Reviews

GUEST REVIEW: Kix – Kix (1981)

Guest review by Holen MaGroin

KIX – Kix (1981 Atlantic)

Kix: one of the most beloved and influential rock bands of the time that only made it big after years of great albums, legendary live performances, and a work ethic that never failed them. Unfortunately, they only seemed to stay there for the album/tour cycle of their classic Blow My Fuse. While over the years they’ve returned to being more of a cult act than a mainstream rock group, the effect the left on rock culture shouldn’t be dismissed. It’s common knowledge that Bret Michaels liked the group enough that he decided to “borrow” some moves from singer Steve Whiteman. Anthony Corder from Tora Tora called Kix a huge influence on the development of their second album Wild America. Despite all their influence, the band never seemed to secure a position as one of the most popular acts of the day. Bad management, label indifference, and being a little ahead of their time prevented them from becoming the multi-platinum success they deserved to be on every one of their albums.

As far as being ahead of their time, this eponymous debut was released on a major label in 1981, when even Mötley Crüe were still grinding it out on Leathür Records. Kix were one of the first hard rock acts signed from the decade, but were hardly acknowledged for it. This debut album sold very poorly, and original prints are tough finds out in the wild today. 1981 may have been just too early for a release like this to find widespread success. It’s also possible that Atlantic didn’t know how to market the band, as their debut album is an interesting and masterful blend of hard rock, new wave, and bubblegum melodies that sound like they could have come from the 1950s.

Produced by Tom Allom (Judas Priest, Black Sabbath, Def Leppard), the album is given a very punchy and dynamic sound. The drums sound big and chunky, and everyone is audible in the mix. Anyone familiar with the Kix of the later ‘80s may find this release a bit jarring at first. There’s a certain quirkiness to the songs that isn’t as prevalent later on in their career. This would be the new wave sensibilities. Not all the guitars are overdriven in a way that you’d expect from a hard rock record. There are a number of songs that glide by with clean guitars, and still manage to rock with a ton of energy thanks to the contributions of drummer Jimmy “Chocolate” Chalfont, and the contagious exuberance of singer Steve Whiteman. Of course, not all the record is this style, there are songs where the guitars have plenty of distortion, and they’re power loaded with midnight dynamite force.

The album opens with the scorcher and fan favorite “Atomic Bombs”. Starting with air raid sirens and some tasteful drum fills, the suspense of the song builds as a riff that Poison probably ripped off for “Look What the Cat Dragged In” tethers the song, and keeps it from completely going out of control. The first Kix song about blowing things up (a favorite topic of these Maryland hicks), it sets the tone for the album. It’s a relentless hard rock number with dynamics, and a nice solo that manages to create a feeling of the impending chaos of fallout. Opening with a rocker was a good choice; it gets people’s attention so that they’ll be more open-minded about what’s to come.

“Love at First Sight” is the first of the quirky Kix tunes. It’s a bouncy new wave influenced song, without any keyboards. If the thought of new wave scares you, it really shouldn’t because it’s so skillfully blended with these songs. It’s more Devo than it is Flock of Seagulls, and it shouldn’t turn off anyone even if they don’t enjoy new wave. The song gets a kick in the ass from guitarists Ronnie “10/10” Younkins and Brian Forsythe, as the distortion kicks in and the guitar solo gives the song the kick it needs to succeed. They were never the flashiest or greatest players of the ‘80s, but they were melodically wise, and knew what fit the song.

At this point in the record we get yet another change of pace, the ‘50s heart throb tune “Heartache”. With a bubblegum melody bound to get stuck in your head, that goddamn Kix band gives another change of pace. Rarely do audiences get this much diversity from a record of any genre. Kix would never release another album as eclectic as this one. Bass player Donnie Purnell locks in perfectly with the guitars and drums to give this tune an infectious energy that seems to fuel this entire album. The song builds with the addition of more guitars. The band has mastered dynamics, and knows just how to play them for the benefit of the song. The album is filled with tunes that blend each of these styles, some in which they are blended so seamlessly it’s impossible to pick what style is dominant. Take “The Itch”, the riff and song structure sounds similar to the underrated AC/DC tune “What’s Next to the Moon”. They’ve somehow taken that song structure and turned it on its head. Giving it breezy rock verses that build in intensity until the chorus which delivers another catchy melody complete with claps and gang backing vocals. The blend of styles shown on this album is seriously impressive for such a young group.

