Huckabees SoundtrackBill Hicks Live: Satirist, Social Critic, Stand Up Comedian Rykodisc
Starring Bill Hicks
Reviewed by Shel Desormeaux
“I'm not a girl, I'm a guy you know? But at the same time, I tell ya how you can solve this abortion issue right now. Ready? Those unwanted babies that single moms leave in alleys and in dumpsters? Leave about 12 of those on the steps of The Supreme Court. This is over. Like that. "You guys said we had to have them? Then you guys...FUCKING RAISE 'EM. Raise 'em then, you fucking raise 'em. YOU raise 'em. You said I had to have it? Then it's yours. Fuck. It's yours…take it.” - Bill Hicks
When Bill Hicks died of cancer in 1994, he was merely 33 years old. Many people - famous, infamous or other - die long before their time. It’s often bewildering and always unfair. When some people die, young or old, their death comes down like a big, black chunk of sky. These folks are usually larger than the life they led: almost unnatural forces of nature and freakish untouchables, no matter what they did. Very often they are only appreciated after they pass on, for whatever they’ve said or done or given to the world.
Bill Hicks was and is one of those forces. Ten years after his death, he’s being remembered as a comedy pioneer and renegade, like the late Andy Kaufman and Sam Kinison, whose legacies are also far from fading. Aiding in the maintenance of his memory, thankfully, is the first DVD release of any of Bill’s stand up, Bill Hicks Live. This DVD contains three of his most revered performances, filmed at the Old Vic Theatre in Chicago, the Montreal Comedy Festival, and the Dominion Theatre in London.
At the time of these performances, the U.S. was enjoying the leadership of the first President Bush and biting their nails over the Gulf War, and so, Americans were being introduced to this generation’s war propaganda and hyperbole. Bill’s routines and ranting are frighteningly relevant.
Bill was also a nightmare. Often compared to Lenny Bruce, he attacked anything, insulted anyone, and sang the praises of things that would make current Republican voters bawl. He was unapologetic, unrelenting, and taunting, yet he was also optimistic and exuberant about life. Be it cigarettes, drugs or pussy, Bill was lovin’ it and tellin’ the world. When he shit on the government, the media (he held a special contempt for television) or the church (on Christians wearing cross pendants: “When Jesus comes back, the last thing he wants to see is a cross!”), he did it with gusto. Eyes bugging, arms flailing, cigarette dangling from between twitching, sweaty fingers, he put his foot down and refused to go quietly. And he didn’t. He performed while ill, gaunt and pale, but bitching (not whining) all the way. Presumably no one but his family and closest friends knew he was sick. It’s entirely possible there were times that they refused to believe that he was.
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Calexico - World Drifts In: Live at the Barbican London Quarterstick Records
Reviewed by Adam D. Miller
One has to wonder: if Calexico had the success in 2002 that Paul Simon had in 1986, would the band’s foray into traditional Mexican music have been as successful as Simon’s Graceland-period South African pop? It is a big “What If,” but the audience at the November 2002 London performance documented on this DVD seems convinced.
Of course, the Tucson, Arizona based Calexico, led by singer-songwriter-guitarist Joey Burns and drummer John Convertino, are much closer geographically to the country of influence. The band also takes their name from the town of Calexico, California, which lies right on the American-Mexican border.
The concert documented here was actually part of a festival called Beyond Nashville, which consisted of several concerts held in several London venues over the course of several weeks. The festival was created in order to fulfill the UK's growing interest in alternative country.
The performance itself is nothing short of master showmanship. Augmented by a touring band that includes trumpets, pedal steel, upright bass, and a slew of other instruments, the band delivers songs from their back catalogue as well as several songs from Feast Of Wire, the album that best expresses their Mexican influences.
Seven or eight songs into their performance, Calexico are joined onstage by Mariachi Luz De Luna, an eight-piece mariachi band led by trumpet player Ruben Moreno. The group wore traditional mariachi dress and provided Calexico with the electricity that made the rest of their set all the more entertaining. With their help, they delivered previews of some of the more Mexican-influenced songs on Feast Of Wire, most notably “Across The Wire” and “Quattro (World Drifts In),” both of which sound like they were made for old Spaghetti westerns.
