The Kooks: Inside In/Inside Out

Written by Fantasma el Rey

“The Kooks are out in the street”, where you should be, spreading the word about this fresh new band from the U.K. and their inspired debut album, Inside In/Inside Out. These young men (Luke Pritchard vocals, Hugh Harris guitar, Max Rafferty bass and Paul Garred on drums) are driven and well versed in the power of rock. While drawing from many influences ranging from soul, punk, reggae, and good ol’ rock ‘n’ roll, these Kats give off an early Beatles/Kinks vibe. The album and songs are short, just over 44 minutes, yet they leave their mark, and leave you wanting more.

The CD opens with the acoustic “Seaside”, which sets the tone for the lyrical content, the ins and outs of relationships. Here we get a good taste of Pritchard’s voice and his awesomely thick English accent. From there, The Kooks kick the door open wide on “See The World” and let us into theirs, filled with thick bass lines, thundering drums, and heavy guitars with amps turned up to eleven. The vocals jump up as Pritchard shows that he can rock with the best of them.

“Eddie’s Gun” is the first single and a pop/rock masterpiece; it contains nearly everything a good tune should. The drums roll and the guitar works you into frenzy; in less than a heartbeat you’re hooked and moving with the beat they are putting down. The chorus and background vocals get you singing along and you almost forget that poor Eddie’s gun doesn’t work properly. The guitar solo is to the point and in no way overdrawn. Before you know it two minutes have past and it’s over, forcing you to play the thing at least one more time. The CD also has an enhanced portion that contains the video to “Eddie’s Gun”, so don’t forget to check that out as well. Cut from this mold, “You Don’t Love Me” is another track that will drive you mad with its heavy drums and fuzzed-out guitar.

“Ooh La” and “She Moves In Her Own Way” are where The Kooks slow down a bit, while still maintaining all of their drive and pop sensibility. The lyrical flow and chorus are what work best on “Ooh La”. The music bounces along behind the vocals. “She Moves In Her Own Way” starts out calm and picks up a little, keeping the mood bouncy and light. Dig the background handclaps on this track.

The lyrics to “Matchbox” are in step with the band’s other jump tunes and the chorus again has that sing-a-long quality to it, and yes, I am singing along as I type them: “All of us/ we're going out tonight/ gonna walk all over your cars/ The Kooks are out/ in the street/ oh they're gonna steal your skies”. “I Want You” is their “dark” number. It is complete with a heartbreak beat from the rhythm section and is surrounded by shadows and shades of The Cure. The music stays lightly funky but carries a vibe of gloom to go with lyrics, “Take me back to the place where I/ loved this girl for all time.” There is even a muffled, creepy sounding organ at the close of this track. The band closes out the album by drawing from more of their influences on the bluesy “Got No Love” and the country/rock of “Do You Still Love Me?”, which is a song similar to one of my favorite bands, The Black Crowes.

So there you have it, folks. The Kooks’ Inside In/Inside Out is a masterful rock album debut that flows well and keeps its forward drive. So does that mean the short, catchy tunes, cutting guitar, steady funk-dripping bass lines. and solid drum thumps have this one passing Fantasma’s test of a truly great album? Can I play this disk over and over again without skipping from track to track? Yes, yes I can, and will, as should you, so hit the street and pick up a copy.

Get The Message: The Best of Electronic

Written by Tío Esqueleto

When word first surfaced back in 1988 that New Order frontman Bernard Sumner and The Smiths guitarist/all-around Manchester-darling Johnny Marr were to collaborate on a side project, the UK music scene was all ears. Could it get any better than one part Joy Division/New Order and one part The Smiths? Having worked together briefly in 1983 for fellow Factory mates Quando Quango, longtime friends and mutual fans of each other Sumner and Marr met up in the summer of 1987 and decided to hit the studio with the hopes of adding something new to the scene they had both helped to create: the amalgamation of music, drugs, fashion, and technology that was the Manchester music scene.

With Electronic, both Marr and Sumner saw this as a chance to take a break from their current mainstays (Sumner having just finished recording and touring New Order’s Technique, and Marr rounding out a stint both on record and on tour for The The’s seminal Mind Bomb album), and to further the marriage of Manchester indie guitar-pop with a growing dance music scene. They also saw it as a catalyst to collaborate with people they’d always wanted to work with, starting quite simply with each other. In 1989, Pet Shop Boys Neil Tennant and Chris Lowe entered the fold and what resulted was something not quite New Order, The Smiths, or Pet Shop Boys, but rather something very unique and most importantly, very Manchester.

