Reviews

REVIEW: Fish – Kettle of Fish 88-98 (1998)

scan_20170105FISH – Kettle of Fish 88-98  (1998 Roadrunner)

Kettle of Fish, the “best of” Derek W. Dick, is the first and only CD I’ve ever had stolen from me.

I got it cheap, something like $7 brand new, from one of our stores.  Then a year later, someone stole the CD player from my car, with the Fish CD inside.  Emotionally distraught, I sought to replace it right away.  The best I could do was $30 for a replacement copy shipped from Fish’s official site.  How crushing.  I wondered with bemusement what the thieves thought of Fish’s progressive rock poetry.  I imagine they tossed the disc into a snowbank.

While Kettle of Fish is no replacement for Fish’s debut solo album Vigil In a Wilderness of Mirrors, it is a fine collection of the man’s first decade as a solo artist and an enjoyable listen through.  It also boasts a nice colourful booklet with all the relevant singles covers, photos, lyrics and liner notes by Derek W. Dick.  Incidentally my original copy was missing pages.  I wonder if that is how it ended up in our store?  A defective run, sent off to a clearance somewhere, that eventually found its way into one of our warehouses.  Missing pages notwithstanding, it’s an excellent packaging job.

Since the album is made up of singles (and two new songs that we’ll get to), you will always find that critical deep album cuts are missing.  “Vigil” was not a single, but it’s one of Fish’s greatest achievements.  There’s no “The Company”.  “I Like to Watch” is missing in action.  Instead the CD is arranged to give roughly equal time to all of Fish’s output to date.  Tracks from Internal Exile, Suits, Yin, Yang and Sunsets On Empire are given fair representation.

Some of the best tracks are the lesser known variety.  “Brother 52” is hip and modern, yet still obviously Fish.  The loopy drums are perfect for the track, lending it a 90’s groove with a rock integrity throughout.  The spoken word parts of “Brother 52” are sometimes distracting, but are by and large incorporated as part of the song.  A vibrant violin solo goes for the kill and that’s all she wrote.  The Celtic jig “Internal Exile” is another immediate favourite.  The lyrics evolved from a song Marillion were working on for their unfinished fifth LP called “Exile on Princess Street”.  It was the kind of stuff Marillion were getting sick of. According to Dick, “The lyrics started to follow a more political lean with a distinctly Scottish nationalist tone. The band weren’t happy.”

I saw a blue umbrella in Princes Street Gardens,
Heading out west for the Lothian Road,
An Evening News stuffed deep in his pocket,
Wrapped up in his problems to keep away the cold.

Grierson’s spirit haunts the dockyards,
Where the only men working are on the documentary crews,
Shooting film as the lines get longer,
As the seams run out, as the oil runs dry.

The finished lyrics make you feel it. Yes the music for “Internal Exile” is bright and chipper, with a tin whistle to take your worry away. It sounds nothing like the morose music Marillion coupled it with. Maybe that’s what made all the difference.

Tracks including “Credo”, “Big Wedge” and “State of Mind” are varied and of very high quality.  You might think you put on an unknown 80s Phil Collins single if you play “Big Wedge” unannounced.  Of the two new songs recorded for the album, “Chasing Miss Pretty” is the most enjoyable.  It’s simple silly light rock for the summer time.  Fish seems to have dropped the ball a little bit on the lyrics, but “Chasing Miss Pretty” is still far more poetic than anything Jon Bon Jovi has ever written.

First of all, I caught her reflection in the window of the pharmacy store,
There I was locked up in my pick-up in the rush hour on the Delaware road.
It must have been the scent of her perfume or the glimpse of that French lingerie,
A product of my imagination, I blame it all on a hot summer’s day.

Unfortunately the other new song “Mr. Buttons” is forgettable musically and lyrically.  A song about hackers and e-crime in 1998 is going to sound quaint in 2017.

The weight of Fish’s early career casts a large shadow on everything the man has done since.  Vigil was a triumph in every way for the singer.  The early songs generally outshine the later songs.  You will find favourites in the later material, but the early stuff will probably keep you coming back for another listen.  The new songs are a nice add-on, and the packaging makes it worth a go, especially if you don’t own any Fish.  Proceed!

4.5/5 stars

 

Roger doesn't appear happy with his Fish CD.

Roger doesn’t appear happy with his Fish CD.

REVIEW: Quiet Riot – Terrified (1993)

scan_20170102QUIET RIOT – Terrified (1993 Moonstone)

Quiet Riot took the unusual step of firing their only original member, lead singer Kevin DuBrow, in 1987.  They soldiered on with new singer Paul Shortino and did a brief tour of Japan before calling it a day for the band.  Meanwhile, Kevin DuBrow was supposed to working on a new band called Little Women.

