Sunday Chuckle: Jeopardy!

Just something cute for this week.  If you’re a fan of Jeopardy, perhaps you remember this one from the April 30 episode.  I was so excited I had to take a picture of the screen.

Regular readers at mikeladano.com know the question.  What is American Dad?

In Getting More Tale #606, we discussed five reasons why Roger the Alien is the greatest character on television today.  “Roger the Alien is responsible for many historical events that you didn’t know about,” I wrote.   “He helped the US hockey team win the gold in the 1980 ‘Miracle on Ice’. He did this on steroids as his hockey player persona, Chex LeMeneux.”

Great to see good ol’ Chex as a question on Jeopardy!

The Big Lebowski radio, tonight!

I will be LIVE at 12:30 AM (ET) Saturday morning with Robert Daniels on VISIONS IN SOUND. Tune in on your dial to 98.5 or internet to CKWR!  You folks in the UK can tune in as you enjoy some morning java!  Join Us THIS Saturday 12:30-2:30am (ET).

This Week On Visions In Sound – The 20th Anniversary Of The Big Lebowski – Drop in to see what condition your condition is in this week as this week we celebrate the 20th of the Coen Brothers cult classic The Big Lebowski. We will also be live on Facebook!

I’m a bit of a fan of both the movie and its excellent soundtrack.  My movie review can be found here.  Check out my cool Lebowski ID and swag!

 

 

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.

 

 

 

 

#678: Robots

GETTING MORE TALE #678: Robots

Long-time readers know that mikeladano.com started as a site about music, but has grown beyond that.  Mike Ladano (that’s me) is passionate about music, but that’s not all.  You may have noticed that in addition to collecting rare Japanese import CDs with bonus tracks, I also like to collect tape decks and cars and trucks and planes that transform into robots.

The music/Transformers connection is pretty solid.  First there was a Bruce Springsteen-like character who debuted in the Marvel comic series.  Then, Stan Bush and Weird Al Yankovic contributed tunes to 1986’s Transformers: The Movie.  (Weird Al’s song was “Dare to Be Stupid”, and you should certainly know Stan Bush’s songs “The Touch” and “Dare”.)  Two decades later, Linkin Park had the lead single from 2007’s Transformers.  In fact, Linkin Park have songs in all five Transformers “Bayverse” films.  Some members are so deep into the ‘bots that they even have their own Transformers action figure.  In 2013, Hasbro released a limited edition golden Linkin Park Soundwave figure designed by Joseph Hahn!

I should state for the record, because this really cheeses off a lot of Transformers fans:  I hated the old cartoon.  It was too kiddie, with nonsensical plots and characterisations.  The Marvel Transformers comic series, originally written by Bob Budiansky and later Simon Furman, was grittier and geared to older kids.  It ran 80 issues, from 1986 to 1991.  It was better than the Sunbow cartoon, and the Michael Bay movies too for that matter.

I “stopped playing with toys” around 1987, but still collected the comics for another year.  The Transformers toyline and comic were officially cancelled in the early 90s, but even that was short-lived.  Much like Optimus Prime himself, the toys wouldn’t stay dead for long.

1993 saw the debut of Transformers: Generation 2.  This consisted of a rebooted toyline with old and new toys, and a new Marvel comic continuing the storyline of the original.  While in Frankenmuth, Michigan I picked up issue #1 of the comic, in a special fold-out cover.  Unfortunately, the new G2 comic was adapted to the 90s: Big guns, and grittier action.  Meanwhile the toys were increasingly designed with kids in mind.  They sported bright colours and gimmicky play features, like squirting water.  Around the same time, while checking garage sales with buddy Peter, I ran across a massive stash of original mint condition Transformers comics that I was missing.  50 cents a piece!  I was back collecting the comics once again.

I regret that I didn’t buy any Generation 2 toys.  Some of them, including “Laser Rod” Optimus Prime, were really quite excellent.  I thought I “shouldn’t” be buying toys at my age.

When did that all go out the window?  In 2006 I quit the Record Store and started at Aecon Industrial.  I was teamed up with a fantastic lady named Julie in their Quality Assurance department, and she showed me the ropes.  She was also responsible for getting me back into transforming toys.