Get The Message: The Best of Electronic is the first hits compilation from this UK super duo, now legends in there own right. The 15-track disc spans three albums over nine years; represented here are various choice cuts from 1991’s Electronic, 1992’s stand-alone single, “Disappointed”, 1996’s Raise The Pressure, and 2000’s Twisted Tenderness.

It opens with “Forbidden City”, the opening track from Raise the Pressure. Out of all the tracks penned by Sumner/Marr, none scream The Smiths/New Order more so than this, the perfect trumpeting of their ‘96 return. Marr’s guitar jangles and wails behind Sumner’s sweetly melancholic vocals. One has to wonder if this isn’t what the beginnings of an unrealized Smiths album would have sounded like had Morrissey lent his signature croon back in 1996, or the same side of the opposite coin had Peter Hook lent one of his signature bass lines to the mix.

“Getting Away With It” is the song that started it all. It reached #11 on the UK charts, hit the Top 40 here in the states, and still holds its own nearly 16 years later. Co-written by Tennant, who also sings the chorus, it is “the” Electronic song to those who never heard more than this first single and have since distorted and wondered all these years “whatever happened to that one New Order song with the guy from the Pet Shop Boys?”. Unlike “Forbidden City”, “Getting Away With It” is a sound all its own, the sound of Electronic.

From the same vein we get the bouncy singles “Get the Message” and “Feel Every Beat”. Both are very much a Sumner/Marr product and both scream Manchester, not unlike early Stone Roses or Happy Mondays of that period. Sadly, these are the only three songs represented from that first album. The one glaring omission being “Patience Of A Saint”, another track co-penned and sung by Tenant.

Track five is the single mix to 1992’s “Disappointed”, the highly anticipated follow-up to the debut album. Again, co-written and this time sung entirely by Tenant, “Disappointed” is a piano-heavy, Euro-House track that falls a hair short of expectation. It is aptly titled, but I must say it sounds better to me today than it ever did then.

What follows is a mixed bag of singles and prime cuts from the remaining two Electronic albums, Raise The Pressure and Twisted Tenderness. The former finds Marr and Sumner working with former Kraftwerk member Karl Bartos, a legend both Marr and Sumner had longed to work with since their humblest beginnings. “Second Nature”, “For You”, and “Imitation Of Life” are all worthy selections, the latter being the B-side to the already mentioned “Forbidden City”. Again, there are glaring omissions form the source material. Foremost is “Dark Angel”, a driving song that is representative of the dance music revolution of the mid 1990’s. A tad dated, probably, but its absence is certainly noticed in a collection of hits.

Twisted Tenderness saw a return to the rock roots of both Marr and Sumner’s prospective pasts. Not nearly as fun and accessible as prior Electronic releases (it actually serves more as foreshadowing for what would be Sumner’s next New Order release, Get Ready), it did however provide “Out Of My League”, another classic Electronic song.

Get The Message is an unexpected surprise. Not that it’s surprisingly good, quite the contrary. It’s great! The surprise is that it was ever conceived of in the first place. A Greatest Hits from a band (a side project, no less) scarcely heard of by those outside “the know”. One would think that anyone interested in a Greatest Hits, from a band like this, would already own all of the source material. Sure, but to that I say here they are, all in one place, abridged, and with only a few minor omissions/complaints. The packaging is pretty nifty too! A-

Why The Hell Not?....Songs of Kinky Friedman

Written by Fumo Verde

Although I'm not a big fan of country music, I do enjoy a few who transcend the genre: Willie Nelson, Johnny Cash, Merle Haggard, Dolly Parton, Loretta Lynn, and of course, Kinky Friedman and his Texas Jewboys. This CD is a special tribute by some of country music’s top performers to an American icon. Stars such as Dwight Yoakam, Charlie Robison, and Asleep At The Wheel strip away the sarcasm and fun-loving wit that is Kinky Friedman. These singers put their own twist to the music of a man they admire.

Kevin Fowler starts off the set with "Get Your Biscuits in the Oven" which is Kinky's take on the whole women’s liberation movement, or at least it’s what Kinky is telling his old lady. Fowler with his rough gravelly voice gives the song a deep southern fried sound that comes from heartland of the U.S.A. Lyle Lovett croons one of Kinky’s greatest tunes, “Sold American”. It’s the story of how the American economy and public have been sold off to the highest bidder; our capitalist ways cause us to sell ourselves out to the rest of the world. If you offer an American the right price, they'll sell it. Lovett's haunting voice turns the tune into a song of sorrow, and of warning.

