Say what you will about ZZ Top’s foray into 80’s music. Β Using sequencers and compression on the drums wasn’t everybody’s cup ‘o java, but it sure made ZZ Top millionaires. Β I like this album. Reverend Billy Gibbons’ guitar tone was so sweet on this album. It’s so smooth and creamy, I just love the tone. This might be my favourite album of his, purely for guitar tone. Just listen to that sweet picking on the album version of “Legs”. Man, how does he get that sound?
The original album has been lovingly remastered, with the original album version of “Legs” restored. However, fear not, the single version is still here as a bonus track. Other bonus tracks include live versions, the most exciting of which is a fiery “I Got The Six”. And hey, if you don’t like the techno sounds of the album, the live tunes give you an idea of what they’re like stripped down to the bone…like a juicy rack of ribs, meat falling right off. Β It’s cool how Frank Beard is just as metronomic on the live versions. He’s not a flamboyant drummer, but he’s definitely solid. Just like the Beatles wouldn’t have sounded the same without Ringo, or the Stones without Charlie, Frank is essential to that whole ZZ “Je ne sais quoi?”
I like the whole album, with only a few songs I call filler, such as “Thug”. I always enjoy hearing “Sharp Dressed Man”. I don’t know how all these years later I’m not sick of it, but I’m not. “TV Dinners” always makes me smile. Really, will these guys write about anything?
“I Need You Tonight” is one of those smooth ZZ Top blues. Β It’s slick, but unquestionably still blues. Β “If I Could Only Flag Her Down” is another blues based standout. Β This one’s a bit more of a boogie. Β Finally, “Bad Girl” (sung by Dusty Hill) is pure rock and roll.
The DVD is cool. Β You get the original music videos and some live TV performances. Β If you’re a ZZ Top fan (and for your own happiness, I hope that you are) I think you will enjoy the video stuff. Liner notes are also ample.
5/5 stars. Β It’s never too late to pick it up!
Click the pic of the Ford to see yesterday’s gallery of the Monogram ZZ Top Eliminator model kit!
Happy LeBrain Day! It’s my birthday. Sometimes on my birthday, I like to just spend an afternoon watching a favourite movie. This is one.
2001: A Space Odyssey (1968, from the 2011 Stanley Kubrick Visionary Filmmaker Blu Ray Collection, Warner Bros.)
Once upon a time, when the year 2001 seemed aeons away, director Stanley Kubruck (Dr. Strangelove) contacted author Arthur C. Clarke (Childhood’s End) to discuss making “the proverbial good science fiction movie”. Both were sick of films that passed for science fiction, but were actually monster movies set in space, or just replaced Β science with fantasy.
The result was 2001: A Space Odyssey, the film, and a companion book of the same name which is actually a completely different animal. The film — striking, innovative, visually engrossing, ambiguous, and scientifically solid — is as good today as it was in 1968, even if many of the “predictions” of the film have failed to come to pass.
Separated into four chapters (The Dawn Of Man, TMA-1, & Jupiter and Beyond the Infinite) complete with intermission, 2001 has no dialogue for the first quarter of the film. Beginning with a blank screen (and “Atmospheres”, by Ligeti), this is a film paradoxically anchored by both music and silence. The screen changes to the Earth rising over the moon, and the sun rising over the Earth (an important clue and recurring symbol) accompanied by “Thus Spoke Zarathustra”. We are then introduced to a tribe of pre-human apes (Australopithecus, perhaps), starving and on the verge of extinction. Other tribes are stronger and out-competing them for territory and resources. There is no dialogue, but the barking of the apes, yet that and the scenery speak volumes. Suddenly one morning, the game has changed: a mysterious black monolith has appeared. The apes are drawn to it, and soon find that they are now able to compete with predators thanks to a new discovery: weapons.
The second chapter, TMA-1, begins with what Clarke has called “the longest jump-cut in history”. Β We see that humanity has evolved into a space-going race. Orbital weapons platforms orbit Earth as a shuttle is making way to an under-construction space station. “The Blue Danube” plays as the spacecraft dance in calculated perfection. Our first main speaking character, Dr. Heywood Floyd, arrives on the station and we are given some tantalizing clues as to why he’s made this trip: Rumours of a plague outbreak on the moon. Yet this is just a cover story. As Floyd makes his way to the moon in another beautifully choreographed sequence, we learn that a magnetic anomoly was discovered in the crater Tycho (named after astronomer Tycho Brahe) — Tycho Magnetic Anomaly 1, or TMA-1. This discovery is potentially so important, that the cover story was created to keep everyone far away from Tycho.
