BLACK SABBATH – The Best of MusikLaden – Live at the Beat Club (1970 television performance)
When Black Sabbath released their Black Box in 2004 featuring all the original lineup’s studio albums in remastered form, they also included a bonus four-song DVD. This disc was the oft-released television broadcast of a German show called Beat Club (later MusikLaden). Sabbath made two appearances in 1970, and the Black Box was the most official release of them. Before upgrading to the Black Box, I owned an earlier, unofficial DVD release. I taped that DVD to cassette, and that’s what I’m listening to right now.
“Black Sabbath” is torrential, as intense as the young band was able. Ozzy sounds as if possessed, truly terrified and warning us that something foreboding and terrible is coming. “Paranoid” is strangely echoey and distant, but still as incendiary as 1970 Black Sabbath should be. Interestingly, in this version it really does sound as if Ozzy is singing “end your life” instead of “enjoy life”. A sparse “Iron Man” announces its arrival with evil Gibson guitar sonic bends. This version of “Iron Man” is a little stiffer than others, but not for long. Towards the end, Geezer Butler unleashes the hordes and the song stampedes to a close.
Finally and most notoriously is “Blue Suede Shoes”, a performance pretty much everybody has since disowned. It’s not terrible, although it’s certainly uncharacteristic. It’s as if Black Sabbath were suddenly encroaching upon ZZ Top’s territory. Tony’s speedy solo is interesting if not typical, and the band really stepped it up. I get why some would mock it; it’s kind of goofy and definitely not as impressive as the Sabbath originals. But it’s…fun? Is Sabbath allowed to be…fun?
Ah, 1998, a simpler age for simpler folks. We had just finished upgrading all our cassettes to CDs. Those old LPs that were gathering dust in the garage finally hit the curb and the landfill where they belonged. The digital age had arrived! Time for another new format to sweep away the old.
Are you ready for Digital Versatile Disc?
This segment was from the MuchMusic news program FAX, during a period when they used “videographers” carrying cameras on their shoulders at all times, to catch those always-breaking stories. Oh, the late 1990s.
WHITESNAKE – Slip of the Tongue(originally 1989, 2019 (6 CD/1 DVD 30th Anniversary Rhino box set)
There’s a theme you may have noticed every time we review a Whitesnake box set: David does it right.
Here’s another one: Coverdale cares.
Slip of the Tongue gets the super-deluxe treatment this time, the third of the “big three” to go that way. This is the album that divided fans the most. Replacing Vivian Campbell was none other than ex-David Lee Roth stringbender Steve Vai.
“What the hell would that sound like?” we all wondered.
Longtime Whitesnake fans felt it was a step too far into the world nebulously defined as “hair metal”. Others loved the guitar mania inside, with Vai stretching out in ways different from his prior bands. Not the “definitive” Vai record that they still wanted (and would get a year later), but certainly a platter they could sink their teeth into. And it was a weird reason that Steve was playing on Slip of the Tongue at all.
As you’ll see from a feature on the included DVD (“A Look Back: Whitesnake Chronicles with DC and Adrian Vandenberg”), the album was written and thoroughly demoed with Adrian. They wouldn’t need a guitarist until it was time to tour. At this point, Adrian injured his wrist and was unable to finish. Steve Vai and David Coverdale found that they got along famously and the seven-string wizard brought his unique and advanced stylings to the blues-based Whitesnake.
What the hell would it sound like?
It sounds absolutely mental.
With the benefit of now hearing all the demos that Adrian laid down, it’s obvious Steve Vai didn’t just pick up his guitar and play the parts. It’s clear right from opener “Slip of the Tongue”. Compare the album to Adrian’s demos on the other discs. Vai changes one of the chord progressions to high-pitched harmonics, and, let’s face it, improves the song. Elsewhere there are unique trick-filled runs and fills that add another dimension to the music. If Whitesnake was always 3D rock, Vai upped it to 4. The guitar work is blazingly busy, never cliche, and always to the advancement of the song. With all respect to Adrian Vandenberg who wrote these great songs, Steve Vai was more than just icing on a cake. Slip of the Tongue arguably sounds more a Vai album than Whitesnake, even though he didn’t write any of it.
The beauty of this set is that if you’re more into ‘Snake than alien love secrets, you can finally hear the purity of Adrian’s vision in the multitude of early demos included.
Unfortunately, if you’re familiar with the album you’ll hear something’s up by track 2. “Kitten’s Got Claws”? That song used to close side one. What’s up? The album running order has been tampered with, and so has “Kitten’s Got Claws”. It’s now missing the Steve Vai “cat guitar symphony” that used to open it. It could be a different remix altogether. My advice is to hang on to your original Slip of the Tongue CD. You’re probably going to still want to hear the album and song as they were.
This running order puts “Cheap An’ Nasty” third, a song that structurally resembles the ol’ Slide It In Whitesnake vibe. Of course Vai’s space age squeals and solos modernized it. Listen to that whammy bar insanity at the 2:00 mark! Up next is “Now You’re Gone”, a classy rocker/ballad hybrid that has always been an album highlight. The demos on the other discs allow us to hear how much this song was improved in the final touches. That cool answering vocal in the chorus, and the hooks that Vai added, came much later. Strangely, this box set puts the other ballad, “The Deeper the Love”, up next. Keyboard overdubs made it a little too smooth around the edges, but a good song it remains.