In case that wasn’t impressive enough, Kix closes the album with concert favorite “Yeah, Yeah, Yeah” (not an Alice Cooper cover). It’s a hard rock tune that lasts seven minutes, featuring the infamous rant from Steve Whiteman, complete with crowd noise. Steve is upset because the woman he’s been seducing has puked all over his floor. That’s a big mistake. Don’t puke on Steve Whiteman’s floor. Go outside and do that. The subject matter is juvenile, but this is rock and roll. It closes the album on a fast tempo upbeat note. Every song on here could be considered upbeat, no ballads, the energy never lets up.

As the album finishes a look at the liner notes reveals that this is the only Kix album in which they weren’t pressured to work with outside writers (at least of the ones on Atlantic). It can be concluded that this album is the purest distillation of the Kix sound. While I like some of their more hard rocking albums later down the line better, this album is interesting because of the fact that it and its much lesser follow up Cool Kids (the only Kix album I’m not overly fond of), contain a new wave style that the band would never return to. It’s interesting hearing the young Kix and what their original vision is. Some people consider this the best Kix album. Not me, but it’s still pretty damn good.

4/5 stars

MOVIE REVIEW: Solo – A Star Wars Story [MINOR SPOILERS]

It is a lawless time.

CRIME SYNDICATES compete for resources – food, medicine, and HYPERFUEL.

On the shipbuilding planet of CORELLIA, the foul LADY PROXIMA forces runaways into a life of crime in exchange for shelter and protection.

On these mean streets, a young man fights for survival, but yearns to fly among the stars….

SOLO: A Star Wars Story (2018)

Directed by Ron Howard

We are dangerously close to Star Wars overkill.  With the announcement of:

  1. A new trilogy helmed by so-so director Rian Johnson.
  2. A new trilogy brought to you by the folks who gave us Game of Thrones.
  3. A live action TV series from Jon Favreau.
  4. And not to mention more Star Wars Story spinoffs (Obi-Wan? Boba?) and the only movie that really matters: the final chapter of the Skywalker Saga, Episode IX.

We are very close to oversaturation indeed.  Remember when you had to wait three years between movies and much longer between trilogies?

Fortunately, Solo is a welcome addition to the crowded Star Wars family.

Solo was one of the spinoffs conceived by George Lucas before he abandoned ship.  He’d been trying to do “young Han” since at least Revenge of the Sith, when he was pictured in concept art as an orphan raised by Wookiees.  Lawrence Kasdan (The Empire Strikes Back) and son Jon wrote Solo, so you can be assured there is a level of authenticity here.  Who better to write that space scoundrel?  Nobody.

And who better to direct than Ron Howard?  He came in under difficult circumstances after the firing of Phil Lord and Chris Miller, re-shot 70% of the movie, and pretty much nailed it too.  Howard also brought in some of his regulars (brother Clint Howard and Paul Bettany) and threw in a literal ton of Star Wars references and crossovers.  Solo is Easter Egg heaven.

Finally, composer John Powell created a soundtrack that is different yet founded in the Star Wars universe.  Powell hybridized new and old themes together into a memorable score.  He too included Easter Eggs, in his music.  Listen closely when [SPOILER] the marauder Enfys Nest and her gang arrives.  Powell utilised a children’s choir, as a clue foreshadowing Enfys’ young age under the mask.

Everybody was worried about lead actor Alden Ehrenreich as Solo.  Admit it, you were too.  Fear not, for young Ehrenreich (who is signed on for three films) nailed the role.  His higher voice is the only niggle that consistently reminds you that he’s not the Han you remember.  Similarly, Donald Glover fits into Lando Calrissian’s capes comfortably, including the suave talkin’.  Billy Dee Williams should be very happy with the new Lando.

The concept of Han as an orphan is retained, but instead of being raised by Wookiees, his backstory is more aligned with the old Star Wars novels.  He is a thief on planet Corellia, where he and girlfriend Qi’ra (Emilia Clarke) try to stay under the Empire’s nose.  Corellia is a shipbuilding world with huge, expansive scenes of Star Destroyers under construction.  When Han and Qi’ra are separated, he joins the Empire, as he did in the comics.