We see that TMA-1 is another black monolith. Β We see echoes and ripples of past events lead to another jump forward in time. Β Midway though a mission of discovery to Jupiter, helmed by David Bowman (the perpetually young Keir Dullea) and Frank Poole (Star Trek’s Gary Lockwood). Β Their ship, the Discovery contains three sleeping astronauts and the most famous computer of all time, H.A.L. 9000. Β H.A.L. was flawelessly voiced by Stratford Ontario resident Douglas Rain. Β His eerie voice and Kubrick’s perfect framing shots help create the creepiest computer character ever seen.
The seemingly dull, sleepy daily routine is soon shattered. Β H.A.L. has detected a flaw in the ship’s main antenna. Β It will fail, unless one of the astronauts goes outside and repairs it. Β The antenna is their only link to distant Earth. Β H.A.L., who controls the life support and every function of Discovery, then begins to show signs of what humans call stress — he makes an error, and acts strangely. Yet no 9000-series computer has ever failed, or found to be in error. Β The chapter closesΒ with H.A.L. singing the old song, “Daisy Bell (Bicycle Built for Two)”, surely one of the most haunting scenes in cinema.
After an intermission, Discovery finally arrives at Jupiter and its true mission is revealed. This section too has no dialogue, bringing us full circle to the way it began. David Bowman once again must venture outside the ship, and find out how the mysterious discovery on the moon relates to Jupiter. Β Perhaps even how it related to our millenia-dead ancestors.
What follows is one of the most baffling and strange sequences in movie history, one which will require a few patient viewings to appreciate. The beauty of this final sequence is that there is no right or wrong interpretation. While on the surface it may appear to be a psychedelic kaleidoscope of colour followed by a bizarre dialogue-free encounter with a being that seems to have no bearing on reality, it is Kubrick’s inventive way of showing the audience something that is beyond anyone’s imagination. Like the audience, David Bowman and humanity have come full circle.
Lacking in what modern audiences call “action”, lacking typical space sound effects (there is no sound in space!), lacking dialogue for most of the movie, and lacking any sort of warm human characters (except maybe H.A.L. who is not human), this movie was a challenge to watch in 1968 and is still a challenge today. It is, however, a piece of art that transcends its genre and is a landmark in film making. Kubrick, always a visionary and always breaking through boundaries of what could not be done in film, outdid himself and made a science fiction film that still has not been topped over 40 years later. Nobody has made anything this epic, this beautiful, this deep or this scientifically sound since. The special effects — all practical effects and mostly in-camera, as CG did not yet exist — still stand up today. No movie buff will ever forget the rotating Discovery set that allowed one character to be seated while another seemingly walked on the “ceiling”.
Sure,we don’t have a moon base. We haven’t sent anyone to Jupiter. We do have a space station. We have created computers that can beat the best humans at chess and Jeopardy. This is not that far off. If they had named this film 2031: A Space Odyssey, we might be in the right ballpark. In the end, the year does not matter. You never see modern Earth in the movie anyway.
The blu-ray release is loaded with special features and has a beautiful transfer in 2.20:1, as Kubrick shot it and intended it to be. Both Dullea and Lockwood provide an audio commentary. There are documentaries about Kubrick, about the predictions of the film, and about the effects. The only thing missing is the vintage 1966 Arthur C. Clarke lecture from the first issue of the DVD. Β I still have that DVD copy because I like that old 1966 footage of Clarke. Β He’s my favourite author.
2001: A Space Odyssey is, without any doubt or any argument in my mind, the greatest science fiction film of all time. With Kubrick and Clarke now both gone, I doubt we will ever see anything like it again. 5/5 stars is meaningless, since this movie was (for its scale and stature) first, and the best, against everything in its genre.
I’ll rate it 200 billion stars, one for each star in our galaxy.
OZZY OSBOURNE – The Ultimate Sin (1986, 1995 Sony remaster)
I know Ozzy isn’t especially fond of this album (or anything about the whole Jake E. Lee period) but I love it. Β Hell, Ozzy hasn’t even offered it in any of his reissue programs. Β It’s out of print, and Ozzy never plays any of these songs anymore outside of “Shot in the Dark”.
I don’t know why I love it so much. Β I get why some people aren’t fond of it. Β Ron Nevison butchered the production, for one thing. Β Randy Castillo was such a powerful drummer, with a recognizable style. Β Here he sounds plastic with awful sounding cymbals. Β It’s a shame because the drum parts themselves are great. Β Ozzy acknowledges being in a real “down” state at this time, and it shows in the tired vocals.
Yet I love it! Β Maybe it’s Jake E. Lee, who is incredible. Β He’s flashy in that 80’s way, but with balls. Β He’s not just fluttery solos, although he certain can do that. Β His riffs are choppy his fills stunning and classy. Β I think Jake was a great replacement for the late Randy Rhoads, even though his true self wouldn’t shine through until Badlands.
