Reviews

REVIEW: The Cult – Beyond Good and Evil (Australian bonus track)

Second of a CULT double shot!  Click here for 1994’s The Cult.

THE CULT – Beyond Good and Evil (2001 Atlantic)

When The Cult finally reunited, the rock world rejoiced.  It felt like a long time, in that post-grunge wasteland, since the world had been blessed with any new Cult music.  Not only had they reunited (with their former drummer Matt Sorum, also formerly of Guns N’ Roses) but they had also reunited with producer Bob Rock, for the third time.   Much like his last outing with the band (1994’s The Cult), this Cult album sounds like none before it.  This time, The Cult have gone full-bore ground-shaking heavy metal.  The template was a song the old band were working on before they split “In the Clouds”, from 1996’s High Octane Cult.  The resemblance is uncanny.

BEYOND THE CULT_0003“War (The Process)” invites you to the stage.  Its weight is astounding; Duffy’s guitars crushing while Sorum attacks his kit as he always has.  Duffy’s guitars have acquired a much heavier metallic tone.  Bob Rock applies them in layers, which has always worked well for The Cult.  When “The Saint” enters, your head could be blown from your shoulders.  This is The Cult at their heaviest, but Billy’s melodic sensibilities are intact, and his guitars always sound like Billy Duffy.  Ian, of course, sounds like Ian, howling at the ghosts.

The single from this album was “Rise”, which is no less brutal than the first two tracks.  Its stuttering de-tuned riff recalls Kyuss or Queens of the Stone Age. Song after song, the album crushes.  “Take the Power” is a rallying crying over a noisy Duffy arrangement.  This time, the layers of guitars form this wall of awesome that threatens to fall on you at any moment.  Astbury is delivering a lot more melody with his lead vocals than he did on The Cult.

BEYOND THE CULT_0005“Breathe” offers a respite, but it’s only brief.  It soon turns into a mid-tempo groove rocker, but a forgettable one.  “Nico” is a highlight, an “Edie”-esque beauty.  It would have been my choice for a single.  Somebody should really start asking me.

No sooner have you had a chance to relax before “American Gothic” smashes through the wall.  This is one of the heaviest Cult songs to date.  Cult bassist Chris Wyse (back in the band today) has a solid groove but is overwhelmed by the sheer weight of the Duffy guitar layers.  “Ashes and Ghosts” too is groove laden and heavy as plutonium.  “Shape the Sky” has a little bit of the old Cult’s prowl, but it’s still pretty heavy like spent nuclear fuel.  Ian has a knack for a cool chorus, and this is one of them.  “Speed of Light” has a bit of that robotic pulse from 1993’s “The Witch” before it descends into a detuned metal riff and chorus.  Then, “True Believers” gives you some breathing room again, although still slammed by electric guitars.  This slow tune is a bit more about the melody than the headache.

BEYOND THE CULT_0004The final song on most editions of Beyond Good and Evil is “My Bridges Burn”.  The Cult bow out on a scorching rocker, blowing the speakers out for those who dare to follow them.   Australia received an additional song, “Libertine”, on which to close.  This song feels like a coda and is powered by an Anthrax-esque stomp.  Top that with a soaring Astbury howl and those patented Duffy guitar melodies and you have a good summation of The Cult 2001.

I think many old-school Cult fans, the kind who think they made a wrong turn on Sonic Temple, would dislike Beyond Good and Evil.  For those of us who don’t mind the Cult when they just fucking rock, I think it’s a brilliant album.  The songs are not designed to be instantly catchy.   They are designed to create a sledgehammer of an album that relentlessly powers its way into your soul.  For me, it worked.  You could listen to it once and say, “Sure, it’s heavy, but there are only a couple memorable songs.”  Keep listening.  Let Beyond Good and Evil pummel you with body blows until all you can do is let it sink in.

4/5 stars

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REVIEW: The Cult – The Cult (1994)

First of a CULT double shot!  Come back tomorrow for another!

CULT_0002THE CULT – The Cult (1994 Universal)

This is an ugly album.  Even though a 1989 MuchMusic interview with Billy Duffy revealed The Cult would most likely not work with Bob Rock again, they did indeed re-team with the Canadian producer on 1994’s The Cult.  Duffy didn’t think the magic of Sonic Temple was something that could be repeated, based on the less than satisfactory (to him) results of working with producer Steve Brown twice.  On The Cult, however, no attempt was made in any way to recapture any sound or era.  This was brand new from the womb of 1994, and sounds very dated to that dark time.

