Tag Archives: 2018

Rocks In The Attic #791: Aretha Franklin – ‘Rarities From The ‘60s’ (2018)

RITA#791The Amazing Grace film has been lost in development hell since it was shot in 1972. A problem with syncing the audio to the picture meant that it was shelved in the Warner Bros. vault for decades. There were attempts to release it in 2011 and 2015, prevented both time by Franklin suing the producer, Alan Elliot, for using her likeness without her permission. Franklin’s family arranged for the film to be completed and released after her death in 2018. I guess her family were less principled about the whole affair.

The film opens with the general pre-show hubbub of Los Angeles’ New Temple Missionary Baptist Church. The Queen of Soul is coming to record a live gospel record, over two nights, with the Southern Californian Community Choir. Director Sydney Pollack can be glimpsed talking to the crew, while the Reverend Dr. James Cleveland reminds everybody that they’re taking part in a religious service, before introducing Aretha up on stage. She floats down the aisle onto the stage and sits down at the piano. The second she starts singing, eyes closed, belting out her magical voice, it’s clear that this is something special.

RITA#791aMick Jagger and Charlie Watts, in L.A. to finish the recording of Exile On Main St, can be seen hanging out at the back of the hall. It’s not hard to imagine that they’re probably just as happy to see the duo of Bernie Purdie on drums and Chuck Rainey on bass as they are to see Aretha.

I’ve been looking for a copy of the album itself for as long as I’ve been collecting records, and have only ever come across scratched, beat-up copies. Considering it’s the best-selling gospel record of all time, I’m sure I’ll find a nice copy one day, and there’s always the Complete Recordings 4xLP box set if the hunt proves elusive.

This LP is a collection of demos and outtakes, presented as a bonus disc in Aretha’s Atlantic Records 1960s Collection box set from 2018. As always, it’s gold.

Hit: I Never Loved A Man (The Way I Love You) (Demo)

Hidden Gem: The Fool On The Hill (Outtake)

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2019 Best Picture Nominees – Ranked From Worst To Best

Oscars Academy AwardsAround this time every year, I write about my picks for the Best Picture nominees. This is the third year running I’ve done this (after the 2017 and 2018 awards) and it’s something I’ve really started looking forward to.

It seems to be a really shallow pool this year, with all of the major awards being spread across a relatively low number of films. I usually struggle to watch all of the Best Picture nominees in time before the awards (given New Zealand’s position in the world when it comes to release schedules), but this year I’ve managed to watch almost all of the films nominated in all the major categories.

The only films I’ve yet to see are If Beale Street Could Talk (nominated for Best Adapted Screenplay and Best Supporting Actress) and Cold War (nominated for Best Director). Still, it’s the best I’ve done for years. I’ve seen everything else nominated for Best Picture and Best Director, and everything else in the acting and writing categories. It’s good timing too, as this is the first time in years I’ll be able to watch the awards live on TV – it’s been wrestled away from Sky TV and is being broadcast on Free-To-Air in New Zealand. I’ve taken the afternoon off on Monday so I can watch it all by myself. I told my boss that this is my Cup Final, and would happily sit in the pub watching it if I could, drinking beers and shouting “You’re not singing, you’re not singing, you’re not singing anymore!” at the screen (a chant that could be utilised when people lose out in the awards, and also when people finish singing the musical numbers).

Before we get to my pick of the year’s 30 (!) honourable mentions, here’s my ranking of the Best Picture nominees, from worst to best:

Black Panther

8th: Black Panther (Ryan Coogler, 2018)

As many have pointed out, this wasn’t even the best Marvel film to be released last  year. I’m all for genre films starting to get nominated for Best Picture again – it used to happen in the 1970s before the ‘message’ films of the 1980s started to focus the Academy’s gaze – but if you’re going to do it, at least pick a better film.

Last August, the Academy announced a new category – Outstanding Achievement In Popular Film – such was their desire to recognize this film (before changing their minds following a public outcry that it trivialised the awards). Their need to recognise Black Panther, for its predominately African-American cast, together with it being the highest-grossing film of all time by a black director, seems to be a purely political move. This is very strange in a year when multiple nominations awarded to BlacKkKlansman and If Beale Street Could Talk would have spared the Academy from any accusations of white-washing.

