Thursday, July 28, 2011
Tuesday, July 26, 2011
Few albums of the modern rock-era have been as unfairly ignored and maligned as Lou Reed's wildly ambitious and brutally beautiful double-CD set The Raven. Damaged by a more commonly available, and inferior, single-disc version most fans and critics completely missed what was in reality a compelling career summation by Reed, who brought all of his major influences (both Literary and Musical) to the table for The Raven. With the release of Lou's new book, called not coincidentally The Raven, now seemed a good time to celebrate one of the great albums from America's premiere songwriter and musical innovator.
The Raven began its cantankerous existence when Lou Reed teamed up with legendary playwright and theater director Robert Wilson in 2000 for a collaboration called Poe-Try, a stage production based on the works of Edgar Allen Poe. Lou created a startling number of songs for Poe-Try and even went so far as to adapt some of Poe's most famous works and interweave them with his own new songs. Poe-Try was classic Reed and Wilson, it was controversial, defiant and unquestionably brilliant.
Instead of releasing a basic soundtrack for Poe-Try, Lou decided to create an album version of the work. Released in 2003, and featuring several of Lou Reeds greatest collaborators and influences including David Bowie, Laurie Anderson and Ornette Coleman, The Raven is a bold sonic adventure fusing together spoken-word, punk, free-jazz and classic three-chord rock...in other words it is a classic Lou Reed record that defies easy categorization.
When thinking on The Raven I tend to dismiss the single-disc version that is the more commonly available. The Raven is too massive for just one-disc to hold and that single disc leaves out some of the key tracks, including Metal Machine Music's ferocious younger brother "Fire Music" and many of the startling spoken-word pieces (performed by a variety of actors including Steve Buscemi, Christopher Walken, Elizabeth Ashley and Willem Dafoe). Reed has always had a bit of prankster in him and I think the limited availability of one of his great works plays directly to this rather perverse side of him. Because of this the unedited version of The Raven sits smiling just waiting for future fans to be blown away by its many charms.
Kickstarting with Willem Dafoe's chilling reading of part of The Conqueror Worm over an astonishing sonic landscape Reed worked up (fittingly billed as 'electronic music' on the albums inner sleeve), The Raven announces its ambition (and welcomed pretension) immediately. Up next is "Overture" a screaming sax-fueled (played brilliantly by Doug Wieselman) punk blowout that collapses into the lovely "Old Poe", featuring Buscemi's moving monologue on the trials of aging. Reed's gentle electric guitar playing melds in perfectly with the striking Friedrich Paravicini cello solo for "Ligiea". After this tranquil piece, guided by Dafoe's tender reading, The Raven really takes-off with the furious "Edgar Allen Poe", one of the most explosive pure-punk tracks Reed produced since the seventies. Telling the tale of Poe, "not exactly the boy next door" Reed creates a raging steamrolling knock-out of a track that rocks like a motherfucker. This is Lou Reed at his fire-breathing best and the interplay between Reed and his longtime band (featuring the brilliant Mike Rathke and Fernando Saunders) is simply stunning to hear.
After some more of Lou's startling electronic contributions, one of The Ravens great tracks comes into play and "Call on Me" stands as one of Reed's most moving modern songs. Featuring a stirring Laurie Anderson spoken word section and glorious string arrangement from Jane Scarpantoni, "Call on Me" is vintage Lou Reed and it would become a live favorite on subsequent tours.
After "Call on Me" the fabulous instrumental "A Thousand Departed Friends", one of the best of Reed's career, leads into the wonderfully corrosive "Change", which features Reed hilariously lamenting that changes are "are always for the worst". After the Dafoe read "The Fall of the House of Usher", with some chilling horror-film sound effects by Reed and Hal Willner, two of The Raven's most surprising tracks play out with eerie reworkings of two of Reed's greatest tracks, Berlin's "The Bed" and Transformer's "Perfect Day", both featuring the vocals of acclaimed Reed discovery Antony.
Reworking two of his own greatest songs on a tribute to one of his great literary heroes is a bold and cocky move. It's also a brilliant one as The Raven is as much about celebrating the career of Lou Reed as Edgar Allen Poe. The new version of "The Bed" is particularly jaw-dropping and stands as a foreshadowing of the full Berlin renaissance that happened after The Raven. Disc One closes with the title track, again read by Dafoe, and the delightfully daffy "Balloon", featuring the vocal work of Kate and Anna McGarrigle.