The Zeppelinesque “Judgement Day” is a track that used to piss off some fans, who felt it was an abject rip off from “Kashmir”. The Vai touch of sitar (replacing guitar in the early demos) probably aided and abetted this. Regardless it succeeds in being the big rock epic of the album, and a favourite today. Another strange choice in running order follows: “Sailing Ships”, formerly the album closer. It’s quite shocking to hear it in this slot. Again, Vai replaced guitar with sitar, and David goes contemplative. Then suddenly, it gets heavy and Steve takes it to the stratosphere.
“Wings of the Storm” used to open side two; now it’s after “Sailing Ships”. Some tasty Tommy Aldridge double bass drums kick off this tornado of a tune. Vai’s multitracks of madness and pick-scrapes of doom are something to behold. Then it’s “Slow Poke Music”, a sleazy rocker like old ‘Snake.
The new version of Slip of the Tongue closes on “Fool for Your Loving”, a re-recording of an old classic from Ready An’ Willing. The new version is an accelerated Vai vehicle, lightyears away from its origins. Coverdale initially wrote it to give to B.B. King. Vai is as far removed from B.B. King as you can imagine. The original has the right vibe, laid back and urgent. This one is just caffeinated.
The only album B-side “Sweet Lady Luck” is the first bonus track on Disc 1. By now it is the least-rare B-side in the universe, having been reissued on a multitude of Whitesnake and Vai collections. Valuable to have to complete the album, but easy to acquire. It’s basically a second-tiered speed rocker with the guitar as the focus. Other B-sides from this era were remixes, and they are included here as well. The Chris Lord-Alge mix of “Now Your Gone” is the kind that most people won’t know the difference. Vai said that Lord-Alge could make the cymbals sound “like they have air in them.” Then there’s the “Vai Voltage Mix” of “Fool for Your Loving”, which has completely different guitar tracks building an arrangement with way, way, way more emphasis on the instrument. The rest of the disc is packed with four more alternate remixes: “Slip of the Tongue”, “Cheap An’ Nasty”, “Judgement Day” and “Fool for Your Loving”. These mixes have some bits and pieces different from the album cuts. Vai fans will want the alternate solo to “Cheap An’ Nasty”, though it’s less whammy mad.
Of course, “Sweet Lady Luck” wasn’t the only song that didn’t make the album. In old vintage interviews, Coverdale teased the names of additional tracks we didn’t get to hear: “Parking Ticket”, “Kill for the Cut”, and “Burning Heart”. They’ve been safely buried in Coverdale’s vault, until now. Additionally, it turns out that Whitesnake also re-recorded a couple more of their old songs: “Ain’t Gonna Cry No More” and “We Wish You Well”. They’re all here in different forms on the demo discs.
Perhaps “Kill for the Cut” would have been one dirty song too many for the album. It ain’t half bad, and has a unique little bumpin’ riff. “Parking Ticket” had potential too. Rudy Sarzo gave it a pulse that might have taken it on the radio. The 1989 monitor mix would have been perfect for B-side release. Why did Cov have to hold out on us all these years? “Burning Heart” was a special song, a re-recording of an old Vandenberg track that David really loved. Unfortunately the monitor mix is is only a skeleton of what could have been a sensational Whitesnake ballad. “Ain’t Gonna Cry No More” is heavily modernized, with keyboards sounding like they were trying to recapture “Here I Go Again” (which they were). “We Wish You Well” is more contemplative, with piano as the focus.
All of this previously unheard material is scattered over several discs. “Evolutions” (Disc 3) is a familiar concept to fans of these box sets. Demos from various stages of completion are spliced together into one cohesive track. You will be able to hear the songs “evolve” as the band worked on them. Every track from the album plus “Sweet Lady Luck”, “Parking Ticket” and “Kill for the Cut” can be heard this way. Disc 4 is a collection of monitor mixes with all the album songs and all the unreleased ones too. These discs are the ones that allow us to really hear the album the way it would have been if Adrian didn’t hurt his wrist. We would have got an album that sounded a lot more like Whitesnake. It was audibly different even if familiar.
Perhaps the best disc in the entire set is “A Trip to Granny’s House: Session Tapes, Wheezy Interludes & Jams”. It’s just as loose as it sounds. Enjoy the funk of “Death Disco”, the funkiest David’s been since Come Taste the Band. If you’ve always wanted to hear David sing “Tie a Yellow Ribbon ‘Round the Old Oak Tree”, now you finally can! There’s a lot of goofing off in some of these tracks, but also a lot of rock. It’s live off the floor as they rehearse the songs, as a four piece band with Adrian. Not all the final lyrics or solos are set, but the songs are so raw and fresh. Some of the jams show a side of Whitesnake we rarely got to see. Kind of Purple-y in the way they just could take off and rip some blues.
Given all the rich audio extras, it’s OK if one of the CDs is a little impoverished. That would be disc 2, “The Wagging Tongue Edition”. This is a reproduction of an old promo CD, featuring the album Slip of the Tongue with a Dirty David interview interspersed. This was meant for radio premieres. It has the entire album in the correct order, but because it’s faded in and out of interviews, it’s really not a substitute for a proper copy of the original album. At least the vintage 1989 interviews are interesting. It saves collectors from buying a copy on Discogs. (Coverdale claims “Judgement Day” was originally titled “Up Yours Robert”. Ooft.)