As a result of their misplaced focus on making sure Black Panther gets some awards attention, the Academy has completely overlooked female directors. Susanne Bier (Bird Box), Debra Granik (Leave No Trace), Marielle Heller (Can You Ever Forgive Me?), Dorota Kobiela (Loving Vincent), Lynne Ramsey (You Were Never Really Here), Josie

Rourke (Mary Queen Of Scots) and Chloe Zhao (The Rider) were all overlooked for both Best Director and Best Picture. I don’t think there should be a quota in place to ensure female and black directors are recognized. It should be a meritocracy, and each one of these films is a far better picture than Ryan Coogler’s superhero film.

Black Panther: A marvel only in its mediocrity.

Bohemian Rhapsody7th: Bohemian Rhapsody (Bryan Singer, 2018)

I’ve already written at length about my problems with this film. I’m kind of jealous that everybody enjoyed it so much, but the historical inaccuracies just overshadowed everything in my eyes. Maybe if I didn’t already know so much about Queen, I might have enjoyed it. The attention thrown at Rami Malek in the acting categories is also surprising. His low energy / none-existent charisma just doesn’t translate, and a pair of false teeth does not a Freddie Mercury make.

Green Book6th: Green Book (Peter Farrelly, 2018)

A film about racism for stupid people.

 

A Star Is Born5th: A Star Is Born (Bradley Cooper, 2018)

Having avoided the original 1936 version, the 1954 remake with Judy Garland, and the most recent 1976 version, I didn’t really know what to expect with A Star Is Born. The Joy Of Sex poster for the 1976 version, featuring a naked Barbra Streisand and Kris Kristofferson, just put me off watching any of them. It almost put me off cinema for good. I didn’t rush to see this one either, as I met somebody late last year who spoiled the ending within minutes of us being introduced. Yeah, thanks.

It seems an odd choice for a Best Picture nomination. Even with a brand new script, the simple fact that three versions of the film already exist suggests that innovation and originality isn’t a high priority for Academy voters. It’s a joke that this film was nominated when other more deserving films – First Man in particular – were overlooked.

Still, Bradley Cooper and Lady Gaga turn in fine performances, and the music is solid enough. 2009’s Crazy Heart – surely a point of reference for debut director and co-writer Cooper – was a far better film in a similar vein.

BlacKkKlansman4th: BlacKkKlansman (Spike Lee, 2018)

I’m hot and cold about Spike Lee. Once you get beyond his first couple of seminal films (joints?), his hit rate really starts to suffer. For every Inside Man (brilliant!), there’s a Summer Of Sam (laughable!). Advance word of BlacKkKlansman was strong, and despite me initially getting it mixed up with a Dave Chappelle sketch about a blind black man joining the Klan, I really enjoyed it.

In the lead role, John David (son of Denzel) Washington shows he has a bright future, Adam Driver is as watchable as ever, and it was great to see Topher Grace back in the spotlight playing the slimy KKK Grand Wizard David Duke. What a dumbass.

Roma3rd: Roma (Alfonso Cuarón, 2018)

Cuarón was the first Mexican-born director to win Best Director (for 2013’s Gravity), and while it looks very likely that he’ll repeat that accolade this year, a Best Picture win would actually make him the third Mexican winner in the last five years (following Alejandro González Iñárritu and Guillmero del Toro).

Roma is a beautiful film. Beautifully shot, beautifully acted and beautifully told. The fact that it’s possible to see such a film on a streaming service is either a positive or a negative, depending on how you look at it. While it’s availability on Netflix massively increases its potential audience, ultimately it could mean that future art-house films will follow this down the path of least resistance: streaming rather than screening.

Joint 1st: The Favourite (Yorgos Lanthimos, 2018) and Vice (Adam McKay, 2018)

The Favourite

I was so impressed by both of these films, that I just can’t separate them. On one hand, you have bizarro Greek director Yorgos “is as good as mine” Lanthimos with period black comedy The Favourite, his follow-up to The Lobster (yay!) and The Killing Of A Sacred Deer (nay!). On the other hand, you have Adam McKay’s Dick Chaney biopic Vice, his follow-up to The Big Short.

Vice

Both films are served by incredible acting performances. In McKay’s film, Best Actor nominee Christian Bale puts in a career-best performance (in a career full of career-best performances), inhabiting the role of Vice President Dick Cheney, with Best Supporting nods to Sam Rockwell (George W. Bush) and Amy Adams (Lynne Chaney). While in Lanthimos’ film, British national treasure Olivia Colman (Queen Anne) is nominated for Best Actress, with both Rachel Weisz (Sarah Churchill) and Emma Stone (Abigail Masham) up for Best Supporting Actress.

