REVIEW: Killer Dwarfs – Reunion of Scribes Live 2001

The Best Fucking Collaboration Week Ever, Pt. 2
 Mike and Aaron are doing simultaneous daily reviews of albums that these two intrepid music reporters have sent to each other. Buckle up, buttercups, it’s gonna be a blast!

 

 

“You guys do like to drink, don’t ya?  You are Canadian aren’t ya?  Most of us are Canadian in here, except for there’s one guy that I know of.  Security!”  — Russ Dwarf

Scan_20160313KILLER DWARFS – Reunion of Scribes Live 2001 (2002 Bullseye)

Aaron scored this for cheap at his “junk shop” and passed it down to me.  It was the only Killer Dwarfs CD I was missing — and for good reason.  I had the chance to hear it once, at the Record Store, while I was working for a stretch in Hamilton.   I didn’t think much of it then.  Has anything changed?

The Killer Dwarfs quietly went extinct after their final studio album, 1992’s Method to the Madness.  10 years later, the band reunited including Mike (Hall) Dwarf, who had actually left the band prior to 1992.  This is a full reunion of the classic lineup:  The Dwarfs Russty, Mike, Darrell and Bad Ronbo.  Let’s “Go DuNK” and see what the Killer Dwarfs 2001 sounded like.  At one hour and 11 minutes, Reunion of Scribes is the longest Killer Dwarfs album to date.

Strangely enough for a Canadian band, the concert begins with a recording of “The U.S. Air Force” (also known as “The Wild Blue Yonder”) before the band emerges with a limp version of their own “Dirty Weapons”.  What’s the problem?  It’s certainly not Russ Dwarf, who sounds vintage strong.   The guitar is too thin, and blemished with sour notes here and there.  Hey, it’s been a long time since Mike was a Dwarf!  The drums also sound disconnected from the song from time to time.  Chock it up to a bad recording?  (At the Docks, in Toronto.)  “Stand Tall” also suffers: the guitar needs to be front and center.  The sound of the band suddenly becomes sparse and weak every time Mike Dwarf stops playing the riff in order to lay down a solo.  The bass isn’t fat enough to fill the gap.

Another weakness to this recording is a concentration on songs from 1988-1992.  There’s nothing at all from their first self-titled album, even their first single “Heavy Mental Breakdown”, the song that helped put them on the map.  Instead the Dwarfs focused on more radio-friendly later music for this set.  Of that tunage, most of the hits are here:  “Stand Tall”, “Keep the Spirit Alive”, “Dirty Weapons”, “Doesn’t Matter”, “Hard Luck Town”.  Their first big label single, “We Stand Alone” is missing from the set, which instead includes lots of notable album cuts.  The best of these include “Believe in Me” from their second album Stand Tall.  Russ Dwarf’s ageless voice delivers hard-edged numbers like “Starting to Shine”, “Last Laugh”, “Nothin’ Gets Nothin'”, and “Comin’ Through” with all its usual intensity.

The most emotional moment (for fans) has to be the ballad “Doesn’t Matter”.  “Roll the dice and play the game, for the fortune and the fame.”  The Dwarfs did roll the dice, at least they tried.  “Doesn’t Matter” is a pretty simple lyrically:  get out there and give’r.*  The live recording doesn’t deliver its full power, but I do get the feels to hear them return to Toronto and play this song for their friends.

Most of these songs are still high-quality hard rock workhorses.  While Russ Dwarf brings it all and then some, the poor recording renders Reunion of Scribes an album that will only get infrequent plays at LeBrain HQ.

2/5 stars

* The Killer Dwarfs are the only band I can think of who actually used the word “give’r” in a song lyric.

REVIEW: Foo Fighters – Saint Cecilia EP (2016 vinyl)

The Best Fucking Collaboration Week Ever, Pt. 2
 Mike and Aaron are doing simultaneous daily reviews of albums that these two intrepid music reporters have sent to each other. Buckle up, buttercups, it’s gonna be a blast!

Aaron’s review: Foo Fighters – Saint Cecilia EP

FOO FIGHTERS – Saint Cecilia EP (2016 RCA vinyl)

You know what really grinds my gears? How the media goes ape-shit gaga over every fart or burp that Dave Grohl makes.

The only problem with that is, most of what Dave Grohl says and does is usually quite good.

He’s been on a roll lately, too. The last real clunker he’s released (under any guise, be it Foo Fighters, Them Crooked Vultures, or whoever else) was Foo Fighters’ One By One. None of the following albums could be considered poor by any stretch, though Wasting Light has to be the high water mark of them. Perhaps Grohl’s only weakness is his prolific output. After a while, many of the songs just blur together in a haze of Fooey rock.

Saint Cecilia, released on iTunes last year but only now getting the vinyl treatment, is another quality Foo Fighters release. They dedicated its release to the victims of the terrorist attacks on the Bataclan hall. As usual, it boasts a variety of Foo stylings, all of them loud.

“Saint Cecilia” has become a radio smash, and while its indistinguishable from any other fast melodic Foo rocker, it does stick to your brain. This is my favourite kind of Foo Fighters song anyway — fast, easy to remember, guitar-heavy and loaded with killer drums. A great albeit obvious choice for a single. Faster still is “Sean” recalling Dave’s punk roots. It recalls the sound of the first Foo Fighters album back in ’95, but amped up with a full three guitar band. Two minutes, in-and-out, that’s it for “Sean”. Then “Savior Breath” is vintage metal, making this three genres in three songs and nine minutes! It’s good stuff and even boasts a pretty smoking 80’s guitar solo.