We had a little office to work out of, and on the shelf was a small black Beast Wars toy.  Beast Wars was a 90s incarnation of Transformers, a complete reboot after the commercial failure of Generation 2.  This time, a new cast of characters featured robots that turned into life-like animals, on a flashy new computer animated TV show.  Julie brought in a small Beast Wars toy that belonged to a nephew.  It was a bull of some kind, and when we needed a break we’d fiddle with it.  That’s what started it up again.  I remembered how fun those little toys were.  Like 3D puzzles that you solved by twisting and turning parts around into new formations.

I made a trip over to Toys R Us to see what they had:  Star Wars Transformers!  These were famous vehicles from the Star Wars movies that transformed into robot likenesses of their drivers.  There was a Vader/TIE, a Luke/X-Wing and many more to collect. Unfortunately they were not very good toys.  The whole concept was dicey from the start.  Darth Vader flies a TIE Fighter that transforms into a giant robotic Darth?  That never made a lot of sense, but the toys were just not good.  They were flimsy and the robot modes often had giant wings and spaceship parts hanging off the back.

A couple years later, things changed again.  Hasbro realized there was a massive market out there for old men buying nostalgia toys.  They began issuing new versions of old classic characters from the 80s, and that was all I needed to jump back in with both feet.  You could even buy “Encore” reissues for some of the original figures from 1984, ’85 and ’86!  Therefore, for just a few bucks you could get a brand new replica of the original Optimus Prime, with only a few minor changes (smaller smokestacks so kids won’t poke an eye out).

I buy both Encore reissues, and brand new iterations of old characters.  The new toys satisfy a lot of the wants of collectors today.  Unlike the old ones from the 80s, they have better articulation.  Elbows, knees and ankles all move so you can put your toys in the most action-packed poses.  But they’re not perfect.  They come with fewer accessories and sometimes lack the gimmicks of their 80s counterparts.  Materials are cheaper today, and toys are sometimes misassembled or defective right out of the package.  Design flaws and bad QA are a constant issue.  Toys are made so hastily that some can’t even transform properly like they’re shown on the packaging.

Sounds like Hasbro needs a full-time play-tester.  I’m available.

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

REVIEW: Steph Honde – Covering the Monsters (2017)

STEPH HONDE – Covering the Monsters (2017 Musik records)

Steph Honde is a French guitar player, best known for his work with Paul Di’Anno (Iron Maiden) and Hollywood Monsters (including such players as Don Airey and Vinny Appice).  He’s rocked with Jim Crean and Danko Jones.  He can write and play multiple instruments.  And he can sing!

Honde’s 2017 album Covering the Monsters takes on a diverse batch of rock and metal.  He plays everything but drums, and does a damn fine job of it.  What makes the real difference is a unique selection of covers.  Saxon’s “Waiting For the Night” comes from 1986’s Rock the Nations, which garners a lowly 2.5/5 over at Heavy Metal Overload.  Yet from a so-so record comes a stunning pop rock track!  Honde’s vocals will divide listeners, but his playing should stun everyone.

“Turbo Lover” is a slick choice, and “Bring Your Daughter…To the Slaughter” unexpected.  Vocal cords are shredded on “Bring Your Daughter” just like Bruce did on the original.  There are also ballads.  “Edie (Ciao Baby)” has to be one of the most underrated of the 1980s.  It’s fun to just listen blindly awaiting the next track.  Danzig’s “Mother” leads into Guns N’ Roses (“It’s So Easy”).  Not just Danzig, but also Michael Graves (“Crying on a Saturday Night”).  Love and authenticity are poured into each one.

The best track is the one you’d think would be toughest to cover — the epic ballad “Take Me for a Little While” by Coverdale-Page.  Honde captured what makes it a powerful song.

We exeunt to some Nazareth (“Not Fakin’ It”), obscure Sabbath (“Zero the Hero”), a little Ramones (“Something to Believe In”) and epic Winger (“Headed for a Heartbreak”).  It’s a very satisfying mix of song choices, though Honde really has to stretch for notes on “Zero the Hero”.  Mission accomplished.

Great covers album, and that’s saying something, because covers albums are often not.

4/5 stars

 

#677: Rock Clocks (Happy Mother’s Day!)

No Sunday Chuckle this week — a special post instead.

 

GETTING MORE TALE #677: Rock Clocks (Happy Mother’s Day!)