Mariachi Luz De Luna weren’t the only guests at the Barbican show. French singer Francoiz Breut joined Joey Burns for two duets, “Ballad of Cable Hogue” (from the band’s 2000 album Hot Rail) and “Si Tu Disais” (from Breut’s 2001 album Vingt a Trente Mille Jours). Three members of Mariachi Luz De Luna also had their opportunity as lead vocalists. Ruben Moreno delivers “Cancion Del Mariachi,” which was performed by Los Lobos on the Desperado soundtrack and guitarist John Contreras sings “El Cascabel.” However, it is the young Lulu Olivares who steals the show with her rousing “Aires Del Mayab.” The key cover of the evening comes from an unusual source: Calexico’s version of The Minutemen’s “Corona” is effective mariachi-punk and was the perfect song to close their main set, before returning to the stage for two sets of encores.
The hour-and-a-half performance by Calexico and friends would have been enough to satisfy any buyer of music DVDs. If that isn’t enough to make this the definitive Calexico DVD, the disc also contains approximately an hour worth of bonus materials: Two documentaries (including one about Mariachi Luz De Luna by Joey Burns), a tour film, interviews, a cartoon, and three videos (“The Black Light”, “Ballad of Cable Hogue”, and “Crystal Frontier.” All in all, a perfect and timely DVD release from one of the best Americana bands out there.
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David Byrne - Live At Union Chapel Nonesuch
Reviewed by Adam D. Miller
David Byrne, best known as the founding singer-songwriter of the Talking Heads, remains a dominant figure in popular music. Although his solo career has never matched the Talking Heads’ success, he has continued to be ambitious; writing film scores, starting his own record label, and drawing upon world influences and performance art. Although it does not compare to the Talking Heads film Stop Making Sense, which is considered by many to be one of the great rock ‘n’ roll films, the 2002 London concert that appears on Live At Union Chapel is a very entertaining performance by the solo Byrne, who remains a stellar entertainer and a vital force in music.
There are many things that make this DVD a great viewing and listening experience. The first and most important is the choice of material. The setlist should satisfy those hungry for Talking Heads hits (“And She Was”, “Once In A Lifetime”, and “Road To Nowhere”) and those as eager to hear newer material (“U.B. Jesus”, “The Great Intoxication”). It also contains a few fascinating cover selections – Whitney Houston’s “I Wanna Dance With Somebody (Who Loves Me)” and Verdi’s “Un Di Felice.”
The band is also great, and it is clear that Byrne enjoys playing with the musicians he has assembled. He is joined onstage by a full band as well as the Tosca strings, an Austin-based string quartet heard on the soundtrack to the film Waking Life. The group shines particularly brightly on the concert highlight “Life During Wartime.”
I also must make mention of the venue itself. Union Chapel is an intimate London musical venue that was once a church. The DVD is stunning to look at thanks to the beauty of the venue.
There aren’t any bonus features on this disc, though the performance is interspersed with brief interview segments with Byrne. It doesn’t matter, though. What we have is a great concert by a legendary figure, who continues to make great music on his own terms.
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Starring Sarah Polley and Ving Rhames
Directed by Zack Snyder
Rating: R
Reviewed by Aaron Licht
Let me make something clear. If a zombie rears its bloody corpse, my critical brain shuts down and I moan for more. I gleefully enter the apocalyptic world and enjoy the hell out of it. It’s now eight months after I first saw Dawn theatrically, and I believe I can finally begin to approach an objective analysis.
As one of many rabid fans who believe Romero’s Dawn of the Dead (1978) is among the best horror films ever made, I was initially outraged when I heard plans for this remake. But forget all that. Screenwriter James Gunn only used the title and the basic premise of a group trapped inside a mall during the zombie apocalypse. That’s it. The Hollywood filmmakers even give credit when it’s due, with many odes to the original Dawn: Tom Savini as a sheriff, Ken Foree as a televangelist, and an even glimpse of his helicopter. It is Foree who utters the famous haunting proclamation: “When hell is full, the dead shall walk the earth.” The upset cult fan base should ask, ‘wouldn’t Hell is Full have been a more appropriate title?’
