Eager to cross over to new fans, in 2004 Marillion released an album called Remixomatosis. It was a 2 CD set of fan remixes of tracks from 2001’s Anoraknophobia. Hogarth-era Marillion have not been remix-shy, having done something like this on 1998’s Tales From the Engine Room EP. Aware that chances of being played in the clubs were slim, the following year Marillion released a promo EP of three more remixes under the band name Remixomatosis. The name Marillion appears nowhere on the sleeve.
99% of the time, I really dislike remixes, especially when songs are danced up. I bought this for the collection, but let’s give it a spin. “You’re Gone”, originally from Marbles, sounded very little like the “Debonair Dub Mix” on this EP. All I can hear from the original track is Hogarth’s vocals. Maybe some keyboards, but who knows because the dominant part of the song is an annoyingly repetitive synth & beat. This goes on for an agonizing 7:55. This is not a song I would listen to for enjoyment.
The “Plasma Dub Mix” of “Between You and Me” is almost twice as long as the “Marillion Vs. Plasma” version on the Remixomastosis CD. This track adds a new bass line consisting of four notes that repeat over and over and over and over and over. Then a little bit of Hogarth’s vocal is dubbed over synthesizer lines. There have been better remixes of this song, notably the Mark Kelly remix from the “Between You and Me” CD single. After a couple minutes, the remixer Robert de Fresnes throws in some acoustic guitar from the original song, which really only makes me want to hear the original song. If you like repetitive music made by computers, go for it.
The closing track is the best (and shortest) one, the “Into the Fire Mix” of the superb “Don’t Hurt Yourself” from Marbles. As arguably the best song on Marbles, it is a difficult track to ruin. The remixer Cameron Lasswell wisely leaves Steve Hogarth’s vocal intact. The vocal hooks on this song have always been fetching. They are now cloaked in spacey synths, which I prefer to dumb repetitive synths. It sounds like a song by Lights, perhaps, or one of her soundalikes.
I can’t rate this EP very high. This is a collectible, pure and simple.
As most AC/DC fans are aware, their Australian and American discographies differed greatly in tracklists and cover art. Australia also got one more record (T.N.T.) than we did. This amounted to a number of Bon Scott tracks that were left off the original American releases. It made sense to eventually release them, so in 1984, five tracks were released on the tenth anniversary EP, ’74 Jailbreak. Of note, none of these songs are actually from 1974.
The track “Jailbreak” itself didn’t become a hit until this compilation was released. It was originally on 1976’s Dirty Deeds Done Dirt Cheap in Australia. It definitely sounds from that era, and it’s long been one of my favourites. I found that little riff irresistible, then and now. I love Bon Scott’s storytelling lyrics, still cool today. “Big man lying on the ground, with a hole in his body where his life had been.” And c’mon, you have to love the music video, or you have no sense of fun in your rock!
The next four tracks were all from High Voltage, another favourite album of mine. “You Ain’t Got a Hold on Me” is one of those slinky Bon Scott rockers. I like the spare riff and Angus’ bluesy playing. Uptempo “Show Business” is a wry dig on the business side of rock and roll. “You’re smoking butts, they smoke cigars.” Angus’ playing here is especially tasty as he takes his Gibson SG for a ride. Then “Soul Stripper” takes it to a dirty place. AC/DC return to that slinky territory they used to do so well with Bon. “Soul Stripper” is a highlight among highlights, with those quieter bass-driven verses. “Pulled out a knife and flashed it before me, stuck it in and turned it around.”
A cover of “Baby, Please Don’t Go” closes the EP on a frenetic extended jam. Bon shrieks as if in agony. The band blast away as only one of the greatest pure rock and roll bands can. This is rock and roll 101, your teachers are in class, so pay attention to Mr. Young and Mr. Young!
None of the songs on ’74 Jailbreak are outtake quality. I never fully understood who decided what songs were to be left off American releases and why. Some of these songs were singles in Australia! As mentioned, these are only some of the songs unreleased on American albums. There were more and they too were pretty damn good. They are “Stick Around” and “Love Song” from High Voltage, “R.I.P. (Rock in Peace)” from Dirty Deeds, “Crabsody in Blue” from Let There Be Rock, and “Cold Hearted Man” from Powerage. All these songs can be had on the Backtracks box set today.
