Reviews

REVIEW: Vollmer – It’s A Pleasure Doing Business (2024 vinyl release)

VOLLMER – It’s A Pleasure Doing Business (2024 Helix Records vinyl reissue)

In 1993, Helix released one of their best, most unsung albums:  It’s a Business Doing Pleasure.  It featured a more acoustic-based side of Brian Vollmer’s writing, who penned the majority of the tunes with Marc Ribler as a solo project.  At the same time, Helix guitarist Paul Hackman was writing his own set of tunes for the next Helix album.  When Paul was tragically killed in a 1992 tour bus accident, Brian had no choice but to use his solo album as the next Helix record.  This never sat well with the frontman, who felt it did not represent the hard rockin’ down n’ dirty core of Helix.  Brian said in his book Gimme An R, that the album was “a huge mistake on my part, and I take full credit for the blunder. The really sad thing about it all was that I was really proud of all those songs on the album and they were wasted because they did not fit under the Helix name.”

I occasionally differ with Brian Vollmer’s opinions on such things.  I loved the album in 1993 and it still sounds brilliant today, and not at all dated to the time.  While Helix’s new sound came as a surprise, it was not an unpleasant surprise.  In an age when every band was getting heavier to compete with grunge, Vollmer took the opposite tack, and I loved him for it.  It’s a Business Doing Pleasure was a brilliant album, “Helix” or not.  A rose by any other name…

I can understand why Vollmer chose to reissue this album under his own name, seeing as it was intended to be from the start.  To differentiate from the original, he changed the title to It’s A Pleasure Doing Business, which unfortunately loses the wink-and-nod cleverness of the original title.

Vollmer also chose to axe and replace two songs.  The closing duo of “Sleepin’ in the Doghouse Again” and “Mad Mad World” are lost, which is a real shame.  “Doghouse” featured Kim Mitchell on lead guitar, though it was the hardest and most Helix-like of the tracks.  “Mad Mad World” was just melodic brilliance, with whistling!  Two crucial songs.  They are replaced here by new recordings.  “Still Got that Look in Your Eyes” is a previously unheard track, featuring Helix members Fritz Hinz and Daryl Gray.  “Hung Over But Still Hanging In” is not a new version of a Helix deep cut from Vagabond Bones.  This seems to be a completely new song with the same title.

There are some serious unrecognized tunes of brilliant melodic composition here.  “That Day Is Gonna Come” remains a Helix pinnacle of sorts, a passionate callback to the golden years with that delicious acoustic backing.  “Tug ‘o War” is a ballad that Brian and Greg Fraser once performed live in the MuchMusic studios, and a strong one at that.  “Look Me Straight in the Heart” is a duet with Lee Aaron, that used to open side two of the album.   Another ballad, but one that really should have been a hit.  You’d think Lee and Helix on one big ballad would have set Canadian radio on fire.  “Wrong Side of Bed” has some kick, and funny lyrics.  Side one closer “Can’t Even Afford to Die” is actually upbeat, and features some brilliant twangy soloing by Ribler.

“Still Got that Look in Your Eyes” is a really decent 80’s-sounding pop rocker.  It is an awkward fit on the album, because though it suits the poppy direction of It’s A Pleasure Doing Business, the keyboards differentiate it.  It’s also played by different musicians, which the subconscious mind of the Helix fan can pick up on.  Brian’s voice is a little lower, since 30 years passed between songs.  Good tune though, perhaps even great!  It will take some getting used to in this running order.

“Trust the Feeling” is another shoulda-been classic from the original album.  Though a ballad, this album didn’t really feel like it had too many of them.  It just felt like everything fit.  Ribler plays some very nice slide parts here.  “Love Is a Crazy Game”, though…what a ballad!  There’s a rock version of it on another Helix album, but this fully acoustic version of it is flawless.  Vollmer was in peak voice, and peak songwriting.  His vocals just speak, the way only great singers can do it.  There’s plenty of acoustic excitement with the guitars too.  No drums.  The album may have been a stripped back affair in terms of rock, but not in arrangement.  There is plenty going on with percussion, vocals and acoustics to occupy the ear.