Dawn begins with a brilliant ten minute introduction. We follow our hero Ana (Sarah Polley) from her shift at the hospital, home to her loved one and her initial struggle with a full fledged suburban zombie epidemic. This intro is by far the film’s strongest sequence. Ana’s husband turns into a flesh hungry maniac whose speed, strength and intelligence establish the zombie’s brutal intensity. Her race through the collapsing suburbs is a horrifying sight. After the credit sequence, Ana meets her reluctant protector, Kenneth the cop (Ving Rhames), and the rest of the gang. The only thing that needs to be said is “We’re going to the mall.”
Although Polley and Rhames are both under used, the cast benefits from their solid acting and indie credentials. Although it is often expected from an ensemble horror cast, Ana’s personal experience of the apocalypse is lost quickly. Rhames’s distinctive voice delivers some of the only understated social commentary. In response to why zombies flock to the mall, he wonders if it’s their memory of the place or perhaps a deep seated instinct; a need to consume.
One of the greatest strengths of the film is the apocalyptic scenario and the drama from the trapped group. Unfortunately, the screenplay demands my most critical thought. The story is dull. The characters are flat and unbelievably calm in the face of global mass homicide. They make few choices and merely react to new problems, power outages, accidental bites, and the like. Imagine the possibilities of character interaction and hijinks in an empty mall at the end of the world (in this regard, the original Dawn pulls no punches). This sad group of characters often make ridiculous choices, like when the panicked young woman chases past an army of the living undead just to save her dog.
*possible spoilers* My biggest criticism is their decision to abandon the mall. Can someone please tell me why they left? Naturally the ordeal with the zombie baby would be disheartening, but afterwards the consensus was, what, the mall is boring? It’s a totally arbitrary turning point, as if they looked at their watches and decided to finish the film with an action packed ‘escape’ sequence.
But back to the zombies. There are more of the living undead on screen than any other zombie film. The makeup is first rate, and the informative DVD extra ‘Raising the Dead’ depicts the entire process, including the three stages of zombie gore. Surprisingly, the film rates high on the frightful, creepy factor (especially that bloated woman zombie) And damn, can these things move! There are just a few scenes of playful destruction of zombies since the moment the guns stop blazing, and the zombie heads stop exploding, humans die. Zombie films always make the NRA proud, but perhaps Dawn goes a little too far with the fetishized gunplay. Is it really necessary to see each spent shell drop in a slo-mo close up?
The DVD extras are first rate. Many are broken into short features: zombie casting, key zombie highlights, how all those heads explode, a full length newscast and a personal video diary explaining the tragic story at Andy’s Gun Shop.
Despite screenplay problems, Dawn of the Dead is a lot of fun. It certainly could have been much worse. The movie was made at the mall down the street from my suburban home (where some of my neighbors have been zombies all their lives), and Romero’s Land of the Dead is shooting downtown at time of writing. Dawn of the Dead’s box office and relative critical success will encourage financial support for future zombie films. For that alone, all zombie fans can rejoice.
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Ed Wood: Special Edition Buena Vista Home Video
Starring Johnny Depp, Martin Landau, and Sarah Jessica Parker
Directed by Tim Burton
Rating: R
Reviewed by Grant McNair
The Movie:
Tim Burton’s 1994 biopic about the “worst director of all time” has finally arrived on DVD - and it’s about fuckin’ time!
Ed Wood tracks the cross-dressing director through the mid 50s as he does what ever it takes to produce three of his standout (ha!) films: Glen or Glenda, The Bride of the Monster, and Plan 9 from Outer Space.
After a failed stage play, Wood (Johnny Depp) takes interest in filmmaking, particularly a biopic about cross-dresser Christine Jorgensen. But only after a chance meeting with the aging horror star Bela Lugosi (Martin Landau - who won an Oscar for the role) is he able to attach the star’s name to the project and get the job writing and directing it. Soon after this, Wood reveals to his shocked girlfriend that he, like the title character of the film that he is writing, is also a cross-dresser - which explains why her angora sweaters were always missing or stretched out.