The twisted “Gone”, unorthodox and sparse, was a shock to the system.  Once the listener gets his or her bearings, it’s actually a great fucking song.  Just a little off-kilter; enough to sound as if it’s not being played right.  It’s a whole new side to The Cult.  I wonder how much of this has to do with the new lineup, including bassist Craig Adams (The Sisters of Mercy/The Mission) and drummer Scott Garrett (Dag Nasty).  Ian Astbury’s delivery was also quite different.  Rather than simply howling those patented Astbury melodies, Ian barks, whispers and bellows.

“Coming Down (Drug Tongue)” was the first single, very different from the hits from the past two or three albums.  It had a droning, U2-ish vibe.  It’s quite a good song, but it wasn’t love at first listen.  “Real Grrrl” has a slower sway to it, and there is a lot to like about the song.  It’s interesting to hear Bob Rock using open space a lot more in his production; this is right after the supersaturated Motley Crue album.  Much of the instrumentation is very dry, but then there are Bob Rock trademarks, such as the Scott Humphrey synth on “Real Grrrl.”

Sounding much like a Superunknown (the softer side thereof) outtake, “Black Sun” is dark and quiet.  Ian sings of abuse.  The band back him with the barest of instrumentation, before the Billy Duffy solo around 3:20.  It is impossible to ignore the similarities to all the grunge bands of the time.  The basic, stripped down guitar parts and rhythm-driven arrangements speak of the time.

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There are few standouts on The Cult.  The album is more cerebral than past Cult albums, and is more about its overall direction than individual songs.  The aforementioned tracks are all great, as are a few others.  They include “Star” (also a single) which is a song that was re-worked many times going back to Sonic Temple.  Previously, it had been known as “Tom Petty” and “Star Child”, and can be found in both forms on the expansive Rare Cult box set.  It is one of the few songs that slightly resemble “old Cult”.  “Be Free” was a single (in Canada at least) given away with a case of beer.  How Canadian, eh?  (I sold mine on eBay for $10).  It too is a pretty good song.  Then there’s “Sacred Life”, a somber ballad naming Abbie Hoffman, River Phoenix and Kurt Cobain as painful losses to the world.  Album closer “Saints Are Down” is a powerful epic, and also a standout.

The Cult broke up/went on hiatus after this album.  They reunited in 1999 (with Matt Sorum on drums) and released a new song called “Painted on the Sun” written by Diane Warren (!!) from the Gone in 60 Seconds soundtrack.  This was followed by the excellent Beyond Good and Evil CD, also produced by Bob Rock.  This self-titled departure remained just that, as The Cult went full-bore metal on Beyond Good and Evil.  This album is an experiment that went unrepeated, and that is fine.  I like it for what it is, but I don’t need another.

3/5 stars

REVIEW: Guns N’ Roses – “The Spaghetti Incident?” (1993)

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GUNS N’ ROSES – “The Spaghetti Incident?” (1993 Geffen)

The hype surrounding this album was palpable. The disappointment was legendary. When I began working in a record store in July 1994, less than a year after the release of “The Spaghetti Incident?”, we couldn’t give these away, no matter how low we marked them down. This disc effectively ended Guns N’ Roses domination and ushered in an era of a new wave of bands, the post-grunge onslaught. GN’R survived grunge only to be put to bed with this terrible album!

The reason is, while most of these songs are great in their own rights, these versions are not. The recording is sparse and basic, a far cry from the layered intricacy of the Illusions albums. While Slash’s goal was to get the production back to basics (read: Appetite), this album was an ugly beast and not even close to the shiny black gleam of Destruction. Some songs are just plain boring. “Since I Don’t Have You” was an odd choice for a single, and “Black Leather” just plain sucked. I think there were quite a few fans who were baffled by the number of Duff lead vocals too.

The best song (which wasn’t even recorded by GN’R), is Johnny Thunders’ “You Can’t Put Your Arms Around A Memory”. This is actually a Duff McKagan solo track, an outtake recorded for his first solo album, Believe In Me. Other standouts include Axl’s raging “I Don’t Care About You”, Duff’s “Attitude”, and “Down On The Farm” which had been played live way way back when Izzy was still in the band. A lot of fans were off-put by Axl’s faux-English accent on “Down On The Farm”, but that’s the way it was played live and I don’t mind. The New York Dolls’ “Human Being” is a great Guns cover.  “Ain’t It Fun” is also an angry standout.