In 1991, various media were reporting that Kevin DuBrow and Carlos Cavazo had gotten back together in 1991 as a new band called Heat.  It was a quiet reunion for the singer and guitarist who had been estranged since DuBrow’s firing in 1987.  Within two years of forming Heat, the band had morphed into a new version of Quiet Riot, now featuring former drummer Frankie Banali and newcomer Kenny Hillary (RIP).

Terrified features 3/4 of the classic Metal Health lineup with only Rudy Sarzo being absent. (He’d join again later on Alive and Well). Like a mighty ship changing course in heavy waters, Terrified is a monstrous Quiet Riot CD, anchored by Cavazo’s newly heavy guitar playing and Banali’s inimitable thunder. The drum production on this album could be the best on any Quiet Riot disc, and up there with Banali’s sound with bands such as W.A.S.P.

Lots of winners on the Terrified: “Cold Day In Hell” boasts an angry 90s groove, but with the melodic sensibilities of Metal Health-era QR. “Loaded Gun” almost sounds like a Metal Health outtake, because it has a throwback vibe. Their cover of “Itchycoo Park” is the only acoustic song, a much needed respite before re-entering the fray on the storming title track.  Only a few filler tracks (in a row) almost derail the album, but soon we’re back on track with “Rude, Crude Mood”. It may be one of the worst lyrics that DuBrow’s ever written but the music sure rocks. “Little Angel” is fast but forgettable, and before long you’re into “Resurrection”, a six-minute instrumental tour-de-force. Banali and Cavazo take the helm on it with a shuddering riff, and they don’t let go until it’s fade out. An awesome track.

Quiet Riot’s career can be divided up into a number of phases.  In the 1970s, there was the Randy Rhoads era represented by two decent Japanese albums.  This was followed by the the so-called “classic era” of major label releases (Metal Health to QR) from 1983-1988.  Then there is the reunion era which runs from Terrified to Rehab (2006) and finally Kevin Dubrow’s death in 2007.  As a coda, Frankie Banali resurrected the name with a variety of lead singers and continues to tour and record.  Their last album was 2014’s 10 featuring lead singer Jizzy Pearl.  Terrified would stand as the best album of the reunion era, which they sadly struggled to equal on later releases like Down to the Bone.

Worth the investment.

4/5 stars

scan_20170102-3

 

REVIEW: Dynazty – Renatus (2014)

Thanks to Jompa Wilmenius for sending us this CD!

scan_20161218DYNAZTY – Renatus (2014 Spinefarm)

Renatus means “rebirth”, but this is the first Dynazty album to have made its way over to LeBrain HQ.  Being our first exposure to the band from Stockholm, what will their rebirth sound like?  Power metal, heavy on the syncopated beats, accented by keyboards and melody.  Like Savatage cranked up to about 15 without any restraint.  The stuttering bass drum can be tiring after a while, as can the bipping and bopping keyboard accents.  The vocalising and guitar solo breaks are absolutely highlights, bringing their sound back from the edge of overkill.

From “Cross the Line” over to “Starlight”, the speed does not let up.  It’s as if you took the fastest songs by Ronnie James Dio, injected them full of caffeine and watched them go.  (Throw in some early Queensryche, too.)  “Dawn of Your Creation” departs slightly from this trajectory but not without a purely-Yngwie lead guitar solo.  “The Northern End” is the first break in the storm, allowing the song to slow down enough for its power to impact.  This defiant anthem is an album highlight.  “Incarnation” too is a little different, bringing back the Savatage on steroids vibe.

There’s a natural spot for a side break right at “Run Amok” which restarts the engines going full speed.  “Unholy Deterrent” might be the most aggressive of the tunes, like the front of the battle lines, stampeding everything in its way and rendering the land burned and scorched behind.  Then, if there is music that backs up an army of Orcs marching out of Mordor, it should be “Sunrise in Hell”.  The lines have formed and the charges are about to begin, and the beats continue to thunder below.  “Salvation” provides the silver lining, a triumphant power rock tune.  Closing on an ominously heavy note, “A Divine Comedy” completes the album without once letting up on the metal assault.

The album sounds technically flawless to the point of sterility, except when it comes to the vocals which have all the edge.  Not a bad album or even a bad sound, just too close to the edge of parody.  There is a very fine line between clever and stupid.  Fortunately Renatus never falls over the edge.  Within its powerful tracks you will find several favourites.  Best of all the album never overstays its welcome.  This is a point more bands need to pay attention to.  Less is often more, especially when you’re as relentlessly heavy as Renatus.