As the movie progresses, Wood continues his attempts at filmmaking, surrounding himself with freaks and misfits - including TV horror host Vampira (Lisa Marie), professional wrestler Tor Johnson (George “the Animal” Steele), TV psychic Criswell (Jeffrey Jones), and the would-be sexchanger John "Bunny" Breckenridge (Bill Murray) - who don’t seem to mind (or notice) Wood’s cross-dressing or non-existent filmmaking technique.
Eventually Wood’s girlfriend leaves him, but the optimistic Wood quickly replaces her with a more accepting one (Patricia Arquette). And through everything, Wood bonds with Bela Lugosi. As we discover Lugosi’s 20-year morphine addiction and his fruitless struggle for a comeback, we grow to care, both for him and for Wood’s optimism and tenderness toward the ailing star. In the end, we side with Wood (thanks to Johnny Depp) and actually root for him to get his horrible films made.
Ed Wood is a great film, and definitely Burton’s most mature. Structurally the film is a little flat (Wood tries to get his film made, it bombs, he gets back on his feet, repeat), but it’s fun to watch him go through increasingly stranger ordeals in order to bring his visions to life, including stealing props and getting baptized, along with his entire crew, in a swimming pool.
Strangely, even without a dynamic structure or a strong arc for the protagonist, the film works. It is always funny (or strange) enough to hold interest (I never get bored of Wood calling “Cut. Print. We’re moving on,” after a god-awful take), and Wood’s relationship with Lugosi is truly touching. But what really makes the film stand out is that it doesn’t parody the director as one would expect. Instead, the film creates a sympathetic portrayal of this talentless hack. Ed Wood wouldn’t compromise his vision. It doesn’t matter that his vision stunk - Wood never seemed to notice.
The Disc:
Presented in 1.85:1 aspect ratio, the transfer of the film is good, but not great. The black and white cinematography looks beautiful, but scratch marks are apparent throughout. The dialogue is clear. There are animated menus that feature a theater crowd booing and throwing popcorn during transitions.
There are also lots of special features, which are incredibly well done.
The features include:
- A strange music video of Howard Shore’s eerie theme song featuring Vampira dancing suggestively (tribally), intercut with scenes from the film.
- Let’s Shoot this F#*%@r!, which is introduced and concluded by Johnny Depp (in drag), takes you on set for some of the film’s set pieces, like when a strung-out Bela Lugosi has to fight the lifeless rubber octopus in a swamp in the middle of the night. This is a great special feature, as it really lets you experience what making the film was like much more so than a typical “making of” featurette could.
- The Theremin is about Howard Shore’s score, which employs the first-ever electronic instrument, the theremin, to create that familiar eerily high-pitched sci-fi noise.
- Making Bela, focuses on Rick Baker’s Oscar winning makeup job that transformed Martin Landau so convincingly into Bela Lugosi.
- Pie Plates over Hollywood is a cool featurette on the look of the film with production designer Tom Duffield.
Other features include an amazingly informative audio commentary by Burton, Depp, Landau and assorted crew. And if this isn’t enough, there is also a theatrical trailer, a hidden Easter egg, and several deleted scenes, my personal favorite featuring Bill Murray (as Bunny) singing “Que Sera Sera” with a Mariachi band in a meat locker!
Overall this release is a must-have for any film fan.
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Homicide: Life on the Street: The Complete Season 5 A&E Home Video
Starring Andre Braugher, Kyle Secor, Clark Johnson, etc.
Reviewed by Russell Bartholomee
For a few years in the 1990s, the only “must-see TV” for me on NBC was on Friday nights. That’s when Homicide: Life on the Street struggled for ratings for seven seasons against crap like Nash Bridges. Critics loved the show, regularly naming it “the best show you’re not watching.” And for good reason. The Barry Levinson-produced Homicide was consistently the best cop drama on television, with outstanding performances and excellent writing (courtesy of Tom Fontana and James Yoshimura).