Nazareth’s “Hair of the Dog” is underwhelming although Axl does nail the lead vocal. Why GN’R covered a Soundgarden song (“Big Dumb Sex”) is beyond me, and of course there’s the worst track on the album, and most legendary — Charles Manson’s “Look At Your Game, Girl”. Axl’s obsession with Manson was just another nail in the coffin for GN’R, as most fans couldn’t wrap their heads around it. It didn’t help that Slash publicly said that the song “sucked” and that he refused to play on it.*

“The Spaghetti Incident?” will go down in history as the last music of the Illusions sessions to be released, and also is the only album of the Rose/Slash/McKagan/Sorum/Clarke/Reed lineup. By the time Guns N’ Roses released their next single (another cover, the Stones’ “Sympathy For The Devil”), Gilby Clarke was fired by Axl and replaced by Axl’s hometown bud Paul Huge. And that was the last straw for Slash, and the beginning of what would later be known as Chinese Democracy. And that was it. “The Spaghetti Incident?” is the last album to feature Slash, Duff, and Matt, and I think that is just sad and kind of weird too.

If you love Guns N’ Roses, then you already have this, because you have everything by the band. If you only “like” Guns N’ Roses, you don’t need this. You’ll play it a few times and then file it away, never to be heard again.

Instead of this, pick up:

All three would have been great GN’R albums, but sadly none were.

2.5/5 stars

* In 2000, Axl Rose stated that “Look At Your Game, Girl” would be removed from future printings of the album.  That never happend.

REVIEW: Budgie – The Definitive Anthology: An Ecstasy of Fumbling (1996)

BUDGIE – The Definitive Anthology: An Ecstasy of Fumbling (1996 Repertoire)

Dear young and old, far and wide:

This 2 CD compilation is an excellent starting point for digging into the monumental sound of Budgie, formerly Six Ton Budgie. (That’s a really heavy bird!) Helmed by the Geddy Lee lookalike Burke Shelley and his shifting cast of players, Budgie is a power trio and the prototype for the sound of bands as diverse as Rush, Black Sabbath, AC/DC, Metallica, and Iron Maiden. Formed in ’67, Budgie predate them all.

Want some proto-Sabbath sludge? It’s here. AC/DC-type fast riff rockers with simple beats? Also here. Songs driven by catchy, eloquent basslines? Look no further. Metallic gallops? These guys were doing it while Steve Harris was still struggling away in Gypsy’s Kiss! Everything good that happened with heavy metal had already been done by Budgie before those sounds hit the mainstream. All with a singer who could have been Geddy Lee’s long lost brother (and look at those glasses too)!

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This album includes some of the best tracks from their albums 1971-1982. It also includes B-sides, single versions, and EP tracks. Burke Shelley stopped gigging with Budgie in the late 80’s but returned with some serious thunder and a 2006 comeback album. This stuff, however, is some of the creme de la creme of the initial phase of Budgie.

Highlights for me included:

  • “Homicidal Suicidal” – a 6 minute exercise in bass-driven groove.
  • “Whiskey River” – a shorty; killer bassline, catchy as hell.
  • “In The Grip Of A Tyrefitter’s Hand” – another one with a catchy as hell bassline.
  • “Breadfan” – you already know Metallica’s version of this proto-thrash number.
  • “Beautiful Lies” – rare, synth-driven ballad.  Previously unreleased.
  • “Forearm Smash” – fast heavy AC/DC style rocker.
  • “Wildfire” – very much like Maiden’s “2 Minutes To Midnight” riff.
  • “Time To Remember” – Spacey, echoey, epic.
  • “I Turn To Stone” – the gallop at the end is pure Iron Maiden with some Blackmore type soloing.
  • “Superstar” – great fast rocker.
  • “She Used Me Up” – another one that AC/DC fans will love.
  • “Panzer Division Destroyed” – pure proto-thrash brilliance.

 

That list is very incomplete, because I think every one of these 29 songs are really good.  Some go beyond that into “great” territory, and others one step further to “fucking awesome.”

