Way back in 2002, Iced Earth was getting ready to part ways with their longtime label, Century Media Records, and to do so they were required to deliver one final album. Instead of giving up an album of new material, Iced Earth mastermind Jon Schaffer decided that for their final release they would pay tribute to some of the bands that inspired him and the band to get into this business of music creation. The end result is what you would expect of a tribute/cover album, a mixed bag, but generally well worth the listen.Iced Earth is one of those bands that has a dedicated following but haven't really broken through to the mainstream in any meaningful way. They are an incredibly talented band that has delivered some of the best heavy metal over the past 15 years. Even with the seemingly endless rotation of band members, session players, touring players, and vocalists they always seem to turn out some great music. This fact is probably due to the strong guiding force that is founding member, guitarist Jon Schaffer. It is said the bands represented here are those that influenced the band, but I suspect that it is a list that heavily favors Schaffer's influences.
Tribute to the Gods would prove to be the final studio recordings that the band made with vocalist Matthew Barlow, who still owns the record of longest tenure of any of their singers, spanning four studio albums, one album of re-recordings of earlier tracks with him on vocals, and a live album. The split was amicable. Barlow's reason for leaving had to do with his changing attitudes in the wake of 9/11. Wishing to contribute more to the real world, he went to the police academy and became a police officer, currently serving in Georgetown, DE. The man has an amazing voice, very powerful and emotional. This album may take him a bit out of his element at times, he still puts his stamp on these Iced Earth versions. Barlow is actually making a return to music, becoming the new lead singer for a band called Pyramaze, whose schedule allows him to retain his post as a police officer.
This album contains classics from such luminaries as Kiss, Iron Maiden, AC/DC, Judas Priest, and Blue Oyster Cult. The songs feel as if they were partially attempting to remain true to the originals while also putting a distinctive Iced Earth stamp on them. It is a little strange hearing these songs, some of which had more of a raw feeling or sparse production recreated here with the thick, heavy production that I would associate with Iced Earth. I wonder if the Iced Earth stamp was just a byproduct of their production practices more than a concious decision to give that Iced Earth vibe? Whatever the case may be, it is effective on some songs more than on others.
Track one is the Kiss song "Creatures of the Night." It is not bad, but it sounds a bit strange hearing them play in this higher register, it sounds a bit awkward and Barlow is definitely out of his element. They make up for the false start by following up with Iron Maiden's "Number of the Beast," a song in a style that they are better suited to. They bring a nice thickness to the track and while Barlow is definitely a different type of singer than Bruce Dickinson, he sounds very good here, as do Jon Schaffers guitars. "Highway to Hell," from AC/DC, is next, and there is a bit of a "metalling" up going on with this rock song which falls in the middle in terms of success. The guitars and drums have a nice heavy feel for them, but the vocals do not come close to Bon Scott.
Blue Oyster Cult makes an appearance, their first of two, with "Burnin' For You." This sounds really good, it is a bit more of a classic rock sound, but Iced Earth's sound molds easily around it and Barlow sounds just right. Next is the second of the Kiss cuts, "God of Thunder," and it is really made to sound awful heavy. Sure some of the lyrics sound a bit silly, but man if it doesn't sound cool. Iced Earth then takes a turn to the metal stylings of Judas Priest with "Screaming for Vengeance." I'm sorry, but this just does not sound good at all, they just seem to be trying to keep up and making a pale imitation of the original.
The pace is slowed for Alice Cooper's "Dead Babies," given a very morose feel and allows Barlow to stretch his emotional range, as he sounds very good here. No, not quite Cooper, but give it a listen, you may be surprised with what he can do if you were not previously familiar. Next up is the second Blue Oyster Cult inclusion, "Cities on Flame," a track which is moderately successful, it is a bit too "rock" for them and the end result is curious but nothing to really right home about. The production seems to have been stripped back a bit for AC/DC's "It's a Long Way to the Top," another example of a song that isn't bad, but sounds a bit off when played by Iced Earth.
Tribute to the Gods closes strong with a pair from legendary bands Black Sabbath and Iron Maiden. First up is Sabbath's "Black Sabbath" which sounds deep, evil, and heavy and gives Barlow another change to streetch his pipes. The drumming from Richard Christy sound sparticularly good on this track. The album closes with Maiden's "Hallowed Be Thy Name," and it is here where all of the pieces come together in near perfect harmony. It allows the band to spread out in a technical wall of sound while Barlow does a fantastic job of being Barlow while also respecting the original.
