Tuesday, December 29, 2015

Killed By Death

The recent passing of hard-rocking, hard-living Lemmy Kilminster, singer and bassist for Motörhead, has left a void in the world of rock'n'roll. Lemmy succumbed to an aggressive form of cancer just days after his diagnosis. Aged 70, he certainly lived the lifestyle right to the end, only cutting back a bit on the booze after experiencing some other health issues. In life, Lemmy admitted that without sex, drugs, and rock'n'roll, he'd go to his grave with regrets. And he wouldn't have that. So.... no remorse.



I discovered Motörhead as a teenager, watching Canadian music magazine TV program The New Music back in the late 70's and into the 80's. The concert footage was raw and visceral, the music and band's appearance both freaky and aggressive. Lemmy's brand of punk-ish heavy metal was also a forerunner to thrash. He wasn't afraid to cross and blend genres, always resulting in something wild and exciting. Lemmy has inspired and influenced generations of musicians and fans. His work ethic alone was enough to impress the kids, not to mention his peers. And when he wasn't hammering on his bass and howling on stage, he partied harder than most rockers. Lemmy was a curiosity in how he survived all of the substance use for so long. He never did the Ozzy or Aerosmith rehab thing, choosing instead to live life on his own terms.

The first Motörhead songs I ever heard - back in 1980 - were Ace of Spades and The Chase is Better Than the Catch. Oh, and another favourite was Love Me Like a Reptile... mostly for Lemmy's not-so-subtle sexual innuendo, delivered with high volume and humour. Take that, AC/DC!

Over the years, I've been quite content with my copy of the No Remorse compilation, a blistering package of a couple dozen of Motörhead's most popular tracks. Given my love of those aforementioned songs, I just had to add the Ace of Spades studio album to my collection, too. Rowdy, pummeling tracks like Shoot You In the Back, (We Are) The Road Crew, and Jailbait sure got the blood pumping. I eventually snagged Overkill, a great disc featuring classics Stay Clean, I'll Be Your Sister, and Metropolis. 

I loved the interview with Lemmy in the Metal: A Headbanger's Journey documentary. The old fella was so quick on the draw with witty and sly remarks, all punctuating his captivating stories about misadventures onstage and on the road. The 2010 doc entitled simply Lemmy was an even more expansive look at the life and times of the rock legend. What I love about the guy is his complete honesty. He lived and breathed rock'n'roll and was simply himself all the time... he did not adopt a stage persona or put on any phony act for anyone. The leather and long hair were exactly who he was. Loud and proud. 

Lemmy led a colourful and memorable life. From early work as roadie for Jimi Hendrix to augmenting the band Hawkwind with his bass stylings, then founding his very own band, Motörhead of course, where his career took off like a rocket. 

R.I.P., Lemmy. You shall be missed. 

And I'm sure sales of Motörhead's "Snaggletooth" shirts will go through the roof now. 

Sunday, December 27, 2015

Headphone Music

I recently upgraded to a superior set of studio-quality stereo headphones, the Sennheiser 598SE model. I have to say that I've never heard music reproduced so beautifully ever before in my life. Thank goodness I've got a decent Technics amplifier to funnel the signal from my CD player to the 'phones. 

Happily, I have re-discovered the joy of headphone listening, something I did a lot of during my high school and college years, but not so much since then. So it's been decades. 

Before I even put on the headphones, I spent some time planning what music I would choose for my first listening session. I had to really make this count. It was only at the last moment that I realized that the very first thing I should hear on my new Sennheiser set was one of my all-time favourite hi-fidelity albums, Crime of the Century, by English pop/rock virtuoso band Supertramp. Track number one, School, couldn't have been a better choice for the first thing I heard out of those "cans" (an old slang term for headphones in the industry). The crystalline highs and the thrumming lows were all perfectly reproduced, suitably knocking my socks off. Supertramp's twinkling piano, falsetto vocals, throaty horns, and persuasive percussion were impressively voiced by my brand new Senns.



After checking out nearly the entire Crime of the Century album, I moved on to two of my favourite Supertramp songs, which lead off their Crisis... What Crisis album. Easy Does It and Sister Moonshine are those tracks, the second of which positively burst with even brighter energy and dynamics than I'd ever heard before. 

Then on to a handful of James Bond film music. I have almost every single Bond soundtrack (missing only the few worst entries in the series), and chose some of the earlier theme songs (composer John Barry's works) to kick things off. You Only Live Twice was a beauty, but Diamonds Are Forever sounded even more amazing, Shirley Bassey's full and powerful vocals better than ever. The lush instrumentation, particularly the horns and strings, was almost more than I could bear, and that also applied to the theme song from For Your Eyes Only, and the main theme from On Her Majesty's Secret Service (plus its exciting Battle at Piz Gloria). I also tried out some of the other Bond incidental music, all of it given new vitality through the new headset.


Still got my 45rpm single of James Bond movie theme
Nobody Does It Better (1977)

Then on to some dance-pop: I chose a few favourite Kylie Minogue songs, starting off with the near-EDM club track I Believe In You, which really popped, revealing subtleties I'd never heard before. Next was Confide in Me, the version off The Abbey Road Sessions... this was an hypnotic beauty. The One and Everything is Beautiful were both equally impressive, too, lending themselves nicely to the fidelity assessment.

Steely Dan seemed to be a required band to test on the new 'phones, so I chose my fave Dan song, FM. Two thumbs up. Then it was finally time for what most people would have chosen as their number one: Pink Floyd's Dark Side of the Moon. Even this early CD pressing, not a later remaster, sounded pristine in its presentation. Lead-off tracks Speak to Me, Breathe, and Time were enough to convince me. Oh yeah.