Han wanted to be a pilot, but got stationed in the muddy trenches to quell an uprising on planet Mimban.  Han, you see, isn’t the best at taking orders.  While enlisted on Mimban, he meets Tobias Beckett (Woody Harrelson) and his best friend to be, Chewbacca (now played by Joonas Suotamo).  Solo is swept into the seedy world of organised crime where he is delighted to catch up to Qi’ra, and is introduced to her boss played by Paul Bettany.  They both work for the dark, shadowy crime syndicate Crimson Dawn.

From an exciting pulse-pounding train heist to the Millenium Falcon, Solo keeps things moving.  It’s one big set piece after another, including the Kessel Run.  And yes, they used the novels as the source material.  The Falcon does indeed make the Kessel Run in 12 parsecs, getting a little beat up in the process.  By the end of the film, she’ll look a little more like the ship you remember.

The plot has its twists but you can foresee that some backs are going to get stabbed.  Han’s backstory is over-explained a bit too much for a single film, but there is still enough left to explore should Solo 2 be somewhere in pipe.  The truth is, the first viewing of Solo is less paying attention to the plot, and more looking for cameos.  Speaking of which, characters tie Solo into movies as diverse as Rogue One and The Phantom Menace.  You’ll see some stirrings of the early Rebellion, and Han’s intrinsic sense of right and wrong.  You might even see a giant “fuck you” to the Star Wars special editions.  [SPOILER] Han is definitely a “shoot first” kind of guy.

Things get a little muddled with a side character (Lando’s droid L3-37 played by Phoebe Waller-Bridge) with a passion for droid’s rights.  Perhaps a droid-based Star Wars movie would be interesting for the future, but it was extraneous here.  Solo is best when it’s giving you a tour of the Star Wars universe, from crime lords to the trenches on the front lines of the Empire.  Trench warfare on Mimban is directly inspired by the muddy fields of World War 1, and it’s far better than any of the Clone Wars stuff in Revenge of the Sith.

Unlike The Last Jedi, a spinoff movie doesn’t have to reinvent the wheel.  In many measures, the pressure was off.  Solo aims to be a fun movie that requires no connections to the Force or Skywalker family.  It’s a shame that it has not performed well, but that is not a reflection on its quality.

3.75/5 stars

REVIEW: Ghost – Prequelle (2018 deluxe edition)

GHOST – Prequelle (2018 Loma Vista deluxe edition)

Reviewing an album on one listen is rarely wise, but Ghost can do that to you.  Their fourth, Prequelle, pushes the Ghost sound further into the 80s, while retaining their heavy roots.  Many songs could have been plucked from the year 1986, with that kind of melodic sensibility.  Remember how bands like Accept, Loudness and Kiss sounded around 1986?  Lush backing vocals sound as if assembled with care by Robert John “Mutt” Lange.  Guitar solos are cut from the stone of Mount Kulick.  Ghost leader Tobias Forge has never hid his pop roots, and they are clearly coming further to the fore.

With a bold image and faux-Satanic lyrics, Ghost have established themselves in the upper echelons of metal today.  That will only be cemented further by Prequelle.  In a year that has seen brilliant returns from Judas Priest and Stryper, Ghost complete a trinity of great recent records.  With a deft touch, tracks such as “Rats”, “Faith” and “Miasma” deliver hook after hook after hook.  Ghost never really wimp out, although their melodic skills are sharper than ever.  These songs are written straight out of the textbook, combining heavy and pop influences together in a witch’s brew of addictive audio.  The limits are pushed, with an unexpected sax solo being an album highlight.  They go epic and progressive too, especially on closer “Life Eternal”.

Two instrumentals do not (at all) slow down the love affair.  Two covers at the end of the deluxe edition (Pet Shop Boys and Leonard Cohen) are an interesting coda.  You can make good arguments for only buying the basic 10 song album, because it has a clear beginning, middle and end.  If you’re the kind of person who likes staying for the end credit scenes, or enjoys having dessert, then you should check out the bonus tracks.  “It’s a Sin” has the detectable Pet Shop Boys disco beats and posh swagger.  Tobias Forge’s evil Leonard Cohen impression twists “Avalanche” into something darker and sinister.

However you go for it, make sure you get Prequelle this summer.  The deluxe has a neat 3D cover, if that strikes your fancy.