For the first four seasons, the brightest star on the show was undeniably Andre Braugher as Detective Frank Pembleton. Braugher chewed up the scenery and stole every scene he was in, whether interrogating a suspect in “the box” or working a case with his fellow detectives. Which was no small accomplishment, considering the strength of the rest of the cast (including Yaphet Kotto, Ned Beatty, Melissa Leo, Jon Polito, and Clark Johnson, to name but a few). At the end of season four, Braugher and the writers took an incredible risk and had Frank suffer a stroke. Viewers who tuned in each week to see Pembleton in action in the box would instead see him struggling to remember the word “coffee” while he made some for his smug co-workers.
It could have been the death-knell of the show, but season five of Homicide was one of its absolute best. In addition to watching Braugher brilliantly portray a proud man recovering from a humbling illness (for a whole season, no less), veteran characters were beefed up, and characters were introduced to give the show new life. Especially good in season five are Kyle Secor as Tim Bayliss, Reed Diamond as Mike Kellerman, and Clark Johnson as Meldrick Lewis.
The latter two spend much of the season fighting a losing battle against Baltimore’s most ruthless and elusive drug lord, Luther Mahoney. The Mahoney character, played to the hilt by Erik Dellums, is the anti-Frank. He’s just as shrewd, just as calculated, and just as many steps against his enemies. With Frank at his full capacities, it might have been hard to swallow the number of times Luther (literally) gets away with murder. With Frank in recovery, the writers were free to explore the depths of a criminal mastermind and the cops who are determined to do whatever it takes to take their nemesis down. This incredible, season-long subplot reaches its climax in “Deception,” the conclusion of which causes the viewer's jaw to drop open and stay that way for a few solid minutes.
Besides “Deception,” you get the amazing “Prison Riot,” which may be one of the top ten hours of drama ever to air on television. A gritty look into what hard time is really like, “Prison Riot” served as a springboard to another groundbreaking drama, the Tom Fontana-penned Oz on HBO.
The best thing about Homicide was always the way it tackled big picture questions about life without offering platitudes. Season five certainly doesn’t disappoint here. Frank’s recovery is offset by marital tension over his seeming loss of faith and the effect that his wife believes this will have on their daughter. Just as Frank’s all-consuming drive to return to the job is about to pay off, he risks losing his family forever. Watching Pembleton grapple with God, family, and the work at which he excels is great television; that Braugher never got an Emmy for his efforts is a crime.
Season five is Homicide at its best, and for the last time. Even though the show went on for two more seasons, it never managed to soar to the majestic heights of seasons 3-5. Of course, if you’re already a fan of the show, I’m preaching to the choir. And if you’ve never seen it, you’d be advised to start with Season One before plunging into Season Five. Still, this is an incredible set of episodes of a criminally underrated show, recommended to anyone who likes great writing, acting, and the most compelling examination of the human condition anyone could hope to find on network TV.
The digital transfer on the DVD looks and sounds great. The only drawback to this set (and the only thing preventing me from giving it a 5-star rating) is the appalling lack of special features. Only one episode gets a commentary (the exquisite “Documentary”). Each episode does include a “Previously on…” teaser, which is nice. But conspicuously missing is a feature that all four of the previous season sets have included—the song listing. One of Homicide’s most impressive qualities was the use of just the right song at just the right moment. On previous sets, you could find out which artist contributed those perfect songs for each episode. But Season Five leaves you scratching your head. A&E Home Video needs to make sure to return that feature for the next set.
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The Ren & Stimpy Show - Uncut: The First and Second Seasons Paramount Home Video
Starring John Kricfalusi and Billy West
Reviewed by Russell Bartholomee
If you spend any time at all watching recent cartoons on Nickelodeon, The Disney Channel, or Cartoon Network, you can’t miss the enormous impact The Ren & Stimpy Show has had. Though I’m sure they do not, the makers of Spongebob Squarepants, The Fairly Oddparents, and Cow and Chicken should all be paying royalties to Ren & Stimpy creator John Kricfalusi (hereinafter to be referred to as John K.). Aired from 1991-1996 on Nickelodeon, the show completely changed the rules about what was kosher in kids’ cartoon programming, paving the way for every cartoon that used surreal animation and purposefully gross humor that has followed.
