My post-punk history lies with groups like The Cure, Modern English, Bauhaus and Echo and the Bunnymen. I love those groups and I love that sound. When I hear that signature guitar tone and mixture of elements not strictly defined by genre, I find a happy place in memory. I have, however, fallen off the modern post-punk offerings. I was happy to find a Facebook group dedicated to post-punk music. One simple post and I’ve been given a lot of music to listen to. Per my commitment to the group, I will listen and discuss each suggestion given to me by the group.
The first entry to this journey is Last Sadness and the recent record- Emotion is Energy in Motion. This suggestion was made by Josh Hines. So, without further ado, is Last Sadness worth a listen?
The short answer is YES. Last Sadness, apparently a one man band, is relatively new with only one album prior to the latest release coming out in 2020. It was called Quarantunes and features remakes. The new EP which came out in August is called Emotion is Energy in Motion and features five new songs.
The first song is called Symbiosis. It begins with keyboards, before hitting with a snappy drumbeat and that beautiful guitar tone. The vocals kick in and I warm up instantly. There is a raw quality that feels like it’s being sung in a phone booth. He feels British, but it’s not absolute. What is, though, is he sounds great. Unfortunately, I was not able to read the lyrics. I connect more to meaning, but I will grade on musicality alone.
The second song is Who Flies Against Time. This one begins with guitar instead of keyboards. Drums kick in and we get that familiar up tempo post punk beat. Vocals join and we have a melodically smooth jam. It’s a basic 4/4 with some quick drum fills. After the second verse, some cool rising synth joins the song and then gives way again to the guitar. The song marches to the end, up tempo with interesting elements added as it cruised to the end. This one is epic.
The third song is called Somnium. The third song opens in the third different way. The song begins with a drum beat, giving way to synth being played as if it were a guitar. Forty seconds in the guitar begins and drops into a cool beat. Vocals are more distinctive on this one. Sound great and great intonation riding the music. This one begs to be sung. The songs ends with repeating chorus accompanied by some cool synth. Just a fantastic song.
The fourth song is called Stesk. This one opens with a pronounced guitar with clean notes. Enter drum beat and a sick bass line accompanied by keyboards. Vocals bounce over the instruments. Bass takes back seat to some cutting guitar licks. Breakdown for lyrics- turns beautifully melodic. This song is cleverly constructed- fade repeating chorus out.
The final song on the EP is Saudade. This one begins with a cool drum beat with some dream keyboards behind. Enter a dirty bass line and grungy guitar. The killer bass here leads the song. Great departure from the rest. Another melodic chorus here with a more familiar post-punk guitar under the lyrics. The bass is the story and plays under the lyrics the whole way.
As a whole, I think this is a solid EP. Each song seems connected, yet offers something different. Its elements are familiar but always feels fresh. I wish I had a lyric sheet to really connect on a more personal level, but on the surface, this is fantastic. Great suggestion Josh. Can’t wait to check out the next suggestion.
In 1972, John Lennon released his most controversial song and his lowest charting single. The song- “Woman is the Nigger of the World.” The song was included on the album “Some Time in New York City” by the Plastic Ono Band, which featured John and Yoko Ono.
The song was so controversial, as one could imagine, that radio stations refused to play the song due to the use of the N Word and because the song unfairly compared sexism to racism. Yoko had coined the phrase during an interview in Nova magazine. The phrase was not meant to lessen racism in any way, but to highlight the state of women in society. The spirit of the song is pre-feminism. The message was heard loud and clear by the National Organization for Women (NOW). They awarded John Lennon and Yoko Ono the Positive Image of Women Award because of its strong “pro-feminist statement.”
While the song received little radio play and only made it to #57 on the Billboard Hot 100, John and Yoko did manage to perform the song on the Dick Cavett Show. Prior to the song being played, Cavett had to make a statement apologizing for ABC about the content of the song. Here is the explanation and the beginning of the performance.
I don’t know about you all, but I’m a collector. (fancy name for hoarder:) I collect comic books. I always marvel, pun intended, when someone falls into a big find. A man finds an Action Comics #1 in his grandfather’s closet or in a shed. Someone stumbles upon a Detective 27. These stories pop up from time to time and are so intriguing. I know when I drive by a garage sale, I look for the distinctive long box. Who knows what treasure might await me. I’m usually disappointed as they are nearly always filled with 90s foil covers.
This scenario, however, is exactly what happened to Peter Hogdson in 1995. Apparently, and according to the London Times, Hogdson found a tape in his attic that contained 16 early recordings by the Beatles. The songs, which were recorded in 1959 included “Hello Little Girl,” “Ask Me Why,” “When I’m 64” and Ray Charles’ “Hallelujah, I love her so.” He handed the tapes over to Paul McCartney and spent a day with the music star in his private studio playing instruments and chatting.
There is some mystery around the tapes, and some even propose that it was a con job. I, however, love the story and hope to someday stumble upon a pristine Daredevil #1. So, I’m leaving this here- on this day in history, April 23, it was reported that a man found a long lost Beatles tape in his attic. That much we know is true and makes April 23 pretty interesting in the music world.
Come back tomorrow to find out what happened on April 24.
In 1989, Spike Lee brought the world Do the Right Thing. It was both a commercial and critical success. Do the Right Thing was lauded for its reflection of race relations in America. It came out after my senior year, before I headed off to college. It just felt different and delivered an important message. Very eye opening for this midwestern kid.
A movie this powerful needed an anthem. Spike Lee looked to Public Enemy and Chuck D to supply its anthem. And boy, or “yeah boy,” did they deliver. Public Enemy came up with Fight the Power, which would appear on its 1990 release Fear of a Black Planet. On this day, April 22, 1989, Public Enemy shot the video for the song.
Fight the Power (FP) was perfect for the movie and a success on its own merit. FP rose to number one on the US Rap chart. It came in at number 20 on the US R&B chart, 24 on the Dutch charts and 29 on the UK chart. Like the movie, the song was a critical and commercial success. The message is clear:
Got to give us what we want Gotta give us what we need Our freedom of speech is freedom or death We got to fight the powers that be
The inspiration behind Fight the Power goes back to when Chuck D, or Carlton Ridenhour as he was known then, was 15 years old listening to the Isley Brothers song of the same name, Fight the Power. The line that rang true for Chuck D was, “I tried to play my music, they say my music’s too loud.” When thinking about the anthem that Spike Lee was looking for, Chuck looked to the original. “We were in the middle of R and B — that’s Reagan and Bush. So I said, “We don’t want to sample from the record. What we want to do is carry the torch of the meaning — to yell and scream back at hypocrisy.” That is exactly what they did. Public created something new and fresh while reaching back and building on what had come before.
So, let’s celebrate April 22, 1989 as the day that Public Enemy brought Fight the Power to the world. This song, and Public Enemy, mean so much to me. They changed the way I see the world and have inspired me to question the way things are. Their video is fantastic, but the opening sequence to Do the Right Thing, using FP as the opening song, is even better. Check it out here.
On episode 107 of Wanderings and Woolgathering, JPP, Metalhead Mundy and Foggy pick a five member Justice League team and assign theme songs for each member. Out of 15 possible members, we only crossed over on one character!!!!! Here are the choices and songs- check them out.
JPP:
Lobo– Of Wolf and Man by Metallica
Dr. Fate– Magic Man by Heart
Shazaam– Slam by Onyx
Dr. Manhattan– New York Minute by Don Henley
Superman Prime– House of gold by 21 pilots
Metalhead Mundy:
Nightwing– Stayin Alive by the Bee Gees
GL John Stewart– The Boss by James Brown
Zatanna– Raise Hell by Dorothy
Big Barda– Woman by Kesha
Mr. Terrific– Technologic by Daft Punk
Foggy:
Superman– Superman by REM
GL Kyle Rayner– Kool Thing by Sonic Youth
Zatanna– Every Little Thing She Does is Magic by The Police
Detective Chimp– Friends in Low Places by Garth Brooks
Etrigan– Welcome to the Terror Dome by Public Enemy
Next week we start reading Sandman by Neil Gaiman issue by issue. Join us live for episode 108 at 7:00 Sunday. Chat with is as we record. You can find us at Wanderings and Woolgathering on YouTube, the Kokomo Lantern or at Foggyspal on Twitter.
Last week, Corey Taylor made some waves with Maggots across the world. He stated, “I will tell you this — you’re gonna see some songs that haven’t been played live in a very long time, straight up,” the singer said. “I just redid the set, and we’re dusting some stuff off, and we’re bringing out not only some old school shit, but stuff that people have been asking for for a long time.” (Loudwire) With that in mind, what will the new set look like? What old songs will reappear? Of course Corey tends to work in hyperbole when describing new music, so who knows what old songs we will get. To figure it out, let’s look at the average sets from each album cycle. Some songs were performed from time to time, but typically, the boys stuck to a fairly tight set. Using those average setlists, I will build the set for the next tour.
In 1999-2000, the self-titled set was very basic. It was an opening band set and based on one record; it featured the intro and anywhere from seven songs up to eleven songs.
742617000027
(sic)
Eyeless
Wait and Bleed
Liberate
No Life
Prosthetics
Surfacing
Purity
Get This
Eeyore
Scissors
Jump to 2001-2002 and the Iowa tour, the setlist inched up to 12-13 songs with two intros. Seven songs from the previous tour reappear plus one more from self-titled, and six are added from Iowa:
People = Shit
Disasterpiece
Gently
New Abortion
The Heretic Anthem
My Plague
Now we move to Subliminal Verses Tour 2005. With the new album, the setlist grows to 17 songs. For this tour, Slipknot adds: (the most from any album added to a tour)
Prelude
Blister Exists
Before I Forget
Left Behind
Vermillion
Pulse of the Maggots
The Nameless
Everything Ends
Duality
Get This (self-titled)
Now let’s jump forward to the All Hope is Gone tour in 2008. For this tour, the average setlist had 15 songs. In addition to the new songs from AHG, Liberate makes another appearance after being left off the last tour and Only One from Self-Titled makes an appearance. AHG songs are numbered to two:
Dead Memories
Psychosocial
In 2015, Slipknot toured .5 The Gray Chapter. They go back to 17 songs and add five tracks from the new record. In addition to the new songs, they add Vermillion and Sulfur. New songs:
Sarcastrophe
The Devil in I
AOV
Killpop
Custer
Opium for the People – first time since 2004.