I like every single song. Β The title track, “Secret Loser”, “Fool Like You”, “Lightning Strikes”…these are punchy Ozzy rockers. Β They are well written songs, and longtime contributor Bob Daisley has credits on 8 of the 9 songs. Β To me, that speaks to a certain level of quality. Β Verses and choruses are strong and melodic. Β The guitar riffs, solos and fills are all equally catchy and adroit. Β Even one of the less interesting songs, like “Never Know Why” is still listenable today due to the catchy melody, and Jake’s flange-y guitar part.
Many of the songs such as “Thank God for the Bomb” and “Killer of Giants” return Ozzy to the anti-war stance that Black Sabbath took in the 1970’s. Β I remember the 80’s clearly, and it seemed like every other week, there was a TV documentary or movie about the Soviets and the nuclear threat. Β To me as a kid, Ozzy’s voice of protest eased my mind! Surely, Mr. Reagan and Mr. Gorbachev would listen to Ozzy? “Killer of Giants” is quite an achievement musically, going from electric to acoustic to heavy all with Jake E. Lee at the rudder. Β It’s an awesome song.
The big hit and first single was the last song, “Shot in the Dark”. Β This is bassist Phil Soussan’s only writing contribution on his only Ozzy album. Β Later, he’d go on to co-write the excellent Vince Neil album Exposed, which proved he wasn’t a fluke. Β It’s a great mid-tempo rock song, although the video used to kinda frighten me as a kid. Β Frighten and titillate all at once. Β I was 13.
And on the topic of “Shot in the Dark”, why did bands in the mid-80’s always seem to wear sequined bathrobes? I’m looking at you, Mr. Simmons circa 1986…
I look at The Ultimate Sin as a 5/5 in terms of songs and musical performances. Β I’ll dock it 1 star for Ron Nevison’s clunky production and Ozzy’s tired lungs.
4/5 stars
And maybe this is a good time to rant about these fucking 1995 Sony 22 BIt SBM Digital Remasters. Β Oh, I have no problem with the sound of this CD. Β It’s the fucking covers! Β Why did they crop the awesome artwork and put that dumb OZZY along the side? Β My Lord. Β I had so many customers (Gord and Glen specifically) who refused to buy these remasters because the cover is dumb. Β Not to mention putting the tracklist in a circle on the back cover, making it annoying to read.
FAITH NO MOREΒ – Angel Dust (1992/1993, Slash Records 2 LP and 2 CD editions)
This is my favourite Faith No More record. Β I’m not sure why, but after a couple struggled listens, I suddenly fell for its intricate, bizarre arrangements. Β The story goes that Faith No More, the ultimate antithesis to a commercial band, were sick of playing The Real Thing‘s songs live for the past 2 years. Β They were eager to stray as far away from that sound as possible. Β In addition, Mike Patton had just completed the cult classic debut Mr. Bungle album. Β I speculate that this helped spark the sometimes unhinged creative moments on this album, particularly the vocals.
Guitarist Jim Martin and the band were butting heads, and most of the songs were written without him. Β Mike Bordin, Roddy Bottom and Billy Gould would send him virtually complete songs, which he then “grafted” guitar parts onto. Β In a guitar magazine interview, Martin stated that he thought some of the songs were better before he added the guitar.
Angel Dust commences with double shot of weirdness: Β “Land of Sunshine” and “Caffeine”. Β Patton pieced together the lyrics to “Land of Sunshine” from a collection of fortune cookies. Β Musically it is dramatic, keyboard heavy and foreboding. Β “Caffeine” is dark and aggressive, but is Patton’s first bonafide knockout vocal on the album. Β From the ominous, gravelly lows to off the wall screams, Patton delivers. Β His voice knows no limits on Angel Dust and I consider this the peak album for his vocals.
The first single “MidLife Crisis” was about as close as it gets to a commercial track. Β You can certainly hear every nu-metal band in the world (Korn! I’m looking at you Jonathan Davis!) ripping off Patton’s gutteral vocal stylings. Β But he lets it soar in the choruses. Β The bizarre pseudo-rapped Β verses, the samples, and the anthemic, layered choruses all pointed to new directions for Faith No More. Β The ingredients had never really combined like “MidLife Crisis” before.
Then perhaps the most bizarre song, “R.V.” Β The lullaby-like piano backs a grizzly soliloquy from Patton, via Tom Waits, playing a trailer park trash character. Β “Somebody taps me on the shoulder every five minutes. Β Nobody speaks English anymore! Β Would anybody telll me if I was gettin’…stupider?” Β Once the novelty value wears off, it’s still a cool tune due to the powerful choruses. Β Patton nails another awesome lead vocal on the chorus.