An odd companion piece to Transformer's "Goodnight Ladies", the Steve Buscemi sung "Broadway Song" kicks off Disc 2 of The Raven, a collection of songs and music that is even bolder than the already far-out first section. After Part One of "The Tell-Tale Heart", The Raven gets one of its most explosive tracks with "Blind Rage", a face-punching and screaming song that finds Reed paying lyrical tribute to The Velvet Underground reject that would become one of his first solo album's best cuts, "I Can't Stand It". The crunchy and feedback drenched guitar interplay here between Reed and Rathke is particularly noteworthy.
"Burning Embers", with Tony Smith's thunderous drumming providing the album with some of its most exciting rhythmic patterns, follows part two of "The Tell-Tale Heart" and Reed mixes Poe's amazing lyricism with his own bold lyrical prowess. Following the electronic stylings of the frantic spoken-word piece "Imp of the Pervers" The Raven gets its gentlest and perhaps greatest piece, the haunting "Vanishing Act".
Taking its place as one of Lou Reed's greatest ballads, "Vanishing Act" is a real work of beauty. With a tip of the hat to The New York Dolls masterful "Looking for a Kiss", "Vanishing Act is an exquisite piece featuring one of the most tender vocals Reed has put on vinyl since The Velvet Underground's third album and the string section from Jane Scarpantoni has become one of my favorite moments in music...ever.
Two more spoken word pieces follow the stunning "Vanishing Act" before one of the most noteworthy and exciting collaborations of Lou Reed's career occurs. While Reed had worked quite a bit with Ornette Coleman's brilliant partner in noise Don Cherry in the seventies, he had never worked with the great Coleman himself until The Raven's funkiest track, "Guilty". Driven by Coleman's wonderfully off-kiler alto-sax, "Guilty" is perhaps The Raven's most joyous sounding song and would have been right at home on Ecstasy, the acclaimed Reed masterpiece that preceded The Raven in 2000.
Perhaps the most soulful track in Reed's canon "I Wanna Know (The Pit and the Pendulum)" is maybe the most surprising track on The Raven. Reed has always been a great fan of soul music but that influence has never been more felt that in the call and response "I Wanna Know". The song adds another piece to the complex and never ending puzzle that is Lou Reed's career, a more than five-decade journey that has never offered anything close to predictability.
After paying tribute to his own and Poe's "The Bells" perhaps the most anticipated collaboration of The Raven occurs with the short but infectious "Hop Frog". Featuring the first studio-recorded work between Lou Reed and David Bowie since their mythic time together on Transformer, "Hop Frog" is a bit anti-climatic but hearing Reed and Bowie together again is still chilling stuff. "Hop Frog" is goofy but oddly anthemic and is The Ravens most playful moment.
After a couple of more spoken word pieces The Raven nears its conclusion with Reed delivering another one of his great unheralded tracks, the majestic "Who Am I? (Tripitena's Song)". A stunning powerhouse of a song that Reed would revisit again on the self-compiled best-of collection NYC Man, "Who Am I" is a tribute to the absolute genius of Lou Reed. How an album with songs this compelling and exciting be dismissed with such callousness by so-called music authorities is beyond me.
"Who Am I" is the penultimate track on the single disc version of The Raven but the unedited set contains two more wonderful surprises, including the scholarly sounding "Courtly Orangutans" and the absolutely monstrous "Fire Music", a track that finds Lou Reed revisiting his most controversial moment.
Credited only with 'Lou Reed-Electronic Music', "Fire Music" is nearly three minutes of raging Metal Machine Music like racket that will send most listeners running for the skip button. It's my favorite track on The Raven and a fabulous reminder of Lou Reed's glorious obsession with noise. Nobody can create of symphony out of feedback like Lou Reed and "Fire Music" is a pulverising piece and, frankly, its omission from the single disc version of The Raven causes me to dismiss that edited suite completely.
The near seven minute "Guardian Angel" closes The Raven and, like the rest of the album, it is a wonderfully potent summation of a career that has embraced all of popular music's disparate elements. Featuring a wonderful horn arrangement by Steven Bernstein, the title character of "Guardian Angel" could probably be thought of as Reed's own inner genius...a genius that has kept him the most interesting American Rock Artist since Elvis Presley.