“Misery Loves Company” is a solid country rocker from the original album.  More rock than country, but the twang is undeniable and nothing wrong with that.  It has a shout-along chorus that would still do well today, if Helix ever decide to bring this gem onto the stage.

The other new song, “Hung Over But Still Hanging In”, closes the album.  It seems like only the title was re-used from Vagabond Bones.  This is a nice drinking ballad, with a bit of a kick compared to the rest of the ballads.  It matches very closely the vibe of the original album, featuring Helix guitarist Mark Chichkan on guitar,

Here’s where the constructive criticism comes in.  The original album title and font on the cover were better.  This new zoomed-in cover with the Vollmer logo on it feels…off.  The original was a piece Hugh Syme art, and the new version was re-created by Brent Doerner.  It’s hard to improve perfection, and that’s not Doctor Doerner’s fault.  I wish this album had a big Helix logo on the front cover.  The original album never had the classic Helix logo.  Imagine if this did!  There is also a laissez-faire approach to capitalising the song titles on the back cover, but it’s a gatefold cover at least.

For 30 years, this was a Helix album.  It just doesn’t feel right filing it under “V”.  (However it’s my collection and I’ll file as I please!)  Since it was intended as a solo album back in 1992, it’s logical to do a reissue under the Vollmer name.  It makes sense to add new material.  Shuffling the running order for a pleasing listening experience on vinyl is fine, but losing two songs is unfortunate.  This reissue could have been a 5/5 star bang-on wish fulfilled.  So close to the mark!

4/5 stars

Sammy Hagar, UFOs, and writing books: Red On Black with Tim Durling and Jex Russell

Buy Red On Black: The Listener’s Guide to Sammy Hagar at this link.

A big thank-you to my co-host Jex Russell and special guest Tim Durling for this informative, fun and funny look at the career of Sammy Hagar.  The show was also about this new book that Tim has out about the Red Rocker.

OK, sure, the show went off the rails from time to time, but there were plenty of highlights:

  • A hilarious cold open by Jex
  • A cool 12″ single for “Heavy Metal” with two bonus tracks
  • An inside look at Tim’s process and priorities when writing this book
  • Lots of interesting opinions on Sammy and his various bands
  • Great interaction in the comments section with loads of great questions

Enjoy the show!

Show notes:

 

How do you go about asking Greg Renoff to write a forward. Just “Hey Greg…”?
Thanks for the shout out about the “late tax”.
Do you think Roth still listens to Montrose?
Have you ever heard “Sammy Hagar Weekend” by Thelonious Monster?
Regarding the “contractual obligation album”, there was a lot of information here that I was not aware of before, such as that note inside 5150 that says “Sammy’s solo albums can be found on Geffen records.” When you first notice that?
Capital Special Markets – were these only serviced to certain kinds of stores?

THE QUIZ:
Who engineered Chickenfoot III? – Mike Fraser
What is the name of the alien race that Sammy believes abducted him, and inspired many of his lyrics? – The Nine
Did the Sam & Dave actually happen, or was it just a Mandela Effect?

THREE-VIEW: Ratt – Out of the Cellar (1984, 2024 40th Anniversary edition)

RATT – Out of the Cellar (1984 Atlantic, 2024 40th Anniversary edition)

Shame, shame, shame on Ratt.

In 2020 they released a beautiful Atlantic Years box set, featuring bonus tracks including one for Out of the Cellar.  In 2024, they coughed up Ratt Rarities, with a bunch of unreleased Ratt tracks.  And now, mere months later, we are given another reissue of Out of the Cellar, this one featuring lenticular cover art and one more unreleased Ratt song.  This song could have been released on a 7″ single on its own, but if you want that, you have to buy the vinyl album all over again.  If you want the unreleased song on CD, you have to buy Out of the Cellar one more time.  I believe this is my fourth or fifth copy of Out of the Cellar now.  This is just exploitative of the fans.  Pearcy must need another swimming pool.