“Smaller and Smaller” returns somewhat to more conventional song arrangements. Β A repetitive piano hook backs a hypnotic Patton vocal. Β The choruses are a bit on the insane side, and then the song deviates into a sample-laden section of challenging rhythms. Β Yet somehow the song remains memorable and catchy. Β This is followed by “Everything’s Ruined”, which also became a single. Β I’m sure it was chosen because it is a solid mix of aggressive rapping with a memorable soul-influence chorus. Β While it doesn’t sound like it would have been on The Real Thing, it’s about as close as Angel Dust gets.
“Malpractice” is one of the most messed-up tunes on the album, a mixture of disjointed sections, noisy guitars, smooth keyboards, feedback, all simmered to perfection. Β By the time Patton’s screaming, “Applause, applause, applause, APPLAAAAAUUUUUUSSSSE!” I’m already clapping. Β I think I read somewhere that this song was a Patton baby, which might explain it. Β Certainly, the lullaby after the 2 minute mark is designed to lull you in before they hammer you with more guitars, samples and screams. Β This closed Side One.
Side Two was introduced by “Kindergarten”, Patton barking thoughts about the schoolyard. Β There’s no guitar solo, but Mike Patton provides something shouted through a megaphone that amounts to a solo. Β This is followed by Billy Gould throwing down a bass solo, and into the final verse. Β The weak-willed will shudder before “Be Aggressive”, a graphic series of metaphors about swallowing. Β This discourse is accompanied by a cheerleader chorus. Β Jim Martin turns in a sloppy, Pagey guitar solo, the only one on the album.
After assaulting the listener with a song like that, “A Small Victory” is a welcome respite. Β Its simple but bountiful melodies are perfect to soothe the ear canal. Β This is also to prepare you for “Crack Hitler”, another bizarre sensory overload. Β Funky bass meets distorted rapping, until it swerves into this weird, evil march. Β Patton’s vocals run the gamut from light, to dark and monstrous. Even so, “Jizzlobber” is the most extreme song of them all. Β It has those creepy Friday the 13th keyboards, heavy guitar riffs and pounding drums, and Patton’s most aggressive lead vocal yet. Β I don’t know what the hell he’s singing without the lyric sheet, but it doesn’t sound like I wanna know either. Β It’s just a pummeling assault, and unprepared listeners may find themselves overwhelmed and perhaps turned off from the album by this point.
The standard album ends with “Midnight Cowboy” supposedly because of some obsession that Billy Gould had with its storyline. Β It’s a perfectly appropriate ending given the rollercoaster ride that preceded it. Β It’s you, wandering off into the sunset, too wasted to really know if you’re headed in the right direction.
I stumbled upon an LP in 1993 that came with a bonus 12″. Β This 12″ contained the exclusive “Scream Mix” of “MidLife Crisis”. Β On the B-side are “Crack Hitler” and “Midnight Cowboy”, which didn’t fit on the first record. Β The drum intro on “MidLife” is slightly extended, and the mix sounds possibly a little more bass heavy.
The Australian 2 CD version that I also have contains the Commodores’ “Easy” as its bonus track. Β This is the same version that came out here domestically on the Songs to Make Love To EP. Β It’s rendered remarkably straight, and its a performance like this that truly demonstrates Mike Patton’s vocal mastery.
The 2 CD edition comes (obviously) with a second CD! Β This is a live EP entitled Free Concert in the Park, recorded in Munich. Β It contains live renditions of three songs from disc 1, and one song from the first Faith No More LP, We Care A Lot. Β Mike Patton dedicates “Easy” to “everyone with hemorrhoids this evening!” Β And I am sure they appreciated his dedication, as they are an oft-ignored group at concerts, aren’t they? Β The guitar solo in “Easy” remains one of my Jim Martin favourites. Β Even heavier and more chaotic versions of “Be Aggressive” and “Kindergarten” follow, replete with surprises. Β These live versions really hit the spot, as they are really cranked up. Β The early obscurity “Mark Bowen” closes the disc. Β This is the only version of the song that I have with Patton. Β I like his take on it, which takes advantage of his vocal power.
It was astounding to me that three albums in a row, Faith No More had turned in inventive, new, exciting and potent music that was unlike the previous. Β Angel Dust is definitely a peak of some kind. Β 80% of nu-metal bands owe their careers to this album. Β I consider this to be “my favourite” FNM disc, although to be perfectly honest, I consider Introduce Yourself, The Real Thing, and King For A Day…Fool For A Lifetime to all be worth…
“Part 6 in a miniseries of reviews on Rob Halford’s solo career! Β If you missed the last part, click here!”Β That was a rhyme, that ain’t no crime…Breaking the Law! Β Breaking the Law!