There’s another disappointment here and it’s difficult to forgive. In 2011, Whitesnake released the long awaited Live at Donington as a 2 CD/1 DVD package. This brilliant performance finally gave us a permanent record of Whitesnake live with Vai. In our previous dedicated review, we had this to say:
Musically, it’s a wild ride. It’s not the Steve Vai show. Adrian gets just as many solos, and his are still spine-tingling if more conventional. It is loaded with ‘Snake hits, leaning heavily on the three Geffen albums. In fact there is only one pre-Slide It In song included: The Bobby “Blue” Bland cover “Ain’t No Love in the Heart of the City”. And, since it is also the pre-grunge era, there are plenty of solos, which today seems excessive. Aldridge does his drum solo at the end of “Still Of The Night”. Vandenberg gets his “Adagio for Strato”/”Flying Dutchman Boogie”. Most excitingly, Steve Vai performs two songs from his then-brand new (and top 40!) album Passion And Warfare: “For The Love Of God” and “The Audience Is Listening”, with Aldridge on drums. Coverdale even introduces him as “Mr. Passion and Warfare!” so I imagine there was no sour grapes that Vai’s album was doing so well. And lemme tell ya folks — the audience WAS listening, and going nuts too!
Unfortunately, to save a little bit of plastic, this set was reduced to a single CD for its inclusion here. The Vai and Adrian solos were cut, though Tommy’s drum solo in “Still of the Night” is retained. To cut the guitar solos in such a guitar focused boxed set is not only unwise but unforgivable. Fans who don’t have Live at Donington are going to want to shell out again just to get the solos. Fortunately, the whole show is uncut on the included DVD.
The DVD has plenty of added value; it’s not just a reissue of Live at Donington. You’ll get the three music videos from the album (“Now You’re Gone”, “The Deeper the Love” and “Fool for Your Loving”). There’s even a brand new clip for “Sweet Lady Luck” cobbled together from existing video. Then, you can go deeper into the album. The aforementioned sitdown with David and Adrian is really enlightening. Another behind the scenes feature narrated by David is fantastic for those who love to watch a band create in the studio. Coverdale’s not a bad guitarist himself.
These Whitesnake box sets also include ample extras on paper. There’s quite a nice miniature reformatted tour program with the majority of cool photos. A large Slip of the Tongue poster can adorn your wall, or remain safely folded up in this box. Finally, there is a 60 page hardcover booklet. This is a treasure trove of press clippings, magazine covers, single artwork, and more. Lyrics and credits wrap it all up in a nice little package.
Because we know that David puts so much into these box sets, it’s that much more heartbreaking that this one is so slightly imperfect. The shuffled running order and lack of guitar kittens on “Kitten’s Got Claws” is a problem. The truncated live album is another. It means I have to hang onto old CDs that I was hoping to phase out of my collection in favour of this sleek set. Alas, I’ll keep them as they are my preferred listening experience.
Otherwise, in every other way, this box set delivers. It makes a lovely display next to its brethren and it justifies its cost.
Sit down Sykes fans, because I’m a Vai kid and this is “my” Whitesnake. The fact that this lineup existed at all is miraculous. The most creative guitarist of all time joining one of the most successful commercial rock bands at the peak of their popularity? Recipe for, at the very least, interesting history. And absolutely perfect box set fodder.
So here we are buying Slip of the Tongue for at least the third time, and finally getting it (mostly) right. At a quick glance, it appears the only detriment to buying this box set is that you will not get the complete Live at Donington concert on CD. In order to fit the whole thing on one CD (disc 6), they axed all the solos. Let’s face it folks. When your band includes Steve Vai, you don’t cut the solos. You’ll have to shell out for the original triple disc Donington set to get them on CD. The good news is that the whole Donington concert is still here on video, on a fully-packed DVD (disc 7). (The DVD also includes a detailed interview with David Coverdale and Adrian Vandenberg, touching on Adrian’s mysterious 1989 wrist injury.)
The running order of the songs on Slip of the Tongue, the 30th anniversary remaster, has been slightly shuffled. It’s strange and off-putting enough that I’m keeping my old copy of the album, so I can still listen to it the familiar way. “Sailing Ships” isn’t the last song? “Fool For Your Loving” is. The bonus track versions included, with alternate solos and guitar fills, are stunning additions. Then there’s an entire CD, the “Wagging Tongue” edition, with the songs in the correct order but interviews with David interspersed. This is a reproduction of a vintage 1989 promo CD, for contemporary perspective. Disc 3, the “Evolutions” CD, is a favourite. The “Evolutions” series of tracks, now a Whitesnake reissue trademark, mixes early demos with later demos and and even later versions, so you can hear the tracks evolve as you listen. It’s deconstruction and reconstruction in one. Importantly, you finally get to hear what the album would have sounded like before Steve Vai came in to record it. Disc 4 includes 16 monitor mixes, including some superior rarities. Finally, after 30 years of waiting and teasing, we get the unreleased tunes “Parking Ticket”, “Kill for the Cut”, and “Burning Heart” (originally by Vandenberg). We also get “Ain’t Gonna Cry No More” and “We Wish You Well”. Verdict? Worth the wait. Oh, so worth the wait! There’s no reason some couldn’t have been released as B-sides in 1989, and they should have! “Parking Ticket” has a neat Van Hagar-like, and could have been a summer hit.