The Favourite A

Both films are nominated for Best Director, Best Original Screenplay (Adam McKay for Vice, Deborah Davis and Tony McNamara for The Favourite), and Best Film Editing (Hank Corwin for Vice and Yorgos “is as good as mine whether I can make this same joke twice” Mavropsaridis for The Favourite). A couple of additional nominations in Production Design, Cinematography, Costume Design round out The Favourite, while Vice also picks up a nomination for Makeup & Hairstyling.

The reason it’s so hard to choose between the two films is that in addition to everything else, they’re both very strong in defying convention. I’d usually run a mile from a historical period drama and a political biopic, but The Favourite and Vice transcend their respective genres. The Favourite is more concerned with the interplay between its three principals and a few choice insults (“You look like a badger”), while Vice borrows the fourth-wall narrative framework of The Big Short with Jesse Plemons explaining Cheney’s actions to the audience in bite-size chunks.

I really like the fact that The Favourite is spelt with a ‘u’, and the use of Elton John’s lovely harpsichord ballad Skyline Pigeon (from his oft-overlooked 1969 debut album) almost makes up for the horrible typeface they used on the closing credits.

Mark Gatiss and Nicholas Hoult round out the cast of The Favourite, but the supporting cast of Vice is something else. Alongside Sam Rockwell, Steve Carell leads a supporting cast including Alfred Molina, Eddie Marsan, Tyler Perry and Alison Pill.

Vice A

Bale looks, sounds and acts incredibly like Cheney – stopping mere inches short of over-egging his mannerisms, and the rest of Bush’s White House administration look just as authentic. Donald Rumsfeld, Colin Powell and Condoleeza Rice all look fantastic and as close to the real thing as you could get.

Both films deal with what goes on behind the doors of power. But the fact that we’re all still living with the consequences of Cheney’s actions makes Vice all the more frightening, and for that it’s the most important film of the year.

Honourable Mentions

 

Here are my other favourite (eligible) films from the year (in alphabetical order):

Honourable Triptych 1

American Animals (Bart Layton, 2018) – True story retelling of a group of college kids carrying out a major robbery. Part-documentary, part-heist thriller, it’s narrated by the participants themselves. The story is told in a really clever way, dealing with differing viewpoints and conflicting memories.

Annihilation (Alex Garland, 2018) – The year of the Netflix movie got underway with this creepy sci-fi mystery, directed by the author of The Beach and screenwriter of 28 Days Later and Sunshine.

At Eternity’s Gate (Julian Schnabel, 2018) – Willem Defoe turns in a career-best performance as Vincent Van Gogh during his final years. Aside from some over-egged camera-work and editing, I really enjoyed this poetic struggle between natural beauty and personal insanity.

Honourable Triptych 2

Bad Time At The El Royale (Drew Goddard, 2018) – After 2012’s excellent Cabin In The Woods, Drew Goddard was definitely somebody to watch out for. Like his previous film, he has again scripted another interesting story set in a locked-off location. A messy waste of a second half, but the Tarantino-esque set-up in the first half is just glorious.

The Ballad Of Buster Scruggs (Joel & Ethan Coen, 2018) – Another Netflix movie, this anthology film sees the Coens return to the western genre (after 2010’s True Grit); although aren’t all Coen Brothers films westerns to an extent? Some episodes resonate stronger than others, but a solid watch all the same.

Beast (Michael Pearce, 2017) – Hauntingly beautiful romantic thriller set on the island of Jersey. Stellar performances from leads Jessie Buckley and muso Johnny Flynn.

Bird Box (Susanne Bier, 2018) – Yet another Netflix offering, Sandra Bullock stars in a tense thriller somewhere between The Walking Dead and A Quiet Place. It feels very strange for Susanne Bier to direct a genre film, but I’ll take it. Features a great score by Trent Reznor and Atticus Ross (who seem to score every film these days).

Can You Ever Forgive Me? (Marielle Heller, 2018) – Wonderful true story account of author Lee Israel making ends meet by faking letters from literary giants. I spent the entire film imagining that Richard E. Grant’s Jack Hock was a later-in-life Montague H. Withnail, as the timeline sort of works out. It’s been fantastic to see Grant so enthused to be nominated (for Best Supporting Actor), posting selfies on Instagram with everybody he’s gleefully met on the awards circuit.

