I've always had a soft spot in my heart for bad movies. When I was young, my mom and I would watch our vhs tape of Attack of the Killer Tomatoes so much that it started to wear the tape out. And it wasn't even a home video release; it was our recording from when they played it on tv, so it included partial commercials and "bumpers" from when they came out of commercial and returned to the movie. My dad couldn't stand it. He would leave the room when we put it on. Years later, he'd get accidental retribution. In the days before Tivo and DVR technology, if you wanted to watch something scheduled on tv at a later time than its original broadcast, you had to set your vcr to record the show. The Sci-Fi channel (now Syfy for pretty much inane and inexplicable reasons) ran the extended 3 + hour cut of Dune, a bad movie Holy Grail, and my mom and I captured it on tape. To my knowledge, they never ran it again. I'm not even sure it's even available at all now. And my dad used that tape to record f'n politics... Extended cut Dune was lost forever. We've forgiven him, as much as you can forgive someone for such blasphemy. Besides, we also made him suffer through nearly every Ernest movie... And my mom still flips through the tv schedule to see what kind of monster movie they're playing on Syfy every weekend. Now that I'm an adult, I still love bad movies. Maybe even more than I did back then. Back then, I was somewhat limited to my mom's taste in bad. Mostly a lot of early b-movies, like the Godzilla movies and killer ants movies and the like. But in adulthood, I discovered more of the real gems. Plan Nine From Outer Space, Manos: The hands of Fate, Santa Claus Conquers the Martians, Sleepaway Camp, etc. But the one I enjoyed the most was Troll 2.
I originally heard about Troll 2 on a podcast. Before that, I had no idea it existed. After listening to the podcast, I knew I had to see it. So I added it to my Netflix queue. When I got it, I discovered that it's a dual-disc with Troll part one, and Troll 2 on the same disc. I figured surely you'd have to see part one to follow part 2, so I watched Troll first. It was pretty bad, but I enjoyed it as a bad movie. And it had the kid who played Atreyu in the Neverending Story movies, not to mention Julia Louis-Dreyfus and Sunny Bono. And honestly, it was at least somewhat enjoyable and coherent. But this wasn't the gem that everyone talked about. This was just Troll, which nobody seemed to have any strong feelings for in particular. Troll 2 still awaited. So I pressed play and was immediately transported to the world of the best worst movie ever made. A few weeks later, I bought my own copy of Troll/Troll 2.
It's hard to really describe what makes Troll 2 such a fun train wreck of a movie to watch. It really just has to be experienced. There are three types of bad movies, I reckon. The first type is bad because it's boring, insultingly simple minded, and made with zero ambition or desire to be anything more than a cash grab. All of the "_ Movie" movies fall into this category; Date Movie, Epic Movie, Superhero Movie, etc. The second type is bad because it's just not at all entertaining or interesting. I would place The Happening into this category. The third type of bad movie was made with the best of intentions that just didn't pan out, for whatever reason. Plan Nine From Outer Space, Santa Claus Conquers the Martians, Coven, and of course Troll 2 fall into this category. They all have a sense of charming ineptitude, whether it's in the directing, the writing, the acting, the corners cut due to ultra low budget, overall inexperience, etc. You want to pat these movies on the head and send them to bed with a glass of water, as The Grinch did to adorable little Cindy-Lou Who. They're misguided labors of love, and you find yourself laughing both at them as well as with them, only they don't really quite get the joke.
That was a rather long-winded lead up to the point of this post, which is to discuss the movie Best Worst Movie. Best Worst Movie is a documentary about Troll 2 and the cultural impact it has had. The interesting thing about Best Worst Movie, right off the bat, is that it was directed by the child actor who starred in Troll 2. He's in on the joke. He gets that it's a terrible movie that's hopelessly lovable. He gets why it was never released to theaters, and why there hasn't been a Troll 3 yet. But nobody involved seemed to know that the movie they filmed was called Troll 2, or that it had been release on home video.
That's because the movie was originally called Goblin, and there are zero Trolls in Troll 2. It has nothing to do with Troll part one. Not even an incling of a connection to the original story. No returning characters, no returning actors... The trolls in Troll 2 are goblins, not trolls; a continuity and logic error to end all continuity and logic errors. What's better, the director of Troll 2 doesn't seem to understand that calling the movie Troll 2, while calling the creatures goblins instead of trolls, is even a problem. It's lost in translation, as the writer's and director's, and most of the filming crew's native tongue is Italian, not English. As such, the actors had a difficult time understanding the little direction they were actually given. And the directors didn't understand when the actors had trouble with a line that was mind-blowingly stilted and unnatural, such as "Elliot is not my beau! He's my boyfriend and he told me last night that he loves me and that he wanted to come on this trip with me and my family."
Best Worst Movie starts off by catching up with Dr. George Hardy, who played the father character in Troll 2. He's an instantly likable man, with a smile as wide as the ocean, and a genuine love for life and people. His acting past is long behind him, and he's settled into his role as a dentist and small town hero, but he still has a little taste for flair and showmanship left in his heart. He straps on roller blades and dresses up in costumes for the town parade every year. His character in Troll 2 is beloved for an entirely different reason. Mostly, it's because he has some of the most insanely incomprehensible lines, my favorite being "Tightening my belt one loop so that I don't feel hunger pains, and your sister and mother will have to do likewise. Okay, Joshua. You wanna get rough with me? You wanna show me that you don't like the choice of this house for our vacation by going on a hunger strike? Well, I'll accept the challenge. But just remember when I was your age, I really did suffer from hunger. We'll see who gets through this, but just remember I've got more practice than you. I'll see you tomorrow." Even taken in context, it's completely illogical. He's punishing his son for ruining dinner. You think he's reaching for his belt to beat his son with it. No. He's reaching for it to tighten it as an act of defiance against his son's behavior, which he has interpreted as a protest against a boring vacation and a challenge to see who can go the longest without eating... which he knows he'll win, since he starved as a child... and tightening his belt is the only way to circumvent the hunger pains of a hunger strike... That doesn't make a lick of sense in any language.