Welcome back to theWeek of EPs! Each day this week, I’ll be checking out a variety of EP releases, both famed and obscure.
MONDAY:Aerosmith – The Other Side (1990) WOLFSBANE – All Hell’s Breaking Loose Down at Little Kathy Wilson’s Place! (1990 Def American)
I only own one Wolfsbane release on CD, and it’s this EP. I remember that their Rubin-produced debut Live Fast, Die Fast didn’t sound as good as a Rubin production should. This follow-up EP was produced by someone named Brenden O’Brian, who is presumably a different producer than the famed Bredan O’Brien. Whoever it is, there’s little wrong with the production here. It has guts and clarity. The drums could use some more oomph.
The opening track “Steel” is one that I remember from Blaze Bayley’s live album. Hearing it again, it’s fucking awesome! “Tough as steel!” repeats the chorus which is appropriate for this razor sharp attack. The guitars by Jase Edwards are choppy and aggressive, and they really sell the song. I like when the rhythm guitar drops out during the solo, and all you have is bass and drums — just like it would be live.
“Paint the Town Red” is good time hard rock. It still has a toughness to it, because of the basic guitar-based production. There’s a radio-ready chorus and plenty of rocking melody, so if you had to pick one song as a potential hit, it’s “Paint the Town Red”. Then it’s on to the ridiculously over the top “Loco”. This time the guitars are almost a parody of shredding, so insane are they. I can’t say I’m overly fond of “Loco”, but it sure does rip.
In 1990, you had to have an accessible song with acoustic guitars on your CD. “Hey Babe” is that song. Blaze’s flat vocals lend it some character, but otherwise it’s a pretty standard sounding 1990 rock ballad. The dry guitars are very tasteful, the highlight of the track. “Totally Nude” is a pretty dumb title, but it’s actually a pretty good hard rocker. As the guitars blaze up and down the fretboard, song works its way into your head.
“Kathy Wilson” is a little bit of a mini-epic. Based on the classic film Invaders From Mars, it’s a little corny but absolutely cool at the same time. Blaze acts out some of the movie lines in spoken-word segments, but wails away on the choruses. It wouldn’t be a stretch to say that this is an impressive little track. It’s a little more complex than the standard rockers, but has the same blitzkrieg drive.
Consider picking up All Hell’s Breaking Loose Down at Little Kathy Wilson’s Place! at a reasonable price for a nice brief addition to your metal and Iron Maiden collections.
Welcome to theWeek of EPs! No sooner do I finish the Record Stores Tales before I’m off on yet another series! Each day this week, I’ll be checking out a variety of EP releases, both famed and obscure. Let’s start with a major band: Aerosmith.
AEROSMITH – The Other Side (1990 Geffen EP)
The first time I bought this, it was on cassette in a mall in Calgary, Alberta in August of 1990. I also bought Judas Priest’s Hero Hero at the same store, also on cassette. A completist even then, there was no way I was leaving without The Other Side. Of all my finds on that trip, this one I had never seen before. I later replaced it on CD while working at the Record Store.
The Pump CD is a great album, probably my favourite. The two songs from Pump that are on this single are “My Girl” and “The Other Side”, neither of which are really as great as the rest of Pump. That’s in my opinion; “The Other Side” was a popular hit. Notably, “The Other Side” lacks its intro, “Dulcimer Stomp” which may make it interesting for some.
The CD also has two useless remixes of “The Other Side”. The “Matt Dike ‘Honky Tonk’ Version” is just as offensive as the “Club Mix”. Maybe the Matt Dike version is slightly less offensive, but the added backing vocals and dance vibe is just crap. Neither mix adds anything of value to the song, but they are dragged out to 5:09 (Matt Dike mix) and an agonizing 7:04 (Club mix).