Chappaquiddick (John Curran, 2017) – Australian actor Jason Clarke is good in anything you put him in, and he shines here as Senator Ted Kennedy, underachieving younger brother to John F. and Robert. A low-key examination of a major cover-up by one of the most powerful politic families in history.

Honourable Triptych 4

Death Wish (Eli Roth, 2018) – Being a fan of the original Charles Bronson films, I wasn’t looking forward to this; surely another pointless remake. My low hopes were rewarded with an enjoyable slice of b-movie action, in a revitalised revenge / vigilantism genre (Taken, The Equalizer, Mandy, Revenge) that shows no signs of stopping.

Don’t Worry, He Won’t Get Far On Foot (Gus Van Sant, 2018) – Joaquin Phoenix keeps on circling that Best Actor Oscar with this, his portrayal of disabled cartoonist John Callahan. After losing out for Walk The Line (2005) and The Master (2012), could this be his year?

First Man (Damien Chazelle, 2018) – You can smell the grease and hear the rattle of the 1960s technology that (allegedly!) put man on the moon, in this superb biopic of Neil Armstrong. His second collaboration with Chazelle, Ryan Gosling mumbles his way through the perfect film for him – as much a meditation on the grief of losing a child, as a celebration of the technological advances of mankind. A crime this wasn’t nominated for Best Picture.

Honourable Triptych 5

Free Solo (Elizabeth Chai Vasarhelyi & Jimmy Chin, 2018) – Documentary following the ‘will he / won’t he’ climbing of El Capitan without ropes by Alex Honnold. As gripping (credit to my wife) and tense as cinema gets, this was a very, very hard watch.

Game Night (Jeff Tomsic, 2018) – Hollywood has made some really solid comedies in the last decade – Horrible Bosses, 21 Jump Street, We’re The Millers – and Game Night continues the tradition (last year’s Tag was also a good watch). Jason Bateman, Rachel McAdams and friends get involved in a murder mystery they think is just a game, but turns out to be very real.

Hereditary (Ari Aster, 2018) – Hollywood horror has been largely overshadowed by stronger foreign films for most of the last ten years, preferring instead to shovel up predictable jump-scares and pointless remakes. Hereditary is a return to form and something far more real and disturbing. Marketed as ‘this generation’s Exorcist’, it’s more of a retread of Rosemary’s Baby. So good, I re-watched it almost immediately; psychological horror done right.

Honourable Triptych 6

Incredibles 2 (Brad Bird, 2018) – A sequel to the best Pixar film so far could have been a mistake, but under the same director in Brad Bird, it just about works despite some messy plotting in the final act.  The absence of the definite article in the title is disappointing though.

Instant Family (Sean Anders, 2018) – Solid comedy with its heart in the right place, despite the usual amount of Hollywood schmaltz. Gets close to doing for comedies what 2017’s The Big Sick did for rom-coms.

Leave No Trace (Debra Granik, 2018) – Subtle drama about a war veteran and his teenage daughter attempting to live off the grid. Ben Foster – as fantastic as always – shines alongside newcomer (and New Zealander) Thomasin McKenzie.

Honourable Triptych 7

Loving Vincent (Dorota Kobiela / Hugh Welchman, 2017) – The last 12 months have been a drought in terms of trips to the cinema. Kids, work and other things have got in the way. One of my biggest regrets is not catching this on the big screen. Beautifully hand-painted, this rotoscope-style animation tells the tragic tale of Van Gogh’s short life. Part mystery, part love-letter to the Grandfather of modern art.

mid90s (Jonah Hill, 2018) – A nostalgic tribute to the skate-culture of his youth, Jonah Hill has written and directed an impressive first film.  Another score by Trent Reznor and Atticus Ross alongside hip-hop gems from the period.

Mile 22 (Peter Berg, 2018) – Peter Berg has made some really solid action films with Mark Wahlberg – Lone Survivor, Deepwater Horizon and Patriots Day – and this is their fourth collaboration, with a fifth due later this year. This one finds Wahlberg’s CIA team tasked with moving a high-priority asset twenty-two miles through a South East Asian city. As tense as thrillers get.

Honourable Triptych 9

Mission: Impossible – Fallout (Christopher McQuarrie, 2018) – The Cruiser’s Mission: Impossible films should have run out of steam by now. Despite the wet squib that was John Woo’s Mission: Impossible 2, the rest of the series has been fantastic, and this sixth film didn’t disappoint. Features a brawl in a men’s restroom that might just be the best action sequence I saw all year. Barbara Broccoli and Michael G. Wilson: take note.