My Plague- first since 2002
Purity- played a few times
In 2019, Slipknot began touring We Are Not Your Kind. The only song on the initial part of the tour was Unsainted and the Halloween released All Out Life. The band began adding more, including Solway Firth before Covid hit and cut it short. Slipknot also broke out Prosthetics, a fan favorite and periodically played Eyeless.
If Slipknot tours a 17 song set, which is average for the past few years, here is a potential list. I will hold out two spots for new material- Chapeltown Rag and one new one from the new record to be released this Spring. That follows their approach to WANYK. So the remaining 15 songs are made from classics, to songs not played in a while, to a few that have never been played:
People = Shit– every tour
Surfacing- every tour and the Maggot anthem
Spit It Out – because we need to jump the F up
(sic)– well because it’s sic
The Heretic Anthem– a must
Disasterpiece– classic and reminds me of Joey
Duality– Clown needs a song to bat a keg
The Devil in I– makes sense to represent .5
My Plague– It’s been a minute- love this one live
Pulse of the Maggots– rarely on the setlist- another sort of anthem
Liberate– rarely on setlist
Eyeless– fan fave and doesn’t typically make the main cycle- and AMAZING
Blister Exists– Been a while since it was in the main setlist
Gematria: The Killing Name– never played live
Spiders– never live- as the group continues to evolve, this could be really cool live
Or
Critical Darling- never played live- it has the chorus that Corey loves these days
Of course, this will probably not look anywhere near the actual setlist, but it’s fun to think about. I think many of us would love to see a resurgence to a lot of older material, but let’s be honest here- we are going to get the classics, some new songs off the new record, a few more off of WANKY since they didn’t get to complete the tour, and a mere few that are dusted off for our pleasure. Can’t wait to find out when Slipknot hits the road.
Beauty in Chaos, the lovechild of Michael Ciravolo, is back with their third studio album, fifth if you count remix records. This time, Ciravolo has chosen six powerful women to helm the microphone on Behind the Veil. Each woman is unique, bringing something entirely different than the others, yet all fit seamlessly on the record. Credit here to Ciravolo and Michael Rozon for creating music to match the muse while keeping the quintessential nuance that is Beauty in Chaos.
Afterlife
The first song is Afterlife, which features Tish Ciravolo on vocals. The wife of Michael, she is a musical powerhouse, playing bass on previous records, writing lyrics and singing my favorite song on this record. Afterlife is built around questions people ask when facing death or thinking about their own mortality. The short questions delivered in slow measured verses crawl around in your brain as the pacing allows the listener to ruminate and connect to the singer. The questions are interrupted by a cool synth breakdown that breaks the pace and signals a change in the singer. As Tish sings we are lead to her conclusion. Perhaps we don’t know what is in the Afterlife, but we can do what is important now: love more people and pray for the rest. Ths song is beautiful and a message that this world needs right now.
The Kiss of the World
The second track is The Kiss of the World featuring Elena Alice Fossi. I recently reviewed that one here.
Not Your fault
The third track on the record is Not Your Fault by Pinky Turzo. Turzo has the most distinctive voice on the record. At first, I was taken aback. It’s so different than the others Michael has invited on. However, after a few listens, I really gravitated to her sound. She sings the mellow verses, beautiful soaring choruses, and soft pre-breakdown whisper with equal passion. The lyrics tell of a person who desperately wants to help another ,but nearly gives up through the struggle. In the end, love wins out:
It’s not your fault
Just look into my eyes
Trust this love you see
It’s not your fault
That you were dealt this hand
Let me take it from you
Pinky Turzo was the perfect choice for this song. Again, Ciravolo’s choices are impeccable on these records.
Orion
The fourth track features Whitney Tai. This was an early release and I reviewed it here.
Open Wound Heart
The penultimate track is Open Wound Heart featuring Cinthya Hussey. As usual, the music is perfect for the song. The guitars drive the tone and mood. But for me, it’s the lyrics all day and twice on Sunday. I love poetry. I love word choice. I love cool word play. I love words that allow me to exist in a moment experienced by someone else. What a way to start a song!
Sunset sets her senses on fire
While Gods and Demons rally to conspire
Screaming scarlet scars
Howling unclad under the stars
An incandescent soul
Plowing on glowing in an ice cold world
The stage is set for what is outside of our control. The singer, or protagonist, is at the mercy of a cold world, the gods, or perhaps an unrequited love or love lost. Throughout her struggle, there is a sense of desperation here as: “With her desires undisclosed, she stares and blinks in morse code.” Who will come to her rescue? She is vulnerable and suffers from an Open Wound Heart. Maybe giving in to it all is the answer. Who knows? Eros may have something to say before it’s all said and done. Beautiful song with no clear answers and beautiful poetry.
Grasp the Stars
The final track on the record is Grasp the Stars featuring Betsy Martin. This song has the hardest edge of all the songs on the record. Ciravolo’s guitar is cutting and angry, and even offers a little tasty feedback. Conventional drums here are replaced with drum programming from Michael Rozon. Martin’s vocals are unconventional and work well above the harder edge presented here. She is raw and emotional, belting out the lyrics almost as if she is trying to convince herself that, “It’s not that bad, it’s not that hard- cool down, it’s not that bad.” This song exudes desperation both lyrically and musically. Great album closer.
With the third record, Behind the Veil, Ciravolo has done it again. His core team of Beauty in Chaos is able to switch out the parts over and over again and create new gems. As with the other albums, Ciravolo has invited some folks to create remixes. The remixes can be ordered as part of a 2 CD set. See what the buzz is all about. Go to beautyinchaosmusic.com and place your order now. Music ships on 2/22/22.
Bend for Eleven is back. For the band from Thessaloniki, Greece, it has been nearly two years since their release of Rebel Day- their last full length album. You can find a review of the album here. Last April, Bend for Eleven released another single: Feel Me. It saw the band stretching and delving into new territory. Great song- check it out here.
Yesterday, December 21, Bend for Eleven released another single: Pure Gold. Like their previous offerings, the music is simply enjoyable upon first listen. The band has an excellent control of melody and rhythm. Pure Gold is a vocally driven song. After a brief guitar intro, the vocals are relentless for the next two minutes. The message here seems to reflect the temperature in Greece at the moment. The rich getting richer on the backs of the poor in a struggling economy. The problem- no one is fighting back any more. There is an acceptance, a malaise that has taken place.
“In a sea of mishaps,
I saw something odd
Noone fights nobody
for nothing’s wrong no more, I sense the
silence.
I’m in doubt, I feel so lost”
Of course, the lyrics are cleverly written so that anyone can make meaning in their own lives. Who hasn’t been taken by a conman and wanted to get even? We’ve all walked in those shoes.
“Yeah! I want you to know that….
All the words I hold back
Are moments with a conman
Who serves you for pure gold.
It has been so wrong but…
if you do the math right
the result’s a payback
And that is your pure gold.”
At the 2:25 mark, we get an excellent breakdown with clean guitar notes, and underlying smooth bass beat, quick snappy drums with a chorus of vocals over the top- “lose control.” This is an excellent respite from the frantic nature of the song and the powerful vocals. It then returns to the chorus and catchy beat to close the song. Pure Gold is relatively short, clocking in at a little over three minutes. What it lacks in time, it definitely makes up for in energy and passion.
Pure Gold is more in line with the songs on Rebel Day than the single Feel Me, and is another excellent addition to Bend for Eleven’s catalogue. Head over to Apple Music, Spotify or Soundcloud to check it out. Bend for Eleven has spun pure gold with Pure Gold….pun intended.
You can connect with the band on Facebook: https://www.facebook.com/search/top?q=bend%20for%20eleven
This week, the Wanderings crew is tackling comics covers. Of course this is very subjective, but we are going to give it a go. Shawn Hilton from Comics Cubed is back again this week to join in the fun. Without further ado, here are some amazing covers.
Disclaimer from Mr. Hilton: What kind of lunacy is a TOP 3 COMIC COVER LIST? Of THE WEEK? No, of ALL TIME? Might as well ask a parent which kid is their favorite. If it were a TOP 3 covers of a specific artist I MIGHT be able to decide. Do I go Kirby, Steranko, Perez, Byrne, Sienkiewicz, Alex Ross? Do I look at ICONIC COVER like Action Comics #1, Amazing Fantasy #15, FF #48? Perhaps it’s the top 3 GIMMICK COVERS and then I’m looking at glow in the dark, metallic covers, holograms, origami (looking at you FORCEWORKS #1), Gems glued to the cover (Eclipso), bullet holes (I don’t remember but it was done).
It’s just not something my brain can wrap itself around so I’ll just let my brain go on a wonder and let it come up with 1 MARVEL cover 1 DC cover and 1 Indie cover.
Marvel Cover:
Amazing Spider-Man #121 cover, via Marvel Comics.
Ray: Amazing Spider-Man #121 by John Romita Sr.