Is the one song worth re-buying the album again?  Fortunately the answer is yes.  “Reach For the Sky” is a 1983 Cellar demo written by Stephen Pearcy, Robbin Crosby, and Marq Torien of Bulletboys.  It sounds remarkably finished.  The guitar harmonies feel very latter-day Thin Lizzy, upon which the guys build a pretty cool song.  Though not as slick as Cellar, it sounds fully produced and ready to release.  Amazing that songs like this can remain buried for 40 years, and was never resurrected for an album even though the title was used in 1988 for the album Reach For the Sky.  While this one song didn’t warrant an entire album re-release, at least we got it.

The album itself remains solid four decades after the fact.  Opening with cowboy themed “Wanted Man”, the five Ratt Rodents were off to a compelling start.  The disorienting sound of backwards drums heralds in “Wanted Man” is an inventive way to make their introduction.  A simple, slow, chomping riff is menacing enough, while Stephen Pearcy growls though various Western metaphors.  “By the road, you will hang, it’s your neck from this Ratt gang.”  The capable harmonies of the band and especially Juan Crocier help nail the melodies that Pearcy alone can’t.  Nice solo work.  A great track worthy of a multiplatinum album.

“You’re In Trouble” is a little different.  Juan’s clunky bass still sounds a bit out of place, though the choruses rule.  But “Round and Round”?  Still a total sleaze rock triumph.  A keen sense of melody, rhythm and vibe mixed together with a sweaty Stephen Pearcy.  Brilliant solo work from Warren DeMartini, and perfectly layered harmonies under the production of Beau Hill.  Every element punches, from the simple but memorable riff and those echoey choruses.  Dated to the period, but tasty for all ages.

A nice choppy guitar bodes well on “In Your Direction”, a slinky number that serves Stephen’s style well.  Decent song, but with only one trick.  “She Wants Money” is more fun, a fast upbeat blast on a familiar theme, with Robbin “King” Crosby on lead guitar.  It’s hard not to headbang along with the melodic fun of “She Wants Money”.  That ended side one on the original record.

The second side opens “Lack of Communication”, a biting track just missing one key ingredient:  a real chorus.  The saw-like riff smokes, the verses are great, but it never resolves into a definitive hook.  It’s basically just the riff with some words over it.  “Lack of communication, back off!”

“Back For More” is a little disjointed but salvages it with a killer chorus.  Screamin’ Pearcy and the rodent choir give it the final polish.  Brilliant solo work here by Warren.  Then, one of the best non-singles is the blazing fast “The Morning After”.  It has a bit of a Quiet Riot vibe.  Juan’s bass is furious while Pearcy sings it for melody.  “I’m Insane” is mindless fun; just bad boy rock with the popular “I’m crazy” theme that their pal Ozzy was milking for millions.  Finally the album closes on “Scene of the Crime” which has a neat guitar hook that unfortunately is all but unrelated to the rest of the song.  Some cool melodies with the patented Ratt harmonies here.  Still, solid enough song that if they had been looking for another single, it could have been “Scene of the Crime”.

This reissue doesn’t have any additional packaging or liner notes besides the new lenticular cover.  The lenticular art  is nice, but it’s not solidly anchored to the packaging.  It feels like a symbol for the half-arsed nature of this reissue.

3.5/5 stars

EXCLUSIVE: Glen “Archie” Gamble of Helix fame sets the record straight on Grab A Stack of Rock!

Thank you Glen “Archie” Gamble for an awesome Friday night Rock N’ Roll Extravaganza!

History made here Friday night on Grab A Stack of Rock!  Glen “Archie” Gamble of Helix fame joined us for almost 2.5 hours of stories and education.  And we’re still not done!  We will have Archie back to pick up where we left off.  Co-hosts Tim Durling and Doctor Kathryn were both blown away by Archie’s answers.

It’s hard to summarize a show like this, because several Wikipedia articles will need to be corrected, updated, and expanded after this show.

