When Rudy Sarzo rejoined Quiet Riot, re-completing the classic Metal Health lineup, there wasn’t much fanfare. There also wasn’t much fanfare for this album which came and went without so much as a whisper. The reason is pretty simple. Like most of Quiet Riot’s post-1983 output, it’s not that great.
It’s better than I feared though. Some of these new songs are darnright good. “Against The Wall” is the best of the new songs, a rocker that would have fit on Condition Critical as one of the best tunes. It’s a peppy, upbeat motivational rocker. “Angry” is also not bad, being pretty heavy with a great vocal delivery from DuBrow. It is incredible that right up until his death, Kevin DuBrow’s voice was as strong as ever. “The Ritual” is a groover, something previously unknown for Quiet Riot. It’s mean and nasty and it works really well.
The rest of the new material isn’t all that hot. Quiet Riot’s problem has always been poor songwriting. Much of their best material were either covers or co-writes. There are awkward choruses that just don’t hit the spot; bridges and verses that jar with the riffs. These songs don’t sound like completed songs, they sound like a bunch of parts stuck together. Witness “Too Much Information” (which I actually like the lyrics to quite a bit), “Don’t Know What I Want”, “Alive and Well”, and “Overworked and Underpaid”. These are not great songs. They have neat parts and nice bits buried within them, but as a whole…sorry, no. There is also one truly awful song, the funk-crap of “Slam Dunk (Way To Go)”. What an awful song. Truly a terrible, terrible song that never should have made it past the demo stage.
There’s one previously released track, the AC/DC cover “Highway To Hell” (previously released on the AC/DC tribute album, Thunderstruck). It’s OK, but let’s face it, very few bands can cover AC/DC. Carlos Cavazo can’t play that rhythm part and make it sound right. Sarzo’s bass is a little too bouncy. Otherwise, it’s an OK cover, but once again Quiet Riot are padding out albums with covers…
The record company made them re-record six of the old classic tracks, and here they are tacked onto the end. Some are OK. “Don’t Wanna Let You Go” (one of my personal favourite Quiet Riot songs) has been rearranged acoustically. Carlos’ acoustic guitar is beautiful, and because this song presents a new arrangement, I think it’s worthy of inclusion. The rest offer very little of interest. Why re-record old classics? There’s no real artistic reason, only financial reasons. I guarantee you that you will not replace your old copy of “Metal Health” with this re-recorded version. And the new version of “The Wild and the Young” is just bad, bad, bad. All the techy-uniqueness of the original has been replaced by pseudo-heaviness and funk. Yes, funk, there’s a funky break right in the middle that should have been excized. It’s just awful.
As an album, Alive and Well has enough good going on to make it listenable, but this is no comeback. This is treading water, zero growth. Amazon is loaded with positive reviews, fanboy-ish as they are. Well, I am the biggest Quiet Riot fan around. And I’m just being objective here when I say this: Unless you’re die-hard like me, you don’t need this album.
Soundgarden was one of the first Seattle bands I tweaked onto, mainly because Soundgarden (and Alice in Chains) were the most metallic in their approach. I refused to call them grunge — not with riffs this Sabbathy and a singer who could have been Ronnie James Dio’s protege!
Soundgarden broke up for 13 years, and Chris Cornell started (in my opinion) a lucklustre solo career, while Matt Cameron fared better as the longtime drummer in Pearl Jam. There’s a certain renaissance for these kinds of bands now, what with recent critically acclaimed albums by Alice in Chains and Pearl Jam (and that new studio Soundgarden record) being very well received. Telephantasm acts as a sort of “Anthology” collection. Back in the 90’s this deluxe edition would have been considered a boxed set. Just that today, we’ve done away with the box! It’s not quite a greatest hits set (live versions of “Jesus Christ Pose” and “Pretty Noose” are subbed into for the familiar singles), and not quite a rarities set (9 of the 24 tracks are rare or unreleased).
What Telephantasm is, is a really good overview of one of Seattle’s best. From the Deep Six compilation to their final pre-breakup album Down on the Upside, this set chronologically presents Soundgarden at their very best, live and in the studio. Personally I haven’t listened to old Soundgarden in a while. I have a bunch of albums and singles at home, but after I quit the record store, I reverted back to my metal roots and didn’t listen to Soundgarden much anymore. For me, this was almost like the first time again. Hearing the songs in this new context didn’t take away from what they were on albums either.