My mom has always been creative.  Ever since we were kids, she’s been making things.  In my earliest memories, she learned how to make ceramics at home.  A prized possession of mine is my Darth Vader lamp.  It’s made of two ceramic pieces, the base and the Vader bust.  It has coloured lights in his chest, and his lightsaber lights up as well.  I got Vader, while my sister had an R2-D2.  I still have that Vader and she still has her R2.  Then she even bought a kiln so she could fire her ceramics at home.  My dad called it “that damned kiln” or “that god-damned oven” while my mom expanded to teaching ceramic classes in the basement.  She even started making stained glass ornaments!  My dad hated that we had a cottage industry in the basement, and her stuff always fought for space with my Transformers boxes.  But dad had to admit one thing, which is the ceramics not only paid for themselves, but also my mother’s annual vacations.

Vader lamp, far left

When I started working at the Record Store, one of my mom’s more successful creations were functional clocks.  You could buy a clockwork and put it in anything really, but CD clocks looked cool.  I convinced her and the Boss to work out a consignment deal.  I brought home a bunch of defective CDs that were written off in the back room.  I had her make a variety of clocks — Pink Floyd CDs, Bob Marley’s Legend, or anything with a cool picture on it.  We also had a few basic ones with just numbers glued to a blank CD face.

They weren’t great sellers, but she moved maybe two dozen over the years.  It didn’t cost the Boss anything to stock them, maybe 18″ of shelf space behind the counter, but it was more of a favour than a business move.  As cool as they were, they got dusty up there on that shelf, and were tricky to clean.  The little metal hands bent easily, and if you wiped too hard you could mark up the clock face, or remove one of the numbers!

One gimmick came up with was allowing customers to buy custom clocks made.  They could either a) bring in a CD to be made into a clock, or b) use one of the defects in the box in our back room for a clock.  We did a few of those, though it meant my mom had to go out and buy more clockworks.

I’ll never forget this one guy.  He came in one day but it wasn’t for a clock.

He approached the counter and asked “Do you buy CDs?”

“Yes we do!” I responded, and he pulled a CD from his jacket pocket.

I looked at the cover and did not recognise the name.  I flipped it over and looked at the back.  No label, no bar code…definitely some unknown artist.

“I’m sorry,” I said as I began explaining the part that I hated explaining.  “I’ll have to pass on this one.  We just generally don’t buy things like this because they tend to just sit on the shelves for years.  I can’t find a record label on the back, I don’t know this artist, and there’s nothing under this name in our system.”

“Oh, well that’s me,” he answered.

“Oh this is you!  Well, that’s cool, but still, it’s just not the kind of thing we would buy for stock.  The best I could do is offer to sell it on consignment here for you.  But I’ll be honest, we don’t sell a lot of consignment CDs here unless it’s a pretty popular local band.”

“Can you make it into a clock?” he asked while pointing at my mom’s CD clocks.

“You want to make it into a clock?  Yes, absolutely we can do that!”

That took a twist I didn’t expect!  “I want to give it to my wife as a gift,” he said.

Well sure, why not!  I took his order down in a little yellow receipt book.  He chose the style of hands and numbers (gold coloured) and a week or so later, he had his clock.  Two AA batteries not included.

Here’s another clock memory for you.  Can you guess how often people looked up at the clocks and said, “Woah!  Is that the time?”  More frequently than you’d think.  No, those clocks don’t have batteries in them, they’re for sale and they’re all showing different times, you dumb ass.

We ended the clock collaboration shortly after.  At least I tried.  Not all my ideas were good ones.  It wasn’t a failure, it just wasn’t worth the effort after the novelty wore off.  It demonstrated one thing that remains true about retail:  things only have a limited shelf life.  People don’t want to see the same stuff sitting there year after year.  It was true for virtually everything we sold.  Bobble heads, action figures, Simpsons characters, Osbournes figures, accessories and impulse buys…they were all shuffled from one location to another when they were “dead”.  Then you’d sell a few more, and the product would die again.  Shuffle the remains to a sale bin in a third store and you’ll probably clear them all.  One of our stores had the Metallica McFarlane figure set opened up on display with the big stage and everything.  I was aghast!  You don’t open a toy for display, you idiots.  Nobody would buy it.  And guess what?  That open Metallica set was a shelfwarmer, as it slowly suffered from shelf abuse.

The only thing that was timeless and the never-ending star of the show?  CDs.  Music.

I left in 2006 and I know that music stores have changed in the last 12 years.  They’ve all had to diversify, and the old store I used to manage now sells board games and used Nintendo cartridges.  I got out at exactly the right time.  My passion has always been for the music.  The rest is just window dressing.