Highlights:

  • The story of how Archie introduced Brian Vollmer to the Trailer Park Boys, which of course led to Brian’s cameo on the DVD.
  • Why Archie wasn’t in that scene.
  • When Archie connected Brian Vollmer with Sean Kelly, who offered to join Helix on guitar or bass.  He eventually joined on bass.
  • How Archie got the Helix gig by playing at Brian’s wedding, and how that came about.  (Thanks to alcohol.)
  • What happened at the “blazing” tryout for the band.
  • The circumstances of replacing Randy Cooke for one gig with the Four Horsemen.
  • The lineup changes in Helix and the necessity behind some of them.
  • Archie’s opinion on certain bands who are out there playing with no original members.
  • What he contributed in the studio to albums such as Rockin’ In My Outer Space and Rockin’ You For 30 Years.
  • How Rockin’ In My Outer Space began its life as a Brian Vollmer solo album.
  • Thoughts on Van Halen (Hagar), Y&T, The Warning, Quiet Riot, The Guess Who, and many more.
  • Heartfelt appreciation for Greg “Fritz” Hinz.
  • Why he started YouTubing with the excellent Gamble Ramble channel.
  • What are rototoms and how do they work?
  • And even some education on primates.

This is a 2.5 hour education in rock and roll history.  Check it out, and give Archie a subscription on YouTube.  He WILL be back!

 

 

FILM REVIEW: forty-eight (how not to make a film in 2 days) (2004)

“Wait.  I got a Wookiee in my office.” – Dan Narvali, forty-eight.

forty-eight (how not to make a film in 2 days) (2004 independant film)

By Matt Head and Adam Skinner

It’s hard to believe that the early 2000s were so long ago! Get ready to feel old:  they were!  The short film called forty-eight by local Kitchener filmmakers Matt Head and Adam Skinner sure proves that time has elapsed.  Witness:  the goth-emo-punk clothes, the ear tunnels, and a sense of humour that was on point for 2004, but terribly dated by 2024.

Skinner and Head originated in a local “Jackass” style comedy group called Me6.  In the wild wild days before YouTube, these guys were buying used Blockbuster uniforms and filming themselves whilst pretending to work at the hallowed video rental establishment.  Me6 would hit each other in the head with frying pans.  What they did wasn’t subtle or original, but it was local.  Given that Jackass was one of the biggest franchises in the world, fans were seeking more of that style of stunt comedy online.  Me6 were on the pulse during an age when the internet was not yet saturated.  All they really needed was some originality.

Forty-eight is very original.  It is an 18 minute film, and the project that showed what Skinner and Head were capable of doing themselves.

Matt and Adam play fictional versions of themselves.  At breakfast one morning, Adam spies an ad for a film festival in two days.  Matt is skeptical that they can come up with a movie in just 48 hours, but suddenly has an idea:  a summetime fun movie!  The only problem is it’s February.  The project is abandoned in favour of a supposedly better one.  Seeking funding from a local lawyer named Dan Narvali, the pair secure $71.50 to do another film idea:  Dan Narvali’s Killer in the Basement.  Actors and a crew are hired, and things immediately deteriorate.  Blame falls directly upon the disorganized shoulders of Skinner and Head.  Everyone quits.  Dan Narvali’s Killer in the Basement is changed to Baseball Dog, which fails to launch, and changes to a fantasy film.  The high fantasy changes to Sexparty, then a war movie, and finally to Ghosts With Guns.  Strife within the crew, and everyone constantly trying to get the only female cast member to take her top off, causes everything to crash to a halt.  Will the duo ever get a movie made in time for the festival?

The humour is largely crude, relying on gay slurs and sexual harassment jokes.  One always must remember the time in which a movie was created.  Compared to any other vulgar comedy in 2004, this is on par.  There are also things that are objectively funny, such as trying to make a fantasy film called Quest for the Crown starring a girl wearing a snake suit while wielding a rifle.  There’s also a genuine moment of laughter when one actor falls down a snowy hill yelling, “We’re gonna take the crown!  Cover me Serpentina!”  The performances are spot-on, spontaneous and big time.  These are funny actors.

The DVD comes with deleted scenes, gag reel, stills, and an informative audio commentary track by Skinner and Head.

As a product of its time, forty-eight is a serious accomplishment for independent filmmakers.  The movie really was made in just two days.  However, the cringe factor today ranges from uncomfortable to gross.