They say imitation is the sincerest form of flattery. Well, John K. should be extremely flattered. This DVD set makes clear how much all of those shows have ripped off Ren & Stimpy while failing to even approach its level of humor and artistry. Watch one classic episode—say, “Sven Hoek”—and then try to make it through an episode of Spongebob without cringing at the ham-fisted hackery that passes for a quality cartoon today. All these pretenders have mistaken the sophisticated-yet-twisted absurdity of Ren & Stimpy for mere stupid humor and fart jokes. “No sir, I don’t like ‘em.”
This set contains all thirty-two episodes from the first two seasons, as well as the not-ready-for-Nick-toons “Man’s Best Friend” and the uncut pilot, “Big House Blues.” That means every show with which John K. was actually involved, whether as writer, director, animator, or the voice of Ren himself. After two seasons and unending squabbles with Nickelodeon, John K. was fired from his own show, with Ren being voiced by the amazing Billy West. While West did an admirable job of filling in for Kricfalusi’s vocal talents, the writing and direction never lived up to the genius of the first two seasons. I don’t know if Nickelodeon ever plans to release later seasons, but there’s no need to buy them. Every episode that matters is right here.
That includes personal favorites like “Ren’s Toothache” (featuring the Nerve-Ending Fairy), “Stimpy’s Invention” (where the world first heard “Happy Happy Joy Joy”) and “Space Madness” (in which Ren goes crazy in the bathtub on a spaceship, ultimately devouring a bar of soap that he believes is his “beloved ice cream bar”). It also has “Rubber Nipple Salesman,” perhaps the most disturbingly funny cartoon ever to be aired on a network ostensibly for kids (“Call the poleeeece!”). I was especially pleased to see that all of the “Log” commercials were included, as well. This spot-on parody of the classic Slinky commercial jingle (‘It’s better than bad; it’s good!”) was one of the reasons I tuned in to the show regularly when it originally aired.
The set is filled out with six excellent audio commentaries, as well as a few enlightening featurettes, storyboards, and pencil tests. My one gripe is that not all episodes are completely uncut, as the box boldly proclaims. There are about five episodes in which Nickelodeon made brief edits for content that have not been restored. But only the most avid of fans will notice, and the vast majority of the 32 episodes are completely intact (some for the first time ever), but perhaps the word “uncut” should not be on the packaging under the circumstances. That’s a minor complaint, though, considering how much is packed into these three discs.
Of course, it needs to be mentioned that The Ren & Stimpy Show is really not suitable for young children—I’ve always been amazed that Nickelodeon aired the show at all, to be frank. But to fans of the show, or to those who are disappointed that so few modern cartoons are truly inventive anymore, it will bring much laughter and sheer joy.
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The Rolling Stones Rock 'n' Roll Circus Abkco
Directed by Michael Lindsay-Hogg
Reviewed by Adam D. Miller
The Rolling Stones Rock ‘n’ Roll Circus is more than a concert film, and certainly more than a never-aired TV special: it is a relic from a different age. And it is a surreal viewing experience, one that is sure to satisfy fans of late 1960s music.
The show opens with the program’s cast of mostly British musicians, such as John Lennon, Yoko Ono, The Who, and Eric Clapton wearing circus outfits and miming trumpets, saxophones, and cymbals. Mick Jagger is the ringleader. Decked in a top hat and carrying a whip, he introduces the show and along with the help of midgets and circus freaks, the members of the Stones introduce their lineup of musical acts, which are interspersed with more traditional circus acts, like a fire-eater and a trapeze act.