Photo0317Truly, Budgie were way ahead of their time. Chances are the kids on your street have never heard any of these songs, except when covered by Metallica and Iron Maiden. Now it’s time to prove to them who knows their rock music. Pick this, or any Budgie album, up today.  If you go with this one, you’ll also get a gigantic booklet with ample liner notes about the band and every single track.  I consider it a great stroke of luck, the day that one of my customers sold this one to me.  (His name was Dan and he’s the same guy who sold me tons of great stuff before.)  I was aware of Budgie because of Maiden and Metallica, but mostly because Martin Popoff raved about them in his first book, Riff Kills Man!  I had to have it.  I’m glad I bought it.

If I Were Britannia I’d Waive The Rules, but I would also make sure that everybody knew who Budgie was!

5/5 stars

Part 314: The Musical Crimes of Mrs. LeBrain

Apologies in advance to my lovely wife.  She really is awesome for letting me do this.

RECORD STORE TALES Part 314: The Musical Crimes of Mrs. LeBrain

As we wind down the Record Store Tales, we get to the point that I met Jen in September 2005.  The funny thing about love is the rose-coloured glasses.  I don’t remember Jen having such bad taste in music.  However, the photographic proof is here.  She recently dug up her old Linkin Park CD wallet (!!!) , inside which are many dirty and scratched CDs.  Yes, Jen never took proper care of her discs either before we met, it’s true.  I can’t even identify some of the filth on her Marilyn Manson CD.  Could be coffee.

So here I am, a single Record Store Guy in the fall of ’05, meeting the love of his life…and these are the CDs in her collection.  Thankfully we shared a love of bands such as The Beatles and The Darkness too.  Even more thankfully, Jen doesn’t listen to Limp Bizkit anymore.  (I mean seriously, look at these!  She even owns the Limp Bizkit CD without Wes Borland!)

In her defense, I found no Nickelback. What I did find may upset you.

\m/
Coaster?
screeeeeeeeeeee
Nothing like NIN and Spice Girls on the same page.
blarf
blurgh
Everybody’s CD wallet, 1995
The One Without Wes

Blu-ray REVIEW: Sound City (2013)

“The internet’s cool for some stuff, but like many things, there’s no book store, there’s no music store, and there’s no Sound City.” — Josh Homme

SOUND CITY (2013 Roswell Films)

Directed by Dave Grohl

Uncle Meat persuaded me to see this movie, and I’m glad that he did.  He said it wasn’t optional; that it was a must and that I would love it.  So I bought it on Blu-ray, invited him over to co-review it with me, and we viewed it one afternoon after work in 5.1 surround.   Needless to say, Sound City was good.  So good that we never felt we could do it justice in a review, so I sat on my notes for over a year!  Having recently re-watched Sound City (directed by Dave Grohl) with Mrs. LeBrain, now I can finally finish what Meat and I started last year.

Van Nuys, California.  Sound City Studios, the legendary place where everybody who is anybody recorded.  Nirvana?  Check.  Fleetwood Mac?  Rick Springfield?  Tom Petty?  Check.  Slipknot?  Also check.  Neil Young recorded much of  After the Gold Rush there, after being enamored of the vocal sound that he got on “Birds”.  Keith Olsen learned his craft there.  It’s not much to look at on the outside:  according to producer Butch Vig, it’s “kinda dumpy”. On the inside, there’s booze and cigarettes everywhere.  Big room, huge floor. Lots of black magnetic tape.

Grohl narrates, personal anecdotes flow, then he steps out of the movie’s way.  Grohl has a nice visual style, a combination of close ups and wide shots with plenty of details to look at.  He infuses the movie with plenty of humour, sometimes at his own expense.  The film has two phases:  the first is a history lesson regarding the studio and the artists who created the hits there.  The second consists of Dave purchasing the studio’s Neve board, moving it north to his own studio, and recording a brand new album with the same legendary artists.  Pretty cool concept.

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The huge Neve console was built like a “brick shithouse” (Keith Olsen), or a “tank” (Neil Young).  Its original purchase price: bought for $75,175  in 1969 dollars.  A nice house at the time cost around $30,000!   The Neve was one of only four.  Combined with the room itself at Sound City, the drum sound you can capture is incredible.  The studio’s acoustics were not designed; it was a complete fluke.  It was originally a box factory that happens to sound magical.