Next, we catch up with the other main cast members, one by one. They all seem to have pretty much the same story; they were surprised to learn that the movie was called Troll 2, and that it had been released at all, and their first viewing was full of shame and regret, and they've tried to forget about it all these years. What brings them all together again is the discovery of the new fan base the movie has received now. It's the definition of a cult classic. People had small scale viewing parties, and it spread like wildfire. Pretty soon, they were invited to take part in panel discussions and special screenings that sold out night after night in the U.S. It's all very upbeat, and it makes you proud to be a fan of Troll 2. And then you catch up with some of the lesser characters, and Best Worst Movie takes a darker turn.
It turns out, Troll 2 has had a profound impact on some of its stars. The actor who played Grandpa is now retired and lonely. And from the looks of it, he's a borderline hoarder filled with regret. But he's still as likable as he was in the movie, which makes it even more difficult to learn that he's alone and feels like he wasted his life. The actress who played the mother character has become a paranoid recluse, who may or may not hear voices. The actor who played the town shop keep is a recovering mental patient. He admits that at the time of filming Troll 2, he was an avid pot smoker, and he basically dreamed about killing the child actor because he hated him so much. Shit just got real.
Then we're introduced to the director and the writer of Troll 2. The director is either egotistical beyond belief, or in some serious denial. He really seems to believe that he created the ultimate allegory for the human spirit and the human condition with Troll 2, and that those who enjoy the film are deeply connected to the important issues explored throughout the film. The writer, his wife, believes that her tale of goblins who convert people into plants in order to consume them as an alternate to toxin and cholesterol-filled meat products, is a scathing condemnation of vegetarians, whose dietary practices she found personally insulting at the time. Even though... they eat people... which is still a carnivorous behavior, even if they're partially converted to plants... and it's never explained why people-plants are required, instead of, say, plant-plants... The director believes that the actors and fans are just simply too dumb to completely understand his vision when they laugh at lines like "Joshua is not a little shit; he's just very sensitive," or the actors relay tales of receiving incomplete scripts, and never fully understanding the concept behind the story, or being told to go upstairs when they're outside... in the woods...
All of the fame and praise the cast has received in the U.S. went completely out the window as they embarked on a misguided and ill-advised international convention appearance. There were about 6 people at the screening, instead of a sold-out crowd, and zero autograph requests. The horror convention didn't fare much better, with George wandering around taking in horror fan culture and dental habits research instead of fan love. It all ends on a somewhat uplifting note, with most of the main actors seemingly coming to understand, embrace and appreciate their status as cult movie icons, at least in select markets. It invigorated the desire to try again at an acting career for many of them, and I came out of watching the movie with the hope that those who love the movie for what it is will continue to give the key players just enough praise for them to feel proud of making a fun movie despite itself. It did leave me wanting a bit more though, as not every main cast member was interviewed, and a bit too much time was spent focusing on Dr. George. Then again, maybe more of that is covered in the special features of the dvd, assuming there are any, or perhaps in the special 20th anniversary edition of Troll 2, which I don't yet own.
I still hope to attend one of the screenings at some point, but short of that, Best Worst Movie is a great reminder of why Troll 2 is so much fun to love, and why I proudly own the anniversary set of Attack of the Killer Tomatoes on dvd, with the collector mini movie poster intact.
Saturday, November 20, 2010
Tuesday, November 16, 2010
What Do Beavis and Butthead, Revenge of the Nerds, and Horror Movies Have In Common?
Black Christmas (1974), My Bloody Valentine (1981), Revenge of the Nerds (1984), Revenge of the Nerds III (1992), Revenge of the Nerds IV (1994), Beavis and Butthead (1993-1997). What do they all have in common? Well, for one, I watched them all over the weekend, and they're all on Netflix instant watch. Sadly, and strangely, Revenge of the Nerds II: Nerds In Paradise is not, so I'll never know what happens to the little nerdlings while in paradise. But there are other similarities. Black Christmas and My Bloody Valentine have been remade into modern horror films. I haven't seen either, but reportedly, they're not so good. Beavis and Butthead are supposedly going to come back to MTV as well with new episodes. And given the trend lately of remaking anything and everything, a Revenge of the nerds reboot isn't too far fetched. But though they may try, and though they have tried, they just don't make 'em like they used to.
Black Christmas is a bit of a slow burn. Truth be told, it's a little boring in parts, and the kills are infrequent and mostly off-camera. Nevertheless, what it lacks in gore, it makes up for in ambiance and suspense. The killer's motive is never clearly revealed, nor is his identity, and the twist ending is more intriguing than a 70's horror movie really has the right to be. They don't make horror like that anymore. Now, suspense is usually defined as the time between ear-piercing sonic booms used to create cheap jump scares. Ambiance is created through dizzying quick cuts and flashy music video effects. (See the Nightmare On Elm Street Remake. Or rather, don't...)
My Bloody Valentine leaves you guessing as well. It's a mystery slasher, with a killer dressed head to toe in miner's gear; his face completely concealed under an oxygen mask, making his breathing part of the ambiance and suspense. The remake had boobies and 3-d pickaxes instead of suspense.