Back to some film music, I put on Star Wars: A New Hope. I've heard this soundtrack a gazillion times since I first bought it on vinyl back in '77. Now on CD, it sounds crazy good, crisp, clean, and majestic. I went to key tracks... the Main Title/Rebel Blockade Runner (which appear in the opening scene of the movie) and then the tense and riveting Imperial Attack. The depth of the horns and strings was more evident than ever this time around. The Rebel Blockade Runner piece contained ominous and thrilling sections, and yet the several "movements" within the track allowed for a variety of moods and tempos; sometimes light and melodic, sometimes sweeping and dramatic.

Gotta get some Rush in there, so I flipped on two tracks from A Farewell to Kings, the album from the band's Golden Era that features the best dynamic range and varied song styles. I chose Xanadu and Cygnus X-1, both of which displayed stunning clarity and detail, not to mention a kick that rocked harder than ever. Xanadu in particular is a complex and multi-layered arrangement, perfectly suited to the up close and private listening experience. These Sennheiser 'phones were up to the task. Again, this was an early (the first, in fact) CD pressing, un-remastered, yet the precise and sharp reproduction was dazzling. 


Stone-faced Beethoven, overlooking the Münsterplatz
in Bonn, Germany

Then it was time for some ol' Ludwig Van... so I played the last two movements of his Ninth Symphony (my fave classical piece), the Deutsche Grammophon recording featuring conductor Herbert Von Karajan. "Angel trumpets and devil trombones", to quote Beethoven admirer Alex from the film A Clockwork Orange. Glorious, timeless music. This 1962 recording sounds unbelievably clean and ambient, superior and sophisticated for its era. The Senn headphones did the music justice, believe me, beautifully translating the grandeur, majesty, and elegance of Beethoven's original work. This spiritual musical drama moves us with its sublime soft passages and its intoxicating orchestral barrages, and most notably, in its final "acts", renders us helpless to the emotional power of the tenor, baritone, soprano, and the choral vocalists. Whew!

These were just the highlights of my three-hour headphone listening marathon. I scoured my music collection, playing DJ for the evening, spinning favourite songs that I considered the best to test the audio fidelity of my new headphones. What a way to re-discover great music, plus the joy of hearing it in the best way possible. These Sennheisers are the most impressive darned "ear-goggles" (as Mr. Jimi Hendrix dubbed his headphones) I've ever tried. 

- It should be noted that I have no affiliation or association with Sennheiser. These are my opinions only, based on personal experience with the product. 

Friday, December 18, 2015

That's No Moon

The new Star Wars film, The Force Awakens,has hit theatres, driving the world into a frothing Jedi mania. I can't wait. Got my Rebel Alliance tee ready to wear to the event of the decade. I'm not sure when I'll see the new movie, but it'll be soon.


This "distressed" Rebel Alliance T-shirt is now  
among my favourites in my wardrobe of nerd gear

As I near this momentous occasion, and the re-appearance of the actors/characters from the original trilogy (episodes IV - VI), I fondly recall my experiences during the very first Star Wars craze. Months before that first film appeared in theatres, I had already bought movie magazines revealing photos and info about the upcoming space fantasy. Shortly after I saw the movie, I got myself a poster (the Hildebrand illustration... still got it!), the novelization of the movie, and even a t-shirt (white, because black was not a cool tee colour yet) showing Luke and C-3PO. Man, I got kidded so much for wearing that shirt back in elementary school in the 70's. It just wasn't cool back then. You kids today have got it easy. Sci-fi is actually cool now. Back then, you'd get the snot beaten out of you for proclaiming your love of sci-fi. I managed. 

I bought up some other Star Wars books back then, like the "Sketchbook" of pre-production designs, the Star Wars Blueprints (so I could build my own landspeeder, which I never did, dammit), and the Star Wars Album, which showed off lots of behind-the-scenes pics and info. Oh, and of course, I owned the first pressing of the soundtrack on vinyl record. Really. 

The still photos that I bought back in either 1977 or 1978
at the Toronto International Exhibition. How those pics
survived my rides on the rollercoaster and Tilt-a-Whirl,
I'll never know. But they still have a home here in my
Star Wars collection.


At age 16, when The Empire Strikes Back hit theatres in Canada, I saw it not once, but twice. That was the first time I ever saw a movie more than once in the theatre. I think I first saw it with friends, then again on a whim I took my kid  brother to see it one Saturday afternoon. I just had to to see Empire again, so I coughed up the cash for my brother's admission The cinema was packed so we couldn't get seats together, so we had to separate, sitting near each other but one row apart. Weird, but it didn't matter at the time. 


Not many years ago, I forked out for a slightly
vintage R2-D2 toy, adorable as he guards my
computer desk 24-7

Return of the Jedi came along when I was just about to graduate from high school, but at least I was hanging with a crowd who were just as nuts about Star Wars as I was at the time. Quite the cinematic experience. I don't remember much about that outing, though I do recall seeing Leia's gold slave bikini for the first time. Hey, who doesn't?

For more of my Star Wars memories, check out this post and other entries about lots of other cool stuff. All approved by the Rebel Alliance. 

Saturday, December 12, 2015

Desert Island Albums in High School

During my high school years, way back when, I could easily identify my favourite bands and albums. I don't know if at the time I actually thought about the idea of "Desert Island" albums, but even today, I can take a pretty accurate stab at what my Top 10 was back in the day. I'll include favourites right up until the end of my last school year (the month of June) in 1983.