My two favorite songs by Kinky are included. The first, sung by Todd Snider, is "They Ain't Makin' Jews Like Jesus Anymore", which tells the sad tale of a redneck getting his ass kicked by our favorite Texas Jewboy. Snider nails it as he rumbles us through one of Kinky's more explosive adventures. It's also the most politically charged of all the tracks on this disk. Since Kinky is running for Governor of Texas, I can guess Snider will be voting for Kinky. That is if he lives in Texas.

My other favorite song on this CD is "Ride Em' Jewboy" sung by none other than the aforementioned Willie Nelson. With Willie's voice and that slide guitar, Western Swing is here to stay. Willie's style, along with the small band feel, gives you that sense of being in one of those lone truck stops out along the Texas desert, drinkin' bad coffee and bummin' cigarettes from Flo the waitress.

All the tracks on this disk provide what Kinky's America looks like. Seen through the eyes of other stars, such as Delbert McClinton, who sings "Autograph", and Jason Boland & The Stragglers, who lend their talents to "The Gospel According to John", it’s obvious these singers, at some point in their lives or careers, have been touched by Kinky and his music.

This tribute album to Kinky does the man justice. These songs, refreshed by these talented people, still provide an insightful view of a man who loves this country and the people who make it their home. With fun-loving cynicism and an artful way to bring about real American feelings, Why The Hell Not?... is a testament to the character and stature of who Kinky Friedman is.

This is Fumo Verde urging all in Texas to Vote for Kinky. WHY THE HELL NOT KINKY?!

MAN OF THE YEAR

Written by Hombre Divertido

This Man of the Year doesn’t deserve your vote.

So much for truth in advertising as this film fails to be the comedy that it is billed as, but instead, a combination of Dave and The Net, where the worst of both films are brought together.

The philosophy of keeping it simple seems to have escaped writer/director Barry Levinson, who apparently felt that a comedic talk-show host being elected president was not enough fodder to fill 115 minutes, and thus felt the need to include a conspiracy that is as ridiculous in its conception as it is embarrassing in its execution.

Of course, the plot might have been better appreciated, had it not been given away in the first 15 minutes of the film. So, the audience is left to laugh at the few moments of humor generated by Williams who seems restrained by the script and direction of the usually competent Levinson. Other than that, the most you will hear from the audience at this film is: “What were they thinking?”

Christopher Walken is his usual enjoyable self as the manager of Williams, but the rest of the supporting cast borders on annoying. Laura Linney, in what would be the Sandra Bullock Net role, handles her assignment with the subtleness of a D-actress being chased by Jason in a Friday the 13th film. Perhaps that is why the release date was chosen?

The actors can only be saddled with so much responsibility here other than they should have impeached Levinson, as this failure resides primarily on his shoulders. He had Robin Williams playing a comedian/ talk show host, in the mold of Bill Maher or Jon Stewart, who runs for and gets elected president. He had Christopher Walken playing the manager. How could that not be a hit?

How? Easy. Never let the story go where we all want it to, and where you are lead to believe it will by the commercials. Of course you certainly can’t blame the marketing department. No one would go see this convoluted mess if they tried to sell it any other way. This film is a huge disappointment, and exemplifies the often-heard statement: “They showed the best parts in the commercials”

Recommendation: If you are expecting a comedy about an unlikely character being president, this is not it. Go rent Dave. If you are looking for a good collaboration of Levinson and Williams with a story that delivers, this is not it. Go rent Good Morning, Vietnam. If you are looking for a solid Levinson take on the political machine, this is not it. Go rent Wag the Dog.

SPOILER WARNING: The following run-on sentence contains key story points that you won’t figure out until 15 minutes into the film.

If you are looking for a film where Robin Williams appears lost, rarely gets to display his talent, and is trying to make the best of a script that has him playing president elect Tom Dobbs, who meets Eleanor Green (Linney) under the most contrived circumstances, and tries to help her as she is being stalked by her former employers, who want to silence the fact that their advanced computer polling software was unable to count accurately, and thus fraudulently placed Dobbs in the presidency, then wait for this mess to come to television as the edited version may not be better, but it will be shorter..