This is probably the best example of how to do clickbait right I’ve ever seen. It’s a concept for a cover that shouldn’t work for many reasons –
it doesn’t reflect the content of the comic (Peter does not know one of his loved ones is going to die). It’s cluttered. It’s chaotic. But it’s one of the most brilliant and striking examples of how to catch a viewer’s eye I’ve ever seen. It’s not like any other ASM cover, which immediately sets the tone that something very different and very bad is going to happen this issue – and the content doesn’t disappoint on that front. I have no doubt that those who saw this cover on their store shelves for the first time in the 1970s were not able to walk away without reading it, and that’s the brilliance of this one.
Steve: Jack Kirby Machine Man
Marvel Machine Man 1- Jack Kirby
What is a comics cover list without Jack Kirby? Incomplete! While some people don’t enjoy Kirby’s style, especially his face work, his contribution to comics is indisputable. Going one step further, his cover are solid gold! They are alive, bristling with energy. While many covers are pinups, Kirby’s are filled with action and movement. I especially love his use of foreshortening. The action is leaping off the page. Machine Man isn’t the most well-known Marvel property, but the covers are great examples of Kirby’s work. Simply search Kirby covers and you will see this technique used on the Fantastic Four, Eternals, Fourth World books, etc. There will never be another Kirby.
Shawn: Arthur Adams Classic X-Men #1.
Marvel Classic X-Men- Art Adams
Art Adams is an artist I’ve loved since seeing this cover and his work on a Longshot miniseries. His style is HIM. No one else is quite like Art Adams and it jumps from a spinner rack or a shelf right at your eyeballs. His classic X-MEN #1 is superb showing off the two generations of X-MEN icons in a pinup style cover that was perfect for posters, t-shirts, album covers, and anything else you might have wanted to slap it on. Take that art and a unique reprint book (Classic X-Men allowed Claremont to retcon his own work in the book and add all new back up material).
It’s a wonderful cover that holds up to this very day.
While looking into the specifics of this cover I found this superb write up that goes into amazing detail about the creation.
DC Cover:
Ray: Action Comics #583 by Curt Swan
Action Comics #583 cover, via DC Comics.
By contrast, this is a comic cover that makes you feel strong emotions. I know the other “last Superman cover” – Superman #75 – is more iconic, and its starkness made a good case for its entry on this list. But this conclusion to “Whatever Happened to the Man of Tomorrow” is so perfectly simple, so melancholy, and so final that it stuck in my mind much longer. It fits with the poignant, ambiguous nature of Alan Moore and Curt Swan’s farewell to pre-Crisis Superman. Special points to the way it pays tribute to Superman’s large, varied supporting cast while keeping the man himself front and center.
Steve: Action Comics 1
DC- Action Comics 1- Joe Shuster
I tried not to pick this one, but I just couldn’t deny it. It’s the first appearance of Superman and quite frankly, it’s a well designed comic. Although it is very old, it has a more modern sensibility. It is not overly busy as some older comics were. There are no word balloons that populated the pages of books from yesteryear. Instead, Joe Shuster lets Superman take center stage. He creates movment by posing Superman at an angle as he lifts the car. In the bottom corner foreground, diagonally down and left from Superman, a man is panicking at the action going on behind him. Again, the angle creates movement for the static image.
Shawn: JUSTICE LEAGUE #1 by Kevin Maguire and Terry Austin
DC Comics: Justice League 1 – Kevin Mcguire
This cover is another great pin up style poster cover that could have been used as a movie poster. It features all the B level characters plus one A level character that make up the team (you decide who the one A level character is) and one word balloon from Guy Gardner. The colors of the costumes pop, the line work is dead on, Terry Austin is a legend for his inks, and even the title layouts, DC bullet, and issue number, price box, and comics code symbol are all laid out perfectly. The only thing that mars this cover is the UPS code box.
This cover has gone on to be used and used again. Parodied, swiped, borrowed, by nearly every comic company on the planet. It was a book that really cemented in my mind what the late 1980’s DC comics were all about and that cover still lives rent free in my mind all these years later.
Indie Cover:
Ray: Bandette Vol. 1 by Colleen Coover
Bandette vol. 1 cover by Colleen Coover
This is just a brilliant study in minimalism. Look at the sheer kinetic energy coming off this cover. With only a few colors, relatively few lines, and only one character on the page you get a perfect feel for the type of energy this comic is going for. This not only feels like a superhero/vigilante comic, it feels like one about a character who loves what she does and is likely bringing some joy and youthful enthusiasm to a world that might have a bit of a noir bent. Coover’s art is no less charming on the inside, but this splash of color and energy on the cover might be her best piece of art.
Steve: Essex County – Jeff Lemire
Essex County Jeff Lemire
Jeff Lemire is a master story teller with a very unique art style. I imagine that it is a turn off for many people, but I love it. And more importantly, he uses the simple lines with story telling techniques to get the most out of his stories. On this cover, he cleverly shows the characters from the stories within Collected Essex County set above a root system. He is showing that the characters roots, and their stories, run deep throughout the county. Really a cool cover, and the splash of red from Lester’s cape against the deep blue sky is the finishing touch.
Shawn: BORIS THE BEAR #1
Dark Horse Comics- Boris the Bear
Dark Horse Comics presents a little bear with a big gun. To be fair this cover isn’t that amazing for the actual artwork, inks, colors, or use of space. There are far better covers based on those things. However, this cover marks a tone in the comic world that people were getting sick of all the TEENAGE MUTANT NINJA TURTLE clones. In the year 2021 we all know and very likely love TMNT, but back in the 1980’s when they first crawled out of the sewers and onto comic pages, they were a massive hit. This lead to EVERYONE out there copying the theme and naming trope and putting out a LOT of trash.
Boris was a book similar in style, black and white, an animal (anthromorphic) with human thoughts and actions, small press, and violence. This little bear set out to KILL all those other characters and he got the job done.
While this cover isn’t the icon the other two are on my list, I think it’s an interesting time and point in the world of comics brought forward onto the cover of a comic. Plus, I love me some Boris the Bear.
For more pop culture goodness, come back to W&W Pop Culture.
Wanderings and Woolgathering has invited some guests in to pick our favorite artists and our favorite writers. This week, we invite the owner of Comics Cubed in Kokomo Indiana, Shawn Hilton, to join us to pick our favorite stories of all time. We are not simply picking the most iconic or well-known stories, but those stories that we love. They can be long run stories, short story arcs or even single issues. So, without further ado, our favorite stories.
Story #3:
DC Elseworlds Speeding Bullets
Ray: Superman: Speeding Bullets (1993 One-Shot) – Elseworlds provided some insane visions of alternate DCUs in the 1990s, but none ever quite stuck with me like this JM DeMatteis/Eduardo Barreto one-off. Creating a world where baby Kal-El was adopted by the Waynes, only to see his powers emerge after the brutal murder of his parents, reinvented both the legends of Batman and Superman in a brilliant way. I’ve been begging for a follow-up to this fascinating world for decades.
Red 5 Free Comic Book Day 2009
Steve: Atomic Robo- FCBD Dr. Dinosaur and Crystals – Robo is a joyful concept created by Brian Clevinger and Scott Wegener. It is a wonderfully drawn and written book that does not take itself seriously. This choice may be odd as an all time favorite story when there are so many classics out there; however, this one makes me so happy. It’s a one issue story that finds Dr. Dinosaur outwitting our titular character. It involves crystals, time travel and witty banter. Can Dr. Dinosaur be taken seriously? Is he as dangerous as he claims? Who knows, but every time he’s on the page, it is GOLD! I go back to this one and reread a lot. Clevinger and Wegener have created a comedic character that delivers, and I can’t get enough.
Honour Among Punks- Baker Street Complete
Shawn: BAKER STREET from Guy Davis and Gary Reed – Baker Street is one of Guy Davis (Sandman Mystery Theater, Hellboys BPRD, Marquis) earliest works and it shows growth in his abilities throughout. Baker Street is Punk Sherlock Holmes in an alternate Victorian London clawing its way into the 20th Century in which WW2 never happens. It’s a lot of theme to say it’s PUNK SHERLOCK HOLMES and over 10 issues comprising two stories (two mysteries) it works. Guy Davis is the creator, artist, and writer with now departed Gary Reed providing most of the story for the first arc/mystery.
To be clear Sherlock and Watson are not to be seen. They are re-created as original characters based on the Doyle characters. Sharon, the Sherlock character, is punk through and through, and Susan, the American Midwest roommate acts as her Watson, become involved in two mysteries that make up the entire 10 issue run of Baker Street with a few shorts (scenes) running in other books (as memory recalls Sharon meets Sherlock for a scene in another book and Baker Street makes an appearance in the annual Swimsuit issues of Amazing Heroes from the late 80’s and early 1990s).
Baker Street is a thrilling read that feels PUNK. It NEVER feels like some guy writing PUNK or GOTH from the outside looking in trying to emulate what the kids are up to vibe. Guy Davis was PUNK. He got it, he lived it, and he molded that look, feel, and thought process into Baker Street. And it WORKED. Over those 10 issues two complete stories unfold that have depth and heart. It’s not just surface level gloss with a shiny coat of PUNK drizzled over the top. The black and white line work, the backgrounds, the visuals it all conveys an alternate reality and world that feels lived in and very real.
Over the years I have heard different versions of Gary Reed’s involvement from both Guy Davis and Gary Reed. Up until Mr. Reed’s death I would press for a new reprint each time I met him. It seems to me that Gary Reed helped write the first story arc with a lot of input from Guy Davis. However, with the second arc Davis had grown comfortable and sure of his abilities to take over all the chores of writing and penciling.
Baker Street is 10 issues of Punk/Goth Sherlock Holmes. It’s 2 complete mysteries that have unique depth and are fulfilling. The characters, while based on a template created by Doyle, are themselves unique and interesting takes on the classics. I re-read this book every few years, I own signed copies of the individual issues, and I still want this book to be reprinted regularly to make it easier for the world to read.