A Quiet Place (John Krasinski, 2018) – The horror community seems to be divided on whether this qualifies as a horror film or not. Who cares when the film’s this good? John ‘Jim From The Office’ Krasinski stars and directs his real-life wife, Emily Blunt, as their family try to survive in silence after an alien invasion.

Searching (Aneesh Chaganty, 2018) – Presented entirely via computer and smartphone screens, this shouldn’t work. After a few scenes you just get used to it, as you follow John (Harold, of Harold & Kumar fame) Cho’s frantic search for his missing daughter. Pitched as the first ever mainstream Hollywood thriller to star an Asian-American actor (my blind ignorance doubted that at first, but it seems to be correct), this innovative film treads similar ground to Denis Villeneuve’s Prisoners (2013) and offers a horrifying peak at how such events unfold in today’s digital world.

Honourable Triptych 8

Shoplifters (Hirokazu Kore-eda, 2018) – Japanese drama about an odd family unit living in poverty. Has the same, shuffling pace as something like 1953’s Tokyo Story, but deals with the social class at the other end of the spectrum. The gradually unfolding explanation of who everybody is, in relation to everybody else, is really well handled.

Sorry To Bother You (Boots Riley, 2018) – Nuts dark comedy about a young black man who puts on a white voice to excel in his telemarketing job. I stayed on the ride as long as I could, but it lost me in its final third.

Suspiria (Luca Guadagnino, 2018) – Remake of Dario Argento’s seminal horror places the action in 1977, the year of the original film’s release. Dakota Johnson joins a dance academy in divided Berlin, where all is not as it seems. Quite a muted film for a horror…until its roaring finale.

Honourable Triptych 10

Teen Titans Go! To The Movies (Peter Rida Michail / Aaron Horvath, 2018) – An incredibly fun blast through a thousand pop-culture superhero references, this requires multiple viewings to catch everything. A great fart joke in the first few minutes sets the ball rolling nicely, as all fart jokes should.

Three Identical Strangers (Tim Wardle, 2018) – Engrossing documentary which first marvels about the bond between identical triplets separated at birth, but then leaves you seething at mankind for the actions of those pulling the strings.

You Were Never Really Here (Lynne Ramsay, 2017) – After 2002’s excellent Morvern Callar, and the success of 2011’s We Need To Talk About Kevin, we had to wait another six years to see what Lynne Ramsay would do next. This taut, gritty thriller starring Joaquin Phoenix fits somewhere between Taxi Driver (1976) and Drive (2011). The role couldn’t be any different to Pheonix’s part in Don’t Worry, He Won’t Get Far On Foot, but while Ramsay’s film won him the Best Actor at Cannes last year, it seems too much of a leftfield choice for the Academy.

My Picks For The 24

Finally, here are my picks for what the Academy will actually vote for on the night. I’ll try to remember to mark these next year to see how close I got!

Eight A.jpegBest Picture: The Favourite

Best Director: Roma

Best Actor: Christian Bale

Best Actress: Olivia Colman

Best Supporting Actor: Adam Driver

Best Supporting Actress: Emma Stone

Best Original Screenplay: Vice

Best Adapted Screenplay: Can You Ever Forgive Me?

 

Best Animated Feature Film: Isle Of Dogs

Best Foreign Language Film: Roma

Best Documentary – Feature: Free Solo

Best Documentary – Short Subject: Lifeboat

Eight BBest Live Action Short Film: Skin

Best Animated Short Film: Bao

Best Original Score: If Beale Street Could Talk

Best Original Song: Shallow from A Star Is Born

Best Sound Editing: First Man

Best Sound Mixing: Bohemian Rhapsody

Best Production Design: The Favourite

Best Cinematography: Roma

Best Makeup And Hairstyling: Vice

Best Costume Design: The Favourite

Best Film Editing: Vice

Best Visual Effects: Ready Player One

Rocks In The Attic #732: Billy F. Gibbons – ‘The Big Bad Blues’ (2018)

RITA#732I was looking forward to this. After the out-of-the-blue brilliance of ZZ Top’s La Futura in 2012, I’ve been eagerly awaiting a follow-up. The band have been touring since – they never seem to stop touring – but there’s still no new studio album. It seems Billy has given up waiting too, recording two solo albums during this time – 2015’s Perfectamundo, and this, The Big Bad Blues from last year.