The Revenge of the Nerds movies combined comedy with an anti-stereotyping message. Granted, that message was watered down further and further with the sequels, to the point where part IV became nerds vs. yuppies. Then again, in order to present an anti-stereotyping message, they used stereotypes. Big time. From the meat headed, hate filled, short-fused football team, to the flamboyantly gay character of Lamar, complete with limp wrist and high pitched voice, to the football coach who's only concern in life is his image, which he upholds vicariously by leading the cool kids and throwing his weight around with the administration, and of course the nerds with their bad hygiene, love for technology, goofy mismatched clothes and nasally laughs. If they do remake Revenge of the Nerds, they'll have to face political correctness, which is gloriously absent from the original. More to the point, nerdom is en vogue now. Football players are looked down upon more than nerds are. And football players touching the hearts of their peers and earning their sympathy and respect doesn't seem likely.
And Beavis and Butthead... Well, it might still work. I can't conceptualize what the characters will do, assuming they've grown up since the original series. If they're the same, i.e. still in high school, still slackers, still amused by sexual puns and fart jokes, still working fast food and still under 21, it runs the risk of getting old. After all, Mike Judge decided to stop the show because he couldn't think of what they'd do after high school. Either he's had an epiphany, or it'll be more of the same. That's not so bad really, as I'm a fan of the show, but we've all grown up and matured. If the characters haven't, a new generation may come to appreciate them, but the long time fans might drop out. Re-watching the old episodes on Netflix accomplished two things: It reminded me how good the show was, when it was a complete episode, with music video commentary, and I was the right age to relate to the characters, as I too was immature and amused by dumb jokes and heavy metal videos, and it made me wish I had been smart enough to record the episodes from tv back in the day, as they'll never be released in their complete form due to all of the legal hoops involved. The best parts of the show, frankly, were the music video commentaries. They were all improvised, and they were often the funniest parts of an otherwise so-so episode. But oddly enough, when artists are made fun of, they're not as likely to agree to allowing their music videos to be used in the home video releases. And if they are, they expect monetary compensation.
They don't make 'em like they used to. But at least there's still nostalgia.
Black Christmas is a bit of a slow burn. Truth be told, it's a little boring in parts, and the kills are infrequent and mostly off-camera. Nevertheless, what it lacks in gore, it makes up for in ambiance and suspense. The killer's motive is never clearly revealed, nor is his identity, and the twist ending is more intriguing than a 70's horror movie really has the right to be. They don't make horror like that anymore. Now, suspense is usually defined as the time between ear-piercing sonic booms used to create cheap jump scares. Ambiance is created through dizzying quick cuts and flashy music video effects. (See the Nightmare On Elm Street Remake. Or rather, don't...)
My Bloody Valentine leaves you guessing as well. It's a mystery slasher, with a killer dressed head to toe in miner's gear; his face completely concealed under an oxygen mask, making his breathing part of the ambiance and suspense. The remake had boobies and 3-d pickaxes instead of suspense.
The Revenge of the Nerds movies combined comedy with an anti-stereotyping message. Granted, that message was watered down further and further with the sequels, to the point where part IV became nerds vs. yuppies. Then again, in order to present an anti-stereotyping message, they used stereotypes. Big time. From the meat headed, hate filled, short-fused football team, to the flamboyantly gay character of Lamar, complete with limp wrist and high pitched voice, to the football coach who's only concern in life is his image, which he upholds vicariously by leading the cool kids and throwing his weight around with the administration, and of course the nerds with their bad hygiene, love for technology, goofy mismatched clothes and nasally laughs. If they do remake Revenge of the Nerds, they'll have to face political correctness, which is gloriously absent from the original. More to the point, nerdom is en vogue now. Football players are looked down upon more than nerds are. And football players touching the hearts of their peers and earning their sympathy and respect doesn't seem likely.
And Beavis and Butthead... Well, it might still work. I can't conceptualize what the characters will do, assuming they've grown up since the original series. If they're the same, i.e. still in high school, still slackers, still amused by sexual puns and fart jokes, still working fast food and still under 21, it runs the risk of getting old. After all, Mike Judge decided to stop the show because he couldn't think of what they'd do after high school. Either he's had an epiphany, or it'll be more of the same. That's not so bad really, as I'm a fan of the show, but we've all grown up and matured. If the characters haven't, a new generation may come to appreciate them, but the long time fans might drop out. Re-watching the old episodes on Netflix accomplished two things: It reminded me how good the show was, when it was a complete episode, with music video commentary, and I was the right age to relate to the characters, as I too was immature and amused by dumb jokes and heavy metal videos, and it made me wish I had been smart enough to record the episodes from tv back in the day, as they'll never be released in their complete form due to all of the legal hoops involved. The best parts of the show, frankly, were the music video commentaries. They were all improvised, and they were often the funniest parts of an otherwise so-so episode. But oddly enough, when artists are made fun of, they're not as likely to agree to allowing their music videos to be used in the home video releases. And if they are, they expect monetary compensation.
They don't make 'em like they used to. But at least there's still nostalgia.
Thursday, November 11, 2010
In Defense of: Carnival of Chaos
I wanted to write a review of the new Gwar album, Bloody Pit of Horror, but alas, I haven't received it yet. Which I don't understand. I pre-ordered it months ago. It came out in stores on Tuesday. Granted, it takes time to ship things, and it's only Thursday. And if I wanted it that badly, I could get it online for $10 or so, or walk virtually across the street to Best Buy and get a physical copy for probably around $13. But I paid $20 for it from the band's website, because pre-ordering guarantees me a copy, the money will likely go to the band mostly, and pre-ordering gets me a signed lithograph. I just feel like if you pre-order something, you're proving that you're a true fan. And as such, you should get your copy when the stores get theirs. I assume that they're all manufactured and shipped out at nearly the same time to the few remaining retail outlets. Can't you set aside a box for the pre-orders and make sure they're sent out the same time? Anyway, since I don't have new Gwar to review, I'll review old Gwar instead; namely their 1997 album Carnival of Chaos.