You can find HONOUR AMONG PUNKS on E-bay and Amazon. Unfortunately, it is no longer in print.
Story #2:
Amazing Spider-Man 121 – Marvel Comics
Ray: The Night Gwen Stacy Died (Amazing Spider-Man #121-#122) – There’s a lot of debate over this story, given that it was the first “fridging” (bridging?) in comic book history. It’s also one of the most important stories in that history, as it set the tone for the first time in comic book history that anything could happen. Gwen’s death may not even be the most consequential here – Norman dying as a result of his own machinations remains one of the most shocking moments in Marvel Comics. It’s amazing that this all played out in two issues with little fanfare.
Doom Patrol- The Painting that Ate Paris- DC Comics
Steve: Doom Patrol- The Painting That Ate Paris – This story by Grant Morrison is so brilliant on many levels. I love Morrison in that he can take any property and find an angle that most hadn’t thought of, and sometimes runs contrary to conventional thinking; i.e. that Superman doesn’t have to be relatable to us normal humans. What makes him special is that he is not like us. He is equally good with mainstream books and ideas, as well as zany books that allow his imagination to run wild.
Enter The Painting that Ate Paris- a story about a crazy band of villains who have changed their name from the Brotherhood of Evil to the Brotherhood of Dada. Following the dada art movement, they are an anarchist bunch who seem happy to cause problems that fall outside of the concept of good and evil. This leads to their heist, to steal the Painting that eventually will eat Paris, and our heroes, the Doom Patrol. Once the painting is activated, the Fifth Horseman is reborn. The Brotherhood and Doom Patrol must work together to stop him. As the horseman moves through the painting, the different art concepts fuel him. They work to guide him to the dada section of the painting where sense goes out the window. While there the horseman is turned into a rocking horse. The ending is as silly as the concept….and brilliant. Finally, one member of the Dada is named Quiz. She has a phobia to dirt so must wear a suit to protect her. She also has every power you haven’t thought of. To defeat her, you must think of super powers to eliminate them from her arsenal. Now, THAT is clever.
Starman- DC Comics
Shawn: Starman. James Robinson and Tony Harris back in the 1990’s created an instant classic that resonates with readers till this day. Starman is James Robinson’s 81 plus issue run, a couple of specials, and years later a #81 (taking the series to 82 issues as it began with #0 instead of a traditional #1) for a DC EVENT is my long form pick for this list. Manhunter is superb on all levels except one. It’s short. A reader can realistically read the compilation of Manhunter in one sitting. Starman, unlike Manhunter, gives a reader a much longer journey.
James Robinson and Tony Harris create a unique and thrilling reading experience by bridging the Golden Age of comics to the then Modern Age of comics by following the Starman legacy from Ted Knight to David Knight, and finally to the star of the Starman series Jack Knight. Family and legacy are themes that flow through the entire series from issue 0 through to its completion in issue 80. A reluctant and rebellious son who has a life outside of the superhero legacy his family has created and has little interest in the role of Starman is thrust into the spotlight. Slowly Jack Knight grows into a role of protector as he slowly changes before the readers eyes. Starman charts the development of Jack Knight who unlike so many comic characters CHANGES over the course of his series. He matures and is treated in the more classic prose manner of protagonists who are not the same at the end of their journey.
Robinson creates an entirely new DC comics fictional city in Opal City that fits in with Gotham, Metropolis, Star, or Keystone. He creates a bevy of background characters who also, over the course of the series, undergo change as their interactions with Jack and his legacy impact their lives. Nearly every hero who has taken on the moniker of Starman become embroiled in Jack’s journey.
It is a nearly perfect series with only a few minor blemishes scattered throughout the run, and none of those tiny imperfections take away from the whole in any meaningful way to dimmish the reader’s journey.
Tony Harris provided the pencil art and the style that would make Starman a visually mesmerizing and stylistic delight from issue 0 – 45 with only a few issues throughout that run provided by guest fill ins. Harris provides nearly half the art for the entire run and remained the cover artist for well over a year after he was finished providing the interior art. Harris’ style has often been described as a modern retelling of the art deco movement and this is clearly seen in his interpretation of Starman’s fictional home of Opal City. His work on this series is impressive. I have to admit that at one time I owned over seven pieces of original Starman art and still own a Tony Harris sketch of my favorite Starman character, the Shade.
An entire series of articles can be written about the James Robinson and Tony Harris work on Starman from the golden age tie ins, the talks with a dead relative, a journey into space, but for this TOP 3 favorite list I believe I have gone on long enough. I’ll leave it at this is one of my all time favorite reads. It’s a fan favorite of many comic shop owners and employees. It has a true beginning, a middle, and a satisfying conclusion.
Story #1:
Superman- The Death and Return – DC Comics
Ray: The Death and Return of Superman (Superman titles, 1992-1993) – The Death of Superman got the most hype, but it’s probably the weakest part of the greatest long-form comic storyarc ever. The epic battle against Doomsday is dramatic, but the somber coda of “Funeral for a Friend” is probably the most unique event story ever told and something I don’t see ever happening again. And what needs to be said about “Reign of the Supermen”, maybe the most buzz-worthy mystery in comics history? It not only brought the epic to a satisfying close, it set up effects that are still felt almost thirty years and two reboots later.
Steve: Daredevil – Born Again – issues 227-231, or in deluxe form- 226-233. As a Daredevil fan, I would be hard-pressed to find a better story than Born Again. Frank Miller returns to the property with David Mazzucchelli on art. It is a beautifully rendered story that does what the best Daredevil stories do, which is to run Matt through the wringer. In this one, his best villain, Kingpin, completely destroys his life in all facets. It begins with his ex-secretary and girlfriend, Karen Page, selling his identity to the Kingpin for some heroin. The Kingpin uses the information to ruin Matt financially, to take his home, and eventually to eliminate his ability to practice law. Of course Matt fights back and eventually is “reborn” as a much better man and hero. I won’t ruin the story here with spoilers.
From Daredevil Born Again
As a practicing Catholic, there are elements in this story that I love. Miller cleverly uses imagery from Catholicism to tell this story of the fall and eventual rise of Matt. The coolest comparison is Michelangelo’s Pieta. This time it’s recreated with the nun Maggie (Matt’s mom likely) and Matt. Another is Matt lying on a bed at the convent. His pose is reminiscent of Christ on the cross and the be is pushed up to a white wall with two picture frames that create a white cross. Earlier in the story, as Matt walks through Hell’s Kitchen, he falls a number of times, recreating Jesus’ walk to Golgotha. This isn’t the first time it has been recreated, Hemingway used the technique in Old Man and the Sea. Pretty good company, I would say. If all of those weren’t obvious enough, each comic was titled with Christian themes: pariah, apocalypse, saved, etc.
This story embodies what Daredevil is better than any other story and is quite simply an amazing story. That is why it is my number 1, all time favorite story. I would highly recommend the artist edition to see it in its full sized glory.
Manhunter- DC Comics
Shawn: Manhunter. Archie Goodwin and Walter Simonson recreate a golden age character, Paul Kirk the Manhunter, who had not been seen in nearly 30 years, place him as a back up story in DETECTIVE COMICS, and then in eight pages stories left an impact on comic fans that at the time rocked the world, over time faded, and in the end left ripples that are felt to this very day.
The entire run takes only 67 pages to tell from beginning to end. Each of those stories except for the final story that concluded the storyline (and it has a definite conclusion) was only eight pages long. EIGHT PAGES! These eight pages were jam packed with panels that Simonson lavished attention and detail into. His layouts were works of art framing the art. Simonson’s framing was never just a frame to delineate one shot from the next, but instead flowed together to produce movement and action. His framing helped tell a visual story within the story.
Archie Goodwin used those eight pages to tell you an entire comic books worth of story, and then he connected those stories over seven issues to re-introduce and revive a character, change him into something fresh and new, and then in a final full-length issue bring the entire thing to an ending that was both shocking, surprising, and fulfilling. Archie Goodwin proved that eight pages in the hands of a master storyteller was the equivalent of a modern trade paperback and often more satisfying.
This is just one fans opinion but the accolades the Manhunter series received as awards tell the story from the view of critics. Archie Goodwin would win best writer for 1973 and 1974, two of the eight-page installments would win best short story for 1973 and 1974 and the epic conclusion (the only issue to be full length) would win the best full length comic award in 1974. Simonson would win (sharing a tie that year with Jim Starlin) outstanding new talent. In only 67 pages Goodwin and Simonson racked up the accolades, told a complete story, and made one of the best comics runs of all time.
Over the years there have been characters that have shared the name, a final silent installment penciled by Simonson working from a script of Goodwin’s before his death, and even clones, but for me those seven original issues still hold their own and are well worth reading for any comic fan.
Manhunter originally appeared in Detective Comics vol. 1 #437-443, and has been reprinted in a black and white format, a color format, a prestige format, and recently in a hard cover deluxe edition.
And there you have it, our favorite stories. There is a lot of variety here. Make sure you head to your local comic shop to pick up some books. Ask for these stories- you won’t be disappointed. Come back next week for our favorite covers.
In 1995, Bjork released her second solo album, Post. It featured a song called Army of Me. It was a personal song for Bjork that featured heavy synthesizer and a John Bonham sampled drum beat. In 2005, Army of Me was covered by various artists for a charity record. Flash forward to 2021, another artist and project is giving Army of Me a new look.
I’m not sure I understand why people are so eager to cover Bjork. Anytime an artist covers a song, being compared negatively to the original is a real fear, especially when being compared to Bjork. She is pure inspiration, original, and beloved by most every music fan…..oh, and did I mention she has an amazing, sometimes quirky voice with a huge vocal range?
So, if you want to create a new version, what do you do?