As for that Neve console, it is of course entirely analog.  The one at Sound City was unique, considered the best sounding one. Rupert Neve tried to explain the electronics of it to Grohl in one of the movie’s more humourous scenes.  The very first song recorded on that board was “Crying in the Night”, by Buckingham Nicks.  This led directly to Mick Fleetwood hearing them while at the studio, and hiring not only the studio, but also Buckingham and Nicks!  Essentially, the modern Fleetwood Mac formed right there at Sound City. The studio’s success really began with Rumours.  Then, everyone wanted to record there.   As for Tom Petty?  It appears that Tom Petty pretty much spent his entire career at Sound City.  In fact one of the coolest scenes was an old behind the scenes video from the 1990’s.  Seeing Rick Rubin produce Tom Petty and being brutally honest was very interesting.

Rick Rubin to Tom Petty:  “Sounds like you’re aiming a little lower today than you should be.”

Along came the compact disc, and the infancy of digital recording.  Digital was the latest trend, and you could do new things with a computer that were harder to do on tape.  Sound City suffered during this time, as newer rival studios were on trend. Sound City was dead…but one album helped resuscitate it:  Nevermind.  Then came Rage Against the Machine, Tool, Slayer, Kyuss.  Analog tape and vintage equipment became popular again.  Rick Rubin and Johnny Cash recorded Unchained there with Tom Petty and the Heartbreakers.  Nine Inch Nails combined the old with the new, by bring in their own computers to record on ProTools along with the Neve.

Unfortunately ProTools was heavy competition, and working with tape was so difficult by comparison, that Sound City finally shut its doors.  They just couldn’t pay the bills anymore, even after selling off their excess equipment.  Then Dave bought the board.  It is amazing to watch it taken apart, boxed up, reassembled and functioning in Seattle.  Regarding the sale of the board, Grohl says, “I think they knew that I wasn’t just going to bubble wrap it, and stick it in a warehouse.  I was gonna fuckin’ use it.  A lot.”

SOUND CITY_0001On November 2, 2011, reassembly of the board began at Dave’s Studio 606.  Then he invited all the original artists back to record a new album on it, produced by Butch Vig.  Regarding Stevie Nicks, in a memorable moment Vig says, “Fuckin’ A, that girl can sing!”  More artists arrive.  The Foo Fighters plus Rick Springfield create a monstrous sound together, a neat amalgam of their respective genres.  Lee Ving (Fear) is hilarious, and performs the fastest count-in of all time.  I discovered a new respect for Trent Reznor, a guy who uses the technology to create original sounds, but desires the warmth of tape.  It’s incredible to see him collaborate with Homme and Grohl.  It’s the sound of humans communicating with instruments.  And they wrote a pretty frickin’ cool song together.  Then, watching Paul McCartney writing “Cut Me Some Slack” with the surviving members of Nirvana is a moment that I’m glad was frozen in time.

Grohl:  “What can’t it always be this easy?”

McCartney:  “It is.”

The blu-ray bonus features include three additional performances: “From Can to Can’t”, “Your Wife is Calling”, “The Slowing Down”.  It was these bonus features that inspired Meat and I to add “Your Wife is Calling” (with Lee Ving) to our 2014 Sausagefest lists.  Our votes allowed the song to clock in at #64.  (The track was my #1.)

Sound City is a complete triumph of a music documentary.  It is the kind of music documentary designed for serious fans, not just passers-by.  I would welcome another movie directed by Dave Grohl with open arms.

5/5 stars

REVIEW: Ace Frehley – Space Invader (2014 Japanese release)

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ACE FREHLEY – Space Invader (2014 E One/Victor Japan)

Ace Frehley doesn’t exactly crank ’em out anymore, but the five year break between albums isn’t too bad by today’s standards.  Anomaly surfaced in 2009.  I think it could have delivered more than it did, but Space Invader is more immediate.

The title track “Space Invader” opens the album; a solid rocker with a strong chorus.  The guitar solos absolutely smoke.  Ace has lost nothing over the years, even his voice has barely changed.  His singing could be more melodic, but he has character.   This song takes me back to when I first heard Frehley’s Comet back in ’87.  Hearing Ace’s guitar front and center doing things I had forgotten he could do.  Awesome.