The musical line-up assembled for Rock ‘n’ Roll Circus is quite impressive. The show kicks off with then-new British band Jethro Tull before handing it over to the Stones’ contemporaries The Who for a rousing rendition of their mini-opera “A Quick One While He’s Away.” The sole American act on the disc is bluesman Taj Mahal, who sings “Ain’t That A Lot Of Love.” Mick Jagger’s then-girlfriend Marianne Faithful is probably the dullest of the performances. Although her song is sweet, it lacks the fire of the program’s other acts.
One of the true highlights of the program is a performance of the Beatles song “Yer Blues” (which at the time had only just been released by The Beatles), performed by a supergroup called The Dirty Mac. The group consisted of John Lennon (guitar/vocal), Eric Clapton (guitar), Keith Richards (bass), and the Jimi Hendrix Experience’s Mitch Mitchell (drums). The group works extremely well together, and leaves the audience wanting more. Unfortunately what they get next is an instrumental with Yoko Ono’s experimental vocal stylings.
Of course, the ultimate highlight of the disc is a performance by The Rolling Stones. Much of their set consists of songs from Beggar’s Banquet, such as “Sympathy For The Devil” and “No Expectations”, both highlighted by Nicky Hopkins, the session pianist who defined the Stones records of the period. It is also a notable performance because it is one of their last with original guitarist Brian Jones, who died several months later.
The DVD contains a whole slew of bonus features, including an audio commentary by director Michael Lindsay-Hogg and many of the artists involved, never before seen additional footage of Taj Mahal, The Dirty Mac, Julius Katchen, along with a recent interview with Pete Townshend reflecting on the program.
Part of what makes this DVD so fascinating is that it shares a performance which up until recently was entirely unreleased. Although filmed for television, it was pulled at the last minute and therefore never aired. It has become an essential part of The Rolling Stones’ legacy and is a delight for any fan of 60s music and culture.
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Wattstax (30th Anniversary Special Edition) Warner Home Video
Directed by Mel Stuart
Reviewed by Brighid Mooney
In August of 1965, a riot broke out in the Watts section of Los Angeles, California, where 34 people were killed and over a thousand were injured. Seven years later, a huge concert was held inside the L.A. Coliseum to commemorate the riots. Hailed as the "black Woodstock," Wattstax featured performances by some of the greatest living performers on the Stax roster, including Rufus and Carla Thomas, the Staple Singers, Albert King and Isaac Hayes. This 30th Anniversary Special Edition DVD showcases the electrifying performances of the artists at the coliseum, and also interweaves the concert footage with a collection of interviews from Watts residents, several bits from comedian Richard Pryor, and many shots that showcase life in the neighborhood of Watts itself - on its streets, in its shops, and in the churches. This pivotal concert took place eight years after the Civil Rights Act and four years after Dr. Martin Luther King's assassination, and a great deal of hostility still permeated the country, evidenced by the socially critical remarks made by Watts residents over the course of the film. But Wattstax itself was a chance for the people of Watts to come together to celebrate both black pride and some of the best music of that era.
The Reverend Jesse Jackson opens the concert, motivating the crowd to assert that "I am somebody," before enthusiastically leading them through the rest of the show. This concert lacks the peace and love vibe of the end of the sixties Woodstock concert, but Wattstax infuses its soul, gospel and blues with a socio-political vibe and what Richard Pryor called "a soulful expression of the black experience." The Staples Singers perform "Respect Yourself," Albert King plays the blues for you, and Rufus Thomas does the funky chicken. One of the most memorable scenes of the film is when the middle-aged Thomas, decked out in pink long-sleeved shirt, red shorts and go-go boots, gets a huge portion of the crowd to come down onto the field and dance. Then, when the song is over, he somehow manages to get them all to go back to their seats, almost without incident.
Outside of the coliseum, in a Watts church, the Emotions sing "Peace Be Still." Little Milton sings "Walking the Back Streets and Crying." Every song seems relevant, moving, uplifting or energizing. It all builds to a momentous closing performance by the legendary Isaac Hayes, introduced by Jackson who says "I'm a preacher so I can't say it, but y'all know Isaac Hayes is a bad . . ." and the enthusiastic crowd happily finishes the sentence for him. The truthful and sincere commentary by Watts locals only solidifies the strong attitude and the perseverance of the people living through that tumultuous era. Richard Pryor's comic bits are more evidence of his genius and persistent social relevance, and are a perfect complement to the overall vibe the film seeks to capture. In the end, Wattstax is an entertaining and moving historical time capsule of America's history, music and people.