Carnival of Chaos makes for a good "In Defense of" post, because many Gwar fans dislike this album. Some cite it as their least favorite Gwar album, claiming that it's too commercial and unfocused musically. Calling Gwar commercial is a huge oxymoron. They'll never be completely commercial. Perhaps they're becoming more accessible to a wider audience, but you're still not likely to hear Gwar on standard radio (unless it's their misguided, label-demanded, and pointless cover of Alice Cooper's School's Out...). Their lyrics are pretty vulgar. Not so much from a profanity standpoint, although they're not afraid of four letter words, but more from a content standpoint. For example, they have songs called "Fucking An Animal," "Preschool Prostitute," "Baby Raper," "Penis I See," etc. They wear thongs and simulate violent acts in their stage show, and they're in direct opposition to Richmond's oft conservative leanings. That's one of the things that endears Gwar to many fans; they represent an aspect of society that others are quick to dismiss, decry, or just ignore. And they do so in an amusing, and very entertaining manner. At it's heart, Gwar's music is a combination of vaudeville, social satire and comic book fantasy, with bits of sophomoric humor and filth added for good taste. or maybe bad taste...
Carnival of Chaos is one of Gwar's most experimental albums, ranging from their usual unique blend of punk rock and metal to a lounge singer ballad, an a country rockabilly track. "Experimental" is always polarizing for music fans, because usually fans want more of the same things that they've always liked, but they also want new material. It's a catch 22, and it's frankly stereotypical. An artist can't evolve without experimentation. Yet if they stray too far from the classic formula, fans pull out their pitchforks and torches. Prior to Carnival of Chaos, Gwar's albums were pretty similar stylistically. Their first album, 1988's Hell-O, is their most straight forward punk rock influenced album. After that, their focus shifted more toward a blending of punk rock and heavy metal. While they've always experimented with various styles within their songs, Carnival of Chaos is the most diverse utilization of multiple styles. I can understand why some fans would see that as being unfocused, but I think it shows just how talented and diverse they are as musicians. On the same album, they pulled off punk rock, metal, country, lounge, 80's pop, classic rock, and other genres.
The lineup on Carnival of Chaos was Gwar in their prime, in my opinion. Dave Brockie as lead singer Oderus Urungus, Casey Orr as bassist Beefcake the Mighty, Peter Lee as guitarist Flattus Maximus, Michael Derks as guitarist Balsac the Jaws of Death, Brad Roberts as drummer Jizmak Da Gusha, Danielle Stampe as female vocalist Slymentra Hymen, and Hunter Jackson as Techno Destructo. Lee, Stampe and Jackson eventually left the band, and they've been different ever since. Not bad, but different. Carnival of Chaos is one of Gwar's most playful albums. They're not taking themselves too seriously here, and really when you've been dressing up as a space alien rock band and "decapitating" crude paper mache representations of celebrities, politicians and giant space creatures and spraying countless audiences with a stage blood concoction since 1985, how could you take yourself completely seriously? The humor here is very tongue in cheek, and at times self-referential, like in the song Letter From the Scallop Boat, in which Oderus sing-reads a letter from a Gwar fan in jail for killing his wife's adulterous lover. The fan asks if Gwar is really from Antarctica and if they just keep their slaves in Richmond. Originally, Gwar claimed that they were from Antarctica, as part of an origin story that has changed and evolved throughout the years. Eventually, people got hip to their real identities, and the fact that they're Richmonders, and nobody really buys the origin story anymore, but they still play with the concept in their albums. The potty humor would get the best of Gwar, and they took it too far over the top with their next album, We Kill Everything. But on Carnival of Chaos, it's used to good effect.
Carnival of Chaos is, perhaps, Gwar's most accessible album. But accessible doesn't mean commercial, in my opinion. Frankly, their earlier albums such as Hell-O can be a bit challenging to take in. And the humor is usually really crude, and probably offensive to most. Here, it's more obviously a joke and a satire. Even the more risque songs, like Preschool Prostitute are obviously not meant to be taken seriously when listened to with the rest of the album. Admittedly, at times the joke toes the line between clever and stupid, especially on the album opener Penguin Attack, a song about killer mutant penguins. But songs like Hate Love Songs, sung by bassist Casey Orr, uses subtle humor and sarcasm to great effect. It's the perfect anti-Valentine's Day song. Carnival of Chaos really feels like a collaborative effort, with Jackson, Stampe and Orr getting the opportunity to be lead singers on entire songs, instead of just background vocals. The band seems to be a cohesive unit here. I get the sense that they enjoyed themselves with this album. Gwar's popularity had wained a bit prior to Carnival of Chaos, and it seems like they were more focused on writing songs that they wanted to write, as opposed to trying to write another Saddam A-Go-Go (their biggest hit.)
All in all, Carnival of Chaos is a great primer for those curious about Gwar. It's easy to digest, with the elements that make Gwar Gwar still in place. It's also their longest album, which means more bang for the buck. It's an oft overlooked entry in their catalogue, and deserving of far less vitriol, and far more praise than it has received. Stand-out tracks: Hate Love Songs, Don't Need a Man, Back to Iraq, The Private Pain of Techno Destructo, Sex Cow.