4.5/5 stars

REVIEW: Stryper – God Damn Evil (2018 Japanese import)

STRYPER – God Damn Evil (2018 Frontiers Japan)

Timothy Gaines ejected from Stryper, unfortunately not on the best of terms.  He was swiftly replaced by Perry Richardson of Firehouse, who fit into the rock regime smoothly and easily.  God Damn Evil is Stryper’s first with the new bassist, but latest in a long string of credible and crucial Christian metal albums.

But first a word about Walmart, who refused to stock this album based on the title alone.

This exemplifies two huge problems in society today.  One:  the inability to think for oneself.  Two:  pandering in fear to the whims of the general public.  Walmart were afraid they’d get complaints about an album called God Damn Evil, and so refused to offer it.  It’s patently obvious what the title means; just look at the cover art.  God is damning the evil.  Spelling it out even further, the evil is clearly depicted as “money”.  (Maybe the corporate mega-giant doesn’t like this anti-capitalism message.)

Maybe Stryper should have titled this album God Damn, People Are Stupid.  You can’t buy God Damn Evil at Walmart, but you can buy Night of the Demons on Blu-ray.  Go figure.

The music is what matters most, and the word on the street is that God Damn Evil is their best album yet.

That’s a tough claim.  After all, Fallen and No More Hell to Pay are both excellent metal albums, and surely rank among Stryper’s top five.  God Damn Evil shares a similar heavy direction, and even matching cover art, forming an ad-hoc trilogy.  The new one is the heaviest of the three.  Fans were taken aback by lead track “Take It to the Cross”, the closest Stryper have been to thrash metal.  From guttural grunts to screams so high they border on self-parody, “Take It to the Cross” is aural shrapnel of the best kind.

The only other track that comes close to “Take It to the Cross” in terms of speed is the Priest-like closer “The Devil Doesn’t Live Here”.  There is no question that Stryper can make metal as gleaming as their heroes do.

More traditional is “Sorry”, a metal groove with a slaying chorus on top.  It’s one of many contenders for “favourite song”, along with a swaggering “Own Up”.  “Lost” reduces the tempo, but not the power.  The message is there too, but not overwhelming.  Anyone can headbang along.  The title track “God Damn Evil” is unexpectedly different, being a straightforward hard rock tune with an anthemic chorus.  Stryper fear no evil in “The Valley”, a heavy metal retelling of Psalm 23 (“the valley of the shadow of death”).  Another top track is “Beautiful” which bears a Sabbath groove the likes of which is the basis of the genre.  It’s melodic, but not a ballad.  There’s only one of those:  “Can’t Live Without Your Love”, available in Japan in two versions.  The standard 80s-sounding power ballad would stand proudly next to “Is This Love” by Whitesnake.  The Japan-exclusive acoustic version is even better.

The highlights are many, and filler nonexistent.  Without giving up a shade of their integrity, Stryper have managed to remain true to their origins and yet evolve into higher, heavier grooves.  The key is the eternal youth of singer Michael Sweet.

Although some still think Stryper are a synonym with bad 80s bands, you’d be wrong to discount them now.  Stryper may well indeed have done their best album in 2018.

5/5 stars

REVIEW: Dokken – Return to the East Live (2018 Japanese CD/DVD set)

DOKKEN – Return to the East Live (2018 Frontiers Japan CD/region 2 – DVD set)

Even the most devout Dokken fan must acknowledge that Don is not the be-all and end-all of singers.  A good singer, yes, but never in the top tier.  Now that age has taken its toll (as it always does), Don relies on the backup singing of Jeff Pilson, Mick Brown, and George Lynch to hit those high notes.  The classic Dokken lineup reunited for some shows in Japan, and even recorded a new song to go with it.  Fortunately Dokken were up to the challenge, even with the shortcomings that age creates.

Some of the audience looks too young to have known Dokken when they first rocked Japan back in the 80s, but most are die-hards.  Don himself looks cool as a cucumber, with George and Jeff on either side holding down the fort.  Most importantly it seems they had a good time.  Lynch is simply compelling to watch, as he plays impossible licks while making it look so easy.