Miles Davis: Workin’ & Eric Dolphy: Outward Bound

Written by Fantasma el Rey

Prestige has been re-releasing a series of albums under the label Rudy Van Gelder Remasters, named after the legendary jazz engineer. Two of the entries are solid platters that come from two of the best leaders of anytime, backed by their talented, handpicked professionals. Both quintets have a solid rhythm section that stand on their own and can carry a number as good as any trio put together.



Workin’... is the third in a series of quintet albums, recorded to recapture the vibe that this group projected while playing at the Café Bohemia in 1956-57, the same period as these sessions; the mood is mellow while losing none of its jump or flow. Miles Davis and John Coltrane on the same recording is awesome enough, throw in Red Garland’s piano prowess, Paul Chambers’ bass and Philly Joe Jones on drums and you’ve got more than just something to work with. For a better backstory on those two jazz legends, see my pal and fellow Snob, Fumo Verde’s review on Davis’ Walkin’ and Coltrane’s Soultrane. He does a fine job in summing up their beginnings.

This set opens with the beautiful “It Never Entered My Mind”. Red’s piano starts us off, followed by Miles’ plaintive trumpet. With the low bass plucks sprinkled in, it makes me thirst for gin and can’t help thinking of the fact that liquor sometimes eases pain and sorrow.

Then Philly Joe kicks me awake with his machine gun intro to “Four”, while Miles and Trane fly right in, reminding me that jazz, like life, can jump and spring up like fire. This tune, as well “Trane’s Blues” and “Ahmad’s Blues” represents this unit’s creative drive and ability to move, keep you boppin’. The highlight to “Ahmad’s” is the bowed bass solo by Chambers, no boundaries, baby. “Trane’s Blues” is where we get to see Coltrane work some of his magic on one of his own compositions, a mellow swinger that sees him soar yet stay smooth.

“Half Nelson” sends this disc someplace else; taking you on a wild ride that seems out of control, yet you know that these men are in full possession of the wheel, total control. It shows on their solos as they soar and narrowly avoid crashing into walls, leaving the room filled with smoke from the inferno they’ve begun in your ears.



In an all-too-short career, before his early death due to complications from diabetes, Los Angeles-born Eric Dolphy had learned from and played with many jazz greats, including Charlie Mingus, Buddy Collette and Red Callender. Moving East in 1958 with the Chico Hamilton Quintet got this multi-talented instrumentalist going, and it is during this time that he began to step forward and truly shine on his own. Outward Bound is Dolphy’s debut as leader. A masterful album that jumps from the get-go, Dolphy’s group pours their heart out and sends you towards the jazz heavens.

“G.W.” starts off with drummer Roy Haynes and his Tommy gun attack. From there Dolphy, on alto sax, and trumpeter Freddie Hubbard begin the upward- and outward-bound ascent, while the remainder of the group bop in to let us know they're here too: Jaki Byard on the 88 keys and George Tucker on bass. Each having his turn to take the reins and drive the sound further out, as they will do again with force on the rollicking “Les”, which spins out of this world and leaves a blazing trail towards its end.

“On Green Dolphin Street” and “Miss Toni” are showcases for Dolphy’s bass clarinet, an instrument that adds an air of playful fun to the mix of solid jazz that the boys drive home around him. “Glad To Be Unhappy” is the only ballad on this album and a tune that brings Dolphy’s flute to the fore. Listen closely and you can hear him breathe, which for me only adds to the mystic. Halfway through the song, he takes it a few notches higher and sends the flute, and us, soaring into the open expanse of the jazz universe.

The flute makes a return for the bonus track “April Fool”, a peppy number that fits with the playful side of this CD and takes absolutely nothing away from the drive of the album as a whole. The two other bonus tracks are extended versions of the jammin’ “G.W.” and the bluesy “245”, Dolphy’s street number in Brooklyn. On “G.W.” the solos are longer, giving the musicians a bit more time to wax creative.

So there you have it, bop kats. Here springing from 1956 to 1960 are gathered masters thrown together to help spread the word that jazz is boundless, especially in the hands of such as these. Many would follow the trail that they blazed.

Joshua Radin: We Were Here

Written by Cara De Pescado

Joshua Radin is one of the artists that should be glad he’s a friend of Zach Braff. Zach Braff likes music, as can be seen by putting together the soundtrack for films like Garden State and The Last Kiss as well as his TV show Scrubs. I’m not sure if Scrubs or Zach Braff’s blog is what tipped me off on Joshua Radin first, but I am glad it did. Even then, Joshua Radin would have been able to find his way to the limelight without a leg up.