So... if I were stranded on a secluded island back then, with at least the essentials for survival (food, shelter, toothbrush) plus the means to listen to music, I would have chosen these ten Desert Island Albums:

1. Moving Pictures, by Rush
2. Allied Forces, by Triumph
3. Number of the Beast, by Iron Maiden
4. Pyromania, by Def Leppard
5. A Million Vacations, by Max Webster
6. Heaven and Hell, by Black Sabbath
7. Back in Black, by AC/DC
8. Synchronicity, by The Police
9. Women and Children First, by Van Halen
10. The Beatles Second Album, by The Beatles


Goodies from my very first concert - Triumph --
back in 1981

Rush was my A-number-one band back then, and for many years to follow. Another Canuck rock trio, Triumph, ranked a fairly close second. I guess my loyalty to home-bred music showed back then. Keeping within the British monarchy (purely coincidence, though it seemed the best music came out of the UK - and Australia - at the time), we've got Maiden, Leppard, Sabbath, AC/DC, The Police, and The Beatles. Oh, and yet another Canadian act, Max Webster, was in the mix. Van Halen was the only American band to find a spot in my Top Ten. Back in the day, my denim jacket sported buttons and pins of some of those favourite artists, most notably Rush, AC/DC, The Police, and Van Halen. I listened to those Top Ten bands endlessly at the time, and tried to get my friends to try them out, too, but with only some success. My crew back then wasn't into the really heavy stuff like Maiden and Sabbath the way I was. Dummies. 

It was a tough feat to pare my first draft down to just ten, but the following runners-up would have hiked the number up to an even twenty (in no particular order):

Dream Police, by Cheap Trick
Rumours, by Fleetwood Mac
Sgt. Pepper's Lonely Hearts Club Band, by The Beatles
IV, by Led Zeppelin
A Night at the Opera, by Queen
Crime of the Century, by Supertramp
Blackout, by Scorpions
Destroyer, by Kiss
Highway to Hell, by AC/DC
2112, by Rush


It took a while, but in 2007, I finally caught Ronnie 
James Dio singing with the Sabbath line-up. Sheer heaven!

As you can see, my choices nearly all fall into the hard rock/heavy metal category, with just a tiny smattering of lighter stuff. In my Top Ten, only The Police and The Beatles were the odd ones out. But their timeless songs, full of vitality, honesty, and feeling, allow them spots in my Desert Island cassette tape case (because that would have been my format of choice back then). And looking at my next ten, I see that only Fleetwood Mac, Supertramp, and The Beatles (again)  stick out from the heavy rock crowd. 

Yes, I was almost 100% headbanger during my teens. But I kept a fairly open mind so that I could still appreciate the pop genius of The Beatles, the exquisite vocals and musicianship of Fleetwood Mac, and the progressive talents of The Police and Supertramp. In fact, if one more album were to squeak into my runners-up list, it would be the More Of The Monkees album. Those lovable clowns were a huge part of my growing up years and I enjoy their music to this day. 


This ancient Crime of the Century 8-track
tape by Supertramp is still holding up in my
private time capsule

To take a long view on my Top Ten Desert Island Albums of my high school years, I'd say only one or two of those recordings could make my.... hm, maybe not Top Ten, but perhaps Top Twenty in 2015. The one definite is Heaven and Hell, the metal masterpiece starring the diminutive powerhouse, Ronnie James Dio, on vocals. For this fan, Sabbath was never better than on that disc. As for The Beatles, I would now choose Rubber Soul instead of that Second Album. Back in Black, as great as it is, might only crack my top Top Fifty today. It would certainly rank a lot higher in a metal-only list. Hey, I'm not that stupid. 

Tastes and priorities change, and if I am honest with myself, I'd say I don't feel very strongly about many of those Top Ten, or even Top Twenty, albums any more. Sure, I still like most of them, but few would even make my Top Twenty today, even those runners-up from '83. 
Rumours, Crime of the Century, and Highway to Hell are the runners-up that I still love, but maybe only one of them would crack my Top Twenty... with a little luck, my Top Ten... in 2015. That album is Rumours: timeless folk-pop-rock at its best. It's that good, plus it stirs such a warm, nostalgic feeling in me. And that counts for a lot, especially on lonely nights under the coconut tree.

Now... I'd better get back to watching Gilligan's Island for survival tips. Hmm, a monkey-powered CD player?

Friday, December 4, 2015

This Arcade's On Fire

I recently hauled my old Nintendo NES game system out of storage. At first I looked at it doubtfully. Will this even work with my flatscreen TV? After a surprisingly easy hook-up (hey, it's been a long time and I forgot how simple this set-up was), I was astounded to see that the hardware and the games still worked. Then again, being the fastidious cat that I am, I had packed away the console and accessories in plastic bags in boxes. And the games were all in their protective cases, also tucked away in a dry, cool space. A long shelf life.

The extra thrill was in playing Galaga on a big widescreen monitor. And I couldn't believe my muscle memory... I was acing the game right from the get-go. I hadn't even touched my NES in years, probably not since the mid-to-late 90's. As I skilfully maneuvered my starfighter and hammered away at the laser fire button, picking off alien craft as they flew into formation, I was reminded of how this game was so addictive. I wailed away at Galaga for nearly a half-hour, then I realized I was sweating buckets and getting some aches and pains from the weird contortions that I assumed while responding to alien attack. It's tough being a defender of the human race!
Joust - knights doing battle while riding ostriches and buzzards.
Sounds plausible, right? Now go grab those eggs!

Then I packed everything back up again and decided to sell it all. I simply didn't want or need this "hobby", or more accurately - time-waster, in my life again. I now have far better things to do with my time, like movies, reading, writing, building scale models... and those are just the sedentary activities I like. I sold the whole kit and kaboodle in no time at all. Hey, it's a few bucks I didn't have before, just in time for Christmas shopping. 

After messing about with a couple of those old games, I got to thinking about my formative years in videogaming. Back in the late 70's, I hung around with a few friends who liked to play pinball at the pool hall downtown. I tried pinball but never enjoyed it much, whether I was good at it or not. Probably not so good. But in 1978, there was an invasion: bit by bit, waves of videogames began to flood the amusement arcades. Space Invaders was the first, and though I was decent at the game, I found it a bit dull. The following year brought us Galaxian, which became one of my favourites. Its variant, Galaga, was so similar that I could play either game with a high level of mastery. What a feeling to earn a "double-barreled" starfighter!

Then along came Pac-Man, which would quickly become a huge part of popular culture. I never cared much about that game, but did spend hours and mucho deniro on other new games as they hit the arcades. I experienced these games in their infancy, watching as they populated the world and became a phenomena. I was of that first generation to witness this revolution of sorts, raised on videogames. 