3.5/5 stars

 

 

GUEST FILM REVIEW: Manhunter (1986) by Holen

MANHUNTER (1986 De Laurentis Entertainment)

Directed by Michael Mann

Did you think Silence of the Lambs was the first film to feature Hannibal Lecter? You were wrong! Brian Cox brought the character to life in Michael Mann’s Manhunter five years prior. It’s the first film adaptation of Thomas Harris’ novel Red Dragon. Despite under-performing big time at the box office, the film has has been reappraised in recent years and given more of the credit it deserves as pioneering influence on the crime genre.

The story follows retired FBI agent Will Graham (William Peterson) being pulled back into the fold by his old boss to catch the latest crazed serial killer known as the Tooth Fairy (Tom Noonan). Graham was responsible for catching Lecter years prior (spelled Lecktor in this movie) although the process left him physically and mentally scarred. Graham’s skill set allows him to adorn the point of view of the killer a process that drains him mentally and leaves him on the cusp of insanity, but makes him remarkably effective in solving cases.

Being pulled from retirement and forced to consult with his assailant Lecter, Graham begins to deteriorate faster than before. Fresh out of one of my favorite films, To Live and Die in L.A., Peterson nails the role, appearing increasingly haggard and desperate throughout the movie. You can see his story in the lines of his sleep deprived face. Brian Cox’s portrayal of Lecter is more grounded, cunning, and disturbing than the uber theatrical Hopkins version. The two don’t share much screen time, but their link is felt throughout the film, particularly when Lecter vicariously finds a way to torment Graham from his cell through clandestine messages to the Tooth Fairy.

Given that this is a Michael Mann film, the whole thing is an aesthetic masterpiece with the “style” knob cranked to eleven. It exudes an aura of cool detachment complimentary to the chilly atmosphere of violent mental depravity. There’s also an emphasis on forensics and detective work many thrillers skip over for the more sensational moments. Here we see the cracks in between, Graham being forced to watch tapes of the Tooth Fairy stalking families before he murders them, trying to piece together a motive.

If you’re any kind of a fan of Michael Mann’s work or crime thrillers in general, there’s no reason I could see this wouldn’t be up your alley. It’s one of his most overlooked works, despite the small renaissance it’s been enjoying recently. Manhunter is smart, stylish, and lying ever in wait for you to discover its assets. Also, Joan Allen is in it, and she’s a total babe.

4/5

GUEST FILM REVIEW: Halloween III: Season of the Witch (1982) – Holen’s Halloween Extravaganza 2024 part 5

HALLOWEEN III:  SEASON OF THE WITCH (1982 Universal)

Directed by Tommy Lee Wallace

I’m sure most of you know by now that Halloween was supposed to be an anthology series, but the first film proved so popular the studio wanted Michael Meyers back for the sequel, and got him. This third entry was supposed to right the ship with a whole new story, but after two films with Michael, fans just couldn’t accept this and the movie was critically and commercially panned at release. Philistines!

Decades later the movie has had a bit of a resurgence, with plenty of loyal fans flocking to it every autumn. If you go into it thinking of it as Season of the Witch as opposed to Halloween III, it might help you appreciate the many merits of this film. It may make me a horror pariah, but it’s my favorite in the series. I’ve never been crazy about the original. I think Bob Clark did the same concept better years earlier in Black Christmas. The other Halloween sequels range from fine to shit to fucking shit.

Absolute legend Tom Atkins takes over for Jamie Lee Curtis as protagonist in this outing, playing an alcoholic doctor who’s also a licentious Lothario. There’s nary a woman in this movie he doesn’t or hasn’t previously screwed. Age, race, relationship status matter not to this man. He’s an equal opportunity womanizer, and that’s why we love him.

The mystery begins when a crazed man being chased runs into his hospital spouting incoherent nonsense, only to be assassinated by a man who blows himself up to avoid further questioning. His buxom young daughter shows up to investigate, and Tom abandons his kids on Halloween and ignores his estranged wife to get to the bottom of this young… I mean… the bottom of the mystery.