Outstanding classics for me include: “Fopp”, “Superunknown”, “My Wave”, “Dusty”, “Burden In My Hand”, “Rusty Cage”, and “Spoonman”. I mean, every fan of musicianship absolutely needs a song in their collection with a killer spoons solo!
Outstanding rarities for me were: the video mix of “Fell On Black Days”, and live versions of “Pretty Noose”, “Flower”, “Blow Up The Outside World”, and a frenetic “Jesus Christ Pose”. Hard to believe that Cameron can play those complex rhythms live. Unbelievable!
Of course there is the much hyped “Black Rain”, an unreleased track from the Down on the Upside sessions. Sounds great. Could have been written for Badmotorfinger. Liner notes are excellent. There are two essays, one by guitarist Kim Thayil (who seems like one of the coolest guys in rock). There are a handful of photos and exhaustive credits. I’m not too keen on the cover art, but there is a big fold out revealing the whole thing, and it’s quite expansive.
Of course there’s the DVD, for some this will be worth the price of purchase alone! This is a pretty comprehensive collection of music videos including uncensored and international versions. For new fans who are upset that they didn’t get the studio versions of “Jesus Christ Pose” or “Pretty Noose” on the CDs, they are here on the DVD.
There is a bonus track on some versions — the unreleased song “The Telephantasm”. However the best way to get that song is to buy the 7″ single, which also includes a killer, killer live version of “Gun”. This is a brand new live version by the reunited band. If you want the truly complete picture of Telephantasm, go out and get that single while you still can. Also required, but much more expensive and still unacquired by me: There is a bonus track on the deluxe vinyl version of the album: “Beyond the Wheel”, live by the reunited band. This is on a included 7″ single, which I would very much like to get.
Lastly I’ll have to say a few words about the mastering of this album. Unfortunately the “Loudness Wars” can add Soundgarden to its body count. The album was mastered way too loud, and it really takes its toll on the sound. You can really hear it on the cymbals. It’s unfortunate, since so many of these songs are previously unreleased. This is the only way you can hear them, and it’s not as good as it should be, thanks to the record company mastering this damned thing too loudly.
Bought at HMV, Stone Road Mall, Guelph ON, on import for $29.99 in 1996.
BLACK SABBATH – The Sabbath Stones (1996 IRS)
The Sabbath Stones, a record-company cash-grab, is a greatest hits compilation of Sabbath’s Tony Martin years (mostly) plus a smattering of bonus tracks. While it is not perfect, and so many great songs were omitted, it is still a really great listen from start to finish. Tony Martin is probably the most derided of all Sabbath vocalists. Having seen Sabbath live on their final tour with Martin (also including Cozy Powell and Neil Murray) I can say that I quite enjoyed that incarnation of Sabbath. Also, in 1996 when this was released, albums such as Headless Cross and The Eternal Idol were very hard to find on CD. With that in mind, read my track-by-track breakdown.
1. “Headless Cross” — This compilation is the IRS years (that’s the record label, not the government agency) and thus starts with their first IRS album, Headless Cross. The title track is one of those underground classics. The groove here is monstrous (thanks, Cozy) and the notes Martin hits in the chorus are superhuman. This track, back in 1989, was Sabbath getting back to a truly heavy evil sound. Shame that the keyboards (on all tracks by Geoff Nicholls) are mixed so high!
2. “When Death Calls” — One of my favourites from Headless. Beginning with fretless bass (by temp bassist Lawrence Cottle) and haunting vocals, you’d almost think this was a ballad. By the end, it’s breakneck, with Tony Martin singing these evil lyrics about how “your tongue will blister” when Satan says you’re to die! The guest guitar solo by Brian May will sear your soul.
3. “Devil and Daughter” — A third great track from Headless, an album loaded with great tracks. This is an uptempo one all the way through!
4. “The Sabbath Stones” — From 1990’s underrated Tyr album. I quite liked Tyr. “The Sabbath Stones” is a fast one, wicked, but muddy in sound as was all of Tyr. Once again, Martin hits inhuman high notes by the end.