The emphasis on simple and fun gameplay is the reason why there is a continued demand for these early games. Though the graphics and motion were basic (even downright primitive compared to today's high realism), the enjoyment level was high. Contrast that with the difficult and complex games today that can be very discouraging. Sure, there's an audience for the modern technology, but then there's that other demographic (and yes, there's cross-over; some Halo players may also love Pac-Man) that craves, no - lives and breathes, vintage video games. They might even go as far back as that old home game, Pong. Played on the first Atari system, Pong hit store shelves way back in '72. My best friend Robbie got that for Christmas and he invited me over to his house to play Pong on his TV. I didn't get it. Pong did not capture my imagination. Boring. I'd rather play real ping pong. So I did.
Just like shooting womp rats, eh kid?

The 1980's were the Golden Age of Video Games. The innovation in developing more and more advanced, imaginative, and profitable games was incredible. There were games based on popular movies, the earliest being Star Wars and Tron. They were both challenging, but pretty fun. Even though I was a big Star Wars fan, I found the level of difficulty off-putting, so I didn't spend much time in the X-wing cockpit. The Force just wasn't with me. Same with Tron. 

In my little hometown billiards and amusement hall, the pinball machines were receding to a far corner while the bright screen colours and electronic din of videogames dominated the family-friendly front end of the establishment. I spent hours and hours in Top Hat Entertainment... that was the name of the joint. 

I loved a variety of games, though I leaned toward the sci-fi/fantasy-themed ones. My favourites were Joust, Galaga/Galaxian, Frenzy/Berzerk, Defender, and Xevious. It was on these games that I achieved a very high level of proficiency. First off, I pumped a lot of money into the machines, floundering around, but making some progress. Then I figured out that I should just watch the really good players to get tips and strategy ideas. I began to learn the patterns and quirks of my favourite games. That never took away from the fun of it, though. I could eventually play all day long on one quarter if I pulled a stool over to Frenzy and made myself comfortable (with a friend to bring me a Coke once in a while). Time well spent! I would often, after hours of play and realizing it was time to head home for dinner, give my game over to some poor kid in need of a fix. 

I became so good on those particular games that I ruled the roost on the high scores listing, often for weeks or months. And if anybody dared rob me of top spot, I'd just as quickly topple them and once again assume the throne. It was tough, but I managed to achieve high score on Joust, the ostrich vs. buzzard battle game. More easily, I could fly through the progressively difficult levels in Frenzy and Galaga. Berzerk was the forerunner to Frenzy, and though both featured extremely simple graphics, the action could get pretty intense with killer robots appearing out of walls as your stick figure character dashes through mazes, avoiding their weapon fire. I also became pretty good at Defender and Xevious, though they were harder to master. 
It may not look like much, but Gravitar
demanded concentration and nimble fingers

Asteroids, Robotron, Centipede, and Gravitar were cool games, too, though I never advanced very far in them. Asteroids and Gravitar were simple vector graphics games, but were in a league of their own. Asteroids was crazily intense... your little spaceship must survive in an asteroid field by evading and blasting flying rocks of all sizes. And to make matters worse, every time you shot at an asteroid, it would break into many smaller pieces, which would disperse in all directions. All the while, the speed of the rock storm increased. Yes, I can almost feel the sweat beading on my forehead as I think about it. 

Gravitar was an even more sophisticated game, demanding high concentration and dexterity. You'd explore a solar system, visiting each planet, even entering passageways into the core of the world, all the while maneuvering your little space craft around obstacles and weapons fire. As you near each planet and enter it, the picture zooms in for a more detailed view. The idea is to keep your ship moving safely against the constant pull of the planet's gravity, avoid enemy fire, and blast bunkers to ultimately cause the planet's destruction. 

Robotron, in contrast with Gravitar's slow, quiet tone, is a freaking bloodbath of circuitry gone mad. Your character starts each level in the centre of the screen. Then all hell breaks loose. Dozens of killer droids come out of the walls from all directions, converging on you, all the time blasting and trying to collide with you. The sheer sound volume of this game is enough to put your senses on high alert... the adrenaline runs high, and the body is in a totally reactive state, driving you to shoot everything that moves. The speed of movement and bright colours, along with the loud sound effects, leave you agitated and unable to sleep after a few games. Believe me, I know. Oh, and if you suffer from seizures, best avoid this one.

Whenever I visited the teeming metropolis of Toronto back in the early 80's, I was stunned and totally jazzed to see, and enter, the many video-dedicated arcades. But by the time I actually moved to the big city, my interest in spending time and money on such things had waned. Ah, well, I had my day in the sun. Well, in the darkened arcade, actually. 

Saturday, November 28, 2015

Stop Dragon My Heart Around

Back in my high school days, I dabbled in that nerdy fantasy role-playing game Dungeons and Dragons. I played off and on for a couple of years with a little gang of friends and associates. Some were close friends, some were acquaintances, and some were just weirdos who I tolerated. It was a confusing time for me. I was drifting between the cool kids and the nerdo's, alternating between the party scene and the sci-fi/fantasy crowd. It was a tough balancing act, but that's how I managed for several years, never quite finding my place.
A couple of my pewter figurines, one a very
Gandalf-like fellow, and the other an impressive dragon

As teenage life advanced, I found that the two scenes sort of intertwined sometimes. My geek squad got a little "cooler", and we'd drink while slaying dragons and saving damsels in distress. Now and then, a cool Dungeon Master (you've really got to understand the game to know what I'm talking about now) would allow us, the participants in his campaign, to have some free-form fun. Like there would be a halt in whatever boring or crisis situation we'd be facing, and suddenly we'd be thrust into a free-for-all. Kill everyone possible and reap the rewards: huge treasure and strength and magical power, whatever was available. Or a supernatural game show host called Uncle Stupid (courtesy of one particular DM we had) would appear and create highly improbable and silly scenarios for us players. Maybe a bizarre and dangerous puzzle to solve or some sort of charades we'd have to act out. A bit of alcohol always added to the fun. 