3.5/5 stars

scan_20161218-3

Nils Molin – lead vocals
Rob Love Magnusson – lead guitar
George Egg – drums
Mikael Lavér – lead guitar
Jonathan Olsson – bass

REVIEW: Joe Satriani – Shockwave Supernova (2015)

Purchased at BMV for $7.99 during Toronto Record Store Excursion 2016.

scan_20161217JOE SATRIANI – Shockwave Supernova (2015 Sony)

Like a manic version of “Puttin’ on the Ritz”, the title track from Joe Satriani’s latest Shockwave Supernova will render you mute as you pick your jaw up from the floor.  Syncopated guitars and drums unite before Joe focuses everything on the melody.  Joe’s brand of instrumental rock usually features the lead guitar in a melodic position where a lead singer would normally deliver the hooks.  That’s Joe’s job and he has done it consistently well.

New age-y guitar twinkles highlight the ballad “Lost in a Memory”, which pulses with understated rhythms.  It is only appropriate that this spacey music was recorded at Skywalker Sound.  What atmosphere and what power.  Things take a turn down Weird Street on “Crazy Joey”, a showcase for sounds you didn’t know a guitar could make, but still with a cool melody to remember.  Unbelievable accuracy and dexterity here.  “In My Pocket” brings back Joe’s bluesy harmonica work (often overlooked) with a stripped basic track.  Then we fly “On Peregrine Wings”, but the song itself is heavy as granite.  An unorthodox guitar hook reminds us that Joe isn’t a typical songwriter or player.  Thunder returns on “Cataclysmic” which moves along with the grace of a herd of rhinos.

Joe hops in his Tardis for a trip back in time to the early 60s on “San Francisco Blue”, but of course with his own space age sound.  He just has to “Keep On Movin'”, but it’s still a surprise when the piano shares the spotlight.  There is no shortage of string majesty, but the piano is a nice touch.  Things cool down on “All of My Life”, a gentle song with breezy congas and unexpected twists.  “A Phase I’m Going Through”, track 10, is the point at which the listener begins to get a little bit of ear fatigue.  15 songs might be normal for a Joe album, but 10 songs might be the ideal length for the average listener.

Take a break if you have to because there are still great moments ahead.  “Scarborough Stomp” is an apt title for the snare-heavy 11th track.  It’s all about that uncomplicated beat, but there is a cool baroque section in the middle that sounds as if lifted from Joe’s brief stint in Deep Purple (1994).  A tender ballad (“Butterfly and Zebra”) is a transitional song leading to the ominous backwards guitar intro to “If There is No Heaven”.  This song is reminiscent of past Joe blasters like “One Big Rush”. Then you will see the “Stars Race Across the Sky” on one of Joe’s more atmospheric tracks. A “Goodbye Supernova” sends us off in dramatic fashion with heavy keyboard accents by veteran Mike Keneally.

Very few Satriani albums will let you down.  Though some might argue “if you have one Joe, you have them all”, his fans will appreciate the differences.

3.5/5 stars

REVIEW: Sword – Live Hammersmith (2016)

scan_20170103SWORD – Live Hammersmith (2016)

30 years ago, there was a heavy metal band from Quebec named Sword.  They only released two albums (Metalized and the more ambitious Sweet Dreams) before disbanding at the end of the 1980s.  Lead singer Rick Hughes is one talented guy though, and he gave it another shot with a hard rock band called Saints & Sinners in 1992, who were produced by Aldo Nova.

Hughes has remained active in Canada, though Sword are now long gone.  Fortunately the internet has given old metal bands like Sword a way to get back in touch with their fans.  Thanks to the web, you can now buy a live CD recorded in 1987 on Sword’s opening tour with Motorhead.  Lemmy took the band under his wing early on and fortunately this live tape survived.  They played two nights at Hammersmith Odeon and recorded them to 4-track tape.  The liner notes do not state which gig the CD is from, or if it is a mixture of both.  Considering the age of the tapes, Sword’s Live Hammersmith CD stands up remarkably well.  There is a real sense of “being there” at Hammersmith, in spite of (or because of) the sonics.

Ripping through all 10 tracks from their debut album, Sword made the most of their opening slot.  Even so, they still had time for a brand new song too, “Prepare to Die” (later released on Sweet Dreams).  With 11 songs and only 36 minutes, Sword’s already thrashy material seemed faster live.  Sword’s songs had the goods, too.  These blazing aggressive tunes weren’t simple or easy.  Most importantly, Rick Hughes’ incredible metal shrieks were 100% intact in the live setting.  Hughes’ voice was critical to the Sword sound, being their most unique characteristic.  It is always disappointing when you hear a band live, and the singer can’t scream like the album.  Not a problem with Sword.