Chuck Wright from Quiet Riot had a pretty good idea- do what he does best, rock! The original version features heavy synth throughout and drum samples. He wisely changes that here. The synthe is still present, but nestled into the background. The foreground has been replaced with guitar- not heavy chords, but more sparse, drawn out, individual notes. Towards the end of the song, Lanny Cordola from House of Lords breaks into a traditional guitar solo to close the song. The drums, which were originally samples of John Bonham on When the Levee Breaks, are now actual drums. The changes here from industrial synthe to rock create a very different version, but both equally support the power of the lyrics and message. Of course, having a song built around a rhythm section created by John Bonham lends itself to a rock treatment, so it was an easy choice. (When the Levee Breaks is actually a song written by Kansas Joe McCoy and Memphis Minnie, but made famous by Led Zeppelin)
Now to the real problem of covering Bjork- finding a singer who can deliver a powerful performance without being a knock-off Bjork mimic. Wright could have chosen someone a little more quirky like Billie Eilish, but wisely chose Whitney Tai who recently won Best Vocalist at the Intercontinental Music Awards. Tai has her own style, her own voice, and it’s powerful. For those who aren’t familiar, check out songs like Surrender off of her most recent album Apogee or Enigma off of Metamorphosis in 2015. On both, Tai shows a deep dynamic range. On Army of Me, it is no different. Tai approaches the verses and the chorus differently. She sings slowly, impassioned on the verse as she implores the listener to be better, to get up and do what’s right. On the chorus, her voice soars, hitting bigger notes as she gives the ultimatum- do what I say or meet an Army of Me.
What Chuck Wright and company have done so well here is adapt a personal song from 1995, widening its message to a 2021 society that needs the message. He uses Ruth Bader Ginsberg in the video to bolster the point of doing what’s right in the face of adversity. The song and the video are beautiful re-imaginings of the original.
Army of Me is the first song off of Chuck Wright’s Sheltering Sky record which is coming in 2022. The record features over 30 guest performers including members of Mr. Big, Skid Row, Tesla, Dream Theater, Asia among many others. And for those of us who are fans of Whitney Tai, this is not the only song on which she sings. If this song is any indication, The Sheltering Sky sounds like an album worthy of our attention.
Beauty in Chaos’ next record won’t be here until February or March, but never fear fellow Chaosians, Michael Ciravolo and the gang behind Beauty have dropped another single to whet our appetites. Back in September, Orion, featuring Whitney Tai, was released. You can find our review here. Yesterday, the second single dropped. It is called The Kiss of the World and features Elena Alice Fossi of Kirlian Camera, among other ventures.
When this video showed up in my inbox last night, I was elated. I love new music and I love to see what our old Wanderings pal Michael is up to. It does come with a little trepidation because I don’t write negative reviews. Someone else can put negativity in the world. I’m independent and prefer to share all things awesome. Lucky for me, I didn’t have to turn him down. Instead, I get to share another gem with the world.
For those who have followed Beauty over the past few years, this will fill that same niche with that hallmark sound that highlights various singers. This time, Michael has chosen Elena Alice Fossi. Fossi is best known musically for her time with Kirlian Camera, a synthe-pop (for lack of better classification) band that has been around since the late 70s. Fossi joined in 1999 and has been with the band ever since. The band is heavily layered with synthe using Fossi’s voice as a bit of an instrument. Fossi can be tender and soft. She can deliver full, rich vocals to compete with the best pop vocalist. She can be angry, with some grit in her voice. And, the band plays with the vocals electronically. If you haven’t listened to them, it is quite an experience. I recommend I Became Alice off of Cold Pills.
On The Kiss of the World, Fossi uses her full range against a very different background. Beauty in Chaos does use synthe and some effects to create texture and mood, but is much more guitar driven than Kirlian. Beauty is fresh, but does have one foot in the post-punk movement. Those guitar notes and grooves take me back to Disentegration every time. (And that’s a great thing by the way) After a brief musical intro with soft rhythmic drums and simple guitar notes, Fossi begins singing softly, beautifully while delivering biting lyrics. “If I look at you now that mocking wrinkle takes your face. No, it’s not a simple mark of time. It tells me about your crimes…” This juxtaposition works hauntingly. A woman scorned then belts out the chorus. Fossi here hits those high notes and flexes her voice, only to return to a soft verse to continue the story. This back and forth continues until triumphantly our protagonist in the song, opens her eyes, sees the truth and breaks free. It builds in a way that creates tension throughout using music and lyric to its fullest effect.
With Orion and The Kiss of the World, Beauty in Chaos is well on its way to another fantastic record. Somehow, Ciravolo picks the perfect singer for each song. It is truly a gift to not only find these folks, but to get them to commit to the project. You can tell on each song that there is no coasting. And here again, Elena Alice Fossi delivers an amazing performance to a fantastic song.
And now your truth is like snow, it is melting with every step of the sun Talk, talk Spit out your side of the story again. Move your arms with your winning look I’m not falling for that!
If I look at you now that mocking wrinkle takes your face. No, it’s not a simple mark of time. It tells me about your crimes, tells me about a coward, hidden in the shadow of false clemency, where you trapped the light under the covers of a golden bed.
Shut up for a moment and listen to the black muse! Then break the chains around your dome. Nothing’s the same, no more …
We were so close at that time. The days were short and the fear seemed gone. Hey you, do you remember at the rides? You were talking about how life is a good cake.
I’d have listened to you for hours but reality roughly came, changed the cards on the table, Nothing’s the same, no more
Now your soul is Satan’s fresh meal, your blood his wine. You fell asleep in the lost maze of the undead, where you now lie with everyone else. And your mask has now lost its thickness.
My eyes see the truth now. Here’s to you the noose you deserve or break the seal, break the chains, come to my side and break the flag of the shallowness. And break the chains, listen to the black muse
Michael Ciravolo’s love child Beauty in Chaos is back this week with a new single, Orion. This week also marks the third anniversary of their original release Finding Beauty in Chaos. You can find our review of that here: Wanderings and Woolgathering.
It’s certainly a big week for the Schecter Guitar president, and one worth mentioning for those not familiar with the project.
Michael Ciravolo is known for forming Human Drama in the 80s and later for his time playing guitar for Gene Loves Jezebel. While he still performs with both on occasion, while still managing to run a company, much of his attention now is on his project Beauty in Chaos.
Michael works with his friends like Michael Rozon, his wife Tish, and a slew of artists he asks to participate on the tracks. For me, and the rest of the Wanderings crew, we were thrilled to listen to works from Robin Zander, Dug Pinnick, Ice T, Al Jourgensen and Simon Gallup. But the real beauty of this project is not just listening to our faves, but the introduction to new artists.
I had never heard Ashton Nyte before. After a quick search, I’m suddenly listening to his solo work and his music with the Awakening. Kat Leon has become a favorite of all of us on the pod. We love her voice and her vision with Holy Wars. And, I’ve really come to appreciate Wayne Hussey. He has an wisened, grizzly voice that begs for attention.
So, who does Michael highlight on Orion? It’s Whitney Tai. Tai has two albums: Metamorphosis in 2015 and Apogee in 2020. She has a beautiful voice that soars when needed, but can equally nail the quiet moments. Her albums tend to lean more pop than the usual Ciravolo choices for vocals.
So, what do Ciravolo and Rozon do? They tone down the guitar; it’s subtle here. It gives way to some texture and mood. Tish, too, is dialed back on bass. Instead, they allow Tai’s voice to breathe here and take control of the song. That’s not to say that the music isn’t solid, because it is. Ciravolo provides his usual post-punk guitar sound while also adding a tasty break near the end with percussion moving to the forefront while he provides clean notes alongside. Tai rides the wave here with her lyrical-less vocals soaring above the whole. Great choice to use actual drums rather than electric drums here. The song works because the Michaels know how to highlight Tai’s talent while playing to the groups own strengths. That is why this project is so successful- great musical choices.
And I would be remiss if I didn’t mention the video. Michael may be the most down to earth guy, but he can still play the music star when he needs to. The video is polished and feels like Hollywood. Great visuals, composition and fog giving way to a first person camera moving through a chess set. Like the song, the video highlights Tai front and center. Song and video are a great marriage.
It’s nice to hear the band back with another outstanding track for what will hopefully be part of their fourth album. What Michael Ciravolo is doing here is worthy of your attention. If you haven’t checked them out, go back to the beginning and listen through to Orion. You will enjoy the ride. For more music reviews, check us out: Wanderings and Woolgathering.
Last week, I picked my top five Rush albums , and there is no stopping now. This week, I am picking my top 25 Rush songs. It’s a huge task, but I am here to generate some talk and show some of you just how wrong I am.
For a fun twist, fellow Rush fan Alan Tiresias is joining me. He politely called out my top five list last week and added his own.
So, it seemed only right to add him to the fun. Without further ado, Rush Top 25 songs.
25.
Steve: How It Is – Fantastic song from Vapor Trails- a bit of a folksy song with a cool bass line. I use it for inspiration. A little imagination can take me from how it is to how it ought to be.
Alan: Bravado-Lifelong advice!!!
24.
Steve: Bastille Day – Powerful Rush song. I love the allegory here using an historical event to teach us a lesson for the present day: “guide the future by the past.”
Alan: War Paint-teenage advice
23.
Steve: Bravado – I love this song for the message, “we will pay the price, but we will not count the cost,” and I love the complex, yet more subtle drumming.
Alan: Mystic Rhythms-love the drums
22.
Steve: Red Sector A – An emotional song inspired by Geddy’s mother’s experience in a concentration camp. The source alone makes this one unique, but as usual, Peart is non-specific enough to be about anyone in that situation.
Alan: Middletown Dreams-Did they get out of Middletown?
21.
Steve: Losing It – Heartbreaking song about aging out of what you were once good at, but are now unable to do. As I age, I can see this much more differently than I did when it came out. Plus, it has a nod to Hemingway. You can’t beat that.