Disc 5 is “A Trip to Granny’s House”, actually the name of a rehearsal studio they used. These funny tapes, “Wheezy Interludes & Jams”, are informal fun. A highlight is the funky “Death Disco”, not unlike some of the stuff Purple were doing with Tommy Bolin towards the end. These tracks predate Steve Vai’s involvement, so you’ll get the purity of Adrian’s original playing.
I look forward to investing more time with this box set. Let us hope that David continues to empty the vaults. Next up: Restless Heart?
“Sabbath are heavy, but Priest are metal.” – K.K. Downing
JUDAS PRIEST – Angel of Retribution (2004 Sony CD/DVD deluxe set)
Like Iron Maiden before them, Judas Priest pulled off a successful reunion tour before venturing into the studio to record a new album. When the new music finally came, a deluxe package was made available featuring live videos from the reunion tour. In this deluxe-sized review, we’ll take a close look at both the CD and DVD content.
The CD
Pure anticipation preceded the arrival of the Angel of Retribution. Two underwhelming albums with Tim “Ripper” Owens on lead vocals caused Judas Priest’s star to diminish in the 90s and 2000s. The return of the Metal God, Rob Halford, meant a reunion of the successful 1990-1991 Painkiller lineup. The new album cover even featured the return of the Painkiller character, now the Angel of Retribution. But a long time had passed. Could Priest hope to live up to the hype, and their legacy?
The answer is mixed. While Angel of Retribution contains enough classic Judas Priest metal to consider it a success, it also has some truly legendary filler, of sub-Ram It Down quality. Instead of running through the album track by track, let’s break it down in terms of song integrity.
Priest wrote a natural sounding album, with elements from virtually all eras of Priest past. They say it came about organically, and it does sound that way. Some of the best material are the songs that sound like variations of classic Priest.
The opening song “Judas Rising” brings it back to 1976’s Sad Wings of Destiny with that fade-in opener inspired by “Victim of Changes”. Then it transforms right into the Painkiller era, with something that sounds like a far more intense “Hell Patrol”. Solid 5/5.
The slightly psychedelic first single “Revolution” ranks among the better songs, although perhaps it’s actually most similar to “Little Crazy” by Rob Halford’s Fight. It has flavours of Rocka Rolla and Killing Machine, and is far from what anyone expected Priest to put out for a first single. Dig that slide guitar bit in the solo! Solid 5/5.
“Worth Fighting For” isn’t a ballad; it’s a little harder edged than that. It’s the one song that is unique in the Priest catalogue, and remarkably strong. The riff has a nice chug to it, while Rob ably carries the melody to a higher place. A special song, and a 5/5.
“Demonizer” is Jugulator meets Painkiller, faster than a hellriding devil dog (whatever that is), but “the Painkiller rises again!” So testifies Halford. It’s so ridiculously over the top that it can only be worth a solid 5/5. Likewise the similar “Hellrider” on side two. Both feature double bass so fast that it’s almost a parody of itself, but both rock so hard you’ll break your neck keeping up. “Hellrider” is also notable as the song where Rob Halford inexplicably name drops “Megatron”. Similar songs, both solid 5/5’s.
The ballad “Angel” is a little soft, unexpectedly so on an album with so much heavy metal. Yet, Priest can do anything. The acoustic “Angel” could be the quietest ballad since the early days. “Put sad wings around me now,” sings Rob to the angel, an appropriate callback. As his voice aged it acquired more depth. That helps make “Angel” a respectable 4/5.
“Deal With the Devil” and “Wheels of Fire” fall in a netherworld of pedestrian Priest. These both feel like filler from Point of Entry or Ram it Down. Less explosive, less memorable. The autobiographical “Deal With the Devil” is amusing for its many lyrical callbacks: “Under blood red skies”, “Took on all the world”, references to razor blades. Likewise the short one, “Eulogy“, which is really an intro for another song that we’ll get to. “They remain still as stained class”, “Guarded by the Sentinel”, and so on. 3/5 each.
The worst of all songs is “Loch Ness“, a mess so atrocious that we had to devote an entire entry just to that one song. Combined with its intro “Eulogy”, it’s over 15 minutes of mire that has no reason to exist. Many people simply stop the album after “Hellrider” and leave this foul turd to rot unheard. “Loch Ness” could very well be the worst Judas Priest song of all time. A flaming turd to extinguish all flaming turds. The worst of all putrid, rancid filler songs ever foisted upon the faithful. 0/5.
“Reunited” DVD
It’s worth getting a copy of this album with the bonus DVD. For one, there’s a documentary from the Priest Reunited tour. Secondly, there are seven uncut live songs here for you to enjoy, and it’s the only official video release from the Reunited tour. The live footage is something to see, especially if you own the robotic Rising in the East DVD. In that concert, Rob Halford was a stiff mannequin instead of a frontman. Here, he comfortably in charge and engaged. The entire lineup is energized. “Breaking the Law” sees them powered up and working hard.