Carnival of Chaos makes for a good "In Defense of" post, because many Gwar fans dislike this album. Some cite it as their least favorite Gwar album, claiming that it's too commercial and unfocused musically. Calling Gwar commercial is a huge oxymoron. They'll never be completely commercial. Perhaps they're becoming more accessible to a wider audience, but you're still not likely to hear Gwar on standard radio (unless it's their misguided, label-demanded, and pointless cover of Alice Cooper's School's Out...). Their lyrics are pretty vulgar. Not so much from a profanity standpoint, although they're not afraid of four letter words, but more from a content standpoint. For example, they have songs called "Fucking An Animal," "Preschool Prostitute," "Baby Raper," "Penis I See," etc. They wear thongs and simulate violent acts in their stage show, and they're in direct opposition to Richmond's oft conservative leanings. That's one of the things that endears Gwar to many fans; they represent an aspect of society that others are quick to dismiss, decry, or just ignore. And they do so in an amusing, and very entertaining manner. At it's heart, Gwar's music is a combination of vaudeville, social satire and comic book fantasy, with bits of sophomoric humor and filth added for good taste. or maybe bad taste...
Carnival of Chaos is one of Gwar's most experimental albums, ranging from their usual unique blend of punk rock and metal to a lounge singer ballad, an a country rockabilly track. "Experimental" is always polarizing for music fans, because usually fans want more of the same things that they've always liked, but they also want new material. It's a catch 22, and it's frankly stereotypical. An artist can't evolve without experimentation. Yet if they stray too far from the classic formula, fans pull out their pitchforks and torches. Prior to Carnival of Chaos, Gwar's albums were pretty similar stylistically. Their first album, 1988's Hell-O, is their most straight forward punk rock influenced album. After that, their focus shifted more toward a blending of punk rock and heavy metal. While they've always experimented with various styles within their songs, Carnival of Chaos is the most diverse utilization of multiple styles. I can understand why some fans would see that as being unfocused, but I think it shows just how talented and diverse they are as musicians. On the same album, they pulled off punk rock, metal, country, lounge, 80's pop, classic rock, and other genres.
The lineup on Carnival of Chaos was Gwar in their prime, in my opinion. Dave Brockie as lead singer Oderus Urungus, Casey Orr as bassist Beefcake the Mighty, Peter Lee as guitarist Flattus Maximus, Michael Derks as guitarist Balsac the Jaws of Death, Brad Roberts as drummer Jizmak Da Gusha, Danielle Stampe as female vocalist Slymentra Hymen, and Hunter Jackson as Techno Destructo. Lee, Stampe and Jackson eventually left the band, and they've been different ever since. Not bad, but different. Carnival of Chaos is one of Gwar's most playful albums. They're not taking themselves too seriously here, and really when you've been dressing up as a space alien rock band and "decapitating" crude paper mache representations of celebrities, politicians and giant space creatures and spraying countless audiences with a stage blood concoction since 1985, how could you take yourself completely seriously? The humor here is very tongue in cheek, and at times self-referential, like in the song Letter From the Scallop Boat, in which Oderus sing-reads a letter from a Gwar fan in jail for killing his wife's adulterous lover. The fan asks if Gwar is really from Antarctica and if they just keep their slaves in Richmond. Originally, Gwar claimed that they were from Antarctica, as part of an origin story that has changed and evolved throughout the years. Eventually, people got hip to their real identities, and the fact that they're Richmonders, and nobody really buys the origin story anymore, but they still play with the concept in their albums. The potty humor would get the best of Gwar, and they took it too far over the top with their next album, We Kill Everything. But on Carnival of Chaos, it's used to good effect.
Carnival of Chaos is, perhaps, Gwar's most accessible album. But accessible doesn't mean commercial, in my opinion. Frankly, their earlier albums such as Hell-O can be a bit challenging to take in. And the humor is usually really crude, and probably offensive to most. Here, it's more obviously a joke and a satire. Even the more risque songs, like Preschool Prostitute are obviously not meant to be taken seriously when listened to with the rest of the album. Admittedly, at times the joke toes the line between clever and stupid, especially on the album opener Penguin Attack, a song about killer mutant penguins. But songs like Hate Love Songs, sung by bassist Casey Orr, uses subtle humor and sarcasm to great effect. It's the perfect anti-Valentine's Day song. Carnival of Chaos really feels like a collaborative effort, with Jackson, Stampe and Orr getting the opportunity to be lead singers on entire songs, instead of just background vocals. The band seems to be a cohesive unit here. I get the sense that they enjoyed themselves with this album. Gwar's popularity had wained a bit prior to Carnival of Chaos, and it seems like they were more focused on writing songs that they wanted to write, as opposed to trying to write another Saddam A-Go-Go (their biggest hit.)
All in all, Carnival of Chaos is a great primer for those curious about Gwar. It's easy to digest, with the elements that make Gwar Gwar still in place. It's also their longest album, which means more bang for the buck. It's an oft overlooked entry in their catalogue, and deserving of far less vitriol, and far more praise than it has received. Stand-out tracks: Hate Love Songs, Don't Need a Man, Back to Iraq, The Private Pain of Techno Destructo, Sex Cow.