The B-side of the EP commences with the nifty acoustic “Iron Rooster”. It has a cool atmospheric vibe, peaceful, but with the occasional loud bursts of electric guitar. It’s the only break on an otherwise pretty relentless stream of music. “The Neverending Sigh” is anything but. It’s instead a blast of riffage, three guitar’s worth and layered effectively. It defies categorization so we’ll just call it pure Foo Fighters. It’s action packed, complex and it qualifies as one of the finest Foo Fighters compositions in recent memory. Bully for you, Mr. Grohl and Co.!

Incidentally, according to the liner notes, Foo Fighters lineup appears to have expanded to a six piece. Joining Dave, Taylor, Pat (Smear – guitars), Chris (Shiflett – guitars) and Nate (Mendel – bass) is Rami Jaffee on keyboards, listed as a member of Foo Fighters. That’s cool. I always seem to get excited when a band expands its lineup. It’s my Kryptonite!

4/5 stars

REVIEW: Russ Dwarf – Wireless (2013)

The Best Fucking Collaboration Week Ever, Pt. 2
 Mike and Aaron will be doing simultaneous daily reviews of albums these two intrepid music reporters have sent to each other. Buckle up, buttercups, it’s gonna be a blast!

Aaron’s review: Russ Dwarf – Wireless

RUSS DWARFS – Wireless (2013 Smoothline)

I don’t know where Aaron finds this stuff up in Owen Sound, but here is a pristine digipack CD of Russ Dwarf (of Killer Dwarf) and friends doing acoustic versions of old Killer Dwarfs classics.  Wireless is a great name for such a venture, and the friends list includes Ron “Bumblefoot” Thal (ex-Guns N’ Roses) and Glen Drover (ex-Megadeth).  Holed up in a studio in Newmarket, Ontario they laid down some pretty cool acoustic renditions of these numbers.

“Keep the Spirit Alive” remains irresistible today in acoustic form.  That’s because a good song has a lifespan.  A great chorus and memorable lyrics plus a pinch of magic made “Keep the Spirit Alive” a minor hit.  It’s one of the most purely enjoyable Dwarfs tunes and works well as an acoustic spirit booster.  Russ can still hit all the notes.  From the same album (Stand Tall, 1986) comes “Stand Tall”, which also makes the acoustic transition successfully.  A pretty incredible guitar solo (it’s not clear who is playing what) ensures this isn’t just “KD Lite”.

1988’s “I’m Alive” was an upbeat morale booster in its band arrangement.  Acoustically it’s the campfire version of the same thing.  The musical arrangements on Wireless do not deviate very far from the originals.  There are no radical re-imaginings.  What makes Wireless special for fans is Russell Graham’s earnest and still strong vocals, and of course the impressive six-string slinging of Drover and Bumblefoot.  The harder rock songs transition into an acoustic versions well enough, but ballads like “Doesn’t Matter” really shine.  A touch of piano and a vintage Russell vocal are the perfect topping.  A lot of this sounds live in the studio.  It doesn’t sound like a lot of time was spent mucking around fixing things in the mix, or sweetening things up.   What it sounds like, more or less, is Russ singing live in your living room.

The one thing that I did not think would work acoustically was “Comin’ Through”, the angry barnstormer from Dirty Weapons (1990).   It exists acoustically as a semi-epic and righteous twister through the plains of Canada.  “Crazy fuckin’ people living in the past, can’t you see that ain’t gonna last?” sings Russ with all the grit of the original.  Whatever Mr. Dwarf is doing to maintain his voice…well, good on you sir!  “Dirty Weapons” itself is mournful and slow rather than aggressive.  Interestingly, Russ arranged this album in chronological order.  The last three songs are from the final Dwarfs studio album Method to the Madness (1992).  That puts a nice bow on it, serving as a reminder that the Killer Dwarfs were still writing great tunes right to the end.  I can’t think of a better tune to end with than “Driftin’ Back”.

I quite liked Wireless and recommend it to any fan of the mighty mites known as Killer Dwarfs who wants to check out some quieter versions of their best material.  No new songs, sadly.  That would have been bitchin’.

3.5/5 stars

Spot the Mitch

Spot the Mitch

REVIEW: Blue Rodeo – Just Like a Vacation / “Joker’s Wild” bonus track (1999)

The Best Fucking Collaboration Week Ever, Pt. 2
 Mike and Aaron will be doing simultaneous daily reviews of albums these two intrepid music reporters have sent to each other. Buckle up, buttercups, it’s gonna be a blast!

BLUE RODEO – Just Like a Vacation / “Joker’s Wild” bonus track from Stardust Picnic  (1999 Warner)

I spent a lot of days in the summer of 1999 working in the Record Store in Cambridge. That was T-Rev’s store, normally, but he was out of town. He was Ajax, I think, helping build our next franchise. T-Rev is handy so his role was, in theory, supposed to transition to building new stores full time. That never fully happened, which in a way was a good thing, because they never had a plan for filling T-Rev’s time slot as store manager in Cambridge! In the interim, they sent me there and I was responsible for managing two stores. Not the first time and certainly not the last time.

’99 was a great summer for double live albums. There were two in particular I played daily: Sloan’s 4 Nights at the Palais Royale, and Blue Rodeo’s Just Like a Vacation.  Despite the added stress and mileage on the car, these two double live albums helped ensure that summer was hot and fresh with great music.  Blue Rodeo are one of the greatest live bands I’ve seen and I had long been awaiting a full-on double CD set of the live concert experience.

Just Like a Vacation is the absolutely perfect document of the Blue Rodeo experience circa 1999.  Hard edged and jamming, Blue Rodeo were at this time a mixture of country crooning and long noisy Neil Young jams.  The set is taken from a variety of shows and assembled into a coherent running order.  Perhaps the first track, the upbeat country of “Til I am Myself Again” was recorded in Stratford; Jim warns the crowd they may be snowed in that night, a common threat at the Stratford festival during their annual show there!