Signs point toward an Irish Halloween mask company. Spooky witchcraft, sacrificial rites, and robots abound in honor of Samhain. I always liked that this took the series in a new direction of horror. A kind of mystery thriller instead of a slasher, with a healthy dose of ‘80s camp. Even with the camp, the villainous old man from Robocop’s plan is remarkably sinister. I don’t remember Michael being willing to kill kids; this guy’s taking out thousands of those little fucks.

I find it hard to articulate why I get a kick out of this one so much. I suppose I have a weak spot for older, overweight, alcoholic, grizzled guy protagonists being incredibly politically incorrect by today’s standards. See also Nick Nolte in 48 Hours and George C. Scott in just about everything. Tom Atkins’ character is in that studied tradition, although a steady influx of vaginal variety seems to keep him from being as world-weary as the aforementioned.

Season of the Witch is a perfectly solid horror film, and I’m convinced it’s abysmal reputation is solely due to fans expecting more Michael bullshit. The Carpenter score slaps, the cinematography is vibrant and colorful, and the story progresses logically, however absurd it gets at points. Watch it, or Harrison will curse you with the scent of cabbage.

4/5

GUEST FILM REVIEW: Henry: Portrait of a Serial Killer (1986) – Holen’s Halloween Extravaganza 2024 part 4

HENRY:  PORTRAIT OF A SERIAL KILLER (1986 Maljack Productions)

Directed by John McNaughton

Originally shown at the Chicago International Film Festival in 1986, this controversial low budget portrait of a serial killer took until 1990 to see a wider release. Saddled with the onus of an X rating, the indignation of puritans, and the schlock tagline “he’s not Freddy, he’s not Jason… he’s real,” you’d be excused for dismissing it as exploitative trash from a distance. However, you’d be remiss not to change that opinion after watching the thing.

The film was met with lavish praise from most prominent critics at the time, something few horror movies can ever claim. It’s a bleak, stark, and clinical look at violence and psychopathy. Henry: Portrait of a Serial Killer is a high brow look at a low brow existence of purposeless violence and squalor.

Michael Rooker plays the titular killer with icy perfection. There’s nothing exploitative about it, Henry doesn’t even seem to particularly enjoy the killings. It’s just something to do, a compulsion. He lives with his old prison buddy Otis, an oaf who eventually joins him on his homicidal streak. Unlike Henry, Otis gets off on the killing, giving him a sense of power and thrill. There are times Otis wants to kill out of frustration or passion, but Henry has to hold him back, informing him that’s the easiest way to get caught.

Henry’s modus operandi is to appear as if he has none. His killings are random with a different weapon every time, living as a vagabond to avoid any police suspicion. Otis lacks the discipline to play by Henry’s demented rules for an extended period, and the relationship begins to turn sour.

Joining them in the dynamic is Otis’ sister Becky who comes to live with the two of them. Henry feels protective of her, and she begins to fall for Henry. Incapable of reciprocating any healthy emotional bond with another person causes things go sour between them as well, although Becky doesn’t have the sense to realize this before it’s too late. He comes to view her as dead weight, baggage that will hold him down, and his lifestyle requires that he travel often and light.

Shot on grimy looking 16mm film, the haggard and grainy look compliments the frigid nature of the piece perfectly. When the two leads acquire a camcorder and begin to film the murders, it lends itself even more to a documentary feel. It’s easy to sensationalize material like this, but this grounded approach and the cast’s nuanced performances bring a disturbing verisimilitude. It’s a perfect watch if you’re looking for a psychological approach to ultra violence this Halloween, and it works as a grim character study any other time of year as well.

4.5/5

REVIEW: Frank Zappa – The Real Frank Zappa Book (1989) with Peter Occhiogrosso

FRANK ZAPPA with Peter Occhiogrosso – The Real Frank Zappa Book (1989 Simon & Schuster, New York)

We’ve had enough rock story books.  When not one but two members of Ratt have their own books out, we have hit a point of rock book saturation.  Debauchery, studio fights, groupies and record companies…you can fill a tour bus full of those books!  Instead, dig back a few decades to when Frank Zappa was a pioneer, not only in music, but in text.  The Real Frank Zappa Book is the music book you need when you’re sick to death of music books.  To wit:  not only did Frank dedicate his book to his family, but also to Stephen Hawking, and someone named Ko-Ko, the identity of whom is lost to time.  If you’re in the mood for the eclectic and the educational, The Real Frank Zappa Book is for you.