Saturday, November 6, 2010
Mangorilla Music Picks: #1
Today I watched a documentary called "I Need That Record!" It's about the death of independent record stores in the wake of file sharing websites, legal MP3s, and super stores like Wal-Mart and Best Buy. It was hard to watch, because several of my favorite independent record stores around town have shut down over the years. First it was a store called Soundhole. It was a short drive from my house, and they specialized in punk rock and heavy metal, which happens to be my two favorite genres of music. You could walk in and hear Crisis blasting on the store sound system. Their used cd section was always well stocked, and I bought most of my Meat Puppets albums there. I also scored a free cool Radiohead banner from their "Take it! We don't want it!" box. Then the store moved further away, replaced by a tobacco store. But the new store was still reasonably close, thankfully. And then they folded. And now it's a pool supply store. Then there's Plan Nine Records. They used to have a store almost within walking distance from my house, and I was there very often. I applied for a job there every summer, but they never hired me. I spent hours there. It was my Mecca. Then, it went away. Now, it's a maternity clothing store. Thankfully, they still have the main Richmond shop open, but that's a hassle to get to at times, because it's about a 25 minute drive, and parking downtown isn't so great. And it's mostly used vinyl now, with the used cd section growing smaller and smaller. There was also a store in Williamsburg, which was nice because I found myself in Williamsburg pretty often. Then that store moved across the street, and wasn't nearly as good. And now, it's gone. And it's all really sad to me, because I had great times in independent music stores, and great finds. I found a copy of the Death Piggy album for $7. It sells on eBay for $25 or more. And I will always prefer physical media over digital media. You can't display your hard drive collection. But more importantly, I was introduced to great music that otherwise doesn't get noticed, as it's too old, or too obscure to get mainstream notice. That was the beauty of independent record stores; they often ignored trends and top 40 lists. They were run by music fans, for music fans. Best Buy clerks don't give a crap what music you like. And if you ask if they have any Boozoo Chavis, they'll likely blink at you and direct you to the refrigerators.
Which brings me to the point of this post. I could rant about the current state of the entertainment industry, but I won't. Suffice to say, we really should support the local flavor, before it's extinct. Don't go to McDonald's; find a cool local burger joint instead. Don't go to Pizza Hut; go to the mom and pop Italian restaurant. And if you're lucky enough to still have one, go to the mom and pop video store, or record store when you can. No, the point of this post is to recommend some good songs that you may not have heard before.
1. Coffin Break -- Kill The President. I literally discovered this band's existence yesterday. I watched a documentary called "Hype" about the grunge scene of Seattle in the early 90's. That's my generation, so naturally I love that music. Nirvana, Mudhoney, Pearl Jam, Alice In Chains, Soundgarden, Tad, etc. But naturally, there are plenty of bands that I missed from that era, and Coffin Break was one of them. It's a misleading song, which is what I love about it. It starts off sounding like a hardcore punk song, and the vocalist indeed is a shirtless, shaved headed behemoth reminiscent of the lead singer of the Cro-Mags. Then the tone changes, and he sings "I'm so happy." Frankly, I love this song right now.
2. The Pogues -- Fairytale of New York. I'm a sucker for controversial music, so I did an internet search for banned songs, and I discovered this one. Apparently it was banned by the BBC, basically for the words whore and faggot. The Pogues are a band that I need to delve into more deeply, as I'm a fan of Irish and Irish-tinged music, but somehow I don't own any Pogues albums yet. Fairytale of New York is a love song for a dysfunctional relationship, which really is the only type of love song New York should have. It's brilliant.
3. Jonathan Coulton -- Code Monkey. Nerd bliss. This song was used for the theme song of the gone before it's time cartoon, Code Monkeys. I loved that show. It was a cartoon in the style of an old Nintendo game, with the characters losing health from their heart health bar when they got hit by something, and jumping over pits to get to meetings. Anyhow, it made me want to look up this song, and I'm glad I did, because it's brilliant. It should be the anthem for anyone stuck working in a cubicle.
4. The Clash -- Straight to Hell. I'm not a gigantic Clash fan, but I definitely respect them. This song is from the album Combat Rock, which is the one I offered to the disinterested (and obviously misguided) youngster at the vinyl record yard sale. When he passed on it, I snatched it up, partly because it has this song on it. To me, this song is a hidden gem on that album; overshadowed by the hits Should I Stay or Should I Go and Rock the Casbah. It's one of their mellow songs, and isn't very punk rock in the stereotypical sense of the term. It's slow, and there's no guitar chords. But there's a ton of passion and frustration in Joe Strummer's voice here, and it's better than Rock the Casbah, in my opinion.
5. Aerosmith -- Critical Mass. I've become somewhat obsessed with early Aerosmith lately. They really haven't recorded much worth listening to since the Get a Grip album in my opinion (or the Pump album, according to most long time fans), and with Steven Tyler signed on to American Idol now, their future is pretty uncertain. But those early albums, Aerosmith, Get Your Wings, Draw the Line, and Rocks in particular, are classics. Critical Mass is a reminder of why they were ever considered to be a great band.
6. The Dollyrots -- A Brand New Key. Finally, a new band to be excited about. I picked up their Because I'm Awesome album after listening to a few podcasts praising the band, and it's some of the best music I've heard in a long time. Heavy and catchy, which is really all I ask for. Because I'm Awesome is probably an easier song to digest at first, but A Brand New Key is my favorite from this album, though every song is good.
7. Johnny Cash -- Straight A's In Love. I found a Johnny Cash box set at a wholesale bookstore, of all places. I have a few Johnny Cash albums, but I need more. He's the one exception to any "I don't like country" statement. I love serious, dark, brooding and somewhat depressing Johnny Cash stuff like Man In Black and his cover of Nine Inch Nails' Closer, but he had a playful side as well that's just as good. That's why I like this song so much. He rhymes "say" with "algebra." What more is there to love?