The first seven Blue Rodeo albums, from Outskirts (1987) to Tremolo (1997) are all essential listening.  This live set is loaded heavy with some of the best songs from that era, from the tender Jim Cuddy ballads (“Try”, “After the Rain”, “Bad Timing”) to the more epic Greg Keelor blasts of power:  “Hasn’t Hit Me Yet”, “Diamond Mine”, “Girl in Green”.  There’s country jazz (“Piranha Pool”), songs for singalongs (“Cynthia”) and even comedic stories of heartbreak (“Florida”).  Jaw-dropping musicianship ensures there is never a dull moment.  Even the slow dance hit ballad “After the Rain” boasts a long, noisy guitar jam at the end.  Blue Rodeo are fearless on stage and this album delivers that.

Some fans noticed that earlier tracks from Outskirts such as “Rebel” and “Joker’s Wild” were seldom played as Blue Rodeo amassed more and more studio albums.  Thanks to HMV, one bonus track is available to add to this live collection:  “Joker’s Wild”, from their promotional Stardust Picnic Sampler CD.  The back cover of the Stardust CD claims there was no room left for “Joker’s Wild” on Just Like a Vacation, but that’s not true.  The first disc is under an hour, and the second is 1:07.  Lots of room on either disc for a four minute bonus track!  Regardless, here is “Joker’s Wild”, a rarity to be sure since it was never available for purchase.  “Joker’s Wild” is done acoustically, very different from the original version.  It transforms from a spy movie theme to a swampy jam with slide and fiddle.

Sure, you could go and buy a Blue Rodeo Greatest Hits CD with your hard-earned dollars.  That’ll get you 14 songs; this’ll get you 22.  Blue Rodeo songs are just as great live as they were in the studio, just different.  You won’t have to suffer through a too-loud audience track, so get Just Like a Vacation instead and experience Blue Rodeo in the venue they were intended for — the stage.  There are even liner notes with a story or two about every song.  It’s a package to be enjoyed for a long period of time, and years later you will still smile.

5/5 stars

 

REVIEW: Rachel Fuller presents: In the Attic with Pete Townsend & friends (2 CD/1 DVD)

Hey folks! It’s The Best Fucking Collaboration Week Ever, Pt. 2! Just like last time, Mike and Aaron will be doing simultaneous daily reviews of albums these two intrepid music reporters have sent to each other. Buckle up, buttercups, it’s gonna be a blast!

RACHEL FULLER presents: In The Attic with Pete Townsend & friends (2009 Eel Pie 2 CD/1 DVD set)

A long time ago, Aaron found this triple disc set at Giant Tiger, for the ridiculously low price of $1.00!  Not being a foolish man, Aaron bought three of them.  One for me, one for the Heavy Metal OverloRd, and one for himself!

Pete Townsend and Rachel Fuller are life partners and musical collaborators.  She hosted a web show called In the Attic that featured performers from all over the musical spectrum.  The Pete Townsend & Friends installment was gifted to me by buddy Aaron!  What he did not know is this:  I’m only a casual Townsend fan (not a collector), but by buying me this, he added some more Tenacious D to my collection of that band!

The DVD contains most (but not all) of the same material as CD, but also a lot more.  For example Tenacious D’s “Tribute” is only on the DVD.  Jack Black was suffering from strep throat that night, and they had to lower the song an octave. For a guy with a sore throat, he still sings pretty great…and even more demonic and evil!  Their “Tommy Medley” is damn impressive, but it’s really too bad that Jack wasn’t in full voice.  Kyle Gass apologized to Pete for this jokey, uber-fast medley, but I don’t think the apology was necessary, since Pete yelled for an encore!

IMG_20160403_071939

Joe Purdy was unfamiliar to me before, a folk musician with a large discography.  When he invites his dad Dad onstage, and Pete Townsend fixes his mic stand, there is a brief “we’re not worthy” moment that must have been mind-blowing.  The pair does an original song called “Daisy” (great bluegrass) before Joe performs a couple more: “Let My Love Open the Door” and “Talk About Suffering”, both with Pete.  “Let My Love Open the Door” is the familiar Townsend classic, and delightful in its tender acoustic guise.

Rachel Fuller then performs her original song “Sir Walter Raleigh”, an f-bomb laden piano ballad!  A song is cut here from the DVD, another Fuller original called “I Can Fly”, on CD 1.  This pretty song is a nice contrast.  British solo artist Alexi Murdoch is next with two songs, both originals:  “Dream About Flying” and “Orange Sky”.  His impressive bluesy picking creates a dark folk sound on these songs.  “Orange Sky” is performed with Pete and Rachel which I would imagine reduces most people to jelly.  Imagine having Pete Townsend and his significant other playing on a song YOU wrote….

Most folks should be familiar with Ben Harper who takes the stage next with cellos and violins!  “Please Bleed” is incredible.  With Pete, he does his hit “Diamonds on the Inside”, still great today.  Finally, and still with Pete, they do “I’m One” from Quadrophenia together.  I imagine this is something you would stroke off a bucket list.  “I want this to last a really long time!” says Ben mid-song.

The final guest of the evening is Pete himself, with four acoustic songs.  “The Real Me” takes on a funky vibe, but brilliant as always.  “Acid Queen”, “Drowned” and “Won’t Get Fooled Again” complete this Who set.  Even just solo on an acoustic guitar, this set is incredible.  Townsend’s presence and expertise soak through every note.