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Willie Nelson & Friends - Outlaws and Angels Eagle Rock
Reviewed by Russell Bartholomee
It probably sounded like a really good idea on paper. It sure looks like a good idea on the box. Get Willie Nelson on stage with a host of legendary musical performers, some hot newcomers, and put on a show. Looking at the names of those involved made me giddy—Bob Dylan, Al Green, Jerry Lee Lewis, Lucinda Williams, Keith Richards, and about a dozen more. Big names. Huge talents. Plus Kid Rock and Toby Keith…OK so maybe it wasn’t going to be perfect. But surely that many geniuses on the same stage, hosted by James Caan couldn’t be bad, right?
Wrong.
Not that it’s all bad. In fact, a few performances are really great. But in parts, it is very bad indeed. And I have to say I was quite surprised about which performances fared the worst. For instance—and I’m probably about to step on some toes here—as much as I admire and respect Bob Dylan, his duet with Willie on “You Win Again” is almost unlistenable. Both men’s voices are acquired tastes, and I’ve acquired the taste for both, but evidently not at the same time. Neither seems comfortable singing with the other; Dylan looks like he forgot the words a couple of times. And while it’s a thrill to see two legends share the stage, I just wish they had been sharing the song as well. But it was early in the show, and Al Green was yet to come. So I had hope. Willie and Al do two numbers, “Funny How Time Slips Away” and “Rainin’ in My Heart,” from Green’s latest record. The first tune is better than the second, but both are marred by Al Green’s performance. His voice is uneven—he shouts like a preacher as much as he sings—and he’s holding an acoustic guitar that I’m pretty certain he isn’t actually playing. It’s distracting. All that after recovering from the surreal sight of Willie (who wrote a song for the Kucinich campaign) and Toby Keith (who campaigned for Bush) singing as Joe Walsh hops around stage in camo pants on “Ramblin’ Fever.”
That’s not to say there aren’t some fine performances here. There really are. The second half of the show is significantly better than the first. There’s a scorching version of “The Cisco Kid” with Willie and Los Lonely Boys. It’s the only time during the night that Willie really looks like he’s enjoying himself thoroughly. It’s not the only time I enjoyed myself. Willie’s duet with Lucinda Williams on “Overtime” is amazing. Shelby Lynne and Carole King turn in back-to-back stunners with “Stormy Weather” and “Will You Still Love Me Tomorrow.” Rickie Lee Jones does a nice job (as always) on “Comes Love.” Ben Harper is fine, as is Toots Hibbert. And the set-closing “On The Road Again” is impossible not to love, especially considering all the raw talent packed on stage.
But those good and even great moments just can’t save the concert from the far greater number of clunkers. One of the cheesiest things is that in the middle of a song, some offstage announcer will come on with “Ladies and Gentlemen, please welcome….Kid Roooock!” Every time it happens, it makes the performance seem like an episode of the Tonight Show. Can somebody explain to me why Kid Rock hasn’t been forcibly removed from the spotlight, as his fifteen minutes have long passed? Why is he suddenly being promoted as a country singer, just because of his mediocre duet with Sheryl Crow last year? He’s embarrassing, both on “Shotgun Willie/Shotgun Bobby” and “Whole Lotta Shakin’ Going On,” where he tries to hold his own with Jerry Lee Lewis. He fails, and Jerry Lee isn’t exactly at the top of his game either.
I wish I could be more positive about this show. But the truth is that it is wildly uneven throughout; Willie Nelson doesn’t even seem enthusiastic about it. There are solid performances, and if you’re a fan of any of the guest stars on the box, you may well appreciate their contribution. And maybe it was better live (the audience looks a lot happier than I was felt). But as a concert DVD, it just doesn’t work. The stellar lineup just doesn’t deliver a stellar performance.
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