The record feels very under-produced. Now, while this may have been a good thing for a blues album from yesteryear, it just makes this record feel cheap and rushed. The production, by Gibbons himself, alongside Joe Hardy, sounds like it was all recorded in one take (again, another plus point for an old blue record), and there’s just nothing interesting to differentiate the tracks from each other. It makes me wonder how much of Rick Rubin’s input was responsible for La Futura.

Missin’ Yo Kissin’, credited to Billy’s wife, is just a retread of La Grange (itself an appropriation of John Lee Hooker) and sounds too much like an old man trading on former glories. Only on the covers – Muddy Waters’ Standing Around Crying and Rollin’ And Tumblin’, and Jerome Green’s Bring It To Jerome – does the record kick into another gear.

Hit: Rollin’ And Tumblin’

Hidden Gem: Standing Around Crying

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Rocks In The Attic #730: John Carpenter, Cody Carpenter & Daniel Davies – ‘Halloween (O.S.T.)’ (2018)

RITA#730.jpg2018 was the year that boutique soundtrack LP retailers started to take the piss. A growth genre, within a growth industry, the last five years has been furtile ground for record companies like Mondo, Waxwork, Enjoy The Ride and Real Gone. Releases are often first-time-on-vinyl, in weird and wonderful coloured vinyl and usually in limited numbers.

Take the recent release of the Beverly Hills Cop soundtrack, by Enjoy The Ride Records. This is the first time that Harold Faltermeyer’s full score has been available in its entirety on vinyl (only Axel F was included in the original soundtrack release in 1984). Fantastic! Yet before buying it, you now have to decide which of the four variants you want to pick up: red / black swirl, cop car splatter, banana swirl or palm tree splatter. Can you buy it in plain, good ol’ black vinyl? No. No, you can not.

Coloured vinyl used to sound terrible – not as bad as picture-discs – but bad enough. Thankfully, manufacturing techniques have improved alongside the vinyl revival, and for the most part, they sound just as good as a standard, black vinyl disc.

RITA#730bThe increase in such releases – mainly involving cult film soundtracks – has given rise to a new breed of record collectors who seem to be more interested in the colour of the variant than the music itself. These collectors, comprised of entitled millenials or older, emotionally-stunted manchild horror fans, spend most of their time showing off their collections on Facebook and, in some groups, getting salty with each other.

In 2017, there was an outcry from certain sections of this community, when Waxwork Records released a soundtrack variant of the 1990 It TV-miniseries that was only available at the WonderCon convention in California. Waxwork already offered the release online – a triple LP set in red, blue and yellow coloured vinyl – but the exclusive WonderCon variant was in a different colour. The release looked and sounded exactly the same, only the discs were a different colour. Most collectors couldn’t attend the convention, nor pay the inflated prices offered by ‘flippers’ on eBay and Discogs, and so they took to Facebook to complain. You’ve never heard twenty-first century entitlement quite like it:

How could Waxwork do this to me? I’ve bought every single variant so far of everything they’ve released! My collection will be worthless without it! They’ve sold out, man. I hate them. They owe me!

The resulting fall-out led to many collectors either selling their Waxwork collections, or downsizing it, as though the inability to own 100% of their output was a fate worse than death. This level of manchild immaturity is on a par with the ‘It’s my ball; I’m going home’ schoolboy mentality.

RITA#730a
Earlier this year, things got even worse for the completionists when the soundtrack to the 2018 Halloween reboot / sequel was announced. No fewer than eleven different variants were released as exclusives from different retailers: Waxwork, Sacred Bones, Books-a-Million, FYE, Newbury Comics, etc. It’s only a surprise that there wasn’t an exclusive Bed, Bath & Beyond variant.

Sadly, some collectors just couldn’t say no, and scooped them all up. At $30-$40 a pop, it makes for an expensive hobby. Still, if the gullibility of these unfortunate souls is somehow keeping the vinyl revival going, then good luck to the morons with more money than sense.

It would be one thing if the 2018 version of Halloween was actually any good, but it’s not. It’s dull, repetitive, and derivative. Upon its release, it was praised for not sucking as badly as its predecessors, but in a year that gave us the awesome horror film Hereditary, the latest Halloween instalment still sucked.

The horror nerds were taken in by the fact that it was the first Halloween sequel since 1982’s Halloween III: Season Of The Witch to have direct involvement from the series’ creator John Carpenter. As well as acting as executive producer and creative consultant, Carpenter also composed the soundtrack alongside his current bandmates (son) Cody Carpenter and (godson) Daniel Davies.