But how did the seemingly unlikely reunion begin? According to the documentary, the band and Halford met to discuss the forthcoming Metalogy box set. Glenn Tipton states that they decided to reunite later the same day. It was like they’d never been apart. Terribly British, says Rob. “Have a cup of tea, see you later.” Rob does express regret for his actions (reportedly he gave Judas Priest his notice in 1992 by fax), but it seems all was forgiven over time.
Beware which version you buy. This CD/DVD combo set contains the documentary plus the full live songs: “Breaking the Law”, “Metal Gods”, “A Touch of Evil”, “Hell Bent for Leather”, “Eletric Eye:”, “Diamonds & Rust”, and “Living After Midnight”. The DualDisc version does not; it only includes edited fragments of those tracks. Which is a shame, because the band sounded fantastic and Rob was in full-lunged form. This is probably the best live version of “A Touch of Evil” available, for example. Not everyone likes the acoustic version of “Diamonds & Rust”, but it’s certainly different. The only bonus to DualDisc is that you also get the album in “enhanced stereo”. Avoid that; get this.
Although Angel of Retribution is overall a very strong Judas Priest album, “Loch Ness” is impossible to ignore. It does serious damage to an album that was otherwise an impressive listen. In the included DVD, K.K. Downing says they had to pick and choose from an overabundance of songs. Can you imagine how bad the leftovers are if “Loch Ness” made the album?
BLADE RUNNER (1982, 2007 Ultimate DVD edition, Warner Bros.)
Directed by Ridley Scott
The first time I saw Blade Runner, I was unimpressed. I didn’t believe it to be a bad film, but it inspired nothing inside me. However, something about it burrowed into my mind. It could have been the inspirational aesthetic, the cryptic atmosphere, or something operating deeper in my subconscious. Something I couldn’t place my finger on. Whatever it was, I had an undeniable desire to see the film again. When I acted upon that impulse, I fell in love with it. All the emotion and humanity that had eluded me on the initial viewing became elucidated the second time around. Since then, I’ve viewed the film many times. Each of my viewings reveals more secrets and offers new interpretations to this alluringly ambiguous picture.
I’m not entirely certain why Blade Runner went over my head the first time. If I had to speculate, I’d guess that my mind was so overwhelmed by the sheer visual spectacle, that I had a difficult time focusing on the movie behind it. After becoming accustomed to the astonishing world in which the story resides, it became clear to me that much more than just the design was awe-inspiring. Underneath the electronic digital exterior was a human pulse, one that beat the strongest in the characters that weren’t even human. It poses the existential question of the definition of life, and makes us wonder who should have the authority to define it.
The events take place in the future world of November 2019. Earth has become an overcrowded, polluted, and commercialized urban environment. The Tyrell Corporation manufactures synthetic human beings known as replicants. They are just as intelligent as their creators, while also possessing superior physical abilities. They’re used off-world for slave labor, and are forbidden on Earth. Deckard is a blade runner, the best there’s ever been. His job is to take out stray replicants, a process described by the euphemism ‘retiring’.
When we’re introduced to Deckard, it’s clear we’re observing a broken man. He lacks purpose, and hides his feelings of worthlessness behind alcohol and a bitter attitude. Having quit his job as a blade runner, he drifts around going through the motions. He’s living a very shallow existence, numbed by whiskey, afraid to feel, and terrified of self-reflection. He’s called in to do one last job, and does so only after being threatened by his old boss, Bryant. Six replicants escaped an off-world colony, and four made it to Earth with their lives. They’ve travelled to Earth in an attempt to extend their lives, which have been set to approximately four years. Their leader is the tactical and ruthless Roy Batty, an imposing figure played by the recently departed Rutger Hauer (R.I.P.). Deckard’s job is to retire them, as they are considered a threat to the public.
Despite being artificial, these four replicants are the most compelling characters in the film. They possess real emotions, and you can’t help but empathize with their plight for life. Their methods may be cutthroat, but understandable given the abhorrent treatment they’ve received at the hands of humans. Not excusable, but understandable. Roy is the most viscous, yet he is also the one we learn to care for the most. The other three want more life only because of their fear of death. Unlike his companions, Roy is a pensive philosopher that questions the nature of his existence, and sees the artificial manipulation of his life expectancy as an injustice perpetrated by Tyrell, his creator.
Contrarily, Deckard is a classic noir archetype inserted into a science fiction world as a way of contrasting him with his supposedly ‘less than human’ targets. He has no raison d’être, no philosophy, he simply exists. The very machines he’s been commissioned to destroy contain more human characteristics than he does. He has learned to detach himself from his emotions because somewhere inside he knows that his job is immoral. As the film progresses, it’s a truth that he finds harder and harder to deny.
His path to realization begins when he visits Tyrell at the onset of his case. While there he meets the beautiful replicant Rachel and is immediately captivated by her. Rachel isn’t initially aware that she is a replicant, as she is part of a new generation that has been fitted with memory implants. She’s rather sterile and distant at first, but ironically becomes more emotional as she comes to accept the fact that she is indeed a synthetic human being. This coincides with Deckard’s own increased feelings of guilt and empathy towards these machines as he approaches the completion of his job. Both characters struggle with the concept of humanity in a dehumanizing urban environment, falling in love as they relate to each other’s fear and uncertainty.