We Were Here was initially available exclusively on iTunes where it easily because the Number 1 bestselling folk album and was in the Top 30 overall. Not bad considering it is Joshua Radin’s first full-length CD; 2004’s EP First Between 3rd & 4th contained only six songs.

Radin wrote ten of the eleven songs on We Were Here, with Vince Clarke’s “Only You” being the only cover. Yaz or Enrique Iglesias fans will recognize “Only You,” no it isn’t the song John Lennon and Elvis sing of the same name. I’d never heard it sung without a thick accent and it really is a gem when Radin sings it.

Which is really the point of the whole CD, Radin is truly a diamond in the rough. His voice is unique, almost a whisper, making it seem more intimate. The breathiness to his voice is the perfect match to the airy songs he writes. Centering on love, both new and lost, his voice contains a sort of romanticism that seduces you to join his journey.

Not only is his voice exquisite, but Radin really does have a talent for songwriting. The Singer-Songwriter genre is full of people who can’t sing, can’t write, or both. But he is the light in the distance, the beacon for which the others must strive. With a few words he can entice you, inciting emotions so strong you would think they were your own instead of his. Add moving cello arrangements on top of the beautiful words and you have the recipe for a great CD.

The opening track, “Sundrenched World,” beautifully explains insecurities in love. Yet his vulnerability lacks the in-your face heart-on-your-sleeve feeling of the likes of James Blunt. Although hailed as the new Elliot Smith, Joshua Radin maintains his individuality.

“Star Mile” has a more ditty-like feel to it with more obvious rhyming but it isn’t so sing-songy as to beat you over the head with it. The song also beautifully showcases how well Priscilla Hartranft and Radin harmonize. “These Photographs” is more upbeat and demonstrates the intelligence behind his songs. I mean, how many artists mention Sylvia Plath, Simone de Beauvoir, Nina Simone, and Mary Cassat in one song? And what fitting people to connect to the images he keeps in his mind of his loved one.

While “Only You” is great for being recognizable, “Winter” is my favorite song on the album. With lyrics like “your voice is the splinter inside me,” how can you not feel the pain and longing Joshua Radin is singing about?

The airiness to his voice makes ballads a great match for Joshua Radin. Personally, I love the ballads. However, I can understand where some would find it repetitive and wish for some variety. Either way, Joshua Radin’s music speaks to that place in your heart where you know you are home and everything is at peace.

And if you can’t tell, I really like Joshua Radin's CD.

All That Remains: The Fall Of Ideals

Written by Fumo Verde

The first thing I thought when I heard this was, “Great. Another ‘I can scream louder than you’ metal CD.” The kind of music that I have no idea what the fuck is being said. Initially, I had a headache when I started my listening session with The Fall Of Ideals, so after the second song, I turned the thing off. A few days later, and a fresh new bag sitting on my lap, I once again attempted to listen to this crazy style of metal that I never seemed to get a grasp on.

I sat through all eleven tracks, starting with “This Calling”. The scream starts off the ditty, like the sound of a German Stukka dive-bomber charging to the deck below. As it levels out, that lead-in howl of a voice, the rocket burst of the drums force of the guitars and bass to join together into a pulsating chorus. When the guitars do have solo time, their sounds twist and echo with a scream sweeter than the grunting, chanting, hard gravel voice that barks out the lyrics like a drill instructor on Parris Island. At this moment I grabbed the liner notes. Thank the Gods, these katz put in the lyrics. Major A+ on the Fumo-rating chart.

Now I was armed with the power to hear what was being grunted. It’s amazing how accessible the song becomes when you can understand what is being said. For example, on “We Stand”, the lyrics read, "Walk a darkened road and we will be our own light/ Our foundation our core is strong/ Stand for what's right”. These guys are giving you parts of themselves, who they are. What I thought was violence, is actually passion with fury. It still sounded like angry music to me, but now I understood why.

“We Stand” and “It Dwells In Me” had some of the most charging guitar riffs I had heard in a long time. I was not thinking of these guys as just a bunch of head bangers who only know so many chords that they strike them real fast. This band is a group of very talented musicians. The structure and the rhythm aren’t extremely complex, but the timing and the power are totally detailed. This group knows what it's doing.