HALFORD –Β Live Insurrection (2002 Japanese Import)
Having a wealth of solo and Priest material to draw from, this seems like a good place for a double live album to drop. Β And so it was; Live Insurrection, Rob’s first full-fledged live solo outing. Β For me personally, this is the peak. Β This Rob’s home run of solo projects.
Admittedly, there is a certain sense of Rob trying to bury parts of his recent past. Β There are no songs from Two, and the set is Priest-heavier than prior tours. Β I found the Halford band to be kind of faceless, a little devoid of personality. Β They’re absolute pros and there is no question of them cutting it. Β That’s not the issue, it’s just one of…I can’t hear the different personalities of the players, compared to Fight.
On the other hand, the setlist is so much richer than Fight used to do. Β The songs are culled from the Halford album Resurrection, the Judas Priest back catologue, and the first Fight album, with a lot of added surprises.
These surprises include three studio tracks, two of which are tracks written by Judas Priest, but never released at the time! You also get Rob’s duet with Bruce Dickinson of Iron Maiden, “live” (recorded during rehearsal I believe), and the two bonus tracks from the Japanese version of the Halford album, once again performed live. Rob even sings his first-ever solo track, “Light Comes Out Of Black” which was originally on the Buffy The Vampire Slayer soundtrack back in 1992. The Priest material is a great mix: old obscure stuff from Sad Wings and Stained Class, as well as more obvious stuff from Hell Bent and Screaming. Rob’s voice is in fine form, doing justice to the Priest and Fight material.
Rob’s so hardcore, he stapled his fuckin’ forehead!
The Japanese bonus track is “Blackout”. Yes, the old Scorpions tune, and recorded here with a Scorpion: Rudolph Schenker! Halford easily handles Klaus Meine’s vocal part. It’s a great bonus track, easily worth the extra cash that I spent on this import version. Β I got this from Amazon.com in 2002.
They give you lots of great packaging with this live album. Decent liner notes, lots of pictures, plenty to look at while you spend a couple hours listening to this platter of metal perfection. Β Enjoy the feast.
5/5 stars
I’ll be taking a summer break from this series. Β I’m a bit burned out on Halford albums now, and there are so many new arrivals to listen to! Β But fear not. Β I’ll be following this review with Crucible, another Japanese release, a box set, and more.
So after all the hubbub and commotion and he-says she-says, both Queensryches have finally released their albums. Β The consensus is pretty clear: Β fans prefer the original band to the original singer. Β The sales figures speak for themselves. Β Queensryche has more than doubled the sales numbers of Frequency Unknown, and charted in the 20’s rather than the 80’s. Β The judge that will settle the case of who gets the Queensryche name in November said that the market would decide. Β If that’s indeed the case, Tate can look forward to a solo career.
In the meantime Michael Wilton, Scott Rockenfield and Eddie Jackson carried on with Parker Lundgren and Todd La Torre, and basically did what fans have been asking: Β revert to an earlier sound.
Instead of going through this album song-by-song, I thought I would try something different. Β Instead I’d like to just talk about what I like and don’t like about Queensryche. Β You can feel free if you disagree if you like. Β Uncle Meat couldn’t bring himself to review the album. Β He hated it so much he rated it 0/5 stars. Β He said that the hiring of a Tate clone only makes Queensryche look like a bunch of douchebags. Β His opinion was that this act alone put Tate on top, even if he did release the dreadfulΒ Frequency Unknown. Β He asked me to say this on his behalf:
“This is like the winner of the Queensryche Karaoke contest. Β Worst album of the year, of any genre.”
So there’s that. Β I respect the criticism about the Karaoke contest. Β But lemme tell you folks, even if La Torre’s Tate is uncanny, it’s also welcome to my weary ears. Β I like hearing a Queensryche album where the singer is actually hitting the notes. Β I’ve heard Tate fans talk about electronic processing on La Torre’s voice. Β Well, that’s pretty much rooted in the 1986 Rage For Order sound.
If I had to nail Queensryche down to a specific era, it would be Warning-Rage-EmpireΒ in that order. Β Not terribly original, no. Β I’ll let it slide though, and for this reason: Β when a band like Queensryche, who have musically been adrift at sea for a long time (barring the odd triumph like American Soldier), they need to re-ground themselves and regain the faith and trust of the fans. Β Priest did something similar with their Angel of Retribution album. Β Various songs sounded pretty bang-on for specific eras of the band. Β And you know what? Β That worked for me. Β It was what I needed. Β They saved the double concept album for the next record.
So, if Queensryche can progress from here, I’ll be happy and forgive them for the lack of originality. Β I’ll let it slide for one album. Β I’m also a little disappointed in the brief running time of 35 minutes: 9 short songs plus 2 intros. Β None of the tracks are longer than 4 1/2 minutes.