Scan_20160403 (3)

That’s the end of that night’s show, but not the end of the DVD.  The release is split in two sections – “The Hotel Cafe” and “Joe’s Pub”.  The “Joe’s Pub” section has plenty more big name stars.  This came from a traveling version of Fuller’s show, shadowing the Who at their festival gigs.  In New York, they did a show at Joe’s Pub, and the first guest was a starstruck Amos Lee.  His two songs are “What’s Been Going On” and “Freedom” (CD only), with special accompaniment by Pete himself.  “What’s Been Going On” is an incredible moment of folk power and feeling.  “Freedom” celebrates with a big soulful chorus.  These are great songs.

Rachel Fuller played two songs at Joe’s Pub:  “Jigsaw” (CD only) and “Cigarettes and Housework” (what, you mean you and Pete can’t afford a maid to do the housework?).  “Jigsaw” is bright and pretty with lyrical references to some certain Who songs!  Fuller’s remarkable voice is the main feature on the sparse “Cigarettes and Housework”.

Of all people, Jimmy Fallon is next.  “Carwash for Peace” reveals that he actually has a pretty good singing voice.  It’s a silly but fun sing-along.  “Let’s have a car wash for peace, there’s trouble in the Middle East,” he sings.  If we do this, there’ll be no more wars, or dirty cars!  It’s hard to argue with that logic.  “President’s Day” is a folksy send-up on the subject of getting totally wasted on President’s Day, because hey, it’s a day off.  “Beer and a shot with my man Dick Cheney!”  Hey, it was 2007, still the Bush years.

Rachael Yamagata takes the stage with Pete Townsend and Kevin Salem for “Paper Doll”, a sultry original acoustic number with some amazing soulful singing.  There’s a nice moment on the DVD when Rachael smiles, looking at Pete playing her song, a real “pinch me” experience I’m sure.  Her other song, “Be Be My Love” (CD only) has a similar chord progression as Bon Jovi’s “I’ll Be There For You”.  This is her first song on her first album and I’m sure any similarity is coincidental.  Then it’s Townsend’s turn to go it alone, with “Acid Queen” and “Won’t Get Fooled Again” (both CD only).

The final guest on this set is Mr. Lou Reed.  “White Light/White Heat” with Pete is a moment so gravitous* that news reports suggest a new black hole formed over New York that night!  “Pale Blue Eyes”, with accompaniment by Pete on the chorus, is delicate and weighty at once.

For a mere buck, I would postulate that In the Attic with Pete Townsend & friends has to have the most bang-per-dollar value of any purchase made for my collection.  This is great stuff for music fans of all tastes.

4/5 stars

* Not an actual word.

 

Blu-ray REVIEW: Star Wars: The Force Awakens [Full-on spoilerific]

NEW RELEASE – SPOILERS

STAR WARS: THE FORCE AWAKENS (2015, 2016 Lucasfilm Blu-ray DVD set)

When we last saw our heroes in 1983, Evil had been defeated.  Seemingly, Luke Skywalker fulfilled the prophecy of the chosen one who would bring balance to the Force, via his father Anakin Skywalker.  Appealing to the good still within Darth Vader, the evil henchman of the Empire turned back to the light and betrayed his Sith lord, Emperor Palpatine.  The Rule of Two was broken and the Sith were destroyed, along with their ultimate weapon, the second dreaded Death Star.  In death, Vader redeemed himself.  Luke smiled when he saw the ghost of his father standing next to those of his old masters Yoda and Ben Kenobi.  He turned to rejoin his friends in the celebration of victory.  Roll credits.

For decades, we were told “that’s it”.  That’s the end of the story, said the man who wrote it, George Lucas.  Sure there was talk of a sequel trilogy before, even two sequel trilogies!  This seemed highly unlikely in 1983 as George was adamant that he was letting Star Wars go to work on other projects.  The legacy of a sequel, of “what happened to Luke, Han Solo and Princess Leia later” was left first to novelist Timothy Zahn and then to a whole new generation of writers who filled the galaxy with stories of what came next.  Of course, we all knew that should George actually change his mind and allow sequels to be made, all of that old stuff from the books would go out the window.  No way was anybody going to try and adhere to continuity that somebody else wrote in a novel.

In 1994 there was hope.  Lucas re-emerged and began working on the mysterious and long-awaited Star Wars prequels, Episodes I, II and III.  Questions now could finally be answered.  Who were the Jedi?  Who is Luke Skywalker’s mother, only briefly mentioned before and never seen or named?  Most importantly, how did Anakin Skywalker transform into Darth Vader, and why did the Repulic fall to be replaced by an Empire?   One of the problems with this situation was that some questions are often best left to the imagination.

It was undeniably wonderful to finally return to the Star Wars galaxy, but it is also impossible to overlook how ill-received by fans the prequel movies were.  The stiff acting, the wooden dialogue, the unlikely scenarios and muddled plots of these movies made them difficult to fully enjoy.  Although entire cottage industries had grown out of anticipating the possibility of a sequel trilogy, many fans were happy all the same if they never got made.  Lucas pooh-poohed the idea, now claiming Star Wars was always two trilogies, six movies, and the story of Anakin.  There were no stories beyond that, he continued.  It would be fun, he said, to see what Luke and Han were up to later, but ultimately they would just be extraneous to the actual story of Darth Vader.  The end.

 

"Everyone said, 'Well, are you going to do sequels to the first three?' But that was an afterthought; I don't have scripts on those stories. The only notion on that was, wouldn't it be fun to get all the actors to come back when they're 60 or 70 years old and make three more about them as old people."

“Everyone said, ‘Well, are you going to do sequels to the first three?’ But that was an afterthought; I don’t have scripts on those stories. The only notion on that was, wouldn’t it be fun to get all the actors to come back when they’re 60 or 70 years old and make three more about them as old people.”

 

Or not.