The singles “F.T.W.” (“Follow the Wheels”) and “Stoned Again” are the immediate highlights.  The gallop of “F.T.W.” sounds like a heavier Iron Maiden, while “Stoned Again” goes for the groove.  If anything, the songs have more impact in the live CD setting.  It is quite possible that Sword were one of those bands who were better live than on album.  They were, at the very least, flawless live.  Rick Hughes didn’t miss a note, word or scream.  Dan Hughes (drums) was also bang-on.  You can’t get a live album like this without the rhythm section doing it right.  Dan Hughes and bassist Mike Larock were right there, locked in, and driving the machine forward.  Larock had the groove, and also a knack for throwing in catchy bass runs.  As for the lead work, Sword were a one-guitar band, so Mike Plant had to switch from rhythm to lead seamlessly, and he made it all sound easy.

Inhabiting the fine line between metal and straight-up thrash, perhaps Sword were not unique out there in the 80s trying to make it.  This CD proves that they did have the talent.  As Henry Rollins says, live is “the only way to know for sure”.  A soundboard recording like this is as close as you will get.

As an added bonus (always appreciated in these frugal days), the Sword CD is signed by all four members and comes in a jewel case.  A very nice reward for the devoted fan.  You can buy Live Hammersmith from the Sword Facebook page.

4/5 stars

scan_20170103-3

 

REVIEW: The Four Horsemen – Death Before Suckass (2012)

scan_20161216THE FOUR HORSEMEN – Death Before Suckass – Live at Saratoga Winners (2012)

“No edits.  No overdubs.  No bullshit.”  No kidding!  There also also no frills, just seven songs and 30 minutes of rock and roll.

Death Before Suckass, recorded fall 1991, sounds like a crowd recording.  You can tell by the douchebag talking before the Horsemen’s set.  “You should see our drum kit!  It fuckin’ blows that one away!  $5000 Yamaha…”  Whoop-de-do, fucko.  Because no matter how much your kit costs, I doubt you could hammer on it as hard as Ken “Dimwit” Montgomery did on his.

Dimwit swiftly kicks things into motion, with “75 Again”, a screamy rocker that is about 9 out of 10 on the AC/DC scale of kickass.  Lead singer Frankie Starr’s voice was primed for screaming, and could do it better than most.  Without even a pause, “Hothead” follows up.  In a groove now, lead guitarist Dave Lizmi greases up his Gibson and lays down some beautifully fluid solo work.  In the realm of heavy bluesy rock and roll, few can touch Dave Lizmi.  Then rhythm guitarist Haggis takes out his slide for the single “Tired Wings”, soaking it in whiskey stained blues.  Frankie’s charismatic singing shares the spotlight with the biting licks.

frank-c-star-biting-licks

A non-album Savoy Brown that used to get some live play was “Can’t Get Next to You”, an AC/DC blues a-la “The Jack”.  There is a sloppy edit into “Wanted Man” but as Haggis says in the liner notes, there is nothing perfect about this CD.  “Wanted Man” comes close, with Lizmi again doing some really impressive playing on the six string.  The most familiar songs are the singles “Nobody Said it Was Easy” and “Rockin’ is Ma Business”.  The beat is a little faster, a little more intense for the stage.  The only tragedy is the fidelity of this CD does not capture the thunder.  You can hear it on the stage, but you cannot feel it shake the floor.  Too bad, because you can be assured it all but certainly did shake the floor.

And this leads to a quandry.  This album is packaged intentionally minimalist.  It suits the recording inside.  But it has hard to ignore that what is recorded inside is only 30 minutes, and costs $18 US plus shipping.  Yes, it definitely costs The Four Horsemen a lot to press up these independent discs, and they surely don’t make a lot of money on them.  Still, it is hard for the cash-strapped fan to justify that kind of money, unless you are a superfan.  And unfortunately, it is likely that only superfans will be able to appreciate Death Before Suckass as the valuable noisy treasure that it is.

3.5/5 stars

scan_20161216-2

COMPLETE FOUR HORSEMEN REVIEW SERIES:

1. NOBODY SAID IT WAS EASY (21ST ANNIVERSARY EDITION)
2. GETTIN’ PRETTY GOOD…AT BARELY GETTIN’ BY (1996)
3. WELFARE BOOGIE (21ST ANNIVERSARY EDITION)
4. DAYLIGHT AGAIN (21ST ANNIVERSARY EDITION)
5. LEFT FOR DEAD (1988-1992) (CD/DVD SET)

REVIEW: Rik Emmett & RESolution9 – RES 9 (2016)

Had I got it in time, this album could have made the Top Five of 2016 list.

scan_20161231RIK EMMETT & RESolution9 – RES 9 (2016 Mascot Music)

Rik Emmett had a long productive career as 1/3rd of Triumph, but he has rarely looked back.   Post-Triumph he has released a steady stream of jazz, rock, blues and acoustic music, sometimes revisiting Triumph songs in re-arranged form.  Finally the ice thawed and Triumph successfully conquered Sweden Rock.  In 2016 Rik released RES 9, a new rock album with his new band RESolution 9.