Lou Reed writes in the liner-notes to The Raven that "Poe is the father to William Burroughs and Hubert Selby". Lou Reed is the father to most of Rock Music's most interesting figures since that seventies and The Raven is one of the most necessary chapters of his career. With his sure to be jaw-dropping collaboration with Metallica on the way, now is the time to revisit some of Reed's most challenging works and The Raven is absolutely among that group. The double-disc version is sadly out of print here in the States but used copies can be found. Anyone who admires and values Lou Reed (or Rock Music in general) should seek out a copy for their collection if they don't have it. Without it you have what can only be called a big gap in your record library. -Jeremy Richey, 2011-
Wednesday, July 20, 2011
Thursday, July 14, 2011
In some of the best home-video news of the year, Lucio Fulci's unforgettable Zombie is finally going to hit Blu-ray in late October courtesy of Blue Underground. The new two-disc deluxe set (also available on DVD) will feature both new and old extras including:
•Audio Commentary with Star Ian McCulloch and Diabolik Magazine Editor Jason J. Slater
•Poster & Still Gallery
•Guillermo del Toro Intro
•Zombie Wasteland – Interviews with Stars Ian McCulloch, Richard Johnson & Al Cliver, and Actor/Stuntman Ottaviano Dell'Acqua
•Flesh Eaters on Film – Interview with Co-Producer Fabrizio De Angelis
•Deadtime Stories – Interviews with Co-Writers Elisa Briganti and (Uncredited) Dardano Sacchetti
•World of the Dead – Interviews with Cinematographer Sergio Salvati and Production & Costume Designer Walter Patriarca
•Zombi Italiano – Interviews with Special Make-Up Effects Artists Gianetto De Rossi & Maurizio Trani and Special Effects Artist Gino De Rossi
•Notes on a Headstone – Interview with Composer Fabio Frizzi
•All in the Family – Interview with Antonella Fulci
•Zombie Lover – Award-Winning Filmmaker Guillermo del Toro talks about one of his favorite films
Fellow Fulci fanatics will want to hold onto their old Shriek Show double-disc DVDs as it contains extras that still won't be found anywhere else, but I expect that Blue Undergrounds set will be the absolute ultimate edition as far as sound and vision goes.
Also, coming in September, Blue Underground is unleashing Fulci's equally mesmerizing House by the Cemetery on Blu-ray with these exciting extras:
Meet the Boyles - Interviews with Stars Catriona MacColl and Paolo Malco
Children of the Night - Interviews with Stars Giovanni Frezza and Silvia Collatina
Tales of Laura Gittleson - Interview with Star Dagmar Lassander
My Time With Terror - Interview with Star Carlo De Mejo
A Haunted House Story - Interviews with Co-Writers Dardano Sacchetti and Elisa Briganti
To Build a Better Death Trap - Interviews with Cinematographer Sergio Salvati, Special Make-Up Effects Artists Giannetto De Rossi & Maurizio Trani, Special Effects Artist Gino De Rossi, and Actor Giovanni De Nava
Poster & Still Gallery
I am truly excited to hear about these exciting releases
and can't wait to add them to Italian Horror and Fulci shelf!
Tuesday, July 12, 2011
One of the best little films of the nineties, Steve Buscemi's bruising Trees Lounge remains one of the most memorable, if often ignored, movies from an extremely interesting period in American Film History. Working from a powerfully subtle script from his own pen, Buscemi's Trees Lounge is an extremely well-rendered and moving work that stands as a incredible ensemble piece as well as a haunting portrait of a man likely doomed to isolation.
Out of work mechanic Tommy Basilio has reached a point in his life that has seen him cross over from casual drinker to full blown alcoholic, and he has become a man who seems to fuck up every opportunity that comes his way. Still pining for his ex-girlfriend, whose now dating his former best-friend and boss, Tommy spends the majority of his days at Trees Lounge, a sad little bar that contains more human tragedy per square foot than most places can even hold.