“Six” which is track seven, reminded me of my all-time favorite heavy metal band, Iron Maiden. The guitars start off with what sounded like the beginning of “Aces High”, and then in came the banshee cry. Te jam lit up and exploded into a chase between the drums, the guitars, and the voice of the singer/shouter, whatever you're more comfortable with. The song takes you on a hell of a ride, and then halfway in, like being on the inside of a deep tube, silence. Guitars, gently drift in, until the green room is about to close, and boom! The chainsaw guitar work, along with the jackhammer drilling of the drums tossed you up on shore for the final end of the song.

As The Fall of Ideals came to a close, my mind had changed about this band, and the sound it was pumping out. On “Empty Inside", the lyrics are, “Don't want to lose everything/ Just want to feel again...." You can feel the pain of wanting someone back, and by now, you can see why one might be shouting it until one’s throat was soar. At first, like I said, I’m not much into bands that have a sound that reminds me of the dog barking out jingle bells on the radio, but All That Remains have more than just a bark to them, and if you listen closely, it has a bite to it as well. Will I go see these guys in concert? It depends on if I feel I have the energy to keep up with them or not.

Remember when Metallica had that raw edge to them? I think these guys have that. Watch out for them.

BEOWULF & GRENDEL

Written by Fantasma el Rey

Director Sturla Gunnarsson brings to life Beowulf & Grendel, one of the earliest Anglo-Saxon epic poems. Rather than a literal adaptation, he presents us a story that could have inspired the myth. The film traces the poem as it progresses and many familiar scenes are brought to life with an added air of truth and reality. Some scenes add more depth to the story, as do certain characters; the best being the somewhat-mad, Christian priest, who gains converts throughout the film, including Danish King Hrothgar, who Beowulf and his fellow Geats have come to help. By the end, a few of Beowulf’s men have converted and we see how the Christian faith came to be a part of this heroic tale. On the other hand, we have Selma the witch, who can be seen as a link to Grendel as well as to the old gods of the land.

Beowulf & Grendel opens with a prologue as to why Grendel hates the Danes; his father was killed as a very young Grendel looked on. Throughout the film Beowulf has to put this story together for himself, with the aid of Selma. Along the way he draws his own conclusions and can see that Grendel’s fight is not with him and that is why Grendel will not fight Beowulf or his men. As Beowulf learns more, he seems less enthused about fighting Grendel, although while trying to accomplish their task to rid Daneland of this evil they bring Grendel’s wrath down upon themselves.

Yet, even the death of Grendel seems less at the hands of Beowulf and more Grendel’s own doing. Grendel’s death is a good example of clearing away the myth; we get a more realistic take on how this encounter between these two warriors might have ended. The poem has Beowulf’s grip so powerful that he just rips off Grendel’s arm but here we have Beowulf tying his arm in an effort to capture him. As Grendel makes his leaping escape from the top of the mead hall, he becomes trapped and like a caught animal hacks his own arm off rather than be taken alive.

Now the death of Grendel’s sea hag mother is truly at the hands of our hero, and even with this myth-buster approach to the story, it seems unrealistic. It’s one of the only aspects of the film that doesn’t jive so well, along with Sarah Polley as Selma the witch. She’s not bad, but her voice is out of place with this cast of European-born, heavy-accented actors. I find the sea hag monster unbelievable where the forgotten Neanderthal view of Grendel the troll makes more sense. With no computer graphics, the special effects costumes, at times, look a bit hokey.

We see events through Beowulf’s reasonable eyes and learn how some things a hero must do aren’t always justified. His struggle is what makes for a fascinating watch. Gerard Butler as Beowulf does a fine job making a very believable hero in a time of change. The film also gives us a good look at Beowulf and his Geat pals’ camaraderie, as we see them laugh and enjoy themselves like boys on an adventure. At times, Beowulf & Grendel is intentionally comical, with scenes very reminiscent of Monty Python and the Holy Grail, making the film much more entertaining. In some of the deleted scenes we can see more of that comic, playful side to these men.

In the audio commentary and the “Wrath Of Gods” short featurette from the documentary on the making of Beowulf & Grendel, we learn of the harsh weather conditions in this beautiful land and the effect it had on the shooting of this film. Many times production was almost stopped due to extremely high winds and hard falling rain. No one was seriously hurt, but some equipment and a few vehicles where damaged. Thankfully the film was finished and we get to see another attempt to put Beowulf on film in a somewhat factual manner, much the way Michael Crichton tired to do with his book Eaters of The Dead, which was made into The 13th Warrior staring Antonio Banderas.