Alan: The Trees-Was used in my undergraduate philosophy class
20.
Steve: Mystic Rhythms – This is a unique Rush song, often overlooked. I love the philosophy of this one. The grandeur of nature and our connection to it if we let it happen. It has a cool, funky beat with the keyboards so plentiful at that time.
Alan: Red Sector A-One of my favorite songs from my favorite album
19.
Steve: Fly by Night – Absolute classic. I imagine that most fans have this one much higher than I do. Great song for sure, just not my favorite.
Alan: YYZ– Heavy chops
18.
Steve: Jacob’s Ladder – great song depicting a natural phenomena. I love the build up, bass line and pay off in this 7 minute song with sparse lyrics. The imagery of the clouds preparing for battle before the rays peaking through is brilliant.
Alan: Red Barchetta– Another great song with visualization
Scrolling through Twitter, I see Top 10 charts for songs, albums, guitarists, etc, and, heck, I’ve even done a few. They are subjective and really just great starting points for talk amongst fans who love music. I have shied away from doing Rush because all of the albums and songs are like my kids- it’s hard to choose my favorite. Alas, after disagreeing with various charts, it’s time for me to put up or shut up. So, without further ado, my top five Rush albums. These are not what are considered the most significant or albums that I think are the tops in terms of popular opinion. These are simply my top 5- the ones I go back and listen to the most.
Photo Courtesy Rush
5. Clockwork Angels – This may come as a surprise to many Rush fans, as it came late in the discography; in fact it was the last studio album release. Sadly, there is a rift among Rush fans with some fans falling off shortly after Moving Pictures when the music became increasingly experimental. Those of us who dug in and followed along were in for some huge treats. Clockwork Angels is one of those treats. The album was released with a novel of the same name. The album does not need the novel, but enjoying them together is a rare treat when music marries story. CA brings back the heavy more satisfyingly than previous releases since the mid 90s. Caravan and BU2B kick off the album and it doesn’t let up. Like early thematic albums, this one keeps a consistent story while providing individual gems like Headlong Flight and The Wreckers. And, the true reason this album holds such a high place in my heart is the final song, The Garden. Satisfyingly, The Garden is the last song to appear on any record and it is the most fitting way to finish a career as a band. “The treasure of a life is a measure of love and respect. The way you live, the gifts that you give.” I would say no other line encapsulates the life of Neil Peart and the gifts that he has given each of us. If you slept on this one, read the book and give it a listen. You will be glad you did. If you are interested in more discussion about this record, check out Liza McClellan from Devah Quartet and me as we discuss the album and novel here at Soundcloud.
Rush- 2112 Album
4. 2112 – If I ever have 20 free minutes, this is the one I break out. Every time I listen, it sounds as fresh as it did the first time I heard it. I didn’t hear it when it first came out; I was born in 1971 so I would have been pretty young to appreciate it fully. I came to enjoy it in the mid 80s, but really fell in love after reading Anthem in college. At that point, I was more appreciative of the intricacies of music and able to appreciate what Neil had done with the story and lyrics. There are parts of the song that still floor me today, such as the “learning of music” when our protagonists finds the instrument. It’s powerful at times, soft at others, a true masterpiece. I would probably put 2112 a little higher, but I don’t love the rest of the record. I really like Lessons and enjoy Passage to Bangkok and Something for Nothing, but they are not songs I go back to frequently. I rarely listen past 2112.
Rush Permanent Waves
3. Permanent Waves – This was my first entry into Rush. I was eight years old and my brother bought the vinyl. I remember recording it onto a cassette tape and taking it with me everywhere. What I didn’t know at the time was that this album had everything that made Rush what they are. It was a bridge of sorts from the concept records to more radio friendly offerings. The Spirit of Radio, Freewill and Entre Nous brought Rush to a whole new group of listeners, while Jacobs Ladder and Natural Science lent itself to the prog rock basics that fans of the previous records loved. As I grew older, I appreciated that fact more and more. it was a huge step and one that was made successfully. I see Permanent Waves as the first of what became a trio of excellence. The only I song I didn’t mention from this record is Different Strings and it’s a beautiful song. Interestingly, it doesn’t get played live, ever due to a Hugh Syme piano addition. Adds some mystique to the record. That’s why it is #3 on my list.
Rush Moving Pictures album
2. Moving Pictures – The only surprise with this choice for most would be that it isn’t number one. What can be said about this album that hasn’t already been said? It is literal perfection; it’s an album that can be listened to from beginning to end every time. For me, this album hit at a great time. I was 10 years old and gaining my musical tastes. Thankfully, my brothers had amazing stereo equipment and bought the record. I spent hours laying on the bed listening while looking at the cover and liner notes. This album is so strong if you made a list of top ten Rush songs, four of these could appear by a large part of the fanbase: Tom Sawyer, Red Barchetta, YYZ and Limelight. For me, YYZ is the highlight here. It’s prog perfection. I get giddy every time I put on my headphones and hear the panning of the chimes morse coding YYZ. That isn’t to say that the rest of the album isn’t great because it is. Another highlight is Witch Hunt (Part III of Fear)- it’s part of four songs dedicated to different aspects of fear. Would we expect anything less from Rush? I think not.
Rush Signals Album
1. Signals– My favorite all-time Rush album is Signals. This may come as a surprise to some, but I think there is a fairly substantial love for this record. It sits firmly in the early 80s movement to synth, yet still hits with guitar solos and powerful drumming. For me, though, this album hits perfectly with the themes. (Perhaps the theme of Analog Kid is similar to Clockwork Angels and that’s why I hold it so high.) Subdivisions is very strong in synth, probably the strongest to date at that time. The lyrics explain a restlessness of youth. The ordered life of a “subdivision” does nothing to sooth that restlessness. The Analog Kid sits firmly in this dilemma. He eyes what the big city may offer, but will it be better than his current life. He doesn’t know what he’s hoping to find or what he is leaving behind. Digital Man is already entrenched in his future- moving at breakneck speed toward death. New World man seems to have found the balance. Perhaps I feel this more distinctly since I work with kids who face this on a daily basis as I work myself to death:) And, this album offers a gem that rarely gets discussed, Losing it. Seemingly a nod to Ernest Hemingway, it’s a poem in its truest form, both in scheme and message. It sits perfectly on this record about aging greats dealing with the impossibility of returning to form. “The bell tolls for thee…” indeed. Musically this album is perfection.
Glenn and Steve review all books King in Black: Venom, Gwenom, Symbiote Spider-Man and the King in Black himself.
Courtesy Marvel Comics
Venom 32
Creators: Donny Cates, Iban Coello, Jesus Aburtov, VCs Clayton Cowles
Story: Eddie Brock has lost his symbiote Venom and has seemingly fallen to his death at the hands of Knull. What now?
Steve: Eddie wakes up in the hive. He is met by Rex Strickland, who gives him a tour and explains his predicament. All seems lost, but Eddie refuses to give up even in the face of his own death. Relying on the fact that he has worn a symbiote longer than any other, he believes that he can break free. All he needs to do is find Venom, who is now the lap dog of Knull himself. In the end, Rex and Eddie find another ally- Flash Thompson, Agent Venom.
What is great about this issue is that Cates is using everything he has planted throughout his run. The Codex system is front and center and is used to great effect here to build this limbo style after-life. And, based on that, Rex and Flash being there to assist makes complete sense. It’s clear that Earth’s Mightiest Heroes won’t be the answer; it will be left up to those with a close connection to symbiotes. The Venom issues are a great supplement to the larger event book, and are building the details that make this story so rich.
Glenn: So Eddie FINALLY landed and is now somewhere else, assisted by an old friend from earlier in the run. Clever Cates reminding us about this fellow in the last issue. This issue takes place on a mostly metaphorical plane where everyone who has been taken over by a Symbiote resides which is seemingly pretty much everyone including a few heroes. The whole thing is kind of like the human farm scenes from the Matrix meets Inception as Brock tries to figure out a way to get his ‘other’ back so even in ‘death’ he can help the heroes win the day or at least give them a chance. It’s some great character work from Eddie as we’ve come to expect from Cates and a last page return of a character that made me oh so happy. This side story is going to be essential when all is said and done I think and I really can’t wait to see where our three characters who are journeying through this bizarre and disturbing afterlife are going to be up to next.
Art:
Steve: Iban Coello is such a great compliment to Ryan Stegman on the main book. His art is perfect for this event. He draws character work and monsters equally well. And, he really shines here creating an eerie environment for the Hive, especially the panel with the Marvel heroes lined up as part of the Hive. Just a beautiful job. I hope he gets a big book following this event because he has earned it.
Glenn: There’s some disturbing imagery in this issue which artist Iban Coello nails, this odd afterlife filled with hanging bodies is more than a little creepy and I love it. I also like the look of Eddie’s surprising friend who greets him here and fills him (and us) in on how this all works. As usual the book is a visual delight and I think much like I said for Symbiote Spidey above we’re going to see some fantastic action set pieces next month that Coello is going to nail in spades.
Donny Cates, Ryan Stegman, JP Mayer, Frank Martin, VCs Clayton Cowles
Story:
King in Black, issue 2 picks up where Issue 1 and Venom 31 left off- Eddie crashing to earth and our heroes struggling to keep up. Will Eddie make it? Can Reed and Tony develop a plan? Where does Dylan fit in? And, Namor shows up.
Steve:
Marvel’s most creative property keeps steamrolling on with issue #2. Knull has overwhelmed the heroes and they are already in desperation mode. We begin with Spider-Man trying to rescue Eddie after his fall. He gets an assist from Johnny Storm, and the two share a typical exchange between the two. As Johnny goes off to stall their adversaries long enough for Spidey to escape with Eddie, we learn that our other heroes weren’t killed by Knull, but converted to symbiote versions of themselves. Things have gone from bad to worse.