I find pretty much all the songs to be of equal quality. Β That is, all of them are good, some of them are better than good, none of them are poor. Β I’ve waited to listen to this album 5 or 6 times before I tried to review it. Β After that many listens, none of the songs are particularly jumping out at me more than others. Β But none are turning me off. Β All Β have moments of greatness here and there, sometimes in the guitars, other times the drums, or the vocals. Β La Torre is definitely stunning at times on this album. Β It’s also fantasic to actually hear Scott Rockenfield playing the drums on a Queensryche album, and sounding like Scott Rockenfield. Β He has a unique sound, one of his own, as does bassist Eddie Jackson.
As for the new boy Parker Lundgren? Β Sure, he played on some ofΒ Dedicated to Chaos, but now you can actually hear him. Β He meshes better with Michael Wilton than anybody else the band has had since Chris DeGarmo.
Which brings me to my final point. Β I still miss DeGarmo. Β This is nothing against Michael, Scott, Eddie, Parker or Todd. Β DeGarmo had some kind of magic. Β Look at all of Queensryche’s hits. Β See who wrote most of them. Β Queensryche absolutely miss DeGarmo, more than they do Tate.
In closing, I enjoy Queensryche a lot more than Frequency Unknown, or many albums since Promised Land. Β Do I like it more than Rage? Β Warning? Β The EP? Β No. Β It’s good, no mistake, but it’s not at that level. Β Whether they are capable of ever getting there again remains to be seen. Β My attention is peaked; I’ll definitely check out the next album, which the band have already started writing. Β In fact I’m looking forward to the next one, and hopefully the next one after that.
Oh, and the live bonus tracks absolutely smoke.
3.5/5 stars
FYI: Β The Japanese edition contains an additional bonus track, which is “Eyes of a Stranger” performed live by the new lineup. Β All four live tracks are taken from the same gig. Β Reviewed separately.
ROCK AID ARMENIAΒ – Smoke on the Water: The Metropolis Sessions (2010 Edel CD/DVD set)
When some of the biggest names in both British and Canadian rock combined together to re-record βSmoke on the Waterβ, as a mega-collaboration charity track, I donβt care who you are:Β You gotta listen! Β Originally released as “Smoke on the Water ’90” on The Earthquake Album, it didn’t garner the attention of, say, a Hear N’ Aid, but it’s definitely a noteworthy track. Β The Earthquake Album contained just the radio mix, which was an edited down version lacking Paul Rodgers. Β This package on the other hand is a CD/DVD combo set including all 4 versions of βSmoke ’90β and a documentary.
The region 0 encoded DVD is 40 minutes long, and filled with incredible behind-the-scenes footage and candid interviews.Β First, an explanation of the cause:Β rebuilding a childrenβs music school in Armenia, destroyed in a 1988 earthquake.Β Then, the musicians arrive!Β Roger Taylor (Queen) is first in the door.Β Canβt do anything without the drums!Β He shows off his considerable chops while warming up.Β Chris Squire (Yes) is next, who reveals that all egos have been dealt with in advance of the recording.Β Brian May turns up with a broken arm (skateboarding accident) to offer his support; he would return to record after the arm has healed.Β The recording takes place over five separate sessions.Β One benefit of this arrangement was that it enabled Ritchie Blackmore to show up, without having to see Ian Gillan!
Oh, to be in that room…
Soon to arrive:Β Tony Iommi.Β Paul Rodgers.Β Bruce Dickinson.Β David Gilmour.Β Alex Lifeson.Β Two keyboardists:Β Keith Emerson and Geoff Downes.Β Even Bryan Adams sings some backing vocals, after he turned up just to check out the recording studio!Β (Gilmour canβt help but take a stab at Rogers Waters during the interview segments.) Β Incidentally, I found it cool that Rodgers recorded his vocals with a hand-held mike.
Iβve always been a fan of this version of “Smoke”; in fact this was the first version of that I ever heard, 23 years ago.Β The band was dubbed Rock Aid Armenia. Β They got together in late ’89, and recorded this updated sounding cover.Β Gillan, Dickinson and Rodgers handled the lead vocals, in that order.Β Itβs great to hear Iommi playing those chunky chords again.Β Chris Squireβs bass work is fairly simple, but perfect.
The CD includes an updated 2010 remix that cuts down a lot of Keith Emerson’s cheesey keyboards.Β Emerson stated that he wanted to put his own stamp on his parts, based on ELPβs βFanfare for the Common Manβ.Β He probably wouldnβt be happy to be mixed down on this version, but his keys always stood out like a sore thumb to me.Β The 2010 mix adds in a lot more previously unheard guitar fills instead. Other extras include a previously unreleased version of the song, with an entire Ian Gillan vocal take.