There’s no messing around with this setlist.  All classic Dokken, all 80s, no filler.  They focused on what the fans wanted and they delivered.  The band sounded great.  Pilson’s all-important bass is given enough room in the mix to be effective.  Songs like “It’s Not Love”, “The Hunter” and especially “Alone Again” buzz with electricity.  Vocally, with great backup singers like Jeff, the band were able to pull it off.  It’s a high energy reunion show.  It’s just too bad so many people in the audience spent it on their phones.

The DVD and CD tracklists are, strangely, not in the same order.  You can hear some obvious vocal overdubs in places, most notably “Kiss of Death”.  There are some sloppy edits on the video.  Don’s lips don’t always match the words, and there are annoying graphic overlays, but it’s a good show with plenty of closeups.  Jeff Pilson is a dynamo on stage, but Wild Mick has lost nothing over the years either.  He hammers on his kit as if he’s still 25 years old!  There is little interaction between the members on stage, except for Jeff who is all over the place, including the keyboards.  Don grins like a Cheshire cat when George lays down those familiar solos.  He picks up the guitar himself for oldies like “Breakin’ the Chains”.

Both the CD and DVD portion have unique bonus content.  After the main feature, you will find 45 minutes of behind the scenes footage, directed by Don.  Shaky camera work aside, this is fascinating fly-on-the-wall stuff.  Chatterbox Don is full of energy, even when losing his fedora hat. Eagle-eyed Trailer Park Boys fans will recognise road manager Tom Mayhue, their nemesis in the Out of the Park series.  As the band pick apart the set and put it back together again, you get a real sense that they just wanted to get it right but not at the expense of fun.

You will find two exclusive bonus acoustic songs on the CD.  “Heaven Sent” (with congas) and the obscure “Will the Sun Rise” are studio re-recordings, giving both songs a fresh, mellow gleam.  That’s not the main feature, however.  For obvious reasons, the brand new song “It’s Another Day” is the centrepiece, and as such it is presented as the very first track on the disc.  While the live set is undoubtedly a very significant memento for fans, nothing really excites them like a brand new song — their first together as the classic lineup two decades.  And it’s a solid B+.  Grooving with a head of steam, “It’s Another Day” is very reminiscent of the excellent and underrated Dysfunctional album from 1995.

The Japanese bonus track this time is the early Dokken classic “Paris is Burning” live, which is also on the DVD but not the standard CD or download versions. Don’t you hate when a track is missing that is only on the DVD? Sure you do.

Jeff Pilson says that he wanted Dokken to end (if this is the end) on an up note.  “Just a really positive  exclamation point to a great career.  Wouldn’t that be wonderful?”

4/5 stars

DVD REVIEW: The King of Kong – A Fistful of Quarters (2008 New Line)

 

 

THE KING OF KONG – A FISTFUL OF QUARTERS (2008 New Line)

Directed by Seth Gordon

This documentary is a story about a clash of the titans.  A clash of a different variety: Donkey Kong!  Newcomer Steve Wiebe vs. veteran champion Billy Mitchell. Choose your side and watch the battle begin.

If you grew up in the 1980s, then it’s very possible that you spent a good deal of your summer holidays popping quarters into arcade machines. Whether you were a Pac-Man freak, into Centipede, or the ultimate challenge of Donkey Kong (Mario’s first game, don’t forget), then you will love the memories associated with this film. Billy Mitchell was thought to be the greatest classic gamer of all time. He held all the big records, until 2018 when it turned out that Billy was a cheatie-cheaterton!  Many of his records, we now know, were performed on emulators, not original arcade machine.  Couldn’t happen to a nicer fella.  In The King of Kong, he doesn’t come across as a pleasant guy, and not at all humble. He was, however, respected in the classic game community. So what happens when a newcomer named Steve Wiebe shows up, who claims to have smashed Mitchell’s longstanding Donkey Kong record?

Wiebe is a tragic figure, a loving husband and father who always excelled at sports and music, but was never “the best” at anything. He obsessed over Donkey Kong, drawing patterns on screens for months until finally beating the record, on an arcade machine, on film. However it’s not that simple. Many were sceptical of his claims, especially since he came out of seemingly nowhere with a Donkey Kong board given to him by Billy Mitchell’s arch-foe, Roy Shildt. To prove himself, Wiebe travelled to The Funspot in New Hampshire to beat the record in person, on one of the most notoriously difficult Donkey Kong consoles known to mankind.