And that includes CD clocks.  Sorry mom!

 

 

 

 

 

 

 

GUEST REVIEW: Black Sabbath – Cross Purposes ~ Live (1995) Part Two – the VHS

BLACK SABBATH – Cross Purposes ~ Live (1995 IRS CD/VHS set)
Part Two: the VHS video by Harrison Kopp

As Mike’s VCR is currently stored away, he will be joined by Harrison, who was naughty and downloaded a 720p copy of the show when someone had it up on YouTube, and therefore will be reviewing the video half of this box set.

 

 

 

The video version is a great snapshot of the band at this period. The quality is quite good for a VHS, only betraying its origins with any large expanses of black shown. It also features some innovative action shots to capture the band, which is much appreciated as, although Geezer is still head banging away as usual, Bobby generally fades into the background and, as Mike has pointed out in other reviews, Tony Martin’s frontman-ship involves either singing up front or shaking his thinning hair by the drum riser.  As for Tony Iommi? Well he’s still the epitome of theatrical guitar playing.

The lighting is done well also, although the red occasionally gives the skin an overly pink tone. And for the first time, Geoff Nicholls is visible in the background of some shots, doing keyboards and backing vocals.

Puzzlingly, there is also a black and white filter used on a couple shots here and there, that really isn’t necessary. Those preceding niggles however, were only small nit-picks of a thoroughly enjoyable show to watch.

There are also three songs included on the video that aren’t on the CD and will be therefore be reviewed here. The first is fairly early in the set and is “Mob Rules”. Tony powers through verse after verse without fail. Although it inevitably falls short of the Dio renditions, it still deserved a place on the disc.

“Anno Mundi” is next. This is easily the best of the three. Tony Martin sings his heart out in an amazing performance of the only song from Tyr. This easily should have been on the disc as well.  (They all should have.)  On a side note, it’s really nice to see audience members head-banging and singing along to these Martin-era songs.  Last of these is a decent rendition of “Neon Knights” that just can’t compete with Dio’s versions. A couple subtle melody changes here and there don’t help it either.

Still, despite a couple small missteps:

4.5/5 stars, and Tony martin’s finest hour with Sabbath.

REVIEW: Black Sabbath – Cross Purposes ~ Live (1995) Part One – the CD

BLACK SABBATH – Cross Purposes ~ Live (1995 IRS CD/VHS set)
Part One: the CD

Metal fans who recall the 80s and 90s will remember that Black Sabbath struggled to be relevant, in a time when they should have been dominant.  While Soundgarden soared up the charts with a sound that could never have existed without them, Black Sabbath limped along, with new lineups annually.  Singer Tony Martin has been relegated to the footnotes of rock — unfairly for certain — thanks to a successful Black Sabbath reunion with Ozzy Osbourne.  Fans in the know appreciate the Tony Martin era, and the tunes it produced.

With a lineup featuring original members Tony Iommi and Geezer Butler, Sabbath rolled tape at the Hammersmith for a live video also featuring their newest drummer Bobby Rondinelli (Rainbow) and longtime keyboardist Geoff Nicholls.  They were on tour supporting Cross Purposes, their first since an aborted reunion with Ronnie James Dio.  This video was released in 1995, packaged with a CD that was shortened by three songs.

Today we’ll review the audio, and tomorrow a guest will review the video.

Some context:  in some circles, Tony Martin was seen as a Dio clone.  Therefore, it was brave and somewhat cheeky for Black Sabbath to open the show with “Time Machine”, a song specifically recorded for the Dio reunion!  The whole Dehumanizer era was dicey to begin with.  Tony Martin supposedly recorded an alternate set of vocals for that album just in case it didn’t work out with Ronnie.  Cheeky or not, Tony Martin was more than capable of covering Dio’s song, though with less of Ronnie’s unmistakable grit.

Back to Master of Reality, “Children of the Grave” is bloody sharp with Bobby on drums.  Nothing against Vinnie Appice or Cozy Powell (or Eric Singer or Bev Bevan or Terry Chimes or Mike Bordin or Tommy Clufetos) but I think Bobby Rondinelli was absolutely perfect for Black Sabbath.  His hard-hitting style really turned up the heavy, and he also adapted it to the old Bill Ward songs better than some of the other drummers did.