One of the most interesting chapters to rock historian might be “Porn Wars”, which details Frank’s conflict with the Parent’s Music Resource Center (PMRC) in the early 1980s.  Everyone remembers Dee Snider making a fool of the politicians, but some are not aware that Frank Zappa was just as devastating.  It includes his entire Statement to Congress, September 19, 1985, with lots of text written in CAPSLOCK for emphasis.  Indeed, Zappa makes liberal use of caps and boldface whenever he wants, which can be a little offputting.  Couple this with frequent illustrations between paragraphs.  Yet Zappa was a musical rulebreaker, so why not a literary one too?  This informative section will be the meat of the book for most readers.

Like standard rock books, Frank starts at childhood.  He notes that he became interested in drums around 1952, before rock and roll was even invented, simply because he was fascinated by the idea of making noises by hitting things.  He became interested in orchestral percussion and the works of Edgard Varèse, partially because Varèse looked something like a mad scientist on the cover of The Complete Works, Volume I.  Zappa was curious to hear a composition called “Ionisation” because it had been panned in a review as “all drums”, and “dissonant and terrible”.  Young Frank simply had to hear it!  It is clear that Frank Zappa was Frank Zappa, from a very young age.  Frank even called Varèse on the phone at age 15, and Varèse told the teenager about new music he was working on.

Zappa describes befriending Don Van Vliet, the future Captain Beefheart.  There is a short-lived first marriage, and playing in gigging bands.  There are 10 days spent in jail for “conspiring to commit pornography”.  His career is given a fair overview in about the first 120 pages or so: gigs, albums, the GTOs, and even more brushes with the law.  A transcription of a 1975 court appearance in England is quite entertaining, as he is asked to explain his lyrics.  “What was the concept of the song ‘Would You Go All the Way?'” is the beginning of a discussion on band “members” and “groupies”, all in formal court-speak.  Entertaining as hell.

After running through the gigs and albums and adventures, Frank waxes philosophical on family, drugs, food, the music business, censorship, religion, and life in general.  There are far too many topics and sub-topics to list.  A chapter called “All About Music” will be fascinating to the musically educated and laymen alike.  From dots on pages to a living breathing orchestra, Frank walks us through his processes.  He also describes recording, mixing and the history thereof, an interesting segment.  Consider:  Whatever you hear on a record is not the sound heard by a pair of ears in the recording room.  There are specific microphones placed in carefully selected places, to pick up all the instruments as loud and clear as they can be captured.  Then, those sounds are mixed down, adjusting for volume and placement, and placed in a stereo field.  It’s a completely artificial sound, whereas if you were in the room, standing close to the drums, your living experience of the music would be drastically different.  Just fascinating thoughts from the brain of Frank Zappa.

The Real Frank Zappa Book is quirky, funny, educational, preachy, and utterly unique.  Frank is not content to talk just about what you want to hear.  He’s going to sit you down and talk about what he wants.  He doesn’t get too personal, and keeps aspects of his life guarded.  Instead, he brings you into the recording studio, acts as your tour guide, and your school professor.  The ironic thing is that Zappa was not too keen on post-secondary education for himself, but sounds like the coolest teacher you’d ever have.  The one you wanted to have.

4.5/5 stars

 

GUEST FILM REVIEW: Terrifier 3 (2024) – Holen’s Halloween Extravaganza 2024 part 3

TERRIFIER 3 (2024)

Directed by Damien Leone

Since I’ve been covering horror films of old the last two weeks, I thought it apt to cover one more contemporary. As contemporary as it gets as a matter of fact, as I just got out of an opening night showing a few hours before writing this. If you’re unfamiliar with the Terrifier saga, it focuses on serial killer/demonic supernatural entity Art the Clown. Initially appearing in short films and an anthology, he was granted a feature length excursion in 2016, the little indie movie that could, Terrifier. Made for around just $50,000, the film was panned critically, but garnered enough of a cult following to warrant a sequel.

