepsi Power Hour.  “F.T.W.” is a smokeshow, with a blistering gallop and brain-burning chorus.  On the other hand, groove is all about “Stoned Again”, a surprisingly catchy number that is hard to forget.  Strangely, their final single “The Trouble Is” (from Sweet Dreams) isn’t on here.  “Life on the Sharp Edge” is also missing.

Omissions aside, The Best of Sword showcases the sound of the band with a lot of their best material.  More serious and topical songs like “Land of the Brave” will appeal to the thinking metal head.  Meanwhile “State of Shock” will rip skulls right off — be careful you don’t play it too loud!

The first of the bonus tracks, a song called “Get It While You Can”, might be a demo from the third album, before they transitioned into Saints & Sinners.  It’s the most “hard rock” Sword song of all of them.  It definitely sounds like a stepping stone to what would become the Saints & Sinners album.  The other two tracks are demos of “Runaway” and “Stuck in Rock” from the first LP, with different lyrics.

Because the first two albums are out of print, The Best of Sword is an easy way to sample their tunes before that third album comes.  Go for it — but only the full 15 track version.

4/5 stars