Quietly and in secret, Lucas once again had a change of heart and began work on the Star Wars sequel trilogy.  Realizing that he would not be able to undertake such a massive project at his age, he made the brave choice of handing Lucasfilm over to Kathleen Kennedy, and selling Star Wars to Disney.  Lucas’ story and characters were thrown out, but used as inspiration for what would eventually become Episode VII.  Artists dug way back into the Ralph McQuarrie archives for inspiration, and so decades-old designs for Star Wars were finally able to leap onto the big screen.

Much of this information is the included documentary, Secrets of the Force Awakens: A Cinematic Journey.  Though that feature does document the emotion and gravitas of what a sequel really means, it fails to really express the true feeling of it all.  For decades, we were told this movie was never coming, but Episode VII was what we all really wanted, not Episode I.  After the credits rolled on Return of the Jedi, did we all not grab our action figures of Luke, Han, Leia and Chewie and try to play out what happened next?  The toy company Kenner tried to come up with new villains (I’m sure “Mongo Beefhead Tribesman” would have been a big hit), and Marvel Comics introduced a new villain called Lumiya, the Dark Lady of the Sith.   Mace Windu, Darth Maul and Qui-Gon Jinn did not exist.  The truth is, even in 1983, we didn’t really care about prequels.  We wanted to know what happened next much more than what came before.  So the dual challenge with Star Wars Episode VII was to not only make a movie that continues the story of the Skywalker family appropriately, but also to live up to everything we imagined and played out as kid.  No pressure, right?

Director JJ Abrams felt the pressure, but what he and his creative team emerged with in The Force Awakens is everything that fans needed it to be.  Not that there were no complaints.  The heaviest criticism laid against The Force Awakens is that it imitates the first Star Wars (A New Hope) slavishly.  Some derisively refer to The Force Awakens as a “reboot”.  The parallels are there, but let us also not forget that Lucas himself tried to make his trilogies “rhyme” with similar circumstances.  Did they go too far trying to copy the original?

A cute heroic droid carries a secret message on a desert world that must get back to the heroes.  A new young character, a loner who is unwittingly Force sensitive, meets this droid and decides to help it.  The desert world is escaped in the Millenium Falcon.  They are pursued by the bad guys, led by a Force-using guy in a black mask and cloak with a crimson red laser sword.  The bad guys have an ultimate weapon, a planet destroyer, and they use it.  Our heroes must stop them from using it again.  This large spherical weapon must be blown up, and a battle of X-Wings vs Tie Fighters will decide the fate of the galaxy.  An old hero from a prior trilogy makes the ultimate sacrifice.  Finally, our young new hero character concentrates to use the Force, and defeats the evil.  Roll credits.

That paragraph describes both A New Hope and The Force Awakens perfectly.   But a lot has changed, too.

Scan_20160410 (4)

Although we know the events that occurred 30 years prior off by heart, we know very little about what actually took place between Return of the Jedi and The Force Awakens.  Here is what we do know.

After the Battle of Endor and the defeat of the Emperor, Han Solo and Princess Leia had a son named Ben.  The Blu-ray special features reveal that Ben Solo was powerful in the Force, but with equal portions of light and dark within him.  Director JJ Abrams tells us that the man known as Snoke, a dark side user, had his eyes on Ben Solo from the very start.  So, much like his grandfather Anakin Skywalker, young Ben was being watched by a dark side master from the very beginning, and slowly seduced to the dark side.  We also know that Luke was training a new generation of Jedi, but that Ben destroyed it all.  Luke went into hiding, feeling responsible for his failure.  We do not know anything concrete about this Snoke, or where he comes from.  All that we know is that he seems very, very afraid of Luke.  Ben Solo wants to find the map that leads to Luke’s hiding place.  Snoke on the other hand wants that map destroyed if it cannot be recovered.  He would rather that Luke never return to the affairs of the galaxy, where Ben is desperate to find that map, and therefore his uncle Luke.

Our new hero, the girl known only as Rey, has a Force vision in the movie that tells us a little bit more about what happened.  We see brief clips of a massacre in the rain.  Betraying Luke’s students by surprise in the night, it appears Ben, now known as Kylo Ren, has slaughtered Luke’s younglings with the help of his henchmen, the Knights of Ren, about whom we know nothing at all.  We glimpse Luke placing his robotic right hand on his trusted droid R2-D2, perhaps shutting him down.  And most interestingly, we see Kylo Ren killing someone through the back with his lightsaber, from the perspective of someone down below.  Someone small like a child perhaps.

In that vision, which seems to be from the perspective of Rey as a little girl, Kylo Ren appears to be killing one of his fellow Knights of Ren.  Is that indeed what is happening?  Why did Kylo kill that man from behind?  Did Kylo spare Rey from him?  And who is Rey?

There seems little question that Rey is indeed a Skywalker.  It also seems clear that Kylo Ren knows, or at least feels, that there is more to Rey than anyone else knows.  It is Kylo who freaks out every time somebody mentions the scavenger girl from Jakku.  Why?  What is it about the idea of a girl from Jakku that has him so on edge?  Rey is powerful enough to not only resist Kylo’s mind probe, but also reverse it and read Kylo’s mind.  “You’re afraid,” she boldly proclaims, “that you will never be as powerful as Darth Vader!”  She is strong enough to defeat Kylo Ren, at least semi-trained in the lightsaber, in a dual.  Much like three other key characters in Star Wars (Luke, Leia and Anakin Skywalker), she has latent Force talents that are emerging on their own.  And this terrifies Kylo Ren, very much.  “You need a teacher!” he tells Rey, trying to avoid being bested by a girl.  “I can teach you the ways of the Force!”