RES 9 is in fact a time machine.  Dial up track 1.  You will be transported back to 1990 with the rock boogie of “Stand Still”.  This is a spiritual sequel to “Drive Time” from Rik’s first solo album Absolutely.  Then punch track 2.  “Human Race” (not a Red Rider cover) could have been a single from 1986’s The Sport of Kings.  With Alex Lifeson guesting on guitar, Rik and the band tapped into the hookiness of 80’s Triumph, but with a modern integrity.  When you hit up track 3, you will find yourself in the future.  Accompanied by fellow Canadian James LaBrie (Dream Theater), Rik turns in a modern rock anthem with “I Sing”.  Big and uplifting choruses preceded by mellow verses are built for radio.  LaBrie’s vocals are the perfect compliment.  Without a shred of hyperbole, “I Sing” is absolutely one of the best songs Rik’s ever recorded.

The bluesy soul ballad “My Cathedral” gives Rik a chance to show off his impeccable chops.  His tone — unbelievable!  Moving on to “The Ghost of Shadow Town” effectively dials up 1976 in the time machine, with a dark heavy Zepp-ish blues.  “When You Were My Baby” continues down smoove blues street, throwing in some jazz licks.  “Sweet Tooth” is turn down a brightly lit side avenue, a sweet treat indeed.

A hard Triumph-like vibe permeates “Heads Up”, another fine hard rocker for the radio.  “Rest of My Life” adds the jangle of acoustic guitars to the rock and roll mixture, creating another fine concoction just begging to be a hit.  Things toughen up with the pure rock power of “End of the Line”, featuring the returns of LaBrie and Lifeson.  The sheer star power of all these Canucks in one studio must have driven the temperatures well below freezing.  Still the track smokes, and if you’ve ever wanted to hear Emmett and Lifeson go head to head, then wish no more.

But it is not the end of the line.  Back to the future, we have a bonafide Triumph reunion featuring the full trio of Emmett, Gil Moore and Mike Levine.  This long awaited reunion happens on the bonus track “Grand Parade”.  The genuine surprise here is that it’s not a hard old time hard rocker, but a thoughtful and musically deep blues ballad.  It strikes me as appropriate that this much anticipated track sounds nothing like old Triumph.  That was, after all, a long time ago.

With RES 9, Rik has re-established his rock credentials.  Whether he does another album like this is beside the point.  RES 9 is the point; a damn fine album indeed.

4.5/5 stars

 

REVIEW: Monster Truck – Sittin’ Heavy (2016 double vinyl)

“I don’t care ’bout the weather, the band’s here to play.” – Jon Harvey

img_20161113_081455 MONSTER TRUCK – Sittin’ Heavy (2016 Dine Alone 2 LP edition)

Why are you not rocking?  This is the question that Monster Truck ask to open their 2016 release Sittin’ Heavy, easily the best record the quartet have released to date.  “Rock and roll might save your life, it might save your life tonight.”  Perhaps this is the Truck’s modus operandi, because judging by Sittin’ Heavy they are interested in delivering the rock and doing it right.

From the short blitz of an opener, Truck go right into the first single “Don’t Tell Me How to Live”.  The track has been a radio staple in Canada for most of 2016, and it’s easy to see why.  The slow riffy groove is easily digestible by rock fans craving that sound, backed by a searing chorus about eagles and lions.  Some have compared this band to another Nickelback, but on Sittin’ Heavy they have moved far beyond those measures.  Nickelback has never delivered anything this classic sounding.  Track three, “She’s a Witch” has a modern swampy vibe that Chad Kroeger couldn’t hope to taint.  Three songs in, Monster Truck delivered three completely different tunes, though all with the rock solid Truck groove.  One ingredient that separates the Truck from the crowd is the soulful organ provided by keyboardist Brandon Bliss.  “She’s a Witch” is one track with a bizarrely heavy soul-metal vibe.  That vibe culminates with “For the People”, an uplifting track that closes side one of the vinyl.  The soul-rock vibe is obvious and augmented by Ian Thornley of Big Wreck who lays down some of his trademark wicked slide guitar.  The Wreck-ifying of the track unites the two bands in a cool, celebratory way.

Flip the vinyl, and take a moment.  “Black Forest” is a organ based track, slow and mournful, and very different from any of the four on side one.  When a band like Monster Truck turn down the volume, they risk revealing that there is little substance beneath the howling distortion.  This is certainly not the case here.  “Black Forest” has a more subtle touch, and the band allow it to breath.  As a result it’s one of the most stand-out tracks.