“Gimme a Feelin'” (hilariously labelled a “radio edit” even though it is also the album version) is plenty catchy enough, with a vintage Frehley vibe.  A song like this could have been on any Kiss album in the 70’s, although I find the production a bit…cluttered.  It fades abruptly, but “I Wanna Hold You” returns to that vintage Kiss vibe.  This time, it’s the pop side that albums like Dynasty explored, but with the heaviness that fans expect.  There’s nothing wimpy about “I Wanna Hold You” even though it could have come right from 1979-80.  Ace goes into a more ominous vibe for the strong “Change”.  Now it’s 1982 and it’s Creatures as if Ace was on it.  It really makes you wish for what might have been.  Then “Toys” feels like it’s aping the “She” riff, but in an obvious way.   It also shares characteristics with 1988’s “The Acorn in Spinning”.

SPACE INVADER_0002“Immortal Pleasures” is a change of pace, allowing Ace to play some acoustic guitar.  It’s a fairly simple song, and it took a bit to grow on me, as I didn’t like it at first.  “Inside the Vortex” is trademark Ace, and again I think what works is simplicity.  The riff is tricky, so Ace keeps it simple with the robotic vocal and it’s perfect.  This one might be an early runner for “personal favourite”.

A nice traditional rock riff is what I need next, and “What Every Girl Wants” hits the spot.  This one reminds me of…[gasp] Poison!  I don’t mean that in a bad way really.  It is true that Space Invader is not exactly innovative (“Inside the Vortex” notwithstanding), but it does deliver on rock and roll.  That’s all you can really expect from Ace Frehley, and that’s just fine.  “Past the Milky Way” has an appropriately spacey vibe, as Ace gets his acoustic out again.  The lyrics are cool:  “Now I’m runnin’ out of oxygen, but I’ve still got my guitar.”

Heading into the home stretch, “Reckless” stomps in a nondescript kind of way.  You may have heard Ace’s cover of Steve Miller’s “The Joker”.  Some love it, some don’t.  I am undecided.  I can’t say that I needed to hear the song anymore.  The standard album closer is the 7-minute “Starship”, which sounds at first as if it could fit in Ace’s “Quantum” series.  Then it goes in a number of different directions, all cool.  It’s a long instrumental that holds interest, and is an album highlight.  Bravo Ace.

The Japanese version comes with three bonus tracks:  an extended (4:44) version of “Reckless”, the radio edit (3:18) of “Space Invader”, and the “explicit” version (4:05) of “Gimme a Feelin'”.  (The vinyl has a “different remix” (?) of “Reckless” and an extended version of “The Joker”.  At least, I think that’s true, there’s conflicting info out there.)

I love the Ken Kelly cover art, which fits the classic sound of Space Invader.  The album is not perfect but it’s a step up from Anomaly and a proud addition to the Frehley library.  Any fan of the Space Ace who craves those licks and stuttery solos will find much to love here.

4.5/5 stars

 

More ACE:
ACE FREHLEY – 12 Picks (1997 Megaforce Worldwide)
ACE FREHLEY – Anomaly (2009 Bronx Born)
ACE FREHLEY – “Cherokee Boogie” (1996 Attic)
ACE FREHLEY – Frehley’s Comet (1987 Megaforce Worldwide)
FREHLEY’S COMET – Live + 1 (1988 Megaforce Worldwide)
ACE FREHLEY – Loaded Deck (1998 Megaforce Worldwide)
FREHLEY’S COMET – Second Sighting (1988 Megaforce Worldwide, 1998 reissue)
ACE FREHLEY – Trouble Walkin’ (1989 Megaforce Worldwide)
Return of the Comet – Tribute to ACE FREHLEY (1997 Shock Records)
Spacewalk – A Salute to ACE FREHLEY (1996 DeRock/Triage)

MOVIE REVIEW: Trailer Park Boys – Live in F**kin’ Dublin (2014)

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TRAILER PARK BOYS – Live in F**kin’ Dublin (2014 Netflix)

Some things never change!

Some time before the events of Don’t Legalize It, our boys Ricky and Julian had to help Bubbles make a music video, to win a chance to go to Ireland with Rush. Bubbles, dressed as Alex Lifeson, chose a shot-for-shot remake of the “Closer to the Heart” video. Ricky, wearing a false nose, is Geddy Lee (Ricky thinks it’s “Freddy Lee”). Julian taped a piece of chicken skin to his chin to get the look of Neil Peart’s Fu Manchu ‘stache. Drumming one-handed with a glass full of rum and coke in the other hand isn’t easy, but Julian pulls it off.  The video wins the contest! Alex calls Bubbles personally and the three are soon on a private jet bound to Ireland (“Ironland” according to Ricky), with Randy tagging along.