Meanwhile, Roy and the seductive Pris manipulate genetic designer J.F. Sebastian into leading them to Tyrell. Sebastian is afflicted with a disease that accelerates aging, allowing him to relate to and take pity on the replicants and their limited lifespan. Roy and Sebastian visit Tyrell during the dead of night, under the pretense of a chess game. Roy’s patience has been rewarded. He is finally able to face his creator. His resentment towards Tyrell for manipulating his lifespan culminates in the line “I want more life, fucker.” The profanity underscores the pent up rage. It’s an emotional slip for the previously silver-tongued devil, and a subtle hint for his surprising climactic decision at the end of the film. When Tyrell informs Roy that there is no way to extend his lifespan, he disposes of his creator and Sebastian.
Deckard learns of the deaths of Tyrell and Sebastian on his radio, and decides to check out Sebastian’s place. What follows is the infamous final confrontation between Deckard and Roy. Deckard offers absolutely no challenge to Roy. Roy’s methodical killings of before are replaced by a sadistic playfulness. Driven past the point of caring upon the realization of his inevitable mortality, he plays cat and mouse with Deckard. In the middle of their game Roy’s hand begins to seize up; his time has come. Deckard attempts to jump from one building to the next to escape, but doesn’t go the distance, grasping the edge hanging precariously high above the ground. Roy catches up to him and easily makes the jump to the next building, standing above Deckard as his fingers slip. But just as Deckard’s grip fails, Roy grasps Deckard’s arm and hoists him up onto the building, saving his life.
In this moment Roy realizes that the most human gesture he can make before death is forgiveness. Saving Deckard even after he killed all his companions was an act of mercy and forgiveness that made his final deed a human one. Roy has reached the stage of acceptance, and ponders in his death soliloquy that once someone dies, all of their memories are lost. All their experience is gone forever. As he puts it, “All those moments will be lost in time, like tears in the rain.” An immortal line written by Rutger Hauer himself, it fixes an image to the human fear that we won’t have a legacy, and that all we’ve learned and experienced will be lost forever. Roy believes that with the loss of his experiences, humans will remain ignorant of the nature of replicant life, and that humans will continue to view them as objects to be used instead of living creatures. As he dies peacefully, a dove ascends out of the oppressive city. The shot seems to suggest that Roy does have a soul, and the dove symbolizes something pure and innocent. Roy has redeemed himself by saving Deckard, and his purified spirit ascends to heaven.
Blade Runner is a pensive film. It takes its time unravelling to give the viewer a chance to think along with it. It’s about a man that learns to embrace his humanity from the very machines he’s expected to kill. He even falls in love with one. It makes us wonder what truly constitutes life, and what value a life has after it’s gone and forgotten. Blade Runner is moody, stylized, and very open to interpretation. It’s certainly not a film for everyone, but for the people that enjoy when movies offer more questions than answers, there are few that have done it better.
5/5 replicants
Version Guide
There are five distinct cuts of Blade Runner available on Blu-ray, so I figured I’d do a quick version guide and offer my opinion on the best version of the film (it’s not the Final Cut).
Work print (1982) – The original work print shown to test audiences. It is a few minutes shorter than the other cuts, which are practically all the same length. It contains different opening credits, and one instance of voice over narration during Roy’s death scene different than the one heard in the theatrical cuts.
U.S. Theatrical Cut (1982) – Voice over narration was added that elaborates on certain plot points and offers background information. This version also contains a happier ending.
International Theatrical Cut (1982) – Identical to the U.S. Theatrical cut, only it has a few instances of unedited violence.
Director’s Cut (1992) – This version removes all voice over narration, and the happier ending. It also inserts a unicorn dream that heavily suggests that Deckard is a replicant. This version doesn’t contain the extra violence.
The Final Cut (2007) – Everything in this cut is cleaned up. The visuals, the sound, etc. Visible wires were removed from the flying cars, and an obvious stunt double’s face was digitally replaced with the actress’s face. Includes a longer unicorn dream, no narration, Roy apologizing to Sebastian before killing him, a different background for the dove shot, the violence from the international cut, and green color grading. Roy also says “I want more life, father.” This is the only version besides the work print where he says father instead of fucker.
My favorite (short version): The director’s cut.
My favorite (long version): The green color grading of The Final Cut is awful. It buries the spectacular world and neon colors in a gross green. Using CGI to replace a face and cover up wires is also a bit too revisionist for my tastes as well. I also think the assertion that Deckard is a replicant ruins the theme of the movie. Therefore, I don’t like the unicorn dream. I also don’t like Roy apologizing to Sebastian, it’s out of character. And father just isn’t as powerful as fucker, even with the God complex connotations. As for the theatrical cuts, the narration isn’t all that awful in my eyes (it’s performed pretty badly), but it is a better film without it. It has some interesting background information, but it ruins some of the ambiguity. I do like that the theatrical cut doesn’t push the idea that Deckard is a replicant, because it’s missing the unicorn dream. The happy ending is inconsistent with the movie’s tone though. So my ideal version would be the international theatrical cut without the narration, and without the happy ending. But since we don’t have that cut, my preferred version is the director’s cut, with the international cut coming in a very close second. You should watch both of those cuts just to get the full experience. I switch back and forth depending on my mood.