5-7. “The Battle Of Tyr/Odin’s Court/Valhalla” — These three tracks are actually all bits of one long piece, on Viking mythology. Sabbath at the time were trying to get away from the “Satanic thing”, and Vikings were still evil enough to sing about. Some fans didn’t like that turn of events but I think Sabbath were well ahead of their time. “The Battle Of Tyr” is a keyboard-y bit, just an intro to get you in the mood. “Odin’s Court” is acoustic, with Iommi picking a simple melody while Martin sings about “leading us on, to the land of eternity, riding the cold cold winds of Valhalla”. That takes us into the main meat of the trilogy, the “Valhalla” portion. One of the most powerful of all Martin-era tracks, with great keyboard accents and a memorable Iommi riff, this was my favourite track off Tyr. (It’s either this one, or “Jerusalem”.)
8. “TV Crimes” — A brief departure from the Tony Martin years. In 1992, he was out and Ronnie James Dio, Geezer Butler, and Vinny Appice were back in. The album was called Dehumanizer and even though it did not sell well, a hardcore following now consider it among the very best Sabbath albums of all time, and possibly one of the best things Dio’s ever done. Why it was underrepresented here with just one song is beyond me. There should have been at least three Dehumanizer tracks on this CD (I would have nixed “Devil and Daughter” and “The Sabbath Stones” in favour of two more with Dio singing.) Anyway, “TV Crimes” (the single) is here, and while not one of the best songs from Dehumanizer, it and “Time Machine” were the two most well-known.
9. “Virtual Death” — Tony Martin is back, with Rainbow’s Bobby Rondinelli and Geezer Butler too! That would not last long, as Geezer soon fled back to Ozzy’s solo band to record the Ozzmosis CD. “Virtual Death” is hardly one of the better songs from the Cross Purposes album, a decent record if a bit soft. Having said that, the soft tracks were really quite good and “Virtual Death” was just a grunge song. Black Sabbath influenced that whole scene, but they ended up copying Alice In Chains’ trademark vocal style on “Virtual Death”. That double tracked vocal melody could have come right off Dirt.
10. “Evil Eye” — Another puzzling Cross Purposes selection. I can’t think of a reason to include it. There was once a legend that “Evil Eye” was co-written by Eddie Van Halen, who went uncredited. The same rumour suggested that Van Halen either performed the guitar solo or wrote the solo for Iommi to play. Joe Seigler of black-sabbth.com has busted this rumour as false. My two tracks from this album would have been “I Witness” (fast one) and “Cross Of Thorns” (slow one).
11. “Kiss Of Death” — Finally we arrive at the end of the Martin years with the dreadful Forbidden album. It’s sad because it wasn’t the end that Tony Martin deserved. The album just got out of hand and next thing you know, Ozzy was back. This track was at least one of the strongest ones. A killer, slow closer with some unbelievable Cozy Powell drum fills, if it had been recorded right it would have just slammed you in the face.
12. “Guilty As Hell” — Another Forbidden track, and one of the weakest. “Can’t Get Close Enough” should have been subbed in. Just filler.
13. “Loser Gets It All” — TREASURE! The Japanese Forbidden bonus track, finally available domestically! (Please note, the Cross Purposes Japanese bonus track “What’s The Use” is still unreleased outside Japan, dangit.) This song, a shorty just over 2 minutes, is actually stronger than all the other Forbidden stuff. Good riff, good keyboards, not bad sounding. Shame it was buried on a Japanese release. Why? Who knows. Maybe Tony Martin does. Tony, drop me a line. I’d love to talk.
And that finishes the final IRS album, and the final one for Martin. He’d been replaced once before by Dio, and now finally by the once and future Ozzy, and it’s all over for him. Since then he’s taken a back seat to his more famous predecessors, although he released the strongly reviewed (by me) Scream solo album in 2005. He also did a number of albums with guitarist Dario Mollo, two of which I own but have to revisit.
There are three “bonus tracks”, songs that were included under license, from the period before the IRS years. The inclusion of these songs really make the album a fun listen.
14. “Disturbing The Priest” — My favourite incarnation of Sabbath was 1983’s Gillan/Iommi/Butler/Ward and this is my favourite song from Born Again. It’s so evil you’ll feel like you need to confess your sins after listening! I have no idea how Gillan managed such demonic screams. Brilliant selection!