The main track that I bought the disc for was “Theme from ‘Wayne’s World'”. I actually had no idea what Wayne’s World was, although my cousin Geoff apparently did. Back then, I wondered what the hell this was. There were no liner notes to help either. This track is a mere 1:29, and it’s a straight up recording of the Saturday Night Live performance by Aerosmith of that song. I didn’t give a shit, I love it now. Perfect filler for the end of a mix CD!
Since this CD consists of two album tracks, two pointless remixes and a 1:29 song, you must be sure not to pay too much for it. As a kid I rarely played it, and the same can be said of the adult version of me.
According to his WordPress page, Derek Kortepeter is a composer, multi-instrumentalist, and alumnus of the School of Ethnomusicology at UCLA. Already, I’n in way over my head. I already find it hard to talk about instrumental music, but I am not a composer, nor a multi-instrumentalist, and definitely not an alumnus of the School of Ethnomusic-anything. So as a knuckledragger off the street who really only has laymen’s terms at his disposal, here are my thoughts on Derek’s Compilation Vol. 1 EP.
So here we go! “Light Within” is the first song, a track written entirely by Derek featuring a whole lot of unfamiliar instruments. (oud, Chinese gongs, Tibetan bells, Tibetan singing bowls, kora, Andean panpipes, oh my!) Derek plays chunky guitar chords over this, which lends it a vibe similar to the guitar instrumentalists that I like. A Vai-ish guitar melody meanders through. There’s a lot going on here, particularly in terms of unexpected notes. Before the 2 minute mark there’s a blast of shredding, and you know that I do like shredding. There’s plenty of that on this track. So far so good.
“It Begins” consists of some traditional rock instrumentation: guitars, bass, drums, organ. There’s a slow groove, and some really nice bluesy guitars. But the guitars dart in and out of different styles, maintaining the feel. This is a 7 minute long bomber, but it maintains its appeal due to the always-interesting guitar. The third track is called “Omega” is an ambient guitar piece, backed with string-like keyboards. I’m immediately reminded of things like Joe Satriani’s first self-titled EP in terms of sound. Although this track is primarily atmosphere I like it a lot.
The final song is a “bonus track” called “Waves”, also an ambient piece. This one has a little bit more in terms of instrumentation, but the focus is still mainly on the spare guitar chords. About halfway through, there are a series of gongs and cymbals, before the echoey guitar is left alone.
So, in summation: I like this EP. Is it something I fully understand? Probably not. Is it catchy and memorable? Memorable yes, catchy no — you have to listen. Sometimes the guitar melody feels at odds with the backing music. Will I play it in the car? No, it’s not that kind of music for me. But I will play it this fall while going for those morning walks when things are quiet. That’s what this music feels like to me.
When we last checked in on this old Canadian indi band, it was on the 1994 EP So This is Limbo, which I rated a 2.75/5. I haven’t played Tangible Vibe, the full length followup, in quite a few years. I remember liking it back in 1996, when hard rock was all but dead and we were forced to seek out other kinds of rock music. Will I still like it now?
“Another Low” is a pretty simple pop punk track, not the kind of thing I usually listen to. It’s fast with heavy guitars and poppy vocals. What stands in for a guitar solo is a simple melody. It’s more annoying than likable. “Frustrated” is more entertaining, taking the tempo back to a radio-ready pace. Seems that I still like this one! You’d be forgiven for thinking it’s a new single by Sum 41. Hopefully you’ll forgive me for liking it. Back then we didn’t call this stuff “pop-punk”, we called it “alt-rock”.
I recall liking “Living Proof” which sounds very much like Green Day. It’s still a catchy little tune, that just it needs identity. There’s certainly no reason it couldn’t have been a hit. On the other hand, I remember not caring too much for “Headtrip”. Its seemingly pro-drug message didn’t appeal to me and I didn’t think the song had much individuality going for it. My feelings haven’t changed too much although I do appreciate the great vocal performance and guitars, but it could have been half as long.
Then and now, I love the title track “Tangible Vibe”. Almost Monkees-like, it’s a soft rocker with a heavier chorus. I really like the recurring guitar melody. Maybe I shouldn’t say Monkees-like, when I have heard Weezer do songs similar to this. It’s a standout and now that I have re-discovered it, I plan on playing it a lot more. Equally good is “Kill Me Slowly” which again is firmly in pop-punk territory, with vocal harmonies.