I had a character that survived many campaigns, a devious thief, whose name I cannot for the life of me recall. I even had a little metal figurine of that thief, and I know I've still got it around here somewhere, but can't locate it just now. Once I've found it, I'll post a photo. I was quite proud of my thief's dexterity, cunning, and stealth... and longevity. It really meant something to be able to overcome adversity among powerful wizards, ruthless warriors, and savage monsters. I believe my character met his end once or twice along the way, but a sympathetic wizard resurrected me from the dead to carry on with my merry band of misfits. 

Dungeons and Dragons, in case you aren't aware, is a game of chance, reason, ingenuity, and resourcefulness. Played in the "old school" fashion, with dice and grid paper (for mapping progress), the game could be a somewhat tactile experience. Sometimes, but not always, tokens or figurines representing the characters are used on a map or floor plan to more accurately determine how a situation will play out. Like a battle in close quarters. Or a search of a booby-trapped chamber. 




The roll of the dice decides what happens next. "I approach the dais and lift the crystal off the pedestal". Yeah, right. It's not always that easy. Hidden behind his screen, Dungeon Master rolls the bones to see if you can even get that close to the treasure Maybe it'll be a piece of cake, but it could also go the other way. A noxious gas might be triggered when you place a foot on the step, and you'd be left in a helpless, drugged state. Or worse, a blood-thirsty guardian would appear to do battle. 

Oh, those dice. From the traditional six-sided cubes to the hefty twenty-sided pieces, D&D dice are a necessity for gamers. The Dungeon Master especially must be well-equipped with an arsenal of dice. Even though I never aspired to run a campaign as DM, I felt it was a good idea to build up a little set of dice for my own purposes. It simply streamlined the game, speeding things up where one might otherwise have to borrow dice from the DM or another player. Plus some of those dice looked pretty darned cool. To start off, someone gave me a few of their old dice, but then I bought several brightly coloured, multi-sided rollers. There were four, six, eight, ten, twelve, and twenty-sided dice in my collection, which I toted along to sessions in my royal blue cloth Crown Royal bag with the gold drawstrings. 



I used to have a couple of the D&D books, the essential Player's Handbook and the nice-to-have Monster Manual. Those were handy while battling and thieving in fantasy worlds, but decades later, certain that I'd never play the game again, I sold them off. I kept the dice... for old time's sake, I guess. I doubt I'll ever need to use a 20-sided die again, but hey, it's cool to look at now and then. 

Whenever I watch a Lord of the Rings movie, or come across my old Tolkien books, I am reminded of my younger days playing the game that started the whole role-playing craze. The past-time is massive now, and has gone into board game and card formats, and video gaming, both on home systems and online. All have their place, but I suppose I'll always look back fondly on my afternoons, evenings, and even all-nighters... butchering trolls and orcs, and sneaking about swiping jewels and gold from unsuspecting fools the old-fashioned way, ha ha!

Roll the bones....

Saturday, November 21, 2015

Mr. Music, Please

Movie music has always fascinated me. When I started collecting my first records back in the 70's, I began picking up the odd film score or soundtrack. The very first movie soundtrack I bought was Rocky, in 1976. I was twelve years old at the time, and I was on the brink of a home physical fitness regime. Arnold Schwarzenegger, Bruce Lee, and Rocky were role models to me. I was dying to get lean and strong. With weights, running, and calisthenics, I got the ball rolling. And that Rocky theme song became part of my "pump up" ritual... I'd play that tune as I was warming up for a run or weight workout to get myself in the mood for a good session. Gonna fly now....

The following year, a little movie called Star Wars came along and captured my imagination. The soaring and inspirational music of this space fantasy was magical to me. I added this double-disc album to my collection, and I played it constantly. From the character themes to the Imperial Attack, and later the Throne Room music - it was all entrancing. The delicate Princess Leia's Theme contrasted with the thrilling Last Battle and other pieces that accompanied exciting action sequences in the film. But the music was strong enough to stand on its own, apart from the movie. A great way - the only way - to relive some of the magic of Star Wars back before home video. 


Star Wars was the summer blockbuster in '77, but in late fall, another biggie came along, Close Encounters of the Third Kind. While I liked its musical score, I did not think it was something I wanted. Strangely, though, I was compelled to buy a bizarre record full of sci-fi movie themes - all done in a disco style. Really! And that record included a funky version of Close Encounters, as well as the Star Wars theme, main title, and cantina band ditties. There were also dance-floor variants of the themes from Star Trek, 2001: A Space Odyssey, and various other dreck. But I guess as a young teen back then, I sort of loved it. 

Somewhere in the early 80's, I saw a freaky film called A Clockwork Orange. More than just a brilliantly ultra-violent look at a dystopian future, the movie also boasted a magnificent music soundtrack. Composed of both symphonic and electronic versions of classical music, the album introduced me to the world of one Ludwig Van Beethoven and his contemporaries. Sprinkled among the grandiose orchestral pieces were more modern tracks like Singin' in the Rain and I Want to Marry a Lighthouse Keeper. Somehow it all fit together as a great listening experience. 

A Clockwork Orange's non-Beethoven tracks The Thieving Magpie, Pomp and Circumstance, and William Tell Overture all grabbed my attention, and I still love these works to this day. But it was the Beethoven music that stole my heart. Old Ludwig's Ninth Symphony was such a masterpiece, so full of power and emotion that it became not only my favourite classical work, but also one of my all-time faves, regardless of genre. Beethoven's Ninth would have to be on my short list of "desert island" albums, alongside the metal and dance that I hold dear. I even went so far as to hear the Ninth Symphony live at a Toronto concert hall. Now if that doesn't move you, nothing will.