Kylo Ren is an interesting and complex villain.  He has the fiery temper of his grandfather, but even more wild and untamed.  His unfinished lightsaber is amaturish and dangerous.  Unlike Anakin, he does not feel pulled to the dark.  “I feel it again.  The call to the light,” he confesses to Darth Vader’s melted helmet in meditation.  “Show me again, the power of the dark side,” he begs the spirit of his grandfather.  Wait…”again”?  What’s this “again” business?  When Anakin died, did he not revert to good?  It seems highly likely that Kylo Ren’s master, Supreme Leader Snoke, is manipulating him with this Vader business.  We will not know for sure until Episode VIII…or IX.

As for Snoke, we know he’s a Force user because we are told that he senses Kylo’s weakness, his compassion.  We also know this because he says he’s going to complete Kylo Ren’s training.  And that doesn’t sound too good for Kylo!  His mucking around, trying to retrieve the map from Rey instead of destroying it in BB-8, caused the First Order to lose their gazollion-credit superweapon, the Starkiller.  Think Darth Vader was in shit when he let the first Death Star get blown up?  Just imagine the shit that Kylo Ren is in now.  That new scar across his face his the last of his worries.  When Snoke finds out that he not only got the base blown up, but also let the girl get away and the Resistance find Luke Skywalker…well, let’s just say I wouldn’t want to be Kylo Ren right now.  The “completion” of his training will result in an even meaner and more intense Kylo Ren in Episode VIII.

Kylo’s father Han Solo went down a hero in The Force Awakens.  Now, true Star Wars fans could have seen this coming right from the day they announced the movie was going to be made.  Han Solo was supposed to die in Jedi.  At first, George Lucas wanted balance.  The victory of the heroes should be balanced by a tragic loss, because that’s life.  He eventually backed out of this.  It seemed obvious that the idea would be resurrected for The Force Awakens.  But for Han to go down the way he did?  Perfect.  Flawless.  Some complain that Han should have had the last word;  he did though — his hand on his son’s face says 1000 words.

Chewbacca’s rage in that moment reflected the shock of everyone in the movie theater.  Rey and Finn’s shock and sorrow was what we all felt, even though it was telegraphed from a mile away.  If those gangsters chasing Solo earlier in the film didn’t hint that his luck was running dry, then the moment Solo walked out onto that catwalk surely indicated it was time for his end.   If there is one rule in Star Wars, it’s be careful of catwalks.  Have these people not yet invented the safety rail?  On Earth, that catwalk would have violated so many regulations that General Hux would have been busted down to Colonel.

Scan_20160410 (5)

The Blu-ray has deleted scenes, and some of them reveal a little bit more detail.  In one, Rey is told that Finn is going to be just fine, something left ambiguous in the final film.  In another, Kylo Ren and a squad of Snowtroopers board the Millenium Falcon after its crash landing on the Starkiller planet.  Knowing Ren would have grown up on that ship, you can only imagine his feelings as he stands in the cockpit.  Other cut scenes, like a battle with Finn and Rey using Snowspeeders, would have made the movie drag.  So here they are for your enjoyment, and separate from the film on a bonus disc.

The bonus disc also includes interesting bits about the different BB-8 droids that were built for the film, and the various creatures and monsters.  Composer John Williams is the star of one featurette.  The CG effects are gone over, and so is the end lightsaber battle with Kylo and Rey in the woods.  Few lightsaber battles in past movies were filmed in a night time setting.  In order to get the reflective glows on film, the actors used actual glowing lightsaber props for the scene.  The result is more realistic lighting in a scene featuring many trees and lots of snow.  Finally, there’s a bit about the famous “table read”.  When the cast were assembled and the script was read in one room for the first time, the photo of this epic “table read” went viral.  You may wonder, what did Mark Hamill do during this table read?  Did Luke have zero dialogue or not?  Good question:  Mark read the narration.  It’s only a shame the full two hour table read wasn’t included.

That brings us to Mark Hamill and Luke Skywalker, the ideal place to leave this epic review.  There he was at the end, after 30 years of wondering “What happens to Luke, the only Jedi left in the galaxy?”   Hamill’s face speaks volumes of what happened to Luke.  Epic pain…sad wisdom…incredible knowledge.  Luke has seen these things and much more, and it is in his eyes.  His light beige cloak is a sharp contrast to the black clothes we last saw him in.  In Star Wars, this communicates a purity awash in the good side of the Force.  Whatever he has done in the years since he left, it is implied that Luke has become as powerful as the Emperor predicted.  Probably more powerful even than Darth Vader ever was.  Supreme Leader Snoke fears Luke Skywalker more than anything the pitiful Resistance can muster.  Who do you think gave Snoke those horrific scars on his head?  Perhaps the reason Snoke fears the last Jedi so much is that he has tasted the blade of that Jedi.

The Force Awakens may take all its plot cues from the original 1977 Star Wars, and that is a fair critique.  As we have shown here, there is also much more to it.  There are layers of mystery that are waiting to be peeled.  When George made the first Star Wars in 1977, he didn’t know he would ever make another one.  There were not as many questions to answer.  What Kathleen Kennedy, JJ Abrams, Lawrence Kasdan and Michael Arndt came up with here was a story once thought impossible to write.  They succeeded in coming up with a sequel idea that continues the story of the Skywalkers, introduces new heroes and villains, and doesn’t seem tacked on or mismatched with the original movies.  It feels completely organic and natural.  Indeed, The Force Awakens feels far more like Star Wars than any of the three prequels did.  That’s something many thought impossible, like making the Kessel run in 12 parsecs.

Everybody’s going to buy this Blu-ray, so the only question left is which version to buy?  I chose Walmart’s which came in a BB-8 case with a little “trading disc” inside.  Only humbug: all those trailers we sat around and watched are not among the bonus features.  But there are many versions out there and here’s a breakdown of them:

  • Walmart – BB-8 case and trader disc.
  • Best Buy – Steelbook case.
  • Target – 20 minutes of additional bonus features including interviews with John Boyega and Daisy Ridley.
  • Disney – free lithographs.