As back in 1996, “Mary” bores me. It feels like it’s a repeat of ideas from previous songs. Such is the problem with these simple melodies. Sure they’re catchy, but you run the risk of ideas that sound too similar. There’s nothing wrong with it, but we’ve heard it before. “Amore di Gatto” (“Love Cat”?) is a beautiful classical guitar intro to the dark song “Circus”. This song has more in common with Deadline’s early hard rock roots than modern pop rock. It’s mournful with with the strong melodies still intact, and a tricky guitar solo to boot. It has the most emotion on on the album, and remains its best song.
“I Don’t Even Like You” is fast and fun; the drums are played with brushes and the guitars are acoustic. It’s one of the shortest songs, which good because novelty songs are best kept short. “Friend In Me” was the “hit”, and it’s the exact same version as on the So This is Limbo EP, which is great. Closer “Go With the Flow” is another Green Day copycat, unfortunately. It’s the early, heavier side of Green Day, but still the comparisons are unavoidable.
Shame. A really great EP could have been made from the best songs on this album.
THE SHEEPDOGS – Learn and Burn (2011 Warner reissue, originally 2010)
Like many of you, I first heard The Sheepdogs via the excellent single “I Don’t Know”, a rollicking journey through territory pioneered by The Guess Who and Neil Young. And what a cool Canadian success story, what with that Rolling Stone cover and all.
A few months after falling in love with “I Don’t Know”, I was invited to a private acoustic session with the Sheepdogs. There were about 40 people in the room tops, including myself and my co-worker Bart who was my “+ 1”. I remember them playing “How Late, How Long” and an older tune. They were great, friendly and gracious. They did a short meet & greet after the show, and I appreciated it when Ewen said to me, “I really like your Beatles shirt. That’s my favourite period of John Lennon.” I told him I specifically picked that shirt because I hoped they’d dig it! The beards, you know?
I’m going to coin a new genre here: “Beard Rock”.
Before seeing the band, I bought the album based on “I Don’t Know”. That was sometime in fall of 2010; I remember listening to it on a cold, cold night at the cottage. My impressions? It’s a really cool mellow rock album. It sounds as if it came right out of 1969. It sounds very authentic to the period, even sonically. Very different from their current work with Patrick Carney of the Black Keys. I am impressed. I really like it. Admittedly though, it’s a bit too derivative.
Highlights for me included:
“Please Don’t Lead Me On”, which was very Beatles-y. It’s jaunty, I like it.
“I Don’t Get By” which has a very country (or even Led Zep III) vibe.
“Right On” and its fat saxophone solo.
“Southern Dreaming” which reminds me of the Allmans, CCR and The Band
“Soldier Boy”, probably the most rocking song on the album.
“Catfish 2 Boogaloo” kind of reminds me of a laid back version of Cream.
And, the whole Medley. These four mini-songs all meld together seamlessly, but are distinct sections. It’s a gimmick similar to Abbey Road side two, but in miniature form.
The only song that does nothing for me is the title track “Learn and Burn”. Not into the vocal hook at all. Sorry. I also didn’t dig the lyric referencing “Facebook invitations”, it just doesn’t vibe with the vintage 1971 sound of the song.
The two bonus tracks on the remastered edition are “Birthday” and “Slim Pickens”. Yes, I re-bought the album to get two more songs. You knew I would. “Birthday” is worth it, a lovely 60’s sounding pop rock tune, with twang and banjo. I wasn’t expecting “Slim Pickens” to rock as hard as it does, but it does! This is a smokin’ little electric guitar bluegrass boogie instrumental.
Good album though, and a band to watch. Their work with Patrick Carney on their 2012 self-titled record expanded on their sound. I expect them to continue to grow.
DEADLINE – So This is Limbo (1994 Deadline Productions)
Ahh, the 90’s, how I do not miss thee. When I think of the 90’s, I remember how bands I liked simplified things to fit in better with the new alt-rock hordes. Guys like Deadline initially showed a lot of promise. They combined diverse elements and showed potential for future growth. Then they cut down the guitar solos and streamlined everything to its melodic basics.