8. Ky-Mani Marley -- Warriors. I heard this song while in the Bahamas on my honeymoon. A vendor at the beach was playing it on his laptop. So maybe it has time and place memory nostalgic value, but I think it's a good song regardless. And I'm certainly not a big hip hop fan. I own maybe 5 hip hop albums total. So it's rare when a song pokes through and impresses me. But it's a Marley. You really can't go wrong with that last name when it comes to Reggae infused hip hop.
9. Les Paul & Mary Ford -- How High the Moon. Les Paul pretty much invented the quintessential rock and roll guitar. And he played live well into his 90's. Also invented the double tracking recording process. And he was an amazing guitar player. How High the Moon is a prime example of his playing abilities. Classic rockabilly, before rockabilly was even in our lexicon.
10. Meat Puppets -- Blanket of Weeds. I will not rest until at least one other person I know is at least somewhat appreciative of the Meat Puppets. Not all of their albums are great, I'll admit. Their first album is, in fact, pretty much unlistenable. But Sewn Together, their most recent album to date, is fantastic. Their playing and singing has never been better. There's not a single throw away or bad song on the album. Blanket of Weeds is one of the best, and a good introduction to the band for newcomers. If I could, I would give everyone I know a copy of Sewn Together. I stand behind it that strongly.
11. Proverbial -- Down Here. Ok, so this one is a bit self-serving. Full disclosure, my wife's aunt's nephew (so her second cousin, or something along those lines...) plays in the band. Even so, they're amazing, and before long, they'll be well known. They're already making a big splash in the local scene. And they're some of the most original sounding music I've heard in a very long time, mixing hip hop with reggae, soul, and guitar rock. If you can catch a Proverbial show, do so.
12. Sleater-Kinney -- Entertain. I first heard this song on the Henry Rollins Show. I love all-girl rock bands, and Sleater-Kinney were one of the best in recent times. It doesn't hurt that they were on Sub Pop records, one of my favorite labels. Unfortunately, they're split up now. But I can still hope for a reunion someday.
13. Sonic Youth -- Schizophrenia. Hard to pick just one Sonic Youth song. They've quickly become one of my favorite bands. But Schizophrenia is a good representation of what the band is all about. Mangled guitar tunings and monotone spoken word interludes abound, yet somehow it all works, when it really shouldn't.
14. Toshiyuki Honda -- El Bombero. I am not an anime fan. Nor am I a J-Pop fan. But I watched Metropolis not too long ago, and found myself enjoying it, which is the true sign of a good anime, if even I like it. This song stuck with me. It was one of the most unique songs I've ever heard. Frantic free form jazz mixed with techno elements, and somehow still very rocking and catchy. It won't be for everyone, but if you're looking for new sounds, look no further.
15. Thin Lizzy -- Running Back. Thin Lizzy are best known for their anthem rockers like The Boys Are Back In Town, and now Bad Reputation, thanks to the Guitar Hero games. But they also wrote great ballads. Running Back is one of the best. Phil Lynott was taken from us too soon.
16. Young @ Heart Chorus -- Fix You. Young @ Heart is a fantastic documentary about a group of nursing home residents who formed a chorus and toured playing stripped down and altered versions of modern rock songs. It's inspiring and heart breaking, and overall really powerful. I highly, highly recommend the documentary. This is their rendition of the Coldplay song Fix You, and it's so much better than the original. After watching the movie, it'll break your heart. But as a stand alone, out of context, it's just a hauntingly beautiful song. I find it also makes for a great last song to a mix tape, or cd as it were.
Anyway, that's an hour's worth of music right there. And you're bound to find at least one song here that you'll love. At the very least, have mercy on your beloved hairy host and check out that Meat Puppets song. Have good mosh pitting.
Which brings me to the point of this post. I could rant about the current state of the entertainment industry, but I won't. Suffice to say, we really should support the local flavor, before it's extinct. Don't go to McDonald's; find a cool local burger joint instead. Don't go to Pizza Hut; go to the mom and pop Italian restaurant. And if you're lucky enough to still have one, go to the mom and pop video store, or record store when you can. No, the point of this post is to recommend some good songs that you may not have heard before.
1. Coffin Break -- Kill The President. I literally discovered this band's existence yesterday. I watched a documentary called "Hype" about the grunge scene of Seattle in the early 90's. That's my generation, so naturally I love that music. Nirvana, Mudhoney, Pearl Jam, Alice In Chains, Soundgarden, Tad, etc. But naturally, there are plenty of bands that I missed from that era, and Coffin Break was one of them. It's a misleading song, which is what I love about it. It starts off sounding like a hardcore punk song, and the vocalist indeed is a shirtless, shaved headed behemoth reminiscent of the lead singer of the Cro-Mags. Then the tone changes, and he sings "I'm so happy." Frankly, I love this song right now.
2. The Pogues -- Fairytale of New York. I'm a sucker for controversial music, so I did an internet search for banned songs, and I discovered this one. Apparently it was banned by the BBC, basically for the words whore and faggot. The Pogues are a band that I need to delve into more deeply, as I'm a fan of Irish and Irish-tinged music, but somehow I don't own any Pogues albums yet. Fairytale of New York is a love song for a dysfunctional relationship, which really is the only type of love song New York should have. It's brilliant.
3. Jonathan Coulton -- Code Monkey. Nerd bliss. This song was used for the theme song of the gone before it's time cartoon, Code Monkeys. I loved that show. It was a cartoon in the style of an old Nintendo game, with the characters losing health from their heart health bar when they got hit by something, and jumping over pits to get to meetings. Anyhow, it made me want to look up this song, and I'm glad I did, because it's brilliant. It should be the anthem for anyone stuck working in a cubicle.