“Another Man’s Shoes” walks us back into familiar territory.   The Truck don’t make things complicated, and guitarist Jeremy Widerman’s Frehley-like solos are just what the doctor ordered for these musical bruisings.  They take a left turn down Abbey Road next by adding some Beatles-like piano vibes to “Things Get Better”, an outstanding track.  “I got a feelin’ thing’ll get worse before they get better,” sings Jon Harvey but he couldn’t be more wrong.  Sittin’ Heavy keeps getting better the more you play it, and “Things Get Better” is a high water mark.  Side two blasts its way to a finish on “The Enforcer”, which races home with plenty of the Truck’s trademark “woah-woah-woah” gang vocals.

The third and final side (we’ll talk about that shortly) begins darkly with a Sabbath-like “To the Flame”.  Widerman and Harvey seemed to study at the feet of Iommi and Osbourne when composing this menacing crawl.  “Midnight” takes the tempo back up to cruising speed.  Going in at low altitude, the Truck bomb your senses with a vinyl-only bonus track.  Considering the price you pay for a record vs. a CD, it is nice to get something like a bonus track for your dollars.  In the 80s, it was common to put a bonus track on the CD, since it was the most expensive format at that time.  Now the situation is reversed.

A choppy riff introduces “New Soul”, a purely enjoyable return to the church of soul-rock.  It’s a head-bangin’ good time.  Clap your hands for a good time (unless you’re listening to this while driving, in which case, keep ’em steady on the wheel).  Then the final track is appropriately the ballad “Enjoy the Time” which sounds like a natural way to end a soulful rock album like Sittin’ Heavy.  Its Supertramp-like keyboard tones lend it a unique sound over the rest of the album.  It also sums up the vibe of the whole album:  “Enjoy the time we have, before they’re gone away.”

But what about the fourth side?  What’s on that?  Check out the etched vinyl, baby!

img_20161113_080846

If you are looking for a new rock album that sounds classic, then you have found one.  Those who like a rock record to be a journey of highs and lows and with a satisfying conclusion, then Sittin’ Heavy is the one.  With little doubt, this one is going to be on a few best of 2016 lists at the end of the year.

5/5 stars

 

MOVIE REVIEW: Star Wars – Rogue One [spoiler-free]

“It is a period of civil war. Rebel spaceships, striking from a hidden base, have won their first victory against the evil Galactic Empire.

During the battle, Rebel spies managed to steal secret plans to the Empire’s ultimate weapon, the DEATH STAR, an armored space station with enough power to destroy an entire planet.

Pursued by the Empire’s sinister agents, Princess Leia races home aboard her starship, custodian of the stolen plans that can save her people and restore freedom to the galaxy….”

jyn-erso-rogue-one-posterSTAR WARS:  ROGUE ONE (2016)

Directed by Gareth Edwards

If you are familiar with the opening crawl from Star Wars: A New Hope (1977), then you are already familiar with the last third of Star Wars: Rogue One.  With Disney now in control, we will see Star Wars movies to fill every nook and cranny in the mythos.  Rogue One is just the beginning, and it’s a logical place to start.  A New Hope began mid-action.  Princess Leia is under attack and captured by Darth Vader, but R2D2 and C3P0 have escaped his clutches with the plans to the Death Star.  Did we need an entire movie to see how they got there?

Of course we didn’t.  That’s why George settled for an opening crawl.  The story of how the Death Star plans got into Leia’s hands has gone through many iterations over the years.  The original Star Wars radio drama was one variation.  In another, the video game Dark Forces, you steal the plans yourself as a character named Kyle Katarn.  Now we have the official story featuring a new band of rebels:  Jyn Erso (Felicity Jones), Cassian Andor (Diego Luna), K2S0 (Alan Tudyk), Bodhi Rook (Riz Ahmed) and the charismatic pair of Chirrut Îmwe (Donnie Yen) and Baze Malbus (Jiang Wen).  They are assisted by the forces of Saw Gerrera (Forest Whitaker), an extremist character originally from the Clone Wars television series.  Together they must get those Death Star schematics into the hands of the Rebel Alliance.

If only it didn’t take so long to do it.

Rogue One is a long running movie, with a final battle that is stunning eye candy but too slow.  As X-Wings, Tie Fighters, Y-Wings and new ships such as Tie Strikers and U-Wings do battle over the planet Scarif where the Death Star plans are stored, you get to watch…someone trying to flip a master control switch.  Someone describing the location of the switch.  Someone trying to locate a file in an archive.   Someone trying to align an antenna and send a file.  Almost sounds like another day at the office, and it takes forever to get from A to B.