I like So This is Limbo, (a five song EP) but it is safe to say that I do not like it as much as their self-titled debut. Its five songs all fit into a soundalike form. The first two (“Friend in Me” and “Going With a Smile”) are so similar that they both feature harmonica parts as one of the hooks, bouncy basslines, and a simple guitar melody where a solo would go. That’s not to say they’re bad songs. They’re good for what they are: happy-go-lucky 90’s pop rock. “Friend in Me” got a bit of airplay at the time, and it’s the best song here. The second best is “Going With a Smile”.
MuchWest interview with Deadline by TDM and “Galactic premier” of video
“Laundry Day” is a little darker, but “You know it’s laundry day again,” isn’t the kind of chorus that really gets my angst out. This one has a guitar solo too, and it’s a gooder. Too bad that the song isn’t as good as the solo. The pop-punk of “Darkest Hour” is better. Why did singers always use distortion on their voices in the early 90’s? It’s too bad. “Darkest Hour” isn’t bad at all. The last song is the dreary “Better Things to Do”, which kind of leaves the EP on a downer note.
It’s too bad really because I know they can do better. They did do better, on the Deadline EP. Would they redeem it on the Tangible Vibe album? I remember liking it back then, but I haven’t played it in a long time. That’s the next review. As for So This is Limbo?
JON BON JOVI – Blaze of Glory: Inspired by the film Young Guns II (1990 Mercury)
Billy the Kid was a fascinating character. Perhaps he was the embodiment of the Old West itself: a charismatic outlaw, who reportedly had a hair trigger temper but also a heart of gold. Unfortunately, the film Young Guns II seems more about a person called Brushy Bill, rather than William H. McCarty, also known as William H. Bonney, but best known as Billy the Kid. Having killed his first man at 18, the Kid earned his nickname with his boyish looks. He looked nothing at all like his screen counterpart Emilio Estevez, but it’s because of Emilio that Jon Bon Jovi recorded the soundtrack to Young Guns II.
A popular theory from the 1990’s was that Billy the Kid was not killed by Sheriff Patrick Frank Garrett in 1881. In 1948, a character called Brushy Bill Roberts emerged claiming to be the Kid, alive and well. There was enough facial resemblance, and also sworn statements from five people who knew the Kid. Roberts never proved that he was actually William McCarty, and today historians have dismissed his claims due to the number of facts that do not match (such as dates of birth). Young Guns II, the film, operated on the popular theory that Billy survived, and that he faked his death with the help of Pat Garrett.
In fact Garrett did shoot the Kid and lived a life of shame afterwards, as the details of the shooting of the popular Kid didn’t paint him in a positive light. Oddly enough, Garrett himself was shot and killed in 1908 by a rancher named Jesse Wayne Brazel, in New Mexico. The interesting coincidence about this is Brazel was uncle to a Mac Brazel, also a rancher in New Mexico, near the town of Roswell. It was on his ranch that something strange (almost certainly an actual UFO) crashed and was covered up. It is an amusing intersection of two of the great folk tales in American history.
Billy the Kid. Source: Wikipedia
Pat Garrett. Source: Wikipedia
So along came this movie. Emilio Estevez asked Jon Bon Jovi if they could use “Wanted: Dead or Alive” in the film. Jon declined and said, “The lyrics don’t make sense. That song is about touring, let me write you something more appropriate to the old west and Billy the Kid.” This turned into an entire album. Essentially Blaze of Glory is not a soundtrack album (since none of Jon’s songs are in the movie until the end credits) but a concept album based on the film.
The album begins with a snippet of dialogue: “Yoo-hoo!” says Emilio/Billy. “I’ll make ya famous.” A gunshot and the song “Billy Get Your Guns” begins. That’s Kenny Aranoff on drums in case you were wondering. “Billy Get Your Guns” isn’t a hard rock song like Bon Jovi was doing at the time. But it’s still rock and roll, featuring some great slide guitar riffing by Waddy Wachtel. Jon’s voice is young, strong and loud. It’s a sound I miss. I think it’s impossible to dislike the excellent “Billy Get Your Guns”, especially when topped by a Jeff Beck guitar solo, who plays on pretty much the whole album. (The album also features two Journey bassists: Randy Jackson and Bob Glaub.)