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15. “Heart Like A Wheel” — I’m actually quite fond of the Glenn Hughes fronted album, Seventh Star, but this song has no place on this album. Granted Sabbath played it live on the ’86 tour with Ray Gillen subbing in for Hughes, but it’s too slow and bluesy. The title track or “In For The Kill” should have been subbed in.
16. “The Shining” — Tony Martin triumphantly ends the album with his first single with Black Sabbath. “The Shining” has a vintage Iommi riff, and more ungodly high notes. There are early demos of this song from before Tony joined the band, with other singers, as Iommi had this riff a long time before. A 1984 demo entitled “No Way Out” was recorded with Ian Gillan’s short-lived replacement singer, David “Donut” Donato. Then it was re-written and re-sung by Ray Gilllen, and this version was recently released on the Eternal Idol deluxe edition. Tony Martin’s version then is the third incarnation of the song that I have, and it’s a triumphant one. I love the way this album was bookended with Tony Martin songs.
That’s the CD: 80 MINUTES LONG! You just can’t argue with cramming that much music onto one disc. And yes, you can get 80 minutes onto a CD, and this album is the proof.
While I have argued against the inclusion of some songs, by and large this is a well-made compilation, for a record company cash-grab. Considering the Martin years have been buried, I think it is well worth owning. I listened to it all the time.
RECORD STORE TALES Part 257: Sexy Beast Or: should a cockney accent be mistaken for a foreign language?
This guy, “Big Daddy Dave,” came into the store to return a movie he bought. That DVD was Sexy Beast, starring Ben Kingsley and Ray Winstone. Great movie, British mobster flick. If you’ve seen it (and I recommend that you do) then you know the accents are quite thick — but also that the movie is still in English. In fact I recommended the movie to Big Daddy Dave and was surprised to see him return with it in hand.
He walked up to the counter and said, “Yeah, I want a movie that’s in English.” So I explained to him that Sexy Beastwas in English. Ray Winstone and Ben Kingsley are, in fact, both English. “That movie was in English? But I couldn’t understand a damned word they said!”
If you missed the Top Five Albums of 2013 lists,click here!
Some people got carried away and submitted more than 5 in their lists this year, Uncle Meat being the number one offender. But since Tom & Uncle Meat were good this Christmas, here are the Top Five (or Six) (or Ten) Movies of 2013. And while we’re talking about movies we may as well do a Top TV Shows of 2013 as well huh?
Tom
Movies
6. Sound City
5. Star Trek: Into Darkness
4. This Is The End
3. John Dies At The End
2. The World’s End
1. The Hobbit: The Desolation of Smaug
TV Shows
10. Rick and Morty
9. PTI
8. Colbert Report
7. Daily Show
6. Eagleheart
5. Venture Brothers
4. The Jeselnik Offensive
3. Aqua Teen Hunger Force
2. Community
1. Game of Thrones
Meat
Movies
10. Carrie
9. Kick Ass 2
8. Pacific Rim
7. This is the End
6. Man of Steel
5. Star Trek: Into Darkness
4. 42
3. Sound City
2. The Hobbit: The Desolation of Smaug
1. The Wolf of Wall Street
TV Shows
Meat came up with a Top Nine. Sure, why not!
9. Marvel’s Agents of S.H.I.E.L.D.
8. The Following
7. The Killing
6. Walking Dead
5. Californication
4./3. Tie: Mad Men/Breaking Bad
2. American Horror Story: Coven
1. Game of Thrones
Seb
Movies
5. Iron Man 3
4. Pacific Rim
3. Star Trek: Into Darkness
2. The Incredible Burt Wonderstone
1. Man of Steel
Seb also had some Top Concerts he wanted to mention: “Brian Setzer and Meshuggah….. Yeah, I know its weird….he he he!”
Mrs. LeBrain
TV Shows
5. Jeopardy!
4. Dragon’s Den
3. Blue Bloods
2. The Big Bang Theory
1. Hockey Night In Canada
LeBrain
For a variety of reasons I don’t get out to the movies often, so I decided to just post Five Movies I Saw in 2013!