This review is dedicated to Rutger Hauer. Thanks for the films, man. We’ll miss you.
WHITESNAKE – Flesh & Blood (2019 Cynjas Japanese import CD)
So you got the new Whitesnake. Think you got all the songs just because you got the deluxe version on CD or iTunes? Naw! Think again! Once again, it’s Japan with the hardest to find bonus tracks.
To be fair, it’s a give and take. While Japan often gets their own exclusive songs, they also miss out on others. In North America, we got a deluxe edition with “Can’t Do Right For Doing Wrong”, “If I Can’t Have You”, and three remixes of album tracks. The Japanese CD has none of those, but instead has its own exclusive remix.
The ballad “After All” is surely one of the highlights on Flesh & Blood. As a simple, fairly unadorned acoustic love song, it’s right in the wheelhouse of more recent “unzipped” ‘Snake. Well, the Japanese bonus remix is even more stripped down. The “Unzipped” mix is the same recording, just with less stuff in the mix — no electric guitars, no keyboards. An insignificant difference? Absolutely. But with an acoustic song this fucking good, you may enjoy the purity of the unembellished version. Up to you really, but if you’re the kind of collector that needs “all the tracks”, then you do need this, don’t you?
“I don’t care about bonus tracks,” you say. “Just tell me if the album is any good!”
Flesh & Blood is being described by enthusiastic fans as “the best album since Slip of the Tongue. They are probably correct in that declaration. It’s stunningly good: diverse, well written and well played. It draws from a broader palette of sound than many of the past albums, and even dips back into the 1970s on “Can’t Do Right For Doing Wrong” (which isn’t on the Japanese CD). There are no songs to skip through, and while not all are equally strong, none suck. It has a high ratio of songs that could become future classics, like “Gonna Be Alright”, “Good To See You Again”, and “Sands of Time”. So yes, to answer your questions, it’s a bloody good album no matter what version you can afford.
The domestic CD is the best buy for its songs-per-dollar value (18 tracks on the deluxe), over the Japanese (14 tracks). Rating this purely as an album with its bonus track, it’s still a solid:
What’s the year again? You’ll want to check, because David Coverdale just released the best Whitesnake album since the 1980s. Swollen with fresh song ideas, this ‘Snake has more bite. Maybe it’s the unleashing of Reb Beach or the new contributions of Joel Hoekstra. Whatever the cause, Flesh & Blood is sheer nirvana for fans of classic hard rock and technical guitar playing. The album is evidence that this could be the best lineup David’s had since Steve Vai. For guitar geeks, there are lead break credits for each song, a-la Judas Priest.
“Good to See You Again” is an ideal opener and you could hear it working that way live. David then assures you it’s “Gonna Be Alright”, on a slick number with a darker vibe and major hooks — almost more 90s Queensryche than Whitesnake, but with a good time in mind. “Shut Up & Kiss Me”, the lead single, shows that David isn’t afraid to get sleazy even in his senior years. It’s good time party rock, expertly delivered. A clear choice for single.
Going heavy, “Hey You (You Make Me Rock)” grooves like the ‘Snake you remember. The soloing here will make you wet your pants. “But it’s not John Sykes!” scream the unbelievers. Well, check out “Always & Forever” for a hint of that Thin Lizzy regality. It’ll bring you back to the days of Jailbreak but with David instead of Phillip. Then comes the first ballad: “When I Think of You (Color Me Blue)” Reminiscent of “The Deeper the Love”? There are many who love ballads — more power to ’em! This is a good one. Things get greasier on “Trouble is Your Middle Name”. Pedal to the metal — not sure where David is getting the fuel from, but it’s potent.
Halfway through now, it’s the title track “Flesh & Blood” sounding a lot like Slip of the Tongue era ‘Snake. Think something like “Slow Poke Music”. It leads perfectly into “Well I Never”, soulful but dark and heavy. Amazing stuff. Another ballad, “Heart of Stone”, brings to mind the glory of Coverdale-Page. This is heavy stuff for a ballad, loaded with integrity and delivered expertly by the master. Then it’s the bluesy boogie of “Get Up”, a song clearly designed to get asses shaking, and air guitars a-picking. One more ballad: “After All” is pleasantly acoustic, and an
appropriate respite from electric shreddery.
The final song of the main 13 track songlist is an epic: “Sands of Time”. David explored Arabic sounds before on “Judgement Day”, and this is another foray into the exotic. Something about those scales automatically make a song huge in scope. “Sands of Time” is really impressive, and Reb & Joel compliment it with the perfect solos.
There are two bonus tracks on the deluxe CD. The first is a callback to early Whitesnake. “Can’t Do Right for Doing Wrong” sounds like the kind of blues David was playing in the 1970s. It’s sheer delight hearing him revert to pure bluesy ‘Snake. Lastly it’s “If I Can’t Have You”, a good if unremarkable song after all this epic madness.