Bottomline. I love Iced Earth, and while this is not near their best work, it does offer up some tracks that any fan will want to have in his collection. It is not bad by any stretch, but with any tribute album you are going to expose the band's strengths and weaknesses in playing the music of others. In short, do not hesitate in checking this out, it is fun, just not great. If you want greatness check out their album Something Wickedn This Way Comes.
Mildly Recommended.
Every once in awhile, a band name makes me wonder if the well of good band names has finally run dry, this is one of those times. Yes, I occasionally shake my head in bemused wonder at some of the bands that I like and the wacky names they have given themselves. As I look at the name of this band, I have that bemused look and have to wonder what possessed them to name their band "Framing Hanley." I am sure there is some meaning, and that is well and good, I just don't particularly care for it. They used to be called Embers Fade, and I believe they had to change it due to another band already claiming rights to it, it is a much better name. Be that as it may, I am sure you could truly care less what I have to say about their name.
Framing Hanley is not a bad band, but for the probable talent they have, the music plays everything towards the middle. They are highly reminiscent of Breaking Benjamin, and have more radio friendly hooks than you can shake a stick at. It is the kind of middle of the road music that belies what they could probably do if not being marketed at that radio friendly market. There is nothing wrong with aiming for the radio, so long as you are still making the music you want. However, I am not convinced that this is all they have in them.
The Outer Limits was a science fiction anthology series created by Leslie Stevens, with some help from Joseph Stefano (who also wrote the screenplay for Alfred Hitchcock's Psycho). It came into being towards the end of Rod Serling's Twilight Zone run, it began in 1963, while Twilight Zone ran from 1959 to 1964. The two shows have a lot in common, first and foremost strong writing, the anthology format, the twist, and being able to stand the test of time. As I watch, realizing just how good it is, I recognize that there is no way that it would get made in today's television climate. Not to say that there are no shows today that can match its quality, it is just that television has changed, the landscape is a vastly different, and in many ways rockier terrain to navigate.
Yes, you read that right, this metalhead is reviewing a collection of Traveling Wilbury's music. This is about as far removed from the normal metal reviews you read here as you're likely to get. However, if you want to hear a great blend of rock, folk, and country by some of the biggest names in the biz, you are not likely to do better than this. 
The Painted Veil is one of those movies that I was interested in, but never really felt like making the time to go see it. Even now, with the DVD in hand, I approached the viewing as if it were a chore. You know those types, the movies that seem interesting on paper, or have aspects thatr you are quite interested in, but there is something about them that is a bit offputting. Not that it is a bad movie, or anything like that, it is just that despite the interest you suspect something will not sit well, dampen your enjoyment, or you will wind up hating it. Well, now that I have put the time in and watched it, I am happy to report that it is a beautifully crafted film that combines a realistic relationship with the historical fact of China circa the 1920s, creating a film that is gorgeous to look at and fascinating to watch.
The film is based on the novel of the same name by W. Somerset Maugham. It is the thid filming of the story, previously getting the big screen treatment in 1934 and then again in 1957 (as The Seventh Sin). I have not seen either of those, nor have I read the book, so any comparisons to the source/prior interpretations is a no go. No matter, the film is strong enough to stand on its own as a highly dramatic film with a well developed screenplay, fine acting, and gorgeous cinematography.
Walter is married to his work, and Kitty, looking for a stronger emotional bond finds it in an affair with Charlie Townsend (Liev Schreiber), another official stationed in Shanghai. It is not long before Walter discovers his wife's dalliance, and their relationship takes a turn. The exposure of the affair leads to an ultimatum which takes our unhappily married couple to a small village in the throes of a massive cholera epidemic. It takes the relationship to the next level, an uncomfortable purgatory for both of them.
The screenplay, by Ron Nyswaner, is well developed and has a strong arc for the lead characters. The screenplay allows them to develop as individuals as they learn about themselves, each other, and this distant land they find themselves in. It is fictional romantic drama set in a world based on historical fact, where the history does not overshadow the drama. Very strong work that really draws you in and holds your attention, following those fast moving first twenty minutes.