My nerdy high school cohorts and I gravitated toward sci-fi and fantasy books and movies, so it was a no-brainer that we'd love the 1981 animated film Heavy Metal. It sure helped that I was a metal music fan, too, since the movie featured loads of my favourite bands. Not an original musical score, the Heavy Metal soundtrack was a compilation of various artists, including Cheap Trick, Blue Oyster Cult, Black Sabbath, Sammy Hagar, and Nazareth. The funny thing was that some of the least metallic music on the album was the coolest, like nerd pop band Devo's Workin' in a Coalmine and Through Being Cool. And Journey's Open Arms, while not heavy or even all that cool to us young teens, was recognized as a decent song, even if it was a... ballad. 

It wasn't until about a decade later that I really started to pump up my CD soundtrack collection with a bunch of scores from horror and sci-fi films (like the old Universal and Hammer flicks) and loads of composer John Barry's work, which included all of the James Bond soundtracks, plus several of his other movie scores. Some other composers that I admired and collected were Bernard Herrmann (Ghost and Mrs. Muir, Day the Earth Stood Still, and other 50's and 60's genre film scores), more John Williams (the Star Wars sequels - but not the prequels - and others), Jerry Goldsmith (Planet of the Apes, Alien, etc), Maurice Jarre (Lawrence of Arabia), and of course, Henry Mancini's immortal Pink Panther (and other) music. Those are just the highlights. 

I don't buy many soundtracks these days, but the one film franchise that I follow fervently in every respect is the James Bond series. So I try to buy every one of those CDs, unless they are too terrible to acknowledge (like Die Another Day), let alone display on a shelf in my home. 

Sunday, November 15, 2015

Let the Music Do the Talking

Okay, so I've now got my viewing of SPECTRE behind me. Though I enjoyed the movie for the most part, I sadly did find myself cringing during the opening credits. Not a good sign. I had checked out the new James Bond movie theme song a few weeks ago, when it first hit the internet. My first impression was "Yuck!". That sentiment was confirmed when I heard the song within the context of the film. I hoped that maybe I'd change my mind about this Sam Smith tune, but nope, not really. 

To be more fair, I think I just have an issue with Smith's voice. If I could remove his vocals from the track and hear the instrumentation alone, I believe I'd love the song. In fact, I heard covers of the song on Youtube that impressed me a whole lot more... female singers gave the song that more traditional Bond sound... starting softly on verses and building to a powerful chorus. A feminine voice seemed more appropriate. So the song itself isn't my problem; the songwriting, instrumental and lyrical, is very cool and evokes a Bondian feel. 


Front desk? Room 62 here. I'd to report a noisy neighbour.
Sam Smith won't stop hollering in the shower next door.

Since this new Bond theme has bummed me out, I've been pondering just how bad this song is, and have been comparing it to what I consider the worst of the 007 songs. I'm happy to say that I like, and even love, the vast majority of the Bond themes. Composer John Barry, working with an assortment of popular songwriters, crafted amazing songs during the 60's, 70's, and even into the 80's. From Russia With Love (1963) was his first gem and The Living Daylights (1987) was his last collaboration. 

Only one song out of John Barry's eleven Bond songs rubs me the wrong way, and even then, I can occasionally enjoy it a bit.. and that is The Man With the Golden Gun. Sung, or screeched, by Scottish vocalist Lulu, the song is also dragged down by a very wonky (and dated sounding) rock guitar and an overly arranged horn section. Kind of brutal.

When John Barry stepped aside in the 80's, a variety of composers took over the podium and continued the string of successful 007 movie songs. Then along came 2002's Die Another Day, the first true flop (in my opinion) out of the entire Bond film franchise's history. It was almost universally panned, and even I, Bond fan that I am, found myself bored to tears through the latter half of the picture. Oh, and that song. You'd think that Madonna, the queen of pop, or whatever she calls herself, would bring something classy and exciting to the table. But no, her song, bearing the title of the movie itself, was a colossal wreck. I know some folks like it, or find it bearable, but I think it's a wreck. The tune doesn't suggest anything Bond in its sound. Simply an overwrought dance club racket, too busy and noisy to establish any sort of mood to suit the spy film. Die Another Day, both the movie and the song, signalled the end of an era... it was time for actor Pierce Brosnan to leave the Bond role. 

Then some blond actor named Daniel Craig stepped into 007's shoes for the next film, Casino Royale (2006). Not only was the movie a massive hit, it revived the floundering franchise. And that theme song! Chris Cornell belted out You Know My Name in the grand tradition of Tom Jones on Thunderball (1965), with backing music as powerful as Paul McCartney's Live and Let Die (1973). Here, everyone captured the tone of classic Bond. Bravo!
Front desk? Room 47. I'm trying to have a quiet bath here,
but it sounds like cats fighting in a laundry bag next door.

Now back to the bad stuff....

You Know My Name gave me false hope... for the follow up Bond film, Quantum of Solace, featured a travesty of a theme song, Another Way to Die. Even its title is uninspired. Hm, let's just throw the word "die" in there and it'll be an amazing Bond song. Nope. The vocal duet of Alicia Keys and Jack White was not only unexceptional, it was painful to listen to it. Terrible "harmony", if that's what they were trying to do. A couple of cats fighting in a laundry bag would sound more pleasing. The overall sound is about as irritating as it could be. Messy song construction and performance. The staccato trumpet blasts à la Bond failed to bring this any closer to a 007 vibe. So sad. Oh, and the movie was a major letdown, too. 
  
If I had to rank my worst Bond movie theme songs of all time, I think it would go like this, number one being the worst:

1. Another Way to Die
2. Writing's On the Wall
3. Die Another Day
4. The Man With the Golden Gun

At least Writing's On the Wall isn't as noisy and abrasive as Another Way to Die. I'll give it that. Yet I can stomach the electro-dance of Die Another Day more easily than Smith's whiny falsetto on Writing's On the Wall. Too bad, because the the vocals aside, this new Bond song is actually quite good. I just can't get past that guy's attempt at BeeGee's territory... hey, leave it to the Gibb brothers to do that. Thanks a lot, Sam.