Movies
5. Man of Steel
4. This is the End
3. Sound City
2. Star Trek: Into Darkness
1. The World’s End
TV Shows
When Mrs. LeBrain wasn’t watching hockey, I watched these shows in 2013:
5. Star Trek re-runs (best I could come up with)
4. The Liquidator
3. Toy Hunter
2. Survivorman
1. Breaking Bad
When this one slid into my hot little hands, I couldn’t help but laugh. Double Dose of Poison? Look at that cover. Someone forget to give Bret the memo, the 80’s are over. But it was summer, and Poison were touring with the Crue. The cougars were on the prowl, and if that’s not enough reason for a classic rock band to release an album, I don’t know what is.
However, let us not forget, Poison haven’t released any new original music since the dreadful Hollyweird in…God is it almost 10 years already? So when your band is creatively on ice, all you can do is repackage the hits. By my reckoning, Poison have done that very thing almost as many times as they’ve released studio albums.
Anyway, enough of my lecturing. Let’s dig into the album, a very generous slice of Poison, albeit one that wears out its welcome prematurely. The album is wisely sparked off with “Talk Dirty To Me”, their first hit, and still a firecracker 25 (!) years later. Sequenced chronologically, this is followed by the equally familiar “I Want Action”. The lesser known (but still classy) ballad “I Won’t Forget You” is here. So is perhaps the best single for the first album, “Cry Tough” which still has that youthful energy. The perennial “Look What The Cat Dragged In” tops off the material from the first album It’s an inferior song, but one that has proven to have legs over two decades later.
By the second album, Poison had tightened up their chops and songwriting a bit, and the still-great “Nothin’ But A Good Time” is next. The rest of the ’88-’89 singles follow in due course: “Fallen Angel”, “Every Rose” (of course!)” and “Your Mama Don’t Dance”. So far, CD 1 works. It sticks to (mostly) the hits, with the ballads sprinkled about sparingly, exactly as any good rock album should work.
But the first disc ain’t over yet, although this is where the chronological concept is ditched. From album #3, here’s the dreadfully awful “Unskinny Bop” (please, nobody really likes this song)! It’s followed by the Kiss cover “Rock N’ Roll All Nite” which was actually recorded between albums #1 and #2. But the other three singles from album #3 follow in short order: “Ride The Wind”, “Something To Believe In” (another ballad) and “Life Goes On” (wait…two ballads in a row?). Then from album #3, we jump to album #5. “Stand” is the third ballad in a row. While it is more a soul song with the great Richie Kotzen now filling CC Deville’s shoes, it still serves to slow down this disc almost to the point of skipping. Then, for whatever reason, the compilation skips to albums #7 and #8 (the worst album Poison ever did, Hollyweird). “The Last Song” from Power To The People is…holy crap…another (boring) ballad. It is followed by the cover “Shooting Star”. What the devil were they thinking? Four ballads in a row? Sure, we’re not young anymore, but we’re not comatose.
Onto disc two. Keep in mind, Poison have used up most of their hit ammunition on disc one. Disc two relies heavily on covers from the Poison’d album. That’s five more covers for those keeping score, bringing the total of covers on this whole compilation to eight. Eight freaking covers out of 35 songs, that’s 23% covers — almost a quarter of the album! Come on, guys. We know you had all your hits in a brief period of the late 80’s and early 90’s, but what about the great album tracks? Where’s “Ball And Chain”? Where’s “(Flesh & Blood) Sacrifice”? “Valley of Lost Souls”? Where are all the great album tracks that prove Poison was more than a handful of singles? Well, some are here: “Look But You Can’t Touch”, “Love On The Rocks”, but mostly we’re into the covers. If you already have Poison’d, then this disc is pretty redundant. A few tracks from the underrated Crack A Smile CD (with Blues Saraceno on guitar) are here, such as the swanky’ “Sexual Thang”. A few rarities too, “Gotta Face The Hangman” and “Livin’ For The Minute”… but they are rarities for a reason. They don’t hold up to the quality of the hits.
Highlights on this second disc are the bright and sparkling rocker “So Tell Me Why” from album #4 (the live + studio CD Swallow This Live) and a deuce with Richie Kotzen: “Fire And Ice” and “Bastard Son of a Thousand Blues”. The disc, very unwisely, ends with perhaps the worst and most overplayed Poison song in history, “Poor Boy Blues”. Bret, I know you like the blues. I know you like them a lot. But Poison are not a blues band. Never were. Never will be. The closest you ever got was when Richie was in the band. 20 freakin’ years ago.