Jeff even appeared in the music video for “Miracle”, the hit ballad from the album. The lovely accordion and spare arrangement gives it quite a different feel from old Bon Jovi ballads. Once again I am reminded that Jon once possessed quite a powerful voice. It’s also worth noting that Jon wrote every song himself.
“William H. Bonney, you are not a god.” – Keifer Sutherland as Doc Scurlock
“Why don’t you pull the trigger and find out.” – Emilio Estevez as Billy the Kid
I still love “Blaze of Glory”. It’s timeless, more so than a lot of Bon Jovi’s hits from the time — “Bad Medicine” and so forth. I remember seeing Aldo Nova on TV playing the riff on an acoustic guitar, and it is perfect in its classic simplicity. Aldo is one of Jon’s oldest friends and he plays on the whole album as well. This dynamite hit song has become so loved that Bon Jovi play it live and included it on their greatest hits compilations, even though only Jon was part of it. Jeff Beck’s smoking solo is as much part of the song as Jon is. I cannot understate how great this song is. From quiet acoustic strumming to bombastic aplomb, the song is a great achievement.
“Blood Money” is a short ballad, with spare acoustics, tambourine and accordion. Jon sings as Billy the Kid, directly to Pat Garrett. Historically we don’t know if Garrett and McCarty were friends as they are portrayed in the film, but likely they were not. Regardless, even though the lyrics are implausible historically, it is still a powerful little song.
This leads into “Santa Fe”, which is from the perspective of Doc Scurlock. You want epic? Look no further. An album highlight, “Santa Fe” boasts strings, powerful Aranoff beats, and Jon’s most vivid lead vocal. If it had been on a Bon Jovi album, I think it would be regarded as highly as a song like “Dry County” which it resembles slightly.
Side two opened with Lou Diamond Phillips (Chavez y Chavez in the film) singing a native chant. The song “Justice in the Barrel” refers of course to the barrel of a gun, and Jeff Beck’s playing in the opening reminds us why he is one of rock’s most legendary gunslingers. The song however is more laid back, a slow rock groove. “Never Say Die” is the most straightforward rocker on the album, and it features Robbin Crosby of Ratt on electric guitar. This song most closely resembles Bon Jovi, the band, even lyrically. It is followed by a song that sounds nothing at all like them, and also my favourite: “You Really Got Me Now”. From first listen, way back in 1990, to today, this is a song that always puts a smile on my face. Imagine Jon Bon and Little Richard building a time machine, travelling back to 1881, and jamming in a saloon. That’s “You Really Got Me Now”. Richard plays piano and sings the second verse, and I love it. It’s a shame this little tune is only 2 1/2 minutes long, but I guess it was a bit of a novelty.
“Bang a Drum” is a pleasant soft soul rock anthem, but the Hammond organ and Jeff Beck help maintain its integrity. The soul comes from the backing vocals of Julia and Maxine Waters. This is the climax; the denoument is “Dyin’ Ain’t Much of a Livin'”. The delicate piano is provided by one Elton John (before he would become Sir). Elton also joins Jon on backing vocals. “All this fame don’t bring ya freedom,” sings Jon, a line that may apply to a rock star life as well as an outlaw. The powerful song is a natural ending to a story such as this.
There’s a brief coda, an orchestral piece from the movie by composer Alan Silvestri called “Guano City”. I always wondered why this piece (as good as it is, sounding like some of John Williams’ more exciting segments) was on the album. Nevertheless, there it is, and the album is done.
Jon was very emphatic in stating that Blaze of Glory was not his true solo album. It was 10 songs written specifically for a movie, to fit that movie. His solo album would come seven years later with Destination Anywhere, but first it was time to get Bon Jovi, the band, back on track. This began with a 1991 live performance of “Blaze of Glory” at the Academy Awards, by the full Bon Jovi band, augmented by additional guitarists Waddy Wachtel and Danny Kortchmar.