This is a great little-known recording, and Iβm glad an obscurity like this has finally been reissued properly.
4/5Β stars
Footnote: Β In 2011 and 2012, Gillan and Iommi followed this with a single and compilation album under the name WhoCares; also featuring Nicko McBrain, Jon Lord and Jason Newsted!
WATCHMEN :Β The Ultimate Cut – The Complete Story (2009 Warner 4 disc blu-ray set)
Directed by Zack Snyder, 216 minutesΒ
What’s the greatest comic book movie of all time? Β I’ve seen a lot of them. There’s quite a few I haven’t seen as well, but it’s a great topic for discussion. Β I always have to put Watchmen on the table when discussing great comic book adaptations.
Watchmen is a complex tale. Β Its original comic was ambitious, containing page after page of dense backstory information in the form of documents and faux-magazine articles, all very relevant. Β There’s even a parallel story taking place, a comic within a comic, which directly reflects one (or arguably more) of the characters in the main story. Β Characters and their psychology are key. Β In addition, neither the comic nor the movie are linear. Β The story unfolds within different time periods, flashing back and forth, as we learn more about the characters, their motivations, and the world they inhabit.
It is the world they inhabit that was the hook for me. Β I’m a sucker for alternate universe stories. Β Here’s one that sets us on Earth, 1985, but things have unfolded very differently. Β The influence of various superheroes/vigilantes has caused history to unfold very differently. Β Specifically, it is the presence of Dr. Manhattan, who puts a swift and decisive end to the Vietnam war, who influences history the most. Β In this 1985, Richard Nixon is still president, and masked vigilantes are now outlawed.
The Watchmen are a group of such vigilantes, originally known as the Minutemen. Β Some, such as Dr. Manhattan truly are superhuman. Β Others, such as Nite Owl and his successor Nite Owl II, are mere mortals with high-tech gadgetry and skill as their allies. Β All have retired, some in fame and some in anonymity…all but one. Β Rorschach. Β He remains active, alone and wanted.
The movie begins as a murder mystery. Β Someone has managed to identify and kill Edward Blake — The Comedian, once one of the most dangerous heroes alive. Β To overpower and murder Blake would require an individual of tremendous resources. Β Who? Β And are other former vigilantes also at risk? Β Rorschach seems to be the only one who wants to know.
Being a fan of the graphic novel, I was very happy with the way that Zack Snyder captured Watchmen. It was done with love and care. The things that are discarded, I didn’t miss so much. The things that he changed, I understand why it was done. Β There’s one layer to the story/mystery that has been discarded, probably to keep this thing under 4 hours! Β The things that are reverently exactly the same as the comic made my jaw drop in awe. Β The acting performances are what they are, but I have to give special mention to Jackie Earl Haley as Rorschach.
The soundtrack is one of the best in recent memory. Outside of Wes Anderson, I haven’t loved a soundtrack this much in a long time. Β It’s awesome from the stunning Bob Dylan classic “The Times They Are A’Changing”, to Nat King Cole, to Simon and Garfunkel, Hendrix and Philip Glass, and probably the weirdest use of Leonard Cohen’s “Hallelujah” in movie history. Β The soundtrack is where it’s at. Β The movie even contains a Village People sighting! Β I’ll skip My Chemical Romance.
This Ultimate Cut weaves the comic-within-a-comic, Tales Of The Black Freighter,Β previously only available on its own, into the main body of Watchmen. These segments are narrated by Gerard Butler. Β New live action linking sequences connect the movie to Black Freighter, much like it worked in the graphic novel. People who haven’t read the graphic novel might not understand what “Black Freighter” is doing there, but they should probably start with the less daunting theatrical cut to start with anyway.
The box set includes four discs, beautifully packaged. Hardly a complaint to be registered. The box is heavy and sturdy. Included is Watchmen: The Motion Comic, packed in its own case, 5 hours long on its own. One disc is the expired digital copy of the theatrical cut (whoop de do) and another disc is loaded with special features. Best of these is Under The Hood, which is based on the graphic novel segments covering Holis Mason. Β Mason, the original Nite Owl I, wrote an autobiography called Under the Hood; this filmΒ is a faux-documentary on his story. It is presented as a television program from 1975 re-run in 1985, including commercials and scratchy footage. At 35 minutes, this is an absolute must. Other special features include brand new audio commentaries, for those who dare to keep going deeper. This set is just loaded. Β Unfortunately I found the sound level inconsistent, I had to turn it up and down frequently.