That about sums it up. If you want a really good, solid, to the point Poison hits album, choose one of these two:
1986-1996 Greatest Hits
The Best of Poison: 20 Years of Rock
Both are single discs, but are boiled down to the basics.
Let’s face it, if you’re a big Poison fan, you already have all these songs, because they’re all on the CDs. If you’re not a big Poison fan…you don’t really want all these songs.
2/5 stars
Disc one:
01. Nothin' But A Good Time
02. Talk Dirty To Me
03. Look What The Cat Dragged In
04. Be The One
05. We're An American Band
06. Life Goes On
07. Every Rose Has Its Thorn
08. Stand
09. Livin' For The Minute
10. Little Willy
11. (Flesh & Blood) Sacrifice
12. I Won't Forget You
13. Rock And Roll All Nite
14. Love On The Rocks
15. Suffragette City
16. Lay Your Body Down
17. Until You Suffer Some (Fire And Ice)
18. No More Lookin' Back (Poison Jazz)
_______________________________________________________________
Disc two:01. Unskinny Bop
02. Cry Tough
03. I Want Action
04. Your Mama Don't Dance
05. Something To Believe In
06. Fallen Angel
07. Ride The Wind
08. Bastard Son Of A Thousand Blues
09. Sexual Thing
10. Can't You See
11. So Tell Me Why
12. What I Like About You
13. Face The Hangman
14. Cover Of The Rolling Stone
15. Poor Boy Blues
16. Look But You Can't Touch
17. Theatre Of The Soul
I hope you all enjoyed your Christmas breaks if you had one! I always like to binge on movies at this time of year. Here’s one!
FIDO (2006 Sony Pictures)
Directed by Andrew Currie
It is the 1950’s. Post-Zombie War America is serviced by a new megacorporation called ZomCon. Radiation caused the dead to rise, but the Zombie Wars have been won. Zombies are domesticated, tamed, made into servants and pets. The do the tedious jobs, the ones that nobody wants to do. They do it without complaint and they are part of life in the subburbs. Children are taught from gradeschool how to kill a rogue zombie with a headshot. ZomCon controls the zombie popular with an iron fist, and electronic collars that render them harmless.
Since winning the Zombie Wars, humans must always be on guard; after all, everyone dies eventually. Therefore each death (natural or otherwise) keeps the world going with a steady supply of new zombies. ZomCon provides security, keeps the peace, and maintains order down to every facet of society, including education. Cities and towns are fenced off from the wild no-man’s land in between.
Within the town of Willard, an everyday small town in Anywhere, America, the neighborhoods are inhabited by fascinating characters, both human and zombie. Mr. Theopolis (Tim Blake Nelson) for example is an ex-ZomCon employee who now lives with Tammy, a young blonde fresh zombie who died of a brain aneurysm. A wealthier owner has six zombies, a symbol of decadence.
Little Timmy Robinson’s family are the only one on the street who don’t have a zombie housekeeper. Mr. Robinson claims they just can’t afford one, but the truth is he has a deep seated fear of zombies, going back to when he had to put a bullet in the brain of his own dead father. When the ZomCom head of security moves in across the street, Mrs. Robinson buys her own zombie (Billy Connolly) so to keep up appearances. Timmy quickly bonds with the zombie, whom he named Fido, after Fido saves him from the school bullies. Zombies, it seems, retain a modicum of their original personalities.
Without a control collar, a zombie will eat anybody nearby. When Fido’s collar malfunctions, he eats mean old lady Henderson! This sets off a cascade of events that forces Timmy to cover for his zombie friend. As the situation worsens, the death count rises…and with it the wild zombie population! Things get weirder when it becomes apparent that Mrs. Robinson (Carrie Ann Moss) and Fido have feelings for each other. Mr. Robinson sure doesn’t think much of Fido, nor does Mr. Bottoms, the ZomCom veteran. As events spiral to the blood-splattered but satisfying denouement, Fido and Timmy’s loyalty to each stands firm.