Buy accordingly!

4/5 stars

#477: “Holy sh*t, jackpot, holy sh*t, jackpot…”

IMG_20160319_132410

GETTING MORE TALE #477:  “Holy shit, jackpot, holy shit, jackpot…”

Collectors know the feeling.  You walk into a store, and saunter over to a favourite section.  Upon spying a gold mine of things you had been looking for, the euphoric feeling hits you just a shot of adrenaline straight in the heart.

“Holy shit! Jackpot…”

Whether you collect music, movies, books, toys, hockey cards or Kiss stuff (they being a whole category of their own), we have all experienced the feelings.  Finding a mother lode of treasures can be such a ride of emotions!  The excitement when you see it all.  The dread when you feel your thin wallet.  The pain of picking out the things you can afford.  The second-guessing and flip-flopping over what to actually get.  The sorrow of having to choose something to leave behind.

This has been happening to me for decades.  Having broad tastes and interests plus a healthy case of OCD will do that to you.  Over 20 years ago, my love for my childhood favourites the Transformers was re-ignited by such a jackpot.  While browsing junk at a church garage sale with my buddy Peter, I ran into a large pile of Marvel Transformers comics.  Most of these were from near the end of the series (issues #50-80), and long after I stopped collecting Transformers.  I couldn’t just leave them there!  Who knows where they would wind up then?  I had to rescue them.

At 50 cents each, this hardly broke the bank, but all the same feelings arose:  The excitement upon spying these comics, the picking out of the ones I needed, the angst of leaving some behind (even though I didn’t really need them).  And it kick-started a stunted adulthood that quickly reverted back to youth, a place I’m still stuck today.

IMG_20160319_105213Today, whenever I spot a stack of Japanese imports at a store (as I did last month as Vertigo Records in Ottawa), the adrenaline hits.

If I spy a pile of 90’s Metallica singles, the same thing happens.

A collection of rare 80’s Canadian metal records?  Same thing again.

But I still collect toys and comics too, and this same experience just happened to me at a local Walmart store.

The Star Wars Black Series 6” action figures have been hard to find.  There are always “shelf warmer” characters that nobody wants, and in 2015 that was poor Finn.  Other figures have been impossible to spot at retail.  Whenever a shipment arrives, people snap them all up and often end up re-selling them on eBay for more than double what they’re worth.  It’s not cool but that’s what happens.  I’m sure the store staff know all the eBayers  by heart, because they the know when the shipments arrive and are there when the store opens.

Cases are also “short-packed”, meaning a box of eight figures might have three Finns, but only one Kylo Ren.

A couple weeks ago, I was at a small Walmart store at Stanley Park Mall in Kitchener.  Interestingly enough, this is the same mall at which the very first Record Store in the chain that I worked opened.  My dad worked at that mall (at a bank), and I worked there twice (at a grocery store and finally at the Record Store).  It’s a pretty shitty mall and the shittiest Walmart around, but sometimes you can find real treasures at the out-of-the-way ones.

Even though this is a sucky Walmart, I still found a Star Wars 6” New Order Flametrooper there a few weeks earlier, so I knew that figures could be had there.  What I did not expect this time were FOUR more figures I needed, and some of the hardest to get:  “Old” Han (the most popular), Captain Phasma (very hard to find), Jango Fett with removable helmet and jetpack, and Finn in Stormtrooper gear!  Most of these are going for stupid money online, so to find them in store was quite an exciting surprise.

I frantically sifted through the row of figures, animatedly pulling out all the ones I needed, and singing out loud “Holy shit, jackpot, holy shit, jackpot, holy shit, jackpot…

That’s when I noticed the stock guy staring at me.  I spied several boxes of figures that he was unloading and opening.  Did he figure me to be one of the eBayers?  Maybe, maybe not, but I then saw two more employees stocking the toy shelves, giving me glances.  I’m sure they all heard my “Holy shit, jackpot” song and dance.   I smiled and ran away.

That haul cost me $100, but it was worth it!  And I still love the rush of discovery.

IMG_20160401_180137

 

 

REVIEW: Judas Priest – Battle Cry (2016)

NEW RELEASE

Scan_20160407JUDAS PRIEST – Battle Cry (2016 Sony)

Woah-ho!  Here comes the Priest with yet another live album!  How many does this make it?  Officially that’s six, not including live discs within deluxe editions, or live DVDs!  Battle Cry is the newest, recorded last year at Wacken (August 1 2015).

Some fans like to moan and complain every time an older band like Priest or Maiden release a live album.  You can see their point, but at the same time, how much longer will Priest be touring?  Don’t you want a live album with all their newest songs?  Priest’s last album, 2014’s Redeemer of Souls, was a triumphant return for the band, who had suffered a major lineup change.  KK Downing was out, and new kid Richie Faulkner was surprisingly able to take his place on the stage, and in the songwriting.  Rather than suffer from this blow, Priest simply kept going full speed ahead.  A live album is compulsory after this much activity.  Three of the new songs are included on the disc, in among a smattering of classics, but nothing from Nostradamus (2008) or Angel of Retribution (2005).  Fear not; you can get some of those songs on the live CD A Touch of Evil.

Here is a handy-dandy chart to show you where these songs originated, not counting intros “Battle Cry” and “The Hellion”.

priest chart

You’ll notice a huge 23 year gap in the music presented.  This isn’t uncommon for rock bands of Priest’s age.  There are so many classics, not to mention new songs to play, but not enough time.  As such, albums from later periods, or “cult” songs, are often overlooked.  The unfortunate effect of this is an unspoken implication that maybe the music between 1990 and 2014 wasn’t very good.  Now granted, Priest did have a lineup change during that period.  From 1997-2004, they were with singer Ripper Owens, and Priest have yet to revisit any of that material.