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Unfortunately for Ricky, a private plane isn’t a free license to bring your own dope into Ireland. The judge, however, is sympathetic. Since the boys are so popular in Ireland, he will drop the jail sentence if the boys will perform a show for community service, about the dangers of drink and drugs. The boys agree to a show in Dublin (“Doobylin”), and the live portion of the program begins.

The Trailer Park Boys live on stage in this case consisted of a puppet show, some audience participation contests, a couple of live songs (including Bubbles’ hit “Liquor and Whores”) and a lot of fuckery. If you have seen the boys live, then you know their show is basically just organized chaos. Audience members are invited on stage (the two dumbest ones, apparently) to play Cory and Trevor for the evening.

Highlights included the appearances of the Green Bastard (from “Parts Unknown”) and the evil puppet known as Conky. Apparently Conky must have survived being drowned in the episode “A Shit River Runs Through It”. I also enjoyed Ricky’s trick of “hippotizing” the crowd. He learned how to do it by watching Reveen, and wears a Reveen-esque magician cloak for it.

The film ends with the boys returning to Canada, having missed the Rush concert.  As a bonus, you do get to see their Rush video in its entirety, side by side with the original. A nice addition, as this video is the highlight of the film.

3.5/5 stars

Further reading:
TRAILER PARK BOYS – The Movie (2006 Alliance Atlantis)
TRAILER PARK BOYS – Don’t Legalize It (2014 E One)
TRAILER PARK BOYS – Big Plans, Little Brains: The Complete 1st and 2nd Seasons
TRAILER PARK BOYS – The Complete Third Season
TRAILER PARK BOYS – The Complete Fourth Season
TRAILER PARK BOYS Xmas Special (Conky Puppet, Dope and Liquor Editions)
TRAILER PARK BOYS – The Complete Fifth Season
TRAILER PARK BOYS – The Complete Sixth Season
TRAILER PARK BOYS – The Complete Seventh Season
TRAILER PARK BOYS – Say Goodnight to the Bad Guys

Blu-ray REVIEW: Trailer Park Boys – Don’t Legalize It (2014)

NEW RELEASE

Thanks to Chris Thuss for loaning this disc to me.

TPB3_0001TRAILER PARK BOYS – Don’t Legalize It (2014 Entertainment One)

Directed by Mike Clattenburg

Two years prior to the start of the new Trailer Park Boys opus, Ricky and Julian were released from jail for the 17th time.  Jim Lahey has suffered from a Ricky-induced stroke.  He now limps with a cane, hooked on coke (“white liquor”), still beside an increasingly disgusted Randy.  Lucy is living with mall cop George Green (aka “Fucky McFucksnapper”).  Ricky and Julian have ceased working with each other.  Ricky’s growing dope on an unprecedented scale, in a house in the subdivisions, but the Shitmobile only drives in reverse.  Bubbles is delivering chicken and beer on bicycle, living under J-Roc’s front step.  Terry & Dennis (the Flappy Bird Brothers) and Sam Losco are working for Cyrus.  And Lahey’s buying coke from Sam.  It’s a viscous circle.  Julian was bouncing at a local club, but now has taken a step up (?) in the world by selling piss.

Let me repeat that: Julian is selling piss.

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Clean piss, stolen from the military, at $60 a vial.  Paying $60 to pass a drug test and keep your job is apparently worth it in Julian’s world.  “Liquid gold,” he calls it.  The quality and freshness of the piss is important to his customers.  Ricky’s business of choice, however, is about to be shut down.  Canada is legalizing marijuana, turning Ricky from king of the hill to unemployed overnight…unless he can stop legalization.

Allow me to repeat that too:  Ricky needs to stop the legalization of marijuana.

Bubbles then receives a mysterious letter from a lawyer: his long-lost parents have passed away, but have left Bubbles a piece of land in Kingston, Ontario.  All he has to do is claim it.  Since Ricky needs to get to Ottawa to stop legalization, and Julian needs to get to Montreal to sell his stolen piss, it only makes sense to combine road trips.  Or a “working vacation,” says Julian.  He’s turned the Dirty Burger into a “Piss Wagon” to transport the liquid gold.  And Lahey’s following them.