Sabbath churned out album after album, year after year, and they always played new tunes live.  Cross Purposes was a remarkably solid album, probably due to Geezer Butler’s influence.  “I Witness” was worthy of the Sabbath canon, fitting perfectly among the speed rockers like “Neon Nights”.  Next in the set was “Mob Rules” which was cut from the CD for time, so we skip through to a pretty authentic and unabridged “Into the Void”.  With Tony Martin in the band, Black Sabbath were able to do songs from any era.  That’s due to his versatility and his ability to put ego aside.

“Anno Mundi” (from 1990’s Tyr) should be next but it’s axed for time and instead it’s straight into “Black Sabbath”, a song that makes fools out of most singers.  And truthfully, nobody but Bill Ward can capture the random madness that is his original drum performance.  Sabbath ’94 do OK.

Another track is edited out (“Neon Nights” of all songs; who chose these?) and an odd choice from Cross Purposes is left in:  “Psychophobia”, a stuttering metal slab of anger.  Aimed at Ronnie?  You be the judge, when Tony Martin howls, “It’s too late now, it’s time to kiss the rainbow goodbye.”  The groove is pretty unstoppable whatever the motivation.

The surprise plot twist is “The Wizard”, an Ozzy oldie that few singers have dared to attempt with Black Sabbath.  First time in 24 years, according to Tony.  The harmonica part brings it closer to the old blues that Sabbath began with, and Tony Martin does fine with his own take on it.  Then it’s time for the Cross Purposes ballad, a killer “Cross of Thorns”, though one gets the sense of anticlimax after a track like “The Wizard”.  It would have worked better early in the set, but it’s an example of the quality heavy rock songs that Sabbath were still writing.  Martin’s voice cracks raw at times from pouring it all in, and Iommi’s guitar solo is one of his most melodically enticing.

Back once again to the past, “Symptom of the Universe” is a smokeshow, including the oft-skipped psychedelic groovy outro.  It kills any version by any lineup except the original quartet, and that’s due to Tony Martin’s throat-destroying singing.  Bobby Rondinelli gets a drum solo before “Headless Cross”; not the first time he’s had to play drum parts originated by Cozy Powell!  “Headless Cross” is a rhythm-based song with or without Cozy.  Geoff Nicholls helps out Tony Martin for the impossible notes in the chorus.

“Paranoid”, “Iron Man” and a downtuned “Sabbath Bloody Sabbath” make for a fine conclusion, but “Heaven and Hell” was conspicuous by its absence on this tour.  It was only played in form of a brief segue between songs.

The CD release is 71 minutes, so given time limits of the day, that was about as many songs as they could squeeze in.  If you want to be creative, why not find the other three tracks and add them as a bonus CD?  Until a complete deluxe edition comes our way, this will have to do for audio aficionados.  Our bonus CD is 16:08 of more Sabbath, though at a noticeably lesser quality.  Tony remarked that picking a setlist was near impossible, but that “Mob Rules” had a “fucking good place in this set”, so why not the CD?  It’s a full-speed cruise that is over before you can break a sweat.  “Anno Mundi” is a special treat, as it was only played on the UK tour dates.  Another fine example of underrated Martin-era material that wasn’t given a fair shake, but at 6:20 it takes a lot of space.  As for “Neon Nights”?  “This is a fucking good track,” says Martin accurately.  There’s a lot of speedy metal on Cross Purposes ~ Live, but two of the most important ones in “Mob Rules” and “Neon Nights” were not on the standard CD.  Surely a better series of cuts could have been made.

Tomorrow a guest reviewer will have a look at the VHS.  For the CD, the math is simple:

4.5/5 stars

– minus 1 star for the missing three songs equals =

3.5/5 stars

 

Intermission: Mail Call!

The mailman has been busy this last week or so.  Just look at the goodies!

LED ZEPPELIN – “Rock and Roll” / “Friends” Record Store Day single

DEF LEPPARD – Live at Abbey Road Studios 12″ Record Store Day EP

RAINBOW – Memories in Rock II Japanese CD – 2 bonus tracks

STRYPER – God Damn Evil Japanese CD – bonus track

STEPH HONDE – Covering the Monsters 

DALE SHERMAN – Mel Brooks FAQ: All That’s Left to Know About the Outrageous Genius of Comedy books – one for me, one for my dad’s 80th birthday!  SHHH don’t tell.  He doesn’t read this!