Again, this doesn’t make it a particularly good soundtrack. It just doesn’t suck as much as it could have done.

Hit: Halloween Theme

Hidden Gem: Intro

Rocks In The Attic #729: Super Furry Animals – ‘SFA At The BBC’ (2018)

RITA#729The Super Furries have finally managed to do what every other British rock band of the last fifty years has done: released an album of their BBC sessions. Still, while it may seem like an establishment move, their execution of the release is very much in line with what you may expect from such a madcap band.

Released in limited numbers by Strangetown Records, and through pledgemusic.com, the packaging is just awesome. The 4xLP box-set (£85) I managed to secure was initially available as a run of 400, while an even-more limited 5xLP set was available in a run of just 100. Thankfully, this was sold out in seconds – I wouldn’t have been happy with paying a further £115 for three additional tracks. Buyer’s remorse is a very real thing in the world of record collecting.

RITA#729bThe outer-box and individual record sleeves take their design from the Golden Retriever Yeti stage-suits that the band wore on stage, with a lock of the stage-suit hair included in a hand-numbered envelope within. The 5xLP set goes one further and includes some of the Yeti hair actually pressed into the fifth disc. I guess that’s where the extra £115 went.

Despite selling out within minutes, Strangetown Records announced a second pressing of a further 500 copies of the 4xLP set. This led to a lot of complaints on social media, from buyers who were understandably a little miffed at paying for something that turned out not to be as limited as they were originally led to believe. Without apologising, Strangetown issued a response:

It has come to our attention that there needs to be clarity on the 2nd press of the SFA at the BBC box set. There is no difference between the first and second editions so if anyone is unhappy at the thought of owning a boxset that isn’t ltd to 400 copies then we are happy to issue a refund.

While I’m not too precious about owning something that exists in limited numbers or not, it does annoy me that they didn’t press more copies to begin with. There’s obviously a demand for it. They could have pressed thousands and still probably sold out; and pressing in smaller numbers just adds to the horribly negative ‘have / have not’ climate of record collecting. It’s also annoying to shell out for it in the run up to Christmas, when you think that hesitation will be punished.

The eight BBC sessions presented here take place between 1996 and 2001, covering the period between Fuzzy Logic and Rings Around The World, and were taken from a mixture of Steve Lamaq and Jo Whiley’s Evening Sessions, and sessions recorded for Mark Radcliff and John Peel. Not a band known for doing covers, it’s a rare treat to hear them covering a fairly respectable version of the Beach Boys’ Warmth Of The Sun, with this song chosen as they’re one of the only bands that they could all agree on.

The eighth and final side comes from Peel Acres itself, the Suffolk home of John Peel and his wife. As somebody whose musical interests were as weird and wide-ranging as the Super Furries, it’s fitting that Peel’s Brummie drawl is the last voice you hear after the final song:

If you come back again, which would obviously be wonderful if you did, we’ll move the football machine, and er, so there’s a bit more room. That would be handy, wouldn’t it, if we were to do that? Or perhaps we’d build an extension. <sings> BUILD AN EXTENSION! Er, but thanks very much for coming anyway, it’s been a real treat. All the best.

Hit: Something For The Weekend

Hidden Gem: Some Things Come From Nothing

RITA#729a

Rocks In The Attic #726: Joe LoDuca – ‘The Evil Dead – A Nightmare Reimagined (O.S.T.)’ (1981)

RITA#726The soundtrack rights to Sam Raimi’s original Evil Dead from 1981 have been in a legal quagmire for a very long time. Whoever owns them has them locked away in a cabin in the woods somewhere, probably in the root-cellar. In a weird twist, the original composer Joe LoDuca owns his score, but not the rights to the original recording, and so a long-overdue reissue of the score seems about as realistic as Donald Trump achieving world peace.

This year, LoDuca and Mondo Records has given us the next best thing – a full re-recording of the score, in a disgustingly beautiful green, yellow and purple swirl vinyl with red splatter. Pitched as a ‘reimagining’ of the soundtrack, it sounds similar enough to the original score with the main difference being the orchestration, both in size and scope. It sounds bigger and brighter than it did back in 1981, the same but different.

RITA#726aThe Evil Dead was one of the first horror films I saw in my early teens. Alongside the Friday The 13th and Halloween films, Sam Raimi’s second full-length feature made a big impression on me. It wasn’t until much later that I realised that it also made a big impression on New Zealand filmmaker Peter Jackson, who took the film’s DIY special-effects ethos as the basis for his first feature Bad Taste.