Will things go off the rails when Randy dumps all Lahey’s “white liquor” out of the window of their station wagon?  Can Julian trust Cyrus?  Will Bubbles stay in Kingston?  And can Ricky stop his precious illegal crop from being legalized and taxed by government dicks?  All will be decided by the time they get to Ottawa…

Trailer Park Boys shows are known for the mangled English known as Rickysisms.  Some of my favourite lines and Rickyisms in this installment included:

“Instant carla, fucky!” – Ricky.

“Just shutty that fucky!  What’s with your hair man, you think you’re a fucking Beavil or something?” – to Randy regarding his “Beatles ‘do”.

(Laughs) “Meth!?  He’s selling piss, you fucking dum-dum.” – Ricky to Lahey, who thought the test tubes and hazmat gear meant Julian was cooking crystal meth.

“Cocksuckers chicken-jacked me!” – Bubbles after being mugged for chicken.

“Julian, can you stop handling the weiners for a second?” – Bubbles

The movie is dedicated to Richard Collins, aka Philadelphia Collins, who passed during the filming of the movie.  Phil Collins has some excellent scenes in this installment despite being confined to a wheelchair.  It is also dedicated to Brian Huggins (Shitty Bill) and Rita MacNeil.

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Special features: a 1976 vintage VW camper is discussed in the “Cars Of” feature.  Apparently that camper was a bitch!  The Laheymobile is an ’89 Crown Victoria station wagon that Randy is not allowed to fart in.  Ricky’s Shitmobile is a ’75 Chrysler New Yorker, which had to be drastically revamped structurally just to make it safe to film with.  Then there’s the Dirty Burger, which is actually an old camper that Robb Wells and John Paul Trembley bought years ago.  “Dogs, Busses & Barf Tubes” reveals the origins of Bubbles’ bus.  My favourite featurette is “The Cock Bomb Problem”.  What’s the “Cock Bomb” you ask?  The crew and cast ceaselessly pranked each other by drawing cocks on all of their stuff.

I felt that Trailer Park Boys went a little too dark on the last couple outings.  The final TV episode before the recent revamp of the show was the dour “Say Goodnight to the Bay Guys”, which was followed by the similar downer movie Countdown to Liquor Day.  Don’t Legalize It has its own moments of sadness and quite a few tears, but measured against its predecessor, it’s a much funnier and re-watchable film.  I think this captures the heart of the series better than the last film, even though many characters are absent or have smaller roles.  The core is the triumvirate of Ricky, Julian and Bubbles, along with the evil duo of Randy and Lahey.  As long as you have those ingredients, you have potential for a lot of fuckery.  Don’t Legalize It delivers.

4/5 stars

Further reading:
TRAILER PARK BOYS – The Movie (2006 Alliance Atlantis)
TRAILER PARK BOYS – Big Plans, Little Brains: The Complete 1st and 2nd Seasons
TRAILER PARK BOYS – The Complete Third Season
TRAILER PARK BOYS – The Complete Fourth Season
TRAILER PARK BOYS Xmas Special (Conky Puppet, Dope and Liquor Editions)
TRAILER PARK BOYS – The Complete Fifth Season
TRAILER PARK BOYS – The Complete Sixth Season
TRAILER PARK BOYS – The Complete Seventh Season
TRAILER PARK BOYS – Say Goodnight to the Bad Guys

Part 312.5: Coming to a Close – Poll Results

POLL

RECORD STORE TALES Part 312.5:  Coming to a Close – Poll Results

A few days ago I made the announcement that I will be drawing the Record Store Tales to a close soon.   It was inevitable that eventually I’d run out of good stories to tell. However I like to write so much more than just album reviews. When the Record Store Tales are concluded with the proper ending, I want to continue the storytelling. Music and retail will remain the main focus, it’ll just be from the other side of the counter.

I asked you for your suggestions for a new title for these “Post-Record Store Tales” (for which I have already been coming up with cool shit). And boy, did you deliver! Inundated with great suggestions, the problem became choosing just one.

So, I chose more than one.

Yes, a name has been selected for the “Post-Record Store Tales”, and it is an amalgam of multiple submissions. I hope you like it. I’ll reveal it when the new saga of stories begins. Until then, hang on tight. I’m currently finishing up the last few Record Store Tales, before the epic ending which will be a multi-part series. Wanna know how it all ends? Check back soon.

Cheers,
LeBrain