Fortunately, Rogue One delivers in other respects.  Planets new and old (you’re gonna shit your pants when you see which old) are to be seen.  One strength of the original trilogy was the variety of planets.  We visited five different worlds:  desert, ice, cloud, swamp and forest.  The prequel movies brought fire and water planets.  Rogue One debuts the exotic Jedha, a spiritual home of the Jedi religion and a source of the Kyber crystals that power their lightsabers.  There is also a tropical paradise planet, torn up and exploited by the evil Empire.

img_20161223_212600There are also cool new ships and stormtroopers to feast your eyes on.  The coolest of these are the black Death Troopers, the personal force of Director Krennic (Ben Mendelsohn).  Krennic is the prime villain of the film, an ambitious yet bumbling higher-up in the Empire who finds himself on the wrong side of Governor Tarkin (a CG Peter Cushing) and Lord Darth Vader himself.  And as you shall see in the climax of the film, being on the wrong side of Darth Vader is not a place you want to find yourself.  Mendelsohn shines in the role, especially in any scene in which he is paired with Mads Mikkelsen who portrays Jyn’s father Galen Erso.  The character of Galen Erso is revealed to have made a major covert move in the war, that changes A New Hope in one significant way.

In trying to please Star Wars fans who weren’t into The Force Awakens or the prequel trilogy, perhaps Rogue One went too far.   A film with Tarkin as a major villain is a Star Wars fan’s dream, but CG isn’t at the stage yet where he looks perfect.  The uncanny valley strikes again, and somewhere between your eyes and brain, you can tell something is “off” about the character.  The same can be said about another surprise cameo from the past.  Other characters seem shoehorned into the film without a good reason.  (Was there any logical reason to see Pignose and his friend, Scott?)  On the other hand, there is some very clever use of original, unused footage from 1977 to bring other characters back who absolutely should be there.  You’ll know the shots when you see them.  Best, and most significant of the nods to the past are appearances by Bail Organa (Jimmy Smits) and Mon Mothma (Genevieve O’Reilly), two senior leaders of the Rebel Alliance.

Felicity Jones and Diego Luna are as fantastic as Mendelsohn is.  Jones can do more acting with her face than most can do with 10 lines of dialogue, but her character isn’t fleshed out.  We know a little bit about who she is, but not about what makes her tick and what she feels.  Luna’s Cassian Andor seems to have more depth.  He seems to have some more skin the game.  Jyn Erso is just along for the ride until she changes her mind mid-way and does a complete 180.  Too many times, characters don’t take actions that are consistent or logical.

The biggest flaw with Rogue One is you already know how it ends.  And if you don’t, you will be able to predict death scenes well in advance, so obviously are they telegraphed.

What makes Rogue One special despite its flaws are the ways it brings childhood dreams to the big screen.  For decades, kids have been flying their X-wings through the back yard, strafing their stormtroopers on invented planets.  Others lucky enough to have an AT-AT in their collection enjoyed target practice with a group of Rebel soldiers.  Younger fans brought up on Star Wars video games will enjoy settings and action right out of the Jedi Knight series.  Rogue One also lifts the veil on the Empire a little bit, an organization we actually see little of in the original trilogy.  Think about it.  Most of the time, you were following around Luke and his friends, on the run from the Empire and doing their own thing.  You didn’t see much of what life under the Empire is like.  Now you do.  Mass electronic surveillance, police state tactics, punishment and coverups are the order of the day.

img_20161223_212639

The last issue to discuss is the score by Michael Giacchino, which is intentionally different from a John Williams soundtrack. It is different and good, but lacks the standout themes that the saga films are known for.  That was the right direction to take, as Rogue One should and does feel like a different kind of Star Wars movie.  It should not be confused with the concurrent saga films, which follow the story of the Skywalker family.

It’s not Giacchino’s fault that Rogue One doesn’t deliver the same kind of awe-inspiring story of the other films.  While it does venture into the mythos of the Force via the blind guardian Chirrut Îmwe, it is not intended to unveil the same kind of chilling revelations.  There is no “I am your father” moment.  There is no self-discovery of inner power as we saw in the past with Anakin, Luke and Rey.  Instead Rogue One travels the road of the soldiers, the grunts on the ground fighting the Empire both openly and secretly.  There are no Jedi to save them, no chosen ones.  Only luck, if you believe in that sort of thing.

The most encouraging thing about Rogue One is how “right” it was done.  Its heart is in the right place at all times.  When the prequels came out to fill in the blanks, they left us more puzzled than anything.  Wait…Darth Vader built C3P0?  Obi-Wan was actually trained by Liam Neeson?  Princess Leia’s mother died in childbirth even though Leia remembered her as being “beautiful, but sad?”  Rogue One doesn’t trample on the continuity at all, it only enhances it.  And that’s all we really needed.