Partly a history of the golden age of video games, partly a David and Goliath story, and partly just a tale about a guy who wants to be the best at something, The King of Kong is a heartwarming documentary. It will have you cheering along, and remembering the good ol’ days. Surprisingly tense at times, but always interesting, The King of Kong is very re-watchable.

The most common critique of this film is that there is some dispute over its accuracy. It seems that some game records were ignored in favour of dramatic effect. However, it’s still a great film.

The DVD is loaded with special features including two commentary tracks, and check out the cool reversible cover art. Take your pick — Steve Wiebe on the cover, or a cool painting of a loaded video arcade.  You choose!

5/5 stars.  For geeks worldwide.

REVIEW: Ritchie Blackmore’s Rainbow – Memories In Rock II (2018 Japanese edition)

RITCHIE BLACKMORE’S RAINBOW – Memories In Rock II (2018 Minstrel Hall Music Japanese edition)

Blackmore’s new Rainbow lineup has already released three live albums!  So which one should you buy?  The one with the new song, of course.  And if you prefer the whole enchilada, then the only option is to score the Japanese version of 2018’s Memories In Rock II, which has not only that new song, but two other new recordings that were only available on iTunes.  Any serious Rainbow fan should consider buying the album from Japan in order to score these tunes, on CD for the first time ever.  It’s only money!

This album is a sequel to 2016’s Memories In Rock.  Blackmore and Company listened to the fans, who complained that they were playing too many Deep Purple hits, and so the setlist was revamped.  “Highway Star” was dropped and “Spotlight Kid” was moved to the opening slot.  “Sixteenth Century Greensleeves” was worked in.  The tweaks are minor, but Memories In Rock II is fresher for it.

Singer Ronnie Romero is fabulous, juggling the songs of multiple lead singers himself.  Whether he’s singing Gillan, Coverdale, Dio, Bonnet or Turner, Ronnie sounds comfortable.  The truth is that Ritchie Blackmore struck gold when he found this guy.  As for the man in black himself, age may have mellowed him a little bit.  The riffs don’t bite as hard, and sometimes the solos are thriftier than they used to be.  Sometimes Ritchie’s noodling around rather than riffing. That’s fine because Rainbow is his band and he should play exactly how he wants to play.

There are a couple treats dropped into the set.  First is “I Surrender”, which Ronnie Romero re-recorded for the iTunes single.  It and “Since You’ve Been Gone” are the most pop of set, offering short but necessary reprieves from the more advanced jamming tunes.  The other surprise is “Carry On Jon” from the 2013 Blackmore’s Night album Dancer and the Moon.  Of course it’s a tribute to Jon Lord, Ritchie’s old Deep Purple bandmate who died in 2012.  It’s a lovely tune and the crowd settles right down to listen.

Another fine Rainbow double live album.  The cover is a redux of Rainbow Rising and that’s a little confusing, but the performance is more important.  This is a dandy of a show for the current version of the band.

The lucky Japanese fans got a triple CD, with a bonus disc featuring three studio songs.  “Waiting for a Sign” is brand new.  Richie wrote it with Candice Night, his wife and singer in Blackmore’s Night.  It sounds a bit like Bad Company, being a laid back bluesy rock tune.  They can still come up with the goods.  “Waiting for a Sign” is the kind of song that would have fit on any Rainbow album fronted by Joe Lynn Turner.  This track can be found on all versions of Memories in Rock II.

In 2017 Blackmore said, “Rather than make an album, we may release singles.”  And so that year they put out “Land of Hope and Glory” (an instrumental) backed by “I Surrender”.  Some in a certain age bracket might know “Land of Hope and Glory” as the theme song for late wrestler “Macho Man” Randy Savage.  Rainbow’s version features a lead violin and acoustic guitars.  The other track was “I Surrender”, a re-recording of the old Rainbow pop classic.  It was Ronnie Romero’s first studio recording with Rainbow, and a good one it is.  No question:  he is the right guy for Blackmore.    Together, these two songs frustrated fans who really would have liked to get something original from Rainbow, but they got their wish now with “Waiting for a Sign”.

Don’t miss this one.  It’s OK if you skipped the previous two live Rainbow albums, but Memories In Rock II is the one to get, particularly the Japanese import.