Mingus Big Band: Live in Tokyo 2005

Written by Fumo Verde

All right, if you read the review I did on Charles Mingus, Live at UCLA, then you are familiar with the style that Mr. Mingus is all about. The style of non-conformity, improv and the like, sounds that feel jumbled, but what if those sounds put down could be practiced and rehearsed again and again? Well, this is where the Mingus Big Band (MBB) comes alive, and here at the Blue Note in Tokyo they laid down some of those tracks. Produced by Sue Mingus and recorded by engineer Kichi Goto, they have brought to us the incredible sounds of Charles Mingus.

To catch the magic that Mingus tried to capture and the feeling of what his music is all about, the MBB increased the size and sound of the usual octet. The musicians includes three trumpets, two alto saxophones, two tenor saxophones, a baritone saxophone, two trombones, a bass trombone, a tuba, a piano, a flute, a stand-up bass, and drums. Put all this together and you get the start of what Mr. Mingus was trying to get at.

As said once before, music composed by Mingus is hard for the musician to play as well hard for some listeners to clutch and ear for. This CD grabs a live show that lets everyone take in the pieces put together by Mingus. Not just the obscure and existential notes that sometimes lunge out at you or whiz by you like a passing car. Here the MBB delicately tames the wild beasts that are so often the sounds of Mingus.

"Wham Bam" leads off the set, and it's something about a brass section that gets you moving. The full force of all that brass knocks you back into your seat as the drums, bass and piano zing you for loops and dips. The horns rage up and down the scales at break-neck speeds, while the piano scurries about, chasing the drums and bass as they control the tempo, keeping that pace until the tune is done. "Opus Four" follows and has a slower drive to it, at least when it starts out. With drums banging away and cymbals crashing, the horns fill in the segments that at first sound like something out of "West Side Story". As the jam hums along, it takes time to slow down for certain horns to make their solo shots, each one trying to top the other. You can tell the band in having fun with this, and although there is a chance for improv, the architecture that holds up the music can be followed by even the average listener who maybe brand new to Charles Mingus. As with "Wham Bam", "Opus Four" gives the audience a ride of their lives.

"Celia" has a mellower tone to it. Although this piece has a softer beat, the brass section retains the power and passion to knock your socks off. Passion is what drove Charles Mingus, and it is what drives the MBB to charge the music with a no-fear attitude. "Bird Calls" starts out with the band members making bird sounds, cheeping and cawing. They keep this up as the horns reflect the noises that the band is making. Then the chase is on. Whether this is dedicated to Charlie Parker, it didn't say in the liner notes, but it has Bird's style to it, of which Mingus would extract out from time to time, being a big fan of the Bird himself.

Mingus loved to mix sounds and styles just to see what would come out of it. This design of playing isn't lost on the MBB, for they have the talent and the ability to push such techniques to the limit, just as he would have. There are a total of eight jams on this disk, and each one sounds better than the last. This isn't a tribute album or even a tribute to Mingus. These are musicians who love his compositions and are addicted to playing what he has created, and they play it well. For anyone with a taste for jazz, and epically a taste for Mingus, the MBB “Live in Tokyo” is a great addition for the collection. It gives one a chance to hear the easier pieces that Mingus has come up with.... and nothing he ever did was easy.

This CD though, gives everyone a chance to hear and feel the power and energy and the genius that Mingus was, and even since his passing in 1979, the Mingus experience can be felt through his music. One of the best ways to feel that power is right here from the MBB. A great appreciation for those who attempt to charge after the musical dream that Mingus had, and the MBB makes it sound easy. I wonder what he would say? I think he would be happy because this CD brings his art to life, and for Mingus that was what making music was all about.

Charles Mingus: Live at UCLA

Written by Fumo Verde

One of the greatest jazz composers and players of all time, Charles Mingus prepared a year in advance to perform his new compositions at the Monterey Jazz Festival. For reasons still unclear, Mingus only got to perform three pieces, less than 30 minutes of music for what was supposed to be a 90-minute set. It wasn't until two weeks later at UCLA's Royce Hall that he got to play his complete set, which this two-disk set contains. With the exception of the audience that night, the college engineering staff that recorded it, and those lucky enough to obtain the limited edition LPs, this concert has never been heard before, until now. The performance that Mingus and his band gave was a record of the struggles that he usually went through when he tried to get his music heard. His belief in the art of nonconformity and his skill of improvisation are still unmatched today, and by listening to this CD you can understand why.