Europe has such a great metal scene. It seems like everytime I turn around there is a new, at least to me, band from across the Atlantic that is turning out incredible music. It doesn't seem to matter what style you are looking for, there it is. Take Andromeda, for example, prior to my viewing of this DVD, I had never heard them before, never even heard of them before. Slip the disk in, no idea what to expect, press play, and pray that it is good. In this case, it is better than good. Andromeda's brand of melodic prog-metal is beyond compare, these guys possess an incredible amount of talent, and this DVD clearly shows off what they can do.
It's been over 20 years since Poison landed on the glam scene with their make-up, big hair, and big arena rock hooks. They were a fun band, a party band, and they did not intend on letting anyone forget it. The music from their heyday will always be a testament to rock 'n roll excess, with more sex, drugs, and rock n' roll than you can shake a drumstick at. Well, times have changed, the band has gone through its share of troubles, but somehow, they managed to all come back to the same page, letting bygones be bygones. Gone are the stories of Bret Michaels punching out CC DeVille after a performance, back is a band trying to reclaim some of thier past glory and forge ahead in new directions. What better way to forge a new direction than to release an album covering songs that inspired them when they were up and coming glam rocker punks?
Poison'd! is a curiosity along the road that has been Poison's career, they have brought together an unlikely collection of songs and done their best to be true to the original, while still having something of a Poison sound to it. In addition to a 9 new recordings, they also include 5 covers that have been previously released, most famously the Loggins & Messina song they took to new heights in the late 1980's, "Your Momma Don't Dance."
Ocean's 13 opened to rather tepid reviews, yet succeeded in topping the box office in its opening frame, easily knocking Pirates out of the top spot after it's two week reign at the top. This was also the first week to offer up a few films with legitimate aspirations for the top slot. With the star power of the Ocean's sequel, the kid fueled power of Surf's Up, and the blood drenched draw of Hostel Part II. It is true that only Ocean's had a real shot at the number one position, but the other two were also expected to perform well.
The pick this week is one of the best films to emerge from the young 2007 season, back in February. The movie in question is Breach, a real world based spy thriller that relies on the strength of the performances, the intrigue of the true events, and an understated approach that lets the story build slowly out of the characters. It is an excellent film, one that will hopefully find good word of mouth on the home video front.
Originally slated for release in January, the studio thought that it would fare better in the summer heat. So, here we are, June is here and Eli Roth's torture film has arrived on the big screen, sure to be a prime target of critics everywhere. I was all set to go in and hate the movie, or at least dislike it. There is just something about how they go about marketing it as the most shocking horror film and the like, I just cannot accept that the goriest most disturbing film will be one that gets through the modern MPAA system with an R rating. I cannot and will not believe that. Sure, there was The Exorcist, but that is not terribly gory and I believe the MPAA was a slightly different beast then. Anyway, back to the movie at hand. Surprisingly, I walked out satisfied with what I have seen, in contrast to the bits of early reviews saying that it was boring and/or not all that good.
Hostel Part II begins with a sequence aimed to horrify, yet I found it slow, boring, and ultimately not needed. Not a good start, if you ask me. The scene centers on Paxton (Jay Hernandez), the surviving hero of the first film, he is in hiding, afraid that the Elite Hunters will trake him down and finish the job. The scene really has no connection to the rest of the movie and only serves to tie up the perceived loose end from the original film. I have to question the need to even go back to the first movie. Why was it necessary to go back to Paxton's tale? Wasn't it enough that he got away, got his revenge, and returned to his life? I would have been much more satisfied with that, rather than the scene tacked on to kick this entry off. OK, not a good start.
we all know what is going to happen. While the first film had that lulling effect in the first half, where you are not sure what is going to happen or when, that feeling of building suspense is gone. We all know where this is leading, and at some points, I just wished they would hurry up and get to the gore already. Still, I found the journey of these women to be a bit more interesting than the journey of the guys last time. The movie did drag a couple of times, but I still felt oddly compelled.
we near the second half, where the blood makes its appearance. I felt like there was less nudity and less gore this time around, but it seemed to be more effective. Then there is the "twist" ending, which, while not the "most shocking ending in horror history" as the commercials would like you to believe, was still surprising, it caught me off-guard anyway.
The latest Soderbergh and friends outing has arrived on the big screen, and while it is overall a fun experience, I cannot call it a great movie. Calling it merely "good" would be much more accurate. It is a definite step up from its predecessor, but does not climb as high as the original remake. I also think that this may have been the wrong time of year to release a film such as this, the whole big time scam setup, the plethora of stars and the way it all plays out just makes me think it would have been better suited as a December release, especially with the already high number of sequels that have already hit the screens and will continue to hit the screens through the summer.