Saturday, November 7, 2015

SPECTRE Galore

The brand new James Bond film SPECTRE premiered in theatres here last night. I'm going to wait a few days or so before I head over to the cineplex.... avoid the opening weekend heavy crowds and all that. Still, I am keen and curious to see this latest entry in the long-running spy movie series. 

This twenty-fourth Bond motion picture is already getting favourable ratings (I'm not reading reviews... yet) across the board, mostly 7.5 to 8.0 out of 10, from those I've seen. I'll decide for myself once I see it.
A tasty Heineken lager, not shaken, not stirred

I may be alone on this, but I look forward to a new actor stepping into Bond's shoes. I have found that for the most part, the last three films have been good (or great), not because of Daniel Craig in the role of Bond, but because of everything else in the movies. The supporting cast were often exceptional, the scripts were strong, the theme songs and film scores were usually really good, and the stunts and cinematography were of typically high (Walther PPK) calibre. Bond films are famous for their massive budgets and attention to quality. And product placement.

But I'm just not much of a Craig fan. I mean, he's fine, but I don't look at him and think Bond. His appearance (and not just his hair colour, which frazzled everyone when they first heard he was chosen as the new 007) simply doesn't impress me as a James Bond. Watching Craig as Bond makes me feel like this could be any guy in the role... like Matt Damon or Jason Statham... and that this could be any fictional spy (Jason Bourne, Matt Helm, Napoleon Solo, etc). This fan feels that Clive Owen was the Bond that should have been, though it's a little late now, considering his age. Just look at Owen in The International and tell me that doesn't look like a great Bond movie. Head to head with Craig's uninspired Quantum of Solace, International wins out as a thrilling action/espionage film.

I don't feel like Craig fits the part the same way previous actors have. I like every other Bond actor in some way, to one degree or another. Connery, Lazenby, and Brosnan are tops, with Dalton and Moore bringing up the rear. Rumours have been flying around about who the next Bond actor may be, but nothing has been confirmed yet. Craig is contracted for one more film as 007. But enough of that... too negative for Bond fans to absorb at this time. Instead, let's focus on SPECTRE.


Just one appearance as Bond, and George Lazenby 
made a lasting impression as MI6 operative Bond

Saturday, October 31, 2015

Mr. Scary

I've been thinking about what movies I have found the scariest in all my years of horror fandom. There are tons of films with frightening scenes, and it would take ages to recall and list all of those. But as for motion pictures in their entirety, I find it really hard to decide which ones are really that scary throughout. Off the top of my head, I can name a handful that have really gotten under my skin:

The Conjuring
The Exorcist
The Woman in Black
The Haunting
The Changeling
The Innocents
Alien

These are more or less in order of fright factor, but I would probably re-order these and even change some of my choices months from now. In fact, I've learned from experience that a re-watch is the true test of a film's ranking on the horror scale. 

For example, I watched The Conjuring (2013) for the second time last night. The first time I saw it (at night, sitting alone at home in a pitch black room), I had a terrible time afterward getting to sleep and staying asleep, waking often and thinking of scenes from the movie, and when I did sleep, nightmares filled my head... and I hadn't experienced those since I was a kid. So, you see how much The Conjuring affected me. That was many months ago. Last night, I figured "Ah, I know how this goes... this won't even be scary this time". I was wrong. The movie still freaked me out, so much so that I had to watch something much lighter (The Muppets) to take my mind off of unseen evil and creepy dolls. That worked up to a point, but once I lay my head down to sleep, it was tough keeping images from The Conjuring out of my mind. I finally slept, and actually made it through the night in one piece. Whew!

The Conjuring is a rare example of a truly effective modern horror movie. Most of the films  (well, all of them, to some degree) these days rely heavily on tropes of the genre, and transcend only with some originality and better than average execution. As you can see on my list, only two other movies were released in the 1980's or later. Re-hashing ideas is common across the board in the film business, and that of course leads to a glut of average and poor productions. The ones that rise to the top of the heap owe their success to something special, and that is usually in the story and acting departments. Plenty of horror flicks look great, but the scares may be few or cheap, so we don't really remember them for the right reasons. 

The Exorcist was a movie that I was actually afraid to watch for many years. As a youngster, I'd heard friends describing its weird, disturbing, and violent scenes. I'd also heard about people fainting and running out of the first theatrical showings. I sort of filed that away as a warning that this was too much to handle. When I first watched The Exorcist on video rental sometime back in the 90's, it left an impression seared upon my psyche. There aren't a lot of truly terrifying bits in there, but the unearthly, disturbing atmosphere burrows into you, and in my case, I felt chills down my spine over and over again as I watched. The Exorcist pulled out all the stops in its graphic depiction of demonic possession and exorcism. At the time of its debut in 1973, this stuff was shocking, more than movie-goers had ever seen in a theatre before. Of course, this doozy inspired and influenced scads of cinematic horrors (including Exorcist sequels) since then. And we've seen how pretty much everything else pales in comparison. 
A quaint spot for a B-and-B.... not!
(The Haunting - 1963)

I place The Woman in Black (1989), The Haunting (1963), The Changeling (1980), and The Innocents (1961) in their own category. They are all ghost stories and they are all similarly low-key with only a handful of startling and frightening scenes. What sets them apart from their demonic counterparts is that more is implied, through tension and suspense built through music or lack of it, sound design, sets and locations, and camera techniques. You can find these elements in good demon possession movies, too, but you'll also find a whole lot more noise, gore, and over-the-top thrills and scares. These four ghost stories are my favourites not just because they are frequently ranked as among the best of their kind, but because they all achieved their goal to send me away with my spine still tingling. And the main reason these are foremost in the genre is the superior stories they tell, three of the four based on recognized works of literature. The Changeling was based on an alleged real experience.