As the show opens, Mr. Mingus speaks to the audience, and does so throughout the show. He explains, or at least tries to explain, what happened at Monterey weeks earlier, and with that introduction "Meditation On Inner Peace" opens up the show. The sound of the lone tuba playing a slow thumping heartbeat rhythm leads the way as the horns weep and moan. To try to explain this piece in words is almost impossible. The best way to describe "Meditation...." is it has an almost haunting affect. The track plays for almost eighteen minutes and the tuba is the only consistent sound that keeps what beat there is. The music speeds up near the end, mellows back to the tempo the tuba was keeping, then concludes with final drum crashes and Mingus kicking out key notes from the piano. It ends abruptly because as he explains, "we forgot how to end that one."

This is Charles Mingus, and this is how he likes to do things. In between this track and the next, he not only explains to the audience what is going on, he schools his band members, too. Unfortunately, when he speaks to the band, he doesn't speak directly into the microphone, so you will have to turn up the volume if you want to hear what he is saying to them. This happens a lot on the first part of the show (CD 1) and is most evident on the next track "Once Upon A Time, There Was A Holding Corporation Called Old America"...yeah that's the full name of the track. Could you see any DJ on the radio now sitting long enough to even announce that?

The track starts off but ends after eight seconds because the band doesn't remember how to play it. So Mingus lets them know this. They try to start off again, and within two minutes he stops the show. It sounds as if he takes the players, who can't seem to get their parts right, off the stage to go over it with them, leaving the other band members to play a tune called "Ode to Bird and Dizzy". As the title says, this arrangement was made in homage to Charlie Parker and Dizzy Gillespie. It’s a structured jumble of rhythm with the drums keeping the beat as the bass booms away and the horns tell the story, one playing like Dizzy, one playing like Bird. The jam goes on until Mingus calls back the full octet to play out "They Trespass The Land of The Sacred Sioux" which concludes disk one.

The second part of the show (CD 2) has fewer interruptions and more of the art that Mingus created. It starts out with "The Arts Of Tatum And Freddy Webster" which is another 10-minute jam featuring the styles of Art Tatum and Freddie Webster. Again, the non-conformist style of freeform jazz comes as the horns top each other while the rest of the band trots along at a simple pace.

It is followed by a complete, after three starts, version, "Once Upon A Time There Was A Holding Company Called Old America". The drums and the horns build up a tempo that slowly rises one note on top of another, then is leveled out to be more of a big band slow dance, then a jumble of jazzy licks, or so it felt, that's where the magic of Mingus enters. Halfway through the tune, the uncontrolled chaos drops in, and then disappears as the slow dance tries to return. By now the tempo is turned up and the slow dance has become a quickstep, then back to slow. All the time, Mingus is calling out words and making grunts and whoops. This song is a total roller coaster ride, with him screaming out as if he is in the front seat (cause he is).

"Muskrat Ramble" is Mingus' dedication to New Orleans Dixieland Rag and gives you the feel of walking down Bourbon Street. Hobart Dobson comes back to help play "Don't Be Afraid, The Clowns Are Afraid Too" which has a mild tone to it compared to tracks that were played before. The foundation of this jam is set again in the drums and bass line, while the horns get the chance to let loose every so often. The harmony is incredible when the brass is together following the path that the drums and bass are laying down. When Dobson's trumpet solos, that's another amazing sound that grabs you by the ear and holds on with its soothing calls. Mingus plays his piano halfway through, which gives the tune that smoky jazz bar feel.

"Don't Let It Happen Here" closes out the show. A soft piano leads off with a single trumpet weeping in the back. Mingus speaks and on this, and we all need to listen. He only says something like five sentences, but they are powerful. Just as the jam that follows it. All the energy and passion the band has had inside erupts into a feeding frenzy of screaming horns, dancing drums, and cries of love from the bandleader. Again you are on a ride that takes off for the stars then slows down to smell the roses, all within 11 minutes. At the end, Mingus speaks again, and with his finishing thoughts, the crowd roars with admiration.

What I think is so special about this CD, is with all its false starts and missteps this is what Charles Mingus strived for. Not for perfection, but for innovation, improvisation, and most of all emotion. This is how Mingus played and it is who he was. Mingus was a man ahead of his time, and this CD can testify to that.