Is that all? Of course not; David Coverdale is known for giving value to the fans. There’s a DVD with different mixes and videos too. This disc sounds huge. The bass — woah! First: “Shut Up & Kiss Me”, the video “classic Jag” version. Because David is driving the Jaguar from “Here I Go Again”, obviously. It’s Whitesnake on a small stage, in a club, up close and personal. Unsurprisingly the “Club Mix” of the same is just the video without the Jag.
Three remixes are presented in hi-res. “Shut Up & Kiss Me” is the “video mix”; nice to have a clean audio version of that. To hear the differences will require further investigation (clapping at the end aside). An impressive “X-tended mix” of “Gonna Be Alright” is pretty cool. Last is a “radio mix” of “Sands of Time”, which is strangely longer than the album version. Unusual for a radio mix. All the remixes are slightly longer.
Japanese customers got one exclusive bonus track, an “Unzipped” mix of “After All”. It doesn’t have any of the other bonuses. That CD is in the mail and when it arrives we’ll review it too.
Finally, the DVD contains a 15 minute “behind the scenes” of the making of the album. David reveals that The Purple Album was intended to be his last. The passion returned and he followed it. Sounds like beautiful women are still inspiring to him. As far as the album goes, you’ll notice the background vocals are quite thick. David says that all the Whitesnake members…all but Tommy Aldridge anyway…are capable lead vocalists in their own right. All six band members get their chance to speak.
This is an album you’ll be enjoying all summer. Dig it.
GRANDMA’S BOY(2006 20th Century Fox Unrated Edition DVD)
Allen Covert finally got to step out from Adam Sandler’s sizable shadow in Grandma’s Boy, one of the best, most re-watchable weed comedies this side of Half Baked. Covert can’t really do an entire comedy on his own so expect to see Sandler’s other reliable sidemen: Peter Dante, David Spade, Kevin Nealon and Rob Schneider. Joel Moore (Avatar) and Linda Cardelini (Freaks & Geeks, Captain America: Civil War) are on hand, but check out a super young Jonah Hill!
The setup is pretty simple. Allen Covert has been evicted from his apartment (not his fault!) and decides to go live with some new “roomates” — his grandma and her two friends. But he can’t let his co-workers at a video game company know that he’s not throwing it down with hotties every night, so he keeps it on the downlow. Covert has the best job for his lifestyle — he tests video games all day. If you like video games, this movie is for you.
Things come to a head when Linda Cardelini shows up to get the delayed game back on its release schedule, The head designer J.P. (Moore dressed up like Neo) seems a little jealous of his teammates. During the course of the movie, copious amounts of the herb are consumed before the action packed video gaming climax. Even Grandma might partake…accidentally of course.
If you like those Happy Madison movies, but are sad they don’t make ’em like they used to anymore, give Grandma’s Boy a visit.
QUIET RIOT – One Night in Milan (2019 Frontiers Deluxe Edition CD/DVD)
James Durbin made me a believer.
On paper, the current Quiet Riot shouldn’t be my thing. A band with no original members and a frontman from one of those singing contest shows? No thanks. Except it’s actually good. After years of flailing around with different replacement singers, Frankie Banali finally hit gold when he got James Durbin. Wisely, Frankie chose to do a live album with him.
One Night in Milan is a terrific live CD/DVD set, aided and abetted by a singer who is 100% into it. Durbin has charisma and the frontman chops, but importantly, he’s not trying to be Kevin DuBrow. He still uses the striped mike stand, but otherwise Durbin is his own person. His range is out of this world, and though his voice may grate on some ears, he sounds terrific to this listener. The whole lineup, including Alex Grossi on guitar and veteran Chuck Wright on bass, has gelled.
Quiet Riot get points for doing the opposite of what most bands do. They didn’t ignore their 1990’s albums! “Whatever It Takes” (from Down to the Bone) and “Terrified” (from “reunion” album Terrified) sound awesome live. “Terrified” in particular has been a long time coming, a true hidden classic from a forgotten era. On the other hand, there are only two songs (“Freak Flag” and “Can’t Get Enough”) from their newest album Road Rage. There’s only so much room on a live CD, and it’s otherwise stuffed with stone cold Quiet Riot classics. It’s cool to hear deeper cuts like “Condition Critical”, “Thunderbird” and “Let’s Get Crazy” live.
The DVD, featuring all the songs from the CD, is even more convincing. Banali continues to thunder like no other drummer, a true phenomenon. There’s more stage talk included, and Banali introduces “Thunderbird” performed live for the first time ever with piano. Durbin is always the focus on stage, although Wright and Grossi are both mobile, entertaining performers.
If you’re just not into Quiet Riot without Kevin DuBrow, that’s fine and you should stick to what you like. However it’s safe to say that James Durbin has saved Quiet Riot from becoming a pointless parody of itself. With James center stage, this band has a future again.
BLACK SABBATH – The Best of MusikLaden – Live at the Beat Club (1970 television performance)
warning us that something foreboding and terrible is coming. “Paranoid” is strangely echoey and distant, but still as incendiary as 1970 Black Sabbath should be. Interestingly, in this version it really does sound as if Ozzy is singing “end your life” instead of “enjoy life”. A sparse “Iron Man” announces its arrival with evil Gibson guitar sonic bends. This version of “Iron Man” is a little stiffer than others, but not for long. Towards the end, Geezer Butler unleashes the hordes and the song stampedes to a close.