If you consider solo albums and soundtracks as part of the overall catalog, Blaze of Glory still clocks in as one of my absolute favourites.
Thank Santa’s tits! It was with tremendous joy that I watched the long-awaited Season 8 from the Trailer Park Boys this past weekend. I watched five episodes on Saturday night, and five more Sunday morning. Then on Monday, I re-watched my favourite episode, “Orangie’s Pretty Fuckin’ Tough”. As a long time fan, to say that I am pleased is an understatement. I am thrilled. Knowing in advance that a couple characters weren’t coming back (Ray and Trevor are no longer on the show), everything I wanted out of the show was there. There are even a couple new characters, who look like they may be important in the already finished Season 9.
As if there was no pause at all, Season 8 feels like classic Trailer Park Boys, immediately. Some new characters are introduced, such as Don, who joins Randy as the new Assistant Supervisor. “Officer Highcock”, another new face, is no George Green. He’s smart. But fear not, George Green is back too, although Lahey is approaching retirement.
Trinity is tending bar at Julian’s new in-park club/gym, “The Dirty Dancer”. Bubbles is building his “Shed & Breakfast” for humans and cats. Julian and Ricky have numerous schemes on the go. Ricky’s growing dope at a mad rate, and refining it into honey oil, by special order of Sebastian Bach. He’s also realized that he can use hash as currency almost anywhere: on the bus, at the hardware store, or the dentist’s office. Seems just about everybody accepts Ricky’s $2 hash coins!
There’s also plenty of shady horsecockery. Cyrus and Sam Losco are working together again, and they want to buy the park and bulldoze it to the ground. The only solution is for Julian and Barb Lahey to work together to keep it. Needing capital, Julian sets into motion businesses and schemes galore. Steve Rogers returns for a hell of a bachelor party at Julian’s bar, attracting the attention of the cops.
Ricky’s life is complicated by some unexpected news. The only thing holding him together is Orangie. My buddy Chris and I agree on this: the best element of Season 8 has to be Ricky’s goldfish, Orangie. Ricky loves to party with him, and takes him everywhere in a bowl with ORANGIE scrawled on it in magic marker. Ricky’s car now has a sun roof (of sorts), which functions as Orangie’s swimming pool after it rains. Ricky wakes one morning to find Orangie unresponsive: “Orangie, you finally passed out in the pool, did you buddy?” When Bubbles asks what happened, Ricky explains: “We got fucked up on hash tokes and shooters. Orangie’s pretty fucking tough. Woke up this morning with my fucking pants down and my hands on my cock, thanks to Orangie.” Now it’s up to Bubbles to replace Orangie before Ricky realizes the fish is dead. As if minding a goldfish isn’t enough, Ricky also decides to turn his trailer into a hockey rink.
Bubbles’ doesn’t have it easy either. Due to a complex series of events regarding Steve Rogers, hookers, crabs, and Bubbles’ shed(s), he goes nucking futs at a drug store and is sentenced to community service. Where Ricky has Orangie for support, Bubbles turns to his new puppets…Bobby Turkelino, and little Ricky! And you know what happens when you mix Bubbles and puppets.
The story arc in this season was hilarious, with only one dud in the bunch (I’ll let you figure out which). Some story points hint at what may be coming in Season 9, and that has me anticipating more hilarity. Hopefully, Orangie will make an appearance in Season 9. With a few more trips to the pet store, Bubbles should be able to make that happen. Trailer Park Boys is off to a hell of a new start, and with the progress made in Season 8, I see no need to stop.
4.5/5 stars
Review by LeBrain with contributions from Chris Thuss.
Eager to cross over to new fans, in 2004 Marillion released an album called Remixomatosis. It was a 2 CD set of fan remixes of tracks from 2001’s Anoraknophobia. Hogarth-era Marillion have not been remix-shy, having done something like this on 1998’s Tales From the Engine Room EP. Aware that chances of being played in the clubs were slim, the following year Marillion released a promo EP of three more remixes under the band name Remixomatosis. The name Marillion appears nowhere on the sleeve.
mikeladano.com 