The sense of quiet unease is the backbone of each of these films. The stereotypical gothic mansion serves as the setting for all four stories, each of which unfolds gradually, revealing a mystery upon which the subsequent events are built. For me, there are moments of terror sprinkled conservatively throughout these films. There are sudden frights, and there are also measured appearances of spine-chilling visuals. No monstrous bloody fangs here. Instead, we've got the carefully orchestrated manipulation of our deepest fears. And I do indeed shift to edge of my seat, pull my arms and legs in close, and lean forward in anxiety and dread.

This is called fun!

At the other end of the spectrum is Alien (1979), which I don't really rank last on my list, but just wanted to sort of set it apart from the others. It is a different beast. This very first entry in the film series is best described as a good old-fashioned haunted house movie, this time with a physical antagonist that voraciously eliminates its prey. Except in Alien, the "haunted house" is a spaceship, and the antagonist is not merely an Earthly monster, but an intelligent and aggressive extraterrestrial. Early scenes lead us through the daily lives of the ship's crew, and to their descent to an unknown planet to answer a distress call. Yeah, big mistake. As you, dear reader, may or may not already know, that creature stows away on the humans' craft and methodically takes out the crew members one by one. At turns quiet and spooky, then frightening and gory, Alien establishes an atmosphere of isolation, all cold corridors, mostly silent but for tiny machine clinks and clicks and drips. You've got your jump-scares, both real and false, but there are the more weird and creepy scenes, too, to satisfy your sense of wonder and imagination. A classic of both horror and sci-fi, though I feel this is more of a horror film in a sci-fi setting, less the other way around. 


Lovely chap, that Larry Talbot. Needs a shave, though.

Tonight is Halloween! I haven't participated in All Hallows' Eve in decades, at least not candy or costume-wise, but as I'm a long-time huge horror movie fan, I have always slapped some freaky seasonal flicks in the video player. Actually, for about the last month and a half, I have sporadically had little runs of consecutive nights of both classic and modern fright films. Last night was The Conjuring, which suitably unnerved me... a second time. Tonight I'll first watch It's the Great Pumpkin, Charlie Brown as a gentle cartoon warm-up, then the main feature will be Let the Right One In, a modern Swedish vampire gem that I love. After that, if I am so inclined, I may put on the original The Wolf Man, from 1941. The Wolf Man is my favourite horror movie of all time, one that I've watched just about every single year ever since I first bought it on home video back in the late 90's. 

Sunday, October 25, 2015

I Got A Rock

It's that spooky time of year again, and I am dipping into the Halloween-ish delights just a little at a time. In fact, I must confess that I haven't been in a very scary mood this October. No idea why, though I did have a premature horror movie craving (and fix) in September. Netflix provided a handful of decent flicks to tide me over... stuff like Orphan, Don't Be Afraid of the Dark, and The Hole. 

Given my early satiation in the macabre department, I haven't felt much like reading any dark-themed stories lately. I did dig out a few of my old compilations of creepy tales, but have not yet delved into them. One of the more ghastly book covers appears below:

A ghoulish looking selection of tales of terror
that I hope to peruse this Halloween season

Whenever this month of All Hallows' Eve rolls around, I am reminded of trick-or-treating as a youngster. As a little kid, I dressed up as characters as wide-ranging as a robot, a rabbit, and a Mexican bandito, replete with curly mustache, sombrero, and poncho - all with the help of my mother. When I was a bit older, I worked on my own get-ups to re-create myself as Dracula, Mr. Hyde (Dr. Jekyll's alter-ego), and a Star Trek science officer (not Spock, since I didn't have naturally pointy ears). As a Trek dude, I sported a "real" embroidered uniform insignia (from the fan club store) and funky replicas of the phaser, communicator and tricorder (assembled from my 1970's Aurora model kit). 

My old pair of vampire fangs from Halloweens of yore

This year I will make at least some effort to get into the mood for the arrival of the Great Pumpkin. I feel as though I should re-watch the classic Charlie Brown Halloween special, since I haven't seen that in quite a while. Of all the Peanuts cartoons, that one is my favourite. I love Snoopy's World War I adventure, battling the infamous Red Baron aboard his soaring Sopwith Camel doghouse, then sneaking spy-like across the atmospheric countryside in search of sustenance and entertainment with the Allies. Maybe I need to add that old gem to my video collection.

"There are three things I have learned never to discuss with people: religion, politics, and the Great Pumpkin". Wise words from Linus.

I recently picked up some movies to watch on or near Halloween: finally, I grabbed an inexpensive Blu-ray copy of Let the Right One In, the best modern day vampire film. 30 Days of Night, Shadow of the Vampire, and Only Lovers Left Alive were cool in their own ways, but none quite captured the same eerie mood of the stark Swedish realm in which Let the Right One In resides. I think the last truly great vamp flick prior to this was Bram Stoker's Dracula (by good ol' Francis Ford Coppola). 

I also paid a pittance for a poorly packaged set of Howling sequels (numbers 3, 5, and 6 in the series). They are all full-screen and all jammed onto one disc, which maddens me, but for less than ten bucks, I figure it's a good way to revisit one of the films and see the other two for the first time. If they stink, then no big deal. If I really like any of them, I can always upgrade to Blu-ray sometime, and give this cheapie away. Bring on the werewolves!

And I will likely try to squeeze in at least one, if not a few, of my all-time favourite horror movies. My substantial video collection often taunts me and turns me away empty-handed, but I think I could re-watch some of my dearest masterpieces of the genre. Perhaps the original Phantom of the Opera (1925), An American Werewolf in London (not Paris!), and The Wolf Man (1941). If I'm feeling really ambitious, I may even put on the 1956 original version of the chilling Invasion of the Body Snatchers which still gives me the shivers in its beautiful depiction of terror, suspense, and paranoia. Great fun for this fan of the frightening!


One of the very first movies I ever bought
(on VHS in the 90's) to start my horror collection