Terrifier 2 was released in 2022 with a budget of just a quarter of a million dollars. However, the film was a surprise hit, making fifteen million dollars at the box office and garnering a number of positive reviews. Fifteen million may not sound like a lot these days, but bear in mind that this is an independent film series so violent that each entry has been released unrated.

And oh: the violence. Director Damien Leone received offers from major studios after the success of the second film to finance the third, but he had the integrity to turn them all down because he knew they’d try to censor his vision. These films make standard slasher flicks look like Walt Disney. Reports of people fainting, vomiting, and leaving the theaters in droves have accompanied the release of each film. None of that happened at my screening of Terrifier 3. The place was packed and people were glued to their seats. I was amused at how many guys were there with reluctant looking dates, possibly getting their girlfriends back for dragging them to something like Anyone But You earlier this year in the cruelest way possible.

It’s not all gruesome macabre gore though. These movies have a spirited sense of humor, and they’re only getting stronger each time out. Art is mute, but unlike other slasher villains, he’s incredibly emotive. David Howard Thorton imbues his performance with the grace, physicality, and body language of a silent film star, leading to moments of genuine hilarity. Whether he’s mocking his suffering victims or eroding their guard before hacking them to pieces, Thorton is perfect and totally committed. I was worried they wouldn’t be able to top sadistic comedy of the salt and bleach scene from 2, but I’m happy to report I laughed as much during 3 than I have at any comedy I’ve seen in years.

 

 

Another impressive aspect of 2 and 3 is the introduction of Sienna Shaw in the former film as the main protagonist. Played by real life martial artist, stunt performer, smokeshow, and general badass Lauren LaVera, we’re gifted a likable character to root for against Art. I say this is impressive because the film manages to have its cake and eat it too. A criticism levied at many slasher movies is that the one dimensional personalities of the victims makes the audience root for the killer, or at least see the movie through their point of view. The film does have its number of anonymous one dimensional meat bags for Art to cut through, but we have someone fundamentally good (angelic even) we hope to see triumph over him. Only after watching him creatively waste the supporting cast of course.

Art disposed of most of Sienna’s friends and family in a Halloween massacre during the second film, and she’s understandably having a hard time coping with that at the beginning of this one. Taking place five years after the previous film, Art being believed dead, Sienna is discharged from a mental institution to the care of her aunt and uncle where she hopes to spend a quiet Christmas with them and her young cousin, Gabbie. Art, who’s simply been dormant, is awakened in a condemned building by a demolition crew. Dispersing them in skin peeling fashion, he now has access to their van and all the goodies inside it.

Lauren LaVera crushes it here. She played a high schooler in one of those high schools where everyone looks like they’re pushing 30 in Terrifier 2, but here she’s convincing as a traumatized woman that fights every moment to stay strong for those around her. Haunted by violent hallucinations of the people she couldn’t save, LaVera navigates the precarious balancing act of portraying a damaged character that still has her innate toughness.

There are supernatural elements to Art and Sienna explored more in this film I don’t intend to spoil here. The imagery is not subtle, but in a film like this, subtle doesn’t really play. I’ve heard criticism that the plot is somewhat aimless compared to the first two with the addition of all the additional mythos. I can understand boring people considering some of Art’s kills to be unnecessary from an economic writing standpoint, but one of the main reasons people see these movies is for the spectacle of those inventively grotesque murders. Being so hyper-focused on plot is missing the forest for the trees. Besides, Art being on screen is guaranteed gold every time, and I was never bored or felt like the story was dragging when we cut to Sienna, because I liked her as a character and wanted her to prevail.

Admittedly, you need the right mindset or physical constitution to endure or enjoy this thing. Maybe I’m a sick fuck, but I had an absolute blast seeing this in the theater. So far each film has been a step up from its predecessor, and its cliffhanger ending has me excited for part four whenever it’s released. Damien Leone has assembled a group of very talented people, and his direction rises to their level. The film has reportedly already earned fifteen million dollars, which I hope ensures the production of the next one.

4/5