Steve Buscemi was closing in on forty when he delivered Trees Lounge to a mostly unreceptive public in 1996. Buscemi was already a well-established character actor by the mid nineties but he had held a long-time ambition to turn his attention behind the camera. Trees Lounge would be his first full length feature and boy is it a doozy. Containing the kind of heartfelt emotion and searing subtlety that even some of the most seasoned great filmmakers couldn't match, Trees Lounge immediately established Buscemi as a powerhouse filmmaker in the making. His first film is a model independent production that is both wonderfully economical and undeniably ambitious. Taking dramatic cues from the works of John Cassavetes and Martin Scorsese, as well as the comic touches from the early works of Elaine May and Susan Seidelman, Trees Lounge is a classic seventies styled piece of American movie making, a work driven by dialogue and not action where even a throwaway line contains profound keys to the unforgettable characters Buscemi created.
While Trees Lounge is ultimately the portrait of the probably doomed Tommy Basilio, played with a beautiful and almost poetic simplicity by Buscemi himself, the film is filled with a number of dazzling performances from the rather awe-inspiring cast assembled for the film. Mark Boone Junior, Elizabeth Bracco, Carol Kane and Anthony LaPaglia all give wonderfully realized supporting turns in the film, while Seymore Cassel, Samuel L. Jackson, Michael Imperioli, Debi Mazar and Kevin Corrigan all make the mos of the small but pivotal roles. Best of all is Moon in the Gutter favorite Chloë Sevigny, who shot Trees Lounge shortly after her groundbreaking turn in Larry Clark's Kids (1995). Sevigny projects a haunting vulnerability in the role as a seventeen year old kid that Tommy foolishly becomes involved with and controls every scene she appears in.
Shot in a no-nonsense style by cinematographer Lisa Rinzler, Trees Lounge was probably a little too low-key for American audiences, who were being bombarded with mostly empty Pulp Fiction inspired pieces, in the mid-nineties. Buscemi's film did receive quite a bit of critical acclaim though and got a couple of Independent Spirit Nominations for Buscemi's extraordinary script. Thankfully Buscemi has continued to direct although none of his follow-up films, as valuable as they are, have quite matched Trees Lounge.
Trees Lounge, which I am happy to say I managed to catch during its brief theatrical run at a showing at Lexington's great Kentucky Theater in 1996, was granted a special edition Laser Disc issue but the Lions Gate DVD is sadly lacking any extras. A Blu-ray release with Buscemi commentary would be a great release and I would be first in line for it.
Trees Lounge is a really special film that has always deserved a
larger, and more appreciative, audience.
Tuesday, July 5, 2011
Friday, July 1, 2011
I started a new job in June so I wasn't able to catch up with as many new and older films as usual. Of the pre-2011 films I caught up with for the first time my favorites were Curtis Hanson's 8 Mile (a film I really regret that I hadn't seen before now), Karyn Kusama's Girlfight (which features a really remarkable performance by Michelle Rodriguez) and Jeff Garlin's funny and moving I Want Someone to Eat Some Cheese With.
Some other older films I enjoyed included Jean-Pierre Mocky's No Pockets in a Shroud (a film that offered up my favorite Sylvia Kristel an early role), the undervalued S.W.A.T. (a beautifully done modern action film), the Bogart post-war drama Tokyo Joe (whose title inspired one of my favorite Bryan Ferry songs) and the infectiously fun Wild Target.
The worst of the batch included the rather lame Rock Hudson-Leslie Caron comedy A Very Special Favor and the atrocious Jim Kelly snoozer Hot Potato.
Special mention has to go to Lucio Fulci's Conquest, one of the maestro's films I hadn't seen before that I greatly enjoyed despite its faults and the rare Candy Stripers, an entertaining 1978 Bob Chinn production that he shot around the same time as the key Johnny Wadd films Blonde Fire and China Cat.
Here is the full list of pre-2011 films I caught up with in June:
8 Mile ****1/2
A Very Special Favor **
Candy Stripers ***
Hot Potato *
I Want Someone to Eat Cheese With ****
No Pockets in a Shroud ***1/2
Operation Mad Ball ***
Tokyo Joe ***1/2
Wild Target ***1/2
As for 2011, I believe the only new film I managed to get out and see was Super 8, which I enjoyed greatly. I can't remember the last time I only saw one movie at a theater in a months time but the new job has been occupying much of my time and thoughts.