3.5/5 stars

REVIEW: Warrant – Cherry Pie (1990, remastered)

scan_20161207WARRANT – Cherry Pie (1990, 2004 Sony remaster)

It was bands like Warrant, and albums like Cherry Pie, that made the 1991 grunge onslaught inevitable.

If Motley Crue were the poor man’s Kiss, and Poison were the poorer man’s Motley Crue, then Warrant are the pauper’s Poison.  Heck, Poison’s C.C. Deville even shows up on guest lead guitar on Cherry Pie‘s title track.  Think about that a moment.  How bad do a band have to be to warrant (no pun intended) a C.C. Deville guest guitar solo?  Guitarists Joey Allen and Erik Turner even confessed to having guitar tutors in the studio helping them come up with their own lead work.

Cherry Pie was an improvement in some regards over the prior album Dirty Rotten Filthy Stinking Rich.  The second single, “Uncle Tom’s Cabin”, remains a high point for this band.  Swampy bluesy guitars and a kick ass melody?  Who cares if that’s not Warrant playing on the acoustic intro (it’s singer Jani Lane’s brother Eric Oswald), and so what if that’s not Warrant on the banjo (that’s producer Beau Hill)?  “Uncle Tom’s Cabin” is one of those rare Warrant songs that you just have to get.  Instead of singing about girls, Jani chose to write a story about a murder and a coverup.  It’s far more entertaining than “She’s my cherry pie, put a smile on your face ten miles wide.”

Speaking of “Cherry Pie”, as embarrassing as it is, did you notice that’s not Jani Lane on the opening scream?  It’s an uncredited Dee Snider, sampled from Twisted Sister’s song “I Want This Night (To Last Forever)”.  Guess who produced both albums?  Beau Hill.   Rather, he overproduced the hell out of both albums. Rather misleading.

Warrant’s biggest hit was a ballad, and so Cherry Pie has more.  “I Saw Red” was glossy and enhanced with piano, but the acoustic version that was later released as a B-side was better.  The second ballad, “Blind Faith” had more heft, though it is little more than a rewrite of “Heaven”.  Another acoustic track called “Thin Disguise” was even better than either of these songs, but was relegated to a B-side.  Too bad.  This album could have used it.

Warrant are better when just rocking out.  There are a couple indispensable Warrant rockers on Cherry Pie.  “Mr. Rainmaker” is remarkably powerful with dark clouds.  It’s in the same mold as “Uncle Tom’s Cabin”, with a chorus that is still memorable today.  “Bed of Roses” and “Song and Dance Man” are strong also-rans.  There are other notable songs (“Sure Feels Good to Me” set speed records for this band) but on the whole they are a harsh blend of sound-alikes.

Buyers should be aware there are two versions out there of Cherry Pie, “clean” and “dirty”.  The “clean” version is missing the track “Ode to Tipper Gore”, and has a naughty word beeped at the start of the Blackfoot cover “Train Train” (1979).  How unexpected it was to hear that beep, and how ripped off did we feel since it was not advertised as a censored version?  A beep in a rock song is a rare thing indeed.  If you get the uncensored version, you’ll hear the “All a-fuckin’ board!” intro correctly, which is important since “Train Train” absolutely smokes.  “All a-BEEPin’ board!” just didn’t cut it.  Covering “Train Train” was one of the best decisions Warrant made on this album.  Warrant transforms it from a hard southern rocker to a plain old hard rocker, but the transformation works and the groove is the only solid one on Cherry Pie.

As for “Ode to Tipper Gore”, it is just a joke track made up of naughty outtakes from Warrant concerts spliced together into one stream of “fuck”.  (Tipper Gore was behind the PMRC, the scourge of 1980s censorship.)  It is included on the 2004 Sony remastered edition, along with two bonus tracks.  Strangely enough the two bonus tracks have nothing to do with this album.  “Game of War” is the long-sought 1988 demo that garnered Warrant attention at the labels.  It’s unpolished but you can hear how an A&R person looking for the next Poison would have signed this band.  Finally there is a track called “The Power” from a 1992 Cuba Gooding Jr. movie called “Gladiator”.  It is the only song on the CD not produced by Beau Hill.  Erwin Musper gave the band a less cluttered sound, and the song has a corny stadium-ready stomp like “Rock and Roll, Part 2”.

Although you don’t need the remastered version if you just want to check out Cherry Pie, you do need to at least seek out the uncensored version with “Ode to Tipper Gore”.  That way you won’t have to listen to the beep in “Train Train”, which is a song worth having.

2.5/5 stars

scan_20161207-3