From there, Tony Stark breaks out Extremis (I haven’t read Iron Man for a while, so it was nice to see Extremis is still around) and attempts to grab a symbiote, break its connection to Knull and give it to Eddie to save him as he lay dying. It backfires and Eddie’s son Dylan must dispatch the symbiote before it kills Eddie.
Namor makes a nice entrance here in all his arrogance. He states that he is used to fighting in the dark. In fact, he will be calling on the Black Tide, a mysterious group from the deep. I really like this touch because I’m reading the King in Black Namor tie-in. I understand who this group is because they were introduced in issue 1 of Namor and turned “black” in issue 2. If I hadn’t been reading it, I’m not sure that it would have had the same impact.
What I love about this series is that Donny Cates finds a way to up the ante every issue. He throws crazy idea after crazy idea at the reader and they all seem to work. The focus right now has turned to Eddie and the need to reconnect him with Venom. Can’t wait to see how this happens and Dylan’s role in it.
Side note: the tie-ins Namor and Iron Man/Doom are both fantastic. Pick them up to fill in the rest of this story.
Glenn:
This is still exceptional stuff but is very much the ‘second issue’ after the bombastic start of the first; things slow down a little here as we get our bearings and catch up with the heroes now that everything has gone to pot. There is fantastic stuff here, don’t get me wrong, with great character moments, in particular a reverse ‘gotcha’ moment on Tony. The heroes are seriously on the ropes here, but we get a hint of possible hope perhaps? It again blows me away how great Cates writes Spider-Man and makes me cry when I read what we’re being offered in the characters own title. We obviously get a big cliffhanger/possible death at the end, but I’m not buying it quite yet. Steady stuff for the continuation.
Art
Glenn:
Once again Ryan Stegman is putting out his best work, and he wasn’t exactly a slouch before. I love these big stories that lets him draw all these different characters because he draws them all SO WELL. As usual, we get some mind blowing visuals here and some epic moments mixed with smaller moments of drama that Stegman delivers on in both regards in spades.
Steve:
I’m not sure what else there is to say about Ryan Stegman that we haven’t already said. He is doing the work of his career and his collaboration with Cates puts them up there with the greats. Stegman deftly handles huge fight scenes, creepy characters, acting and quiet moments equally well. The book is gorgeous every month. Once King in Black is over, I hope he stays on Venom for a long time!
Grade: King in Black
Glenn:A-
Steve: A-
Courtesy Marvel Comics
Symbiote Spider-Man 2
Creators:
Peter David, Greg Land, Jay Leisten, Frank D’Armata, VCs Joe Sabino
Story:
Alistair Smythe has become a symbiote-like spectre called Mister E. Kang captured Uatu and tried to extract all of his knowledge. Uatu was too powerful and blew up Kang’s ship. A drifting-in-space Kang was picked up by Rocket Raccoon. And, if that wasn’t enough, the Black Knight shows up to save the day….and that was only the first issue. Read on for issue 2.
Steve:
This series just seems like a fun Spider-Man story. I guess the only reason to tell this story in a Symbiote Spidey setting is because of his connection to the symbiotes while wearing the “black suit.” When I boil it down, I guess I really don’t care because we get Peter David writing Spider-Man which is miles ahead of the tragedy that is the Spencer Spider-Man run.
Anyway, we get two main stories here: Spider-Man dealing with Ned Leeds as a Symbiote spectre and Black Knight and “Merlin” dealing with the Mister E situation. David delivers quick, snappy dialog through Peter, J Jonah and Betty Brant while pushing an issue with real consequences. The lives of J Jonah and the Black Knight hang in the balance and the pace is at a fever pitch. Once the issue starts, it does not let up until a very fun ending in which Kang and Rocket Raccoon show up to save the day.
I’m not sure if this story will have any implications, or actually offer any clues, into the larger main story going on in the current 616 timeline, and I don’t really care. Peter David knows how to write Spider-Man. He understands motivation, humor, and the need for some stakes that are grounded in Spider-Man reality. (for the opposite, see the current Amazing run…..woof) Can’t wait to see what he has in store for us in issue 3- this series is bonkers.
Glenn:
This is a lot of fun and nice to see David cut loose like he seemed to be fully able to do on his under-appreciated Friendly Neighborhood book. This is Spidey fighting a symbiote invasion before he even knows what that really means and teaming up with the most random assortment of people ever. Of course the dialogue is great and the characters are fun because its Peter David, and you know you’re going to get solid writing. I particular liked the scenes with Jonah here, this is old school Jonah that we haven’t seen really since…well, Peter David’s Friendly run for one reason or another. Not a lot ‘happens’ this issue, but it seems Peter David is having a blast and that comes across so we are too.
Art:
Glenn:
Most of it is fine, but there are a few moments where I did spot some Greg Land trademark plastic sex doll females. This isn’t something I’ve noticed in the last few mini’s so hopefully that won’t be returning, but it was distracting. Otherwise the art was great and I particularly like how Land draws old school costume Rocket, he’s so little and furry! Still the slight blip in the art this issue detracted quite a bit of the quality in my view.
Steve:
Not sure what else I can say about Greg Land art that I haven’t said already. While I didn’t love him in the past, he has really grown on me. Spider-Man is one of the more difficult heroes to draw; he is a character that needs to be nimble and move fluidly in odd contortions. Land has really grown here and Spidey looks great. As always, his art is clean and crisp, but the movement has gotten better each issue. There is also a page in which Ned Leeds tries to get the symbiote spectre out of his body. There are cool shadow techniques at play as well as facial expressions that show great anguish. Atop these four pages is a nice establishing shot. This was a really excellent page among many others. Land also handles the Black Knight very well, especially his fight with Mister E.
I think I can call myself a Greg Land fan now.
Grade:
Glenn: B-
Steve: A
Come back each week as the Web Shooters cover Marvel’s King in Black- click on the pop culture tab.
After landing with a hoard of symbiote dragons, Knull rips Eddie from Venom leaving him in free fall as issue 31 begins.
Steve:
The issue is titled 32 Seconds which is exactly the length of the issue. For real, the entire issue is built around Eddie free-falling after being dropped by Knull. Interesting idea for sure- reminds me of the Ultimate Spider-Man issue that Bendis wrote with no dialogue. Sadly, that Ultimate Spidey issue was done better. Don’t get me wrong, the art was strong, the concept cool, but the story was not moved forward at all.
I suppose if you hadn’t been reading Venom all along, you might enjoy this issue more. There is an exposition dump that runs alongside the visuals of Eddie in flight. It brings the reader up to speed with how Eddie got to where he is. I would argue that the blurb at the beginning of the issue on the inside of the cover is enough to do that. Reading it here, as someone who has been reading, is overkill and slows the pace of the event. Seriously, the issue begins as Eddie is tossed from Knull and ends with Eddie nearly hitting the ground. I can assume that Dylan has picked up on this through his attachment to the symbiotes and will somehow save the day; there was a midpoint scene with Dylan in his bunker where he became aware of the happenings.
Having said all that, I do like when writers take clever risks like this; however, a large event was not the place for this. Let the blurb handle the backstory details and move the story forward.
Glenn:
So it seems that while the main King In Black mini will deal with the larger Knull story, Venom, in the meantime, will be dealing with Eddie personally and how this whole mess is affecting him. This tie-in is narrated by a character from early on in Cates’ run who was one of the first people to introduce the concept that everything we knew about Symbiote’s being wrong. His narration covers his opinion of Eddie while our protagonist falls a sizable distance while New York falls apart around him. Having an entire issue take place over a couple of seconds is an interesting idea and can underline how such an experience that Eddie is undertaking can feel like an eternity. It’s a good look into Eddie’s mindset and how someone on the outside of the story would view him. Not a lot happens this issue apart from maybe the hint that Dylan might have given his hiding location away, but it’s a good character driven issue that explores who Eddie Brock is, was and could be. Interestingly enough the issue ends without concluding the cliffhanger Eddie was left in at the end of King In Black. So again, this is more of a character piece than anything that significantly moves the larger story along. All eyes now on the second King In Black issue for what happens to Eddie and the rest of the Marvel universe next.
Art:
Glenn: Iban Coello has been drawing Venom now off and on for a good period of time. Somewhat unfairly I’ve always thought of the artist as a fill-in guy in-between arcs drawn by Ryan Stegman, when in truth, he’s probably drawn just as many if not more issues of the series. He’s a great artist who Marvel clearly has a lot of faith in by highlighting him as one of their ‘stormbreakers’. Since so little time passes in this issue, it’s a hard task to keep the reader engaged visually, but Coello does a great job doing just that. There’s some great spreads of New York fully corrupted by the symbiote invasion that are suitably dark and disturbing so he’s got the scale down, but he also delivers on the introspection in regards to Eddie’s mind as he falls for both too long and too short a time. I’m not sure how many issues Coelle has left in Venom as he’s supposed to be drawing the MIA Tom Taylor vehicle, Dark Ages, but I wouldn’t be surprised if he continues to draw a large portion of this title post King In Black in the meantime. Drawing what has become Marvel’s biggest ongoing isn’t a bad gig, and it seems that Coello has proved himself more than up for the task.
Steve:
I agree with Glenn here. Coello is an outstanding artist. He makes a 32 second fall seem interesting for what it is. His background work is strong, but his movement really shines here. After all, he puts Eddie through the ringer to make the issue interesting for what it is. This is probably the first time where the art completely outshines the story. In a partially failed effort by Cates, Coello nearly brings it home.