Having said that, I’m not going to discard my Director’s Cut of Watchmen. Clocking in at almost four hours, watching this version is a commitment. I know that occasionally, I will want to watch the “shorter” version of the film. Since a digital copy of the theatrical (shortest) cut is included here, maybe you won’t feel the need to double-up on Watchmen editions. Β For an enriched viewing experience, set aside the four hours one afternoon and enjoy.
COLEMAN BIOWIPES
$3.99 for resealable package of 30
July 5-6 2013 was the weekend: Β the annual all-rock, all dude Countdown event known as SAUSAGEFEST. Β Β This particular installment being Sausagefest XII. Β As discussed in Record Store Tales Part 30, and as seen in last year’s video, I suffer from a certain level of anxiety regarding the restroom arrangements. Β As in, there aren’t any. Β And I’m not as young as I once was, and the plumbing doesn’t always work as well as it used to when I was in my 20’s.
To the rescue came Biowipes, by Coleman! Β Not only can you shit with a clean bottom, but also a clean conscience: Β the Biowipes completely biodegrade in just 21 days. Β (Less I’m sure if you ate the bacon-wrapped jalapenos that we consumed.)
The Biowipes are large enough (20 x 25 cm) and tough enough to handle whatever you need to do. Β There are 30 of these moistened towelettes in each package, by my estimation and usage, probably enough to get you through 10 days in the woods.
6/5 stars
Seen below: Β Some of the many reasons these wipes were necessary!
RATTΒ – Infestation (2010 Roadrunner Japanese and iTunes editions)
Ratt needed a comeback. Lineup changes galore, deaths, poorly-received changes in sound — forget all that stuff. Β The band has since stabilized. Β Pearcy’s back on lead vocals, and Carlos Cavazo (ex-Quiet Riot) has taken over guitar duties from John Corabi. Corabi’s a rhythm player, not a soloist (and that’s not a knock on Corabi). Β Cavazo rocks out quite a few solos on this album. The difference is noticeable, and it’s a welcome return to something like the Ratt sound of yore. Do you like twin leads? Cavazo and Warren DeMartini rip out a few, each with his own distinct sound, but meshing well like they’ve been doing this forever. Cavazo also contributes strong co-writes to about half the album. Surely, you can’t imagine a better match than this for Ratt.
Pearcy’s in great voice, the passages of time disguise-able. But be forwarned, if you never liked Pearcy’s style before, this album is not going to change your mind. His vocals are augmented by some nice, but not overdone, backing vocals from the band. Longtime bassist Robbie Crane supplies backing vocals while holding down the bottom end.
The sound of the album is pure Ratt, but modernly produced; surely the best sounding record they’ve done so far. Picture a heavier Out Of The Cellar. There are nods and winks to other eras of Ratt as well: I hear a little bit of “Way Cool” here and there, and damned if “Best Of Me” wouldn’t have fit right in on Detonator. Yet this is no retro-fest, as much as it does echo the 80’s. There are still sounds here that sound tougher and more modern, like the fast and heavy opener “Eat Me Up Alive” (my second favourite song). Β There’s filler here, but even the filler is worth holding your finger off the skip button. Β All except perhaps the dreadful “A Little Too Much”.
There Japanese bonus track is a cool slow groove rocker called “Scatter”, with a great memorable chorus. This is the best song to me. Β Itunes got the track as well, but because I always prefer a physical edition, I bought the Japanese for my physical copy. Β You will have to judge the value of that expenditure yourself, however I deemed it worthwhile.
There are also three live bonus tracks on the iTunes version, worth getting. These songs are “You Think You’re Tough”, “Tell The World”, and “Way Cool Jr.”, all previously unreleased and with Cavazo on guitar, “Live from the Rockline Studios”. Β “You Think You’re Tough” is my favourite song from Ratt EP.
If you have ever liked Ratt, pick up Infestation if you’re curious what the band sounds like 25 years later. This is a solid Ratt album, not classic, but song for song among their better records. Β They’ve retained their signature “Ratt N’ Roll” sound, but also what dignity and integrity a bunch of Ratts have. Well done.
Side Two was introduced by “Kindergarten”, Patton barking thoughts about the schoolyard. Β There’s no guitar solo, but Mike Patton provides something shouted through a megaphone that amounts to a solo. Β This is followed by Billy Gould throwing down a bass solo, and into the final verse. Β The weak-willed will shudder before “Be Aggressive”, a graphic series of metaphors about swallowing. Β This discourse is accompanied by a cheerleader chorus. Β Jim Martin turns in a sloppy, Pagey guitar solo, the only one on the album.
The Australian 2 CD version that I also have contains the Commodores’ “Easy” as its bonus track. Β This is the same version that came out here domestically on the Songs to Make Love To EP. Β It’s rendered remarkably straight, and its a performance like this that truly demonstrates Mike Patton’s vocal mastery.
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