4/5 stars

GUEST REVIEW: Star Wars: The Last Jedi (2018) Blu-ray bonus features

We’ve already reviewed the movie ad-nauseum, so here is something fresh:  a review of the Blu-ray bonus features by guest writer Kovaflyer!

Guest review by Kovaflyer

STAR WARS: The Last Jedi (2018 Lucasfilm blu-ray)

Directed by Rian Johnson

If you enjoyed The Last Jedi or if you have mixed feelings about the newest instalment of Star Wars and are trying to make sense of the film, the bonus features are a great in-depth look at where Rian Johnson took the galaxy that is so very far far away.

 

The Director and the Jedi – Full length documentary feature

The Director and the Jedi is your first behind the scenes look at The Last Jedi and the hard work that went into making this Star Wars movie. This part of the bonus features takes you behind the scenes of the building of up to 120 different sets, the creation of all the creatures that we have come to know and love, the eye-pleasing costumes, as well as the amount of detail involved in the makeup artistry; like the work done to create Kylo Ren’s scar.

The Director and the Jedi also features discussions with Mark Hamill about Luke Skywalker and the direction that Rian took with Luke in the film. Mark tells us that he was going to play the Skywalker that Rian envisioned regardless of how he felt about his own image of Luke. Early footage of Mark and Daisy going over lines and choreographing the Luke vs. Rey scene was fantastic.

The interviews and interactions with Carrie Fisher are both heart warming and fun and showcase Carrie at her best; the only way that Carrie knew how to be. Carrie was excited about the direction of Leia’s character in the movie, calling her strong and in charge.

 

Balance of The Force

Rian Johnson really wanted to hit the re-set button on “the Force” and what it means. He wanted to show new Star Wars fans that the Force is not a super power, but a balance between all things, the light and dark, in all living things.  It is a gift, and not all about moving rock or things across a room.

When he started writing The Last Jedi he had a look back at Star Wars and the main characters in the story and what challenges they would eventually come up against.

Rey is looking to find herself and where she comes from; who her mom and dad are and where they have been, and what her new powers mean and how to use them. With Rey there are no easy answers and if she wants them she is going to have to find them herself.

Finn has just woken up on a ship after being injured in a fight on Starkiller Base while trying to save Rey and the Resistance. He wakes up with the ship under attack and Rey missing, and therefore he has to think fast and take action to save Rey, himself and the ship.

Leia, facing more and more loss is taking charge and leading the Resistance in the biggest fight yet.

Luke is fighting his own internal battle that the Jedi must end. In his view, the Jedi have done nothing but added to the problems of the galaxy, and if he were to bring back the Jedi, the Sith would rise again. Luke believes if the Jedi die, that a new light could rise and win. Therefore, Luke Skywalker has exiled himself; he is being selfless. Rian knew that there was a reason why Luke went into hiding, that it was a selfless act and that he was not just cowering away.

Yoda, yes that Yoda (the puppet version brought to life by Frank Oz), comes to Luke when he needs him the most. Yoda reminds Luke of the same lessons he once taught him, to stop with all the big plans and to focus on the here and now, to be the Luke Skywalker that everyone needs; to be the myth, to be the legend of Luke Skywalker and to not let the light burn out. So, Luke must train Rey and keep her in the light. The most important message Yoda had for Luke, was that failure is the greatest teacher of all. Johnson insisted to have the original puppet version of Yoda and his puppeteer Frank Oz for the film. He wanted Mark Hamill to interact with Oz and not a CGI version of Yoda, and even procured the original Yoda puppet mold in order to fashion the latest version of the Jedi master.

 

Scene Breakdowns

The bonus features also offer the following scene breakdowns.

Lighting the Spark: Space battles are massive undertakings. You get the big explosions, the visual and auditory effects. However, Johnson explains that he felt that in this space battle, he wanted to show the humans behind the spaceships; to make you feel connected to what is happening based on the relevance of the battle to the characters. It is interesting and fun to learn where some of the sound effects that were used in the battle came from (e.g. a roll of duct tape), how some of the spacecrafts and battle sequences were modelled after WWII aircraft and aerial footage (e.g. a B-52 bomber), and how Kylo Ren’s spaceship was of course modelled after Vader’s own tie fighter. In this battle, that saw so many Resistance fighters lost, Johnson chose to highlight Leia’s struggle with loss and grief and her deep love for her people.