I still love the first Evil Dead. It was improved on greatly in the 1987 sequel, itself more of a remake than a continuation, but the original still stands as a classic of its genre. The 2013 remake / reboot, which in a weird twist of fate (given the Peter Jackson connection) was filmed in New Zealand, was just a mess, a dirge of a film. Just like the root-cellar, avoid at all costs.

Hit: Main Title

Hidden Gem: A Nightmare Reimagined / Overture

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Rocks In The Attic #718: The Beatles – ‘The Beatles & Esher Demos’ (1968)

RITA#718You can hear the differences straight away. Paul’s snare beat on Back In The U.S.S.R. is punchier and his vocal ad-libs in the fade-out are much clearer. Then John’s acoustic guitar fades into Dear Prudence and Paul’s pulsing bass sounds on top of everything, front and centre.

Released yesterday to celebrate the record’s fifty-year anniversary, Giles Martin’s new 2018 stereo remix of the Beatles’ ‘self-titled’ White Album is an early Christmas present for fans of the band.

Repeating the successful formula employed on last year’s stereo remix of Sgt. Pepper’s, Martin Jr. has broken down the White Album recordings, and built them back up again. Untrained ears might not be able to tell the difference, we’re talking subtle changes. Clarity and focus are the operative words, not revisionism.

RITA#718aThe sliding, uptempo bass line in Ob-La-Di, Ob-La-Da transforms one of my least favourite Beatle songs into a stormer. Eric Clapton’s swirling guitar lines in George’s While My Guitar Gently Weeps feel even more hypnotic. Paul’s bassline in Why Don’t We Do It In The Road sounds funkier. Birthday sounds as insane as the band probably intended it to. Paul’s screaming salvo into Helter Skelter sounds at war with Ringo’s drums. The horns in Savoy Truffle are sharper, the electronic piano line closer to the front of the mix.

The 2014 mono remaster was previously my favourite version of this album. I didn’t think anything could beat that. How wrong I was. All in all, this new release is like listening to the album for the first time, with fresh ears. And if that wasn’t enough, the other half of the box-set is just as revelatory.

In May 1968, fresh from their Rishikesh trip, the Beatles convened at Kinfauns, George’s house in Esher, Surrey. There, they recorded demo versions of 26 of the White Albums’s 40 tracks, plus songs that didn’t make the intended album.

Glimpsed on 1997’s Anthology 3, Giles Martin has now remixed these tapes and re-sequenced them into a double-LP with – where possible – the same running order as the 1968 album.

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Hearing McCartney doing a loosely double-tracked Back In The U.S.S.R. on an acoustic guitar – complete with a sung guitar solo – is just fantastic, and really fills me with hope that there’s more material like this yet to see an official release.

The songs that were worked out in the White Album studio sessions – Wild Honey Pie, Martha My Dear, Don’t Pass Me By, Why Don’t We Do It In The Road, I Will, Birthday, Helter Skelter, Long, Long, Long, Savoy Truffle, Revolution 9 and Good Night – don’t appear here in demo form. Instead we get a raft of songs intended for the album, but which appeared elsewhere: George’s Sour Milk Sea (a single for Jackie Lomax), Not Guilty (re-recorded for his 1979 record, George Harrison), and Circles (re-recorded for 1982’s Gone Troppo), Paul’s Junk (soon to be heard on 1970’s McCartney), and John’s Child Of Nature (reworked as Jealous Guy from 1971’s Imagine). Two other Lennon demos presented here – Mean Mr. Mustard and Polythene Pam would be reworked into the medley on Abbey Road in 1969.

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The demos make for a fantastic listen. Complete with between-take chatter, coughs and sniffs, the sound quality is mostly very good with the occasional bit of tape-hiss evident on some tracks. In hindsight, the Beatles probably didn’t need to go to Abbey Road and Trident to re-record these demos – they could have just released this back in 1968.

While it now seems inevitable that Giles Martin will provide similar remix duties for next year’s half-century release of Abbey Road, followed by Let It Be in 2020, I really hope he continues with the pre-Pepper albums as they begin their sixty-year celebrations from 2023.

And hopefully he’s training his son in the finer techniques of audio engineering, ready for the next generation of reissues…

Hit: While My Guitar Gently Weeps

Hidden Gem: Helter Skelter

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