4. The Clash -- Straight to Hell. I'm not a gigantic Clash fan, but I definitely respect them. This song is from the album Combat Rock, which is the one I offered to the disinterested (and obviously misguided) youngster at the vinyl record yard sale. When he passed on it, I snatched it up, partly because it has this song on it. To me, this song is a hidden gem on that album; overshadowed by the hits Should I Stay or Should I Go and Rock the Casbah. It's one of their mellow songs, and isn't very punk rock in the stereotypical sense of the term. It's slow, and there's no guitar chords. But there's a ton of passion and frustration in Joe Strummer's voice here, and it's better than Rock the Casbah, in my opinion.
5. Aerosmith -- Critical Mass. I've become somewhat obsessed with early Aerosmith lately. They really haven't recorded much worth listening to since the Get a Grip album in my opinion (or the Pump album, according to most long time fans), and with Steven Tyler signed on to American Idol now, their future is pretty uncertain. But those early albums, Aerosmith, Get Your Wings, Draw the Line, and Rocks in particular, are classics. Critical Mass is a reminder of why they were ever considered to be a great band.
6. The Dollyrots -- A Brand New Key. Finally, a new band to be excited about. I picked up their Because I'm Awesome album after listening to a few podcasts praising the band, and it's some of the best music I've heard in a long time. Heavy and catchy, which is really all I ask for. Because I'm Awesome is probably an easier song to digest at first, but A Brand New Key is my favorite from this album, though every song is good.
7. Johnny Cash -- Straight A's In Love. I found a Johnny Cash box set at a wholesale bookstore, of all places. I have a few Johnny Cash albums, but I need more. He's the one exception to any "I don't like country" statement. I love serious, dark, brooding and somewhat depressing Johnny Cash stuff like Man In Black and his cover of Nine Inch Nails' Closer, but he had a playful side as well that's just as good. That's why I like this song so much. He rhymes "say" with "algebra." What more is there to love?
8. Ky-Mani Marley -- Warriors. I heard this song while in the Bahamas on my honeymoon. A vendor at the beach was playing it on his laptop. So maybe it has time and place memory nostalgic value, but I think it's a good song regardless. And I'm certainly not a big hip hop fan. I own maybe 5 hip hop albums total. So it's rare when a song pokes through and impresses me. But it's a Marley. You really can't go wrong with that last name when it comes to Reggae infused hip hop.
9. Les Paul & Mary Ford -- How High the Moon. Les Paul pretty much invented the quintessential rock and roll guitar. And he played live well into his 90's. Also invented the double tracking recording process. And he was an amazing guitar player. How High the Moon is a prime example of his playing abilities. Classic rockabilly, before rockabilly was even in our lexicon.
10. Meat Puppets -- Blanket of Weeds. I will not rest until at least one other person I know is at least somewhat appreciative of the Meat Puppets. Not all of their albums are great, I'll admit. Their first album is, in fact, pretty much unlistenable. But Sewn Together, their most recent album to date, is fantastic. Their playing and singing has never been better. There's not a single throw away or bad song on the album. Blanket of Weeds is one of the best, and a good introduction to the band for newcomers. If I could, I would give everyone I know a copy of Sewn Together. I stand behind it that strongly.
11. Proverbial -- Down Here. Ok, so this one is a bit self-serving. Full disclosure, my wife's aunt's nephew (so her second cousin, or something along those lines...) plays in the band. Even so, they're amazing, and before long, they'll be well known. They're already making a big splash in the local scene. And they're some of the most original sounding music I've heard in a very long time, mixing hip hop with reggae, soul, and guitar rock. If you can catch a Proverbial show, do so.
12. Sleater-Kinney -- Entertain. I first heard this song on the Henry Rollins Show. I love all-girl rock bands, and Sleater-Kinney were one of the best in recent times. It doesn't hurt that they were on Sub Pop records, one of my favorite labels. Unfortunately, they're split up now. But I can still hope for a reunion someday.
13. Sonic Youth -- Schizophrenia. Hard to pick just one Sonic Youth song. They've quickly become one of my favorite bands. But Schizophrenia is a good representation of what the band is all about. Mangled guitar tunings and monotone spoken word interludes abound, yet somehow it all works, when it really shouldn't.
14. Toshiyuki Honda -- El Bombero. I am not an anime fan. Nor am I a J-Pop fan. But I watched Metropolis not too long ago, and found myself enjoying it, which is the true sign of a good anime, if even I like it. This song stuck with me. It was one of the most unique songs I've ever heard. Frantic free form jazz mixed with techno elements, and somehow still very rocking and catchy. It won't be for everyone, but if you're looking for new sounds, look no further.
15. Thin Lizzy -- Running Back. Thin Lizzy are best known for their anthem rockers like The Boys Are Back In Town, and now Bad Reputation, thanks to the Guitar Hero games. But they also wrote great ballads. Running Back is one of the best. Phil Lynott was taken from us too soon.
16. Young @ Heart Chorus -- Fix You. Young @ Heart is a fantastic documentary about a group of nursing home residents who formed a chorus and toured playing stripped down and altered versions of modern rock songs. It's inspiring and heart breaking, and overall really powerful. I highly, highly recommend the documentary. This is their rendition of the Coldplay song Fix You, and it's so much better than the original. After watching the movie, it'll break your heart. But as a stand alone, out of context, it's just a hauntingly beautiful song. I find it also makes for a great last song to a mix tape, or cd as it were.
Anyway, that's an hour's worth of music right there. And you're bound to find at least one song here that you'll love. At the very least, have mercy on your beloved hairy host and check out that Meat Puppets song. Have good mosh pitting.
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