Snoke and Mirrors: Rian explains that in bringing Snoke to life, he wanted to ground him in reality; make him have a physical presence. He was worried, however, about the complexity of creating a believable character completely out of CGI technology. In utilizing a complete motion capture suit for Snoke’s character, however, they were able to use every nuance that Andy Serkis brought to the character’s physical being; every facial expression, every twitch, etc.

Showdown on Crait: Johnson explains that the scene of the showdown on Crait was one of the first visions he had when he started working on the movie. To create the visual effects for the shots fired on the salt planet, the film crew went to the salt plains of Bolivia and filmed shooting sequences. It is amazing to hear just how many different options they went through when creating the red under the salt (e.g. shredded dyed red paper), how they reinvented the Walker from Empire into the Gorilla Walker using various sounds bytes to create its own unique ‘voice’, or how they used sounds from old beaten down cars in order to obtain the sounds for the Resistance fighter ships.

 

Andy Serkis Live! (One Night Only)

This part of the bonus features offers a look at the first meeting between Rey and Snoke with Andy Serkis in the full motion capture suit. It is amazing to see Andy’s performance in the raw without the CGI effects. To say that Andy’s performance was intense is a serious understatement!

 

Deleted Scenes

The bonus features also provide a look at some of the scenes that did not make the final cut for the movie; fun to watch but one can understand why they were left out for the most part.

 

In closing

In closing friends, I give this bonus footage 4/5 stars and highly recommend that you pick up the Blu-ray edition of The Last Jedi as you will enjoy some fabulous bonus features that will enhance your enjoyment of this Star Wars film.

 

 

 

 

REVIEW: Richie Kotzen – Mother Head’s Family Reunion (1994 Japanese import)

Kotzen’s music is cut for hard rockers who like insane playing and a side of R&B.

 

RICHIE KOTZEN presents the Mother Head’s Family Reunion (1994 Geffen, Japanese with bonus track)

Did anybody really expect Richie Kotzen to stay in Poison?  The chances of that happening were always about as good as a Beatles reunion tour — next to zilch.  Kotzen’s talent burst at the seams that were Poison.  He could not have been content for long.  Post-Poison he resumed business swiftly with Mother Head’s Family Reunion, his fifth overall recording.

A funky “Socialite” demonstrates Kotzen’s diversity.  Drummer Atma Anur breaks it down while Richie brings the soul.  Kotzen’s music is cut for hard rockers who like insane playing and a side of R&B.   The soulful profile is on full display with “Mother Head’s Family Reunion” which sounds like a Black Crowes cover.  Switch to blues balladeering on “Where Did Our Love Go”, and “Natural Thing” brings it all the way to funk again.

Listening closely, Mother Head’s Family Reunion sounds a lot like Native Tongue, Phase II.  It’s that album, but beyond:  it’s Kotzen completely unleashed and without Bret Michaels.  You could easily imagine a track like “A Love Divine” on side two of Native Tongue, among the more grooving material.  That connects seamlessly with “Soul to Soul”, another bluesy ballad, with a summery feel.  “Testify” has a similar bright side, and a wailing chorus.

Cover songs can be shaky ground, and “Reach Out I’ll Be There” sticks out like a sore thumb, a song from another era that doesn’t match up with Richie’s originals.  That’s not to say it’s bad.  Far from it — it’s one of the best covers of it that you’ll find.  It’s just on the wrong album, even as it jams on for seven minutes!

Through the last four tracks (“Used”, “A Woman & A Man”, “Livin’ Easy” and “Cover Me”) Richie and company rock it up and slow it down again with consistently impressive chops.  There are no weak songs, and Kotzen’s ballads have a genuine sound that stays timeless no matter the year.  The speedy funk-soul-metal soup of “Cover Me” concludes the standard domestic album by smoking your ears with blazing hot licks.

This album, long out of print, has been reissued in Japan with the bonus track intact, at a surprisingly low price.  (Amazon Canada had it in stock for $22.33.)  If you’re lucky enough to acquire it, you’ll get the extra song “Wailing Wall”.  Sometimes the Japanese fans got the best exclusives.  “Wailing Wall” is one.  It taps into the spirit of Tommy Bolin-era Deep Purple and it could be the best song of them all.

Easy decision:  Get some.

4.75/5 stars