When my buddy Chris recommended Fido to me, I wasn’t all that interested. I’m on record as a Billy Connolly fan, but isn’t half of what makes him so hilarious that accent of his? His rich weathered voice and mannerisms are priceless. Yet somehow, Connolly pulled off a wonderful Billy-zombie hybrid. Connolly does some of the best grunt dialogue I’ve ever heard. His zombie-acting is spot on. Connolly allows Fido to emote, while remaining dead.
I really enjoyed the details of this alternate Bizarro-universe that is Fido‘s 1950’s America. Having won a war against zombies, Life magazine is now Death magazine. Funerals are expensive affairs to arrange, with ornate head coffins to ensure that you stay dead. Handguns can be weilded by 12 year olds (self defense), and marksmanship is taught to ZomCon cadets in school. The world of Fido was obviously well thought out, as it is rich and detailed. Visual and audio clues fill in the subtleties in this world. Best of all, the Canadian filmmakers managed to do so with a budget of $8M. Compare that to World War Z‘s $400M cost.
I recommend Fido to fans of clever zombie films, and to fans of Connolly who just want to see him do something completely different.
4/5 stars
K’Sun Ray as Timmy Robinson
Billy Connolly as Fido
Carrie-Anne Moss as Helen Robinson
Tim Blake Nelson as Mr. Theopolis
Dylan Baker as Bill Robinson
Henry Czerny as Jonathan Bottoms
Music, movies, and books! I’ve been very occupied these last couple days.
I get the Guiness’ Book of World Records, and the Ripley’s Believe It Or Not books every year. I imagine my surprise when I discovered a friend of ours in both books! Apparently, Sweet Pepper Klopek holds the world record for “Most Baking Sheets Buckled Over the Head for One Minute.” This is a guy who has been on my living room couch! Lemon Kurri says:
“He’s in there a couple times. Most mouse traps sprung on a tongue in 1 min too.”
JUDAS PRIEST – Nostradamus (2008 Sony deluxe edition)
I was really worried about this album. I started reading some of the early bad reviews and was a little shocked as to how much some people hated Nostradamus. Even more worrisome were the mixed reviews, often coming from long-time Priest fans. Many liked it, but they were far from blown away.
I’m strongly in the “like” category with this CD. I get completely why some fans don’t like it. Most of the terrible bad reviews I read came from dyed-in-the-wool metal fans, and yeah, you’re not going to love it if all you eat, breathe, and sleep is metal. I’m not meaning to be condescending here. People who don’t love just metal, but also progressive rock, classical, and even opera, are more likely to love Nostradamus.
The production is OK (self produced this one is), but the drums are oddly buried in the mix. Maybe Scott Travis isn’t even the right drummer to be playing these kind of grooves (plods?), I don’t know. He sure does wail on “Persecution” though, among others. Still, it’s like a weird 80’s drum sound from a Leatherwolf album or something.
KK Downing and Glenn Tipton — awesome as ever. At least KK went out of Priest on a high note. He got to stretch his wings out a bit on this, as did Glenn. There is everything a guitar lover could want on Nostradamus. Lots of natural guitar tones, distortion, crazy riffs and spastic solos, even a bloody flamenco! Mental solos – unbelievable.
Halford — awesome. On some songs he’s really reaching back to his love of opera, no doubt of that. Buddy sings in Italian on one song! Kind of jarring, but it suits the whole epic nature of the music. Yes, there are screams. He’s learned to make the screams more effective by using them sparingly, more strategically. At the same time a lot of fans want to hear him scream at the top of his lungs again, like he did on Painkiller, and I can understand that. Fact is, maybe the guy can’t do it like that anymore. Is that his fault? Of course not. His singing is very much like it was on Angel Of Retribution. Mature’s a good word. I miss the screaming too, but if he can’t do it like he used to, it can’t be helped. It is what it is.
Regarding bassist Ian Hill, I can’t hear the bass guitar, most of the time. I guess that’s kind of expected in Priest, right? They’re not really known for bass. Don Airey of Deep Purple played keyboards, and he’s great. As always. Lots of dramatic piano, circa vintage Sad Wings era Priest. Very different from what he does currently in Deep Purple.