The crux of this outing is a fateful meeting between Elliot Gould's Rueben Tishkoff and Al Pacino's Willie Bank. The pair were partnering on a new casino, but Willie had a different idea for the "partnership." In other words, there was to be no partnership. The shock of this turn of events caused Rueben to suffer a massive heart attack. Now, this is considered to be just as bad, if not worse, as if Bank had shot him, and is not going to go unpunished. Enter Danny Ocean (Clooney). He rounds up the gang and together they set out to hurt Bank the best way they know how, in the wallet.
This caper film has moments of fun, but I felt I was kept in the dark for long stretches, and when the plans came into play, I did not feel like I knew what they were doing. There was a lot of talking, but we are only given bits and pieces of the plot, of the caper, and of the reasoning. The vast majority of the hows and whys were left to off-camera conversations, not too mention how they got their hands on the tunneling machine, or how they got it tunneling under Vegas without anyone noticing.
really feels like a vanity project for Soderbergh and his team, like a bunch of stars decided to get together and make a movie. What kind of movie would be perfect for a large ensemble of stars? Why, a caper film of course, it requires a team of people to get things done. They get together and start shooting, making it up as they go along, working from a loose outline. Fun? Sure. Good way to make a good movie? Probably not.
Surf's Up is the tale of a young penguin, cody Maverick (Shia Lebeouf) who wants to be a top surfer. He grew up idolizing Big Z (Jeff Bridges), a legendary surfer who had visited his town when he was but a child. Young Cody dreams of following in Z's footsteps, even when no one else will support him. While everyone thought he was crazy, or lazy, he never let go of his dream. One day, he is visited by a talent scout looking for the next big thing in surfing, and finds Cody. Cody is ecstatic. He sets off to enter a big tournament, on the tropical island of Pen Gu, in honor of the late Big Z.
The story is nothing new, it follows the who moral of "winning isn't everthing" and the power of friendship, you know, the sort of stuff that is the fodder for family movies the year round. Surprisingly, it just works really well. The script develops at an even pace, they don't try to jam every minute with jokes, so while it isn't an absolute laugh riot, the characters are given time to develop at a nice pace. It actually has characters, a number of good ones, which is a big surprise in and of itself.
surfing aspirations, and follows him on his journey to Pen Gu. It isn't used for the entire movie, whether by design, or by forgetfulness, and those moments step back towards the ordinary, but the screenwriting saves the day giving us characters that are actually interesting have genuine interactions.
As embarrassing for a metal fan to say, my first experience with Doro Pesch came mere weeks ago when I received a copy of the Warrior Soul DVD. I had heard of her, or course, but for some reason I had never listened to an Doro or Warlock albums. What I found in that concert is a charismatic frontwoman with a fantastic voice performing catchy heavy metal, so when I had the chance to catch her live, I jumped at the opportunity, and I was not disappointed. The night was filled with some excellent music, and I recommend that if you get the chance, you take it.
Dawnrider's Fate is Calling (Pt. 1) is an interesting epic fantasy metal album, one that is filled with interesting musical segments while also mining ground that I feel I have heard before. Even though there is that sense of familiarity, I have to admit to enjoying the album as a whole, even without knowing what the whole story is. For that matter, this album was originally released in Europe back in 2005, and I am not sure if there even is a part 2 yet, I have found no evidence of it outside a mention at the Dawnrider website that the music was beginning to take shape, in September of 2006. What is even more interesting than the music is that this is something of a companion piece to a novel being written by the man behind the music, Tarek Maghary, who is also the frontman of the band Majestic.
The multimedia experiment is pretty interesting, and not something that you see all that often in the music world. I do remember, back in the 1990's, there was the Star Wars novel, Shadow of the Empire, that had its own score written by Joel McNeely. Honestly, I cannot think of another example of a project such as this. Apparently, there was supposed to be a 30 page booklet that accompanied the CD release that tells the story of Dawnrider, which takes place in the universe originated in Sword and Sorcery, a fantasy novel also written by Maghary, but it was not, and is promised to be with part 2 whenever it arrives. As a consolation for it not coming with the disk, Maghary has recorded a