Proving that nothing has been lost with the departure of Downing, “Dragonaut” opens the show on a fast heavy note.  Faulkner is a perfect fit, acting in unison with Glenn Tipton to produce the same kind of Priest guitarmonies that you’re used to hearing.  “Halls of Valhalla”, another new track, rocks just as hard, but with the complexity of the Priest of yesteryear.  The musical chops of this band often go overlooked, but just listen to them play.  As for Halford?  He ain’t no spring chicken, but his singing style has changed to suit.  Within that framework, the man is a demon.  He can still do things with his voice that few can.  The final new song is “Redeemer of Souls”, a little stiff by comparison but certainly up to snuff.

A few lesser-played songs really spice up the set.   “Devil’s Child” from Screaming For Vengeance is a treat, and “Jawbreaker” from Defenders of the Faith is a nice switch up from “Freewheel Burning”.   Wacken probably would have rioted if songs like “Breaking the Law” and “Metal Gods” were not played, so of course you can count on the hits being represented.  A long guitar solo and instrumental section during “Another Thing Coming” is another surprise.  Halford used to do a long singalong at this point of the show, but that’s been shortened in favour of a pretty damn cool Richie Faulkner guitar solo.   Way to give the spotlight to the new kid — that is really classy.

Because there’s not enough time on a single disc, “Living After Midnight”, the final encore of the show, was axed.  Instead, “Painkiller” ends this CD, certainly an interesting choice for a closer.  This is the only song during which Rob’s voice can’t keep up.  The song is just insane; it always has been, and you can’t fault the guy for not quite getting there.

Battle Cry is yet another in a long string of great live Judas Priest albums.  Shoulda woulda coulda been a double CD.  The only two songs missing from this show are “Turbo Lover” and “Living After Midnight”, but wouldn’t you prefer having them?

3.75/5 stars

 

 

REVIEW: Bill Ward – When the Bough Breaks (1997)

BILL WARD – When the Bough Breaks (1997 Purple Pyramid)

If anybody in Black Sabbath is an under-sung genius, it must be poor Bill Ward, the drummer on the outs with the legendary band.  Not only did he release the cult classic Ward One: Along the Way, but also its lesser known followup When the Bough Breaks.  Much more than just a drummer, Ward writes music and lyrics.  He also sings lead on every song, unlike its guest-laden predecessor.  What he didn’t do on When the Bough Breaks was plays drums — at all.  Maybe there is something to this talk from Ozzy about Bill not being able to hack it?

Folks who know little about Bill or Sabbath usually assume it’s all doom and gloom.  Track 1’s song title is “Hate”, but fear not, Bill has not changed his tune.  Hate is the easy way, not the right way, is the message.  Meanwhile there’s a cool sax lick and chunky guitar, and I swear that Bill must have arranged the drum parts because even though it’s not him, it sounds like him.  Ronnie Ciago does a fine job on the skins, all over the album.  Then, “Children Killing Children” is clumsy lyrically, but backed by lovely music and a heartfelt vocal performance.  A pretty ballad with mandolin, dobro, cello and violins is not what many would expect, but When the Bought Breaks is a mellow listen as a whole, and it can’t be pigeon-holed.

“Growth” maintains the soft trend, but it also cascades into massive waves.  Bill sings with a high, whispery quavering voice.  It lends itself best to quiet drama, interspersed with maniacally heavy rock.  That’s what “Growth” is, with a progressive bent and female backing singers.  It seems to form part of a suite, “When I Was a Child” emerging directly from it.  Though the title misleads, this is actually one of the heaviest tracks — a sludgy heavy metal blues born from the steel mills of Birmingham.  The childhood theme is continued with “Please Help Mommy (She’s a Junkie)”.  It also continues the blues with swampy dobro…before it transforms in a space age gospel-soul-metal slam dance.  It has a hell of a lot more life and rock and roll than anything Ozzy’s produced since then.  The sludge remains on “Shine” which I like to think of as ending a side.  Oddball Bill rock is the best way to describe it.

Scan_20160309 (4)

 

“Step Lightly” has a soft touch to it but the heavy guitars leave no doubt.  A potent mixture of influences and genres, “Step Lightly” defies categorization except to say it’s rock, but it’s a lot of things.  “Love and Innocence” is a strange name to a brief percussion instrumental, and it’s an intro to the song “Animals”.  A drummer’s wet dream, “Animals” is a heavy percussion blast with less emphasis on guitar.  A fine song, “Animals” is only hampered by a weird tribal-y front section.  “Nighthawks Stars and Bars” commences as we wind down.  This beautiful song feels like dusk, serenaded by saxophone.  Bill wrote a lovely soul ballad here, and the ladies singing on it are incredible.  “Try Life” is Floyd meets Lennon with a teeny tiny sprinkle of Sabbath, creating a light concoction of classy progressive rock balladry.

One last epic, the slow building title track (almost 10 minutes) leaves no doubt in mind that Bill Ward is a unique talent.  Of all the Sabbath solo records, Bill’s have been the most ambitious.   They’ve also been the fewest.  Bill’s long awaited Beyond Aston has no release date, but another solo album called Accountable Beasts was finally released in 2015.   Meanwhile, of Beyond Aston, Bill says it’s his best since Master of Reality in 1971!

Of When the Bough Breaks, I can only close with this.  It takes time.  It takes a lot of listening time invested, to pay back its full dividends.  When it does, you’ll be glad you bought it.  Of note however, there are multiple pressings and the one I have has liner notes and lyrics so tiny, that I fear I might irreparably damage my own eyes if I try to read them.

4.5/5 stars

Scan_20160309 (2)