There are also real strings, so don’t fret. Lots of guitar synths as well, but not on a “Turbo Lover” sort of scale. I didn’t find the synth too intrusive for the most part. In a lot of cases the string and synths combined make it sound like a massive Michael Kamen score. You’ll know what I mean when you hear it. It’s very big and bombastic and some don’t find that kind of string arrangement to their tastes. Some find it very one-dimensional. Personally I think it had to be this way on Nostradamus, since the strings need to be heard among the guitars.
This “Deluxe Edition” comes in a nice hardcover book. It’s roughly DVD sized. Very nice package even if you have to slide the CD out of a cardboard sleeve (again!). Worth the extra cash to you? Well, that’s up to you. I’m not sure it’s worth it to me or not, but I bought it, so there you go.
I wonder if Nostradamus will go down as the most controverial Priest album ever? Even more so than Turbo, Point Of Entry, or Jugulator? Certainly some of the initial reaction on the usual sites was pretty harsh. Priest have always been a diverse metal band, and if you love Priest’s entire history including all the nooks and crannies, you’ll love Nostradamus. If you only like British Steel, you are probably going to hate Nostradamus!
These 16 songs are what we’re calling our “Greatest Hits.” Not to be confused with “Our Best Songs” or “Our Favorite Songs,” it is a collection of the songs that have defined our band’s identity to most people over the years. The other 65 album tracks… well, some of those might be our greatest songs. “Aurora”, “New Way Home”, “MIA”, “Exhausted”, “A320” … depends on whom you ask. Personally, I don’t think we’ve written our greatest songs yet. But that door is always open.– Dave Grohl, 2009
FOO FIGHTERS – Greatest Hits (2009 Roswell Records CD/DVD set)
November 2009 was a great month for Dave Grohl fans, with this release of their Greatest Hits CD, a slew of Nirvana, and Them Crooked Vultures. As far as the hits disc goes, I would recommend that you purchase the version that comes with the bonus DVD. It includes almost all of the Foo’s wonderful witty and goofy music videos as well as live cuts.
I actually don’t have too many beefs with the CD track listing itself. Granted, Foo singles and Foo album tracks are often two different beasts and equally good. As Dave points out in the liner notes (great liner notes by the way) maybe “Aurora” should have been included in a tracklist of the “best” Foo songs. More songs from the first album could have been here. I’m sure you could pick out a dozen more. All the tracks here are singles or new songs. By and large though, no big deal, as long as you dig deeper into the Foo catalogue after hearing this CD.
What about those two new songs?
“Wheels” has a neat opening riff that sounds like country music with feedback! I like this song alot. Honestly, I think this is a country song in disguise. Imagine Dwight Yoakam doing it. See what I mean? As far as Foo songs go, maybe this would fit right in with There Is Nothing Left To Lose material. Great chorus, there’s even a little twang in the chorus. It has an epic quality. Cool crashing chords in the chorus, too.
“Word Forward” starts acoustic, punctuated with some electric guitar. Not quite as strong as “Wheels”, the melody is a bit more awkward. This sounds more like B-side material to me. It’s a shame because I quite like the clean-picked opening guitar, the dynamics, and a lot of the chords, it’s just the melodies of the song that don’t work for me.
The flow of the songs isn’t perfect. A song like the electric version of “Everlong”, to me, is a song that goes on the later half of a CD (aka “side 2” to us old folks). To me it’s a song that builds up to a closing climax of an album. If I had chosen this exact same track list, I would have had the songs in a different order so they flow better in terms of mood. Also, I think a few too many fast Foo tracks are presented in a row without enough of their wonderful slower songs to break things up. Look at the first four tracks in a row: “All My Life”, “Best Of You”, “Everlong” and “The Pretender” are four fast heavy ones in a row, followed by “My Hero” which is still pretty heavy. It’s like putting your foot on the gas pedal and not taking it off even when your passenger is giving you terrified looks!
The album ends with an acoustic version of “Everlong” (not from the Skin and Bones CD, this is an unreleased 1996 demo). While this spare, Grohl-only version of the most epic of epic Foo songs is great, as a closer it’s not my choice, at least not for an album like this. It kind of left me hanging. I’m not bitching about getting an unreleased demo of a classic song, I just don’t think last was the right place in the running order for it.
I can only give the CD-only version 3.5/5 stars, because it’s a little underwhelming and I’m sure you, as a fan, could have made a better mix CD. Pick up the version with the DVD — 4.5/5 stars on that one.
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