Grade:
Glenn: B-
Steve: C
Namor #1- King in Black Tie-In
Bonus Review:
Namor #1 (KIB)
Creators:
Kurt Busiek, Benjamin Dewey, Triona Ferrell, Joe Caramagna
Story:
The story is a tie-in to the King in Black storyline, but under the clever pen of Kurt Busiek. This is a sneak peek into the early life of Prince Namor. Gone is the arrogant prince. Enter a prince who is less assured, yet eager to succeed. It’s not clear how the Knull invasion fits in here, but it doesn’t matter. This is a cool story that takes place prior to the events we all know of Namor in Marvel’s timeline.
The story begins with a current time framing device, yet most of the issue takes place in the past. Prince Namor is a young man. His friendly rivals are the Lady Dorma and Attuma, both of which have huge impacts on his future. It’s fun to see them as kids prior to the history set before them. Much of this story revolves around the politics of Atlantis- different factions coming together for the betterment of society. Of course an unruly faction among the Chasm folk is bent on breaking up the peace. Our heroes join the Swift Tide to fend them off. Following the attack, the group leaves on an important mission.
The best part of this tie-in is that it doesn’t feel like a tie-in. My fear with tie-ins to an event like King in Black was that they would all be crazy, invasion issues with the heroes fighting off dragons and symbiotes. Not the case here. This issue is filled with politics and intrigue. Can’t wait to see how the story unfolds and ties to the main story.
The art was handled masterfully by Ben Dewey. I was not familiar with his work, but will definitely seek him out in the future. He draws the intimate moments as well as the action, and his facial expressions are emotive. He totally compliments Busiek’s script.
Grade: A
For more reviews on the King in Black, check out the Pop Culture tab at Wanderings and Woolgatherings.
Donny Cates, Ryan Stegman, JP Mayer, Frank Martin, VCs Clayton Cowles
Story:
FInally, Knull has arrived. Cates began this journey back in issue 3, introducing Knull to the world. Since then, Venom and the gang have faced an onslaught of symbiotes, trips to other worlds and the burgeoning powers of Eddie’s son Dylan. Marvel’s heroes prepare for battle, but will it be enough to stop the King in Black?
Glenn: It was weird reading the back material in this issue and see how much build up this story has had. Not only has Cates been building this for roughly 30 odd issues of his Venom run, but there is also his various Web Of Venom one shots, Absolute Carnage and other books he’s written like Silver Surfer: Black. This event has a lot to live up to, and I think it delivered in spades. Things kick off right away and don’t let up for a second. The heroes of earth seem to think they’re ready and prepped, but they are soon taken completely off guard by the scale of the threat they are facing. This one issue packs more of a punch than some full length events and there’s a long way to go. The sheer scale of the events on offer here are crazy and things go from bad to worse very quickly. We’re already adding to the death toll and things are looking like the heroes have lost with no hope on how they might recover. I don’t want to get into too many specifics about the story here because a lot happened and it was all brilliant. This is one of the best kick off to an events I’ve read in a good long day and the feel and the scale and the threat is probably how the coming of Galactus would be treated if it was done today. The problem is I have a feeling Knull would eat Galactus for breakfast.
Steve: I must echo the sentiments of Mr. Matchett here. This event has most definitely started off with a bang. It is difficult to talk about this issue without spoiling certain events. One of the interesting choices that Cates made was the safeguard in place by the Avengers, their so-called ace in the hole. (think a certain World War Hulk battle here) However, we quickly find the level of threat that Earth is facing, and they clearly weren’t ready for the King in Black.
Of more interest to me is how Cates is going to deal with Eddie Brock’s son Dylan. Over the course of his run, Cates has slowly developed Dylan’s character and relationship with Eddie. Further, as Dylan’s powers have increased, it’s obvious that he will play a major role in defeating Knull ( or so I think). So, this issue begins with Eddie hiding Dylan so he can’t be destroyed and/or used by Knull. (Feels a bit like the time Naruto was hidden so the Akatsuki couldn’t get their hands on him or it could spell doom for everyone- reference for my manga pals) Well, events unfold quickly with Knull and Eddie/Venom which should lead to a quick need for Dylan to rise to the challenge.
My only concern with this event right now is a possible battle fatigue with the tie-ins. If all of the tie-ins handle the invasion as a huge battle scene, I will tire of the books quickly. Hopefully, there is a clear plan in place to develop characters and not simply throw them into an endless battle. I plan to read them all, so check back to find out.
Art:
Glenn: Seeing Stegman’s art grow during his time at Marvel has been a real joy over the years. From Fantastic Four to Amazing to Renew Your Vows to Venom and Absolute Carnage, the guy has gotten better and better. Here he maybe delivers the best art of his career as every page, heck every panel is drop dead gorgeous. It’s clear that Stegman has been pouring everything he has into these pages which requires a lot of skill to pull off due to the scale on offer, but he delivers in spades. There are some stunning pages in here and Knull and his invading horde are hard to imagine as being more terrifying than how Stegman draws them. This team has been working together for a while and have worked together to not only deliver high quality, but seem to be that rare combination in comics that seems to bring out the best in each other. Stegman had already proven his worth as one of the top artists at Marvel, but here he now makes a play for being one of the best artists in the industry period.
Steve: I hate when I keep agreeing with Glenn, but he is spot on again. The relationship that Cates has with Stegman reminds me of Snyder/Capullo, Lee/Kirby, Bendis/Bagley, Morrison/Quitley, etc. There is a synergy between the two that turns each page to gold. I wonder how much direction Cates gives Stegman on the battle scenes. I would imagine that he lets Stegman go wild; artists seem to see things in a way a writer may not, and these pages are frenetic, tense and flow beautifully from panel to panel and page to page. His character work is especially strong, especially his designs on Knull. I can’t wait to see where this goes.
Since I mentioned the tie-ins above, I will with the art as well. It will be interesting to see how other artists deal with the symbiotes. Stegman has set a high standard; it won’t be easy to follow those footsteps.
Back by popular demand…well, not actually demand per se, but no one actually ever said we should stop. Anyway, here we are- Webshooters, Glenn and Steve, ready to tackle thee comics event of 2020- the King in Black. It is a testament to the talent of Donny Cates that he has been able to build upon last year’s event Absolute Carnage and bring us another Venom centric event. Typically, a big Marvel event explodes from the pages of the Avengers or the X-Men; this time, though, Venom is the tent pole and the tale spins into the other books of the MCU. While the actual event hasn’t started yet, Symbiote Spider-Man gets us started with an ancillary tale involving a symbiote. Sit back and enjoy Webshooters as they get back to work.
Symbiote Spider-Man
Creators:
Peter David, Greg Land, Jay Leisten, Frank D’Armata, and VCs Joe Sabino
Story:
As the name indicates, Peter Parker is in the black symbiote costume. Writer Peter David spins a yarn from yesteryear in which Knull’s machinations are already in motion. Filled with shadow demons and lots of cameos, Peter must deal with a symbiote crisis….and working for J. Jonah Jameson.
Glenn:
So the much anticipated King In Black event masterminded by Marvel’s current MVP Donny Cates is finally here. This has had a lot of build up and hype and oddly enough we’re not starting off with this event with the first issue of the main tie in miniseries, but a tie-in mini series that is a continuation of a series of minis by a different writer entirely. Once again taking us back in time to the black costume era, Peter David tells a story about an untold tale of a symbiote invasion courtesy of Knull before the current one going on in the present. Interestingly this mini presents this previous invasion as an extension of the present day one where Knull’s invasion is not only affecting the here and now, but all of time. It’ll be interesting to see how this idea is expanded on in the main series but I really like it. It’s no big secret that Peter David is a big Doctor Who fan (there’s a Bad Wolf reference in his Friendly Neighborhood run of yesteryear) and this attack across time is definitely something that fits in the universe of that show. You know what you’re getting with Peter David and that’s good solid writing, and this first issue is no different. It’s an interesting start with good action and a lot of understandable confusion from our favorite web slinger. There’s some great cameos that I’m going to be interested in finding out how they play into the larger narrative. On their own, the characters seem like an odd fit here, and it’s almost like Symbiote Spider-Man’s various mini’s have become a way for Peter David to just write whatever character he feels like writing on that particular day. Nothing wrong with that, of course, because he always does it well, and like I said, I’m interested to see how he pulls all these different threads together in what is a very promising start.
Steve:
It’s really hard to know where to start with this one. There are multiple storylines and fun cameos all over the place. Quite simply, it’s not really a Spider-Man story. Of course Peter is in the book- he works for the Bugle, he’s in costume, he quips, and even shares his thoughts through thought balloons ( a clever way to show this is in the past). However, the mystery here is front and center. The story begins with a mysterious character in need of a host for some unknown reason- that host becomes Alistair Smythe. Peter and Ned Leeds are called to report on this at Ravencroft. From there, we have my favorite scene in the book with Kang and Uatu, the Watcher. Kang has apparently turned hero and plans to use the Watcher’s knowledge to aid him in his task. His plan backfires and Uatu is able to tap into his data banks of past and future events. The scene ends with ominous words from Uatu, “it sees me.” Could it be Knull? Who knows, but I’m in.
From there, Land gets to work on some fun action scenes as the possessed Smythe has turned everyone in Ravencroft into shadow demons of some kind. Peter fights them off until he comes into contact with the leader, Mister E, who calls Peter, “brother.” Nice touch since Spidey is not aware of the Symbiote connection at this point. As the battle continues, the Black Knight shows up to help Spidey, putting a sword through the mystery man. As they chat, the antagonist slinks off. From there, the action returns to space where Rocket Raccoon picks up a stranded Kang….to be continued.
To be honest, I’m not quite sure what to make of this story. As I said, it isn’t so much a Spidey story; it somehow feels bigger. For what it is, though, it’s fun. I loved the cameos, the action, and multiple storylines are deftly handled. I hope the mystery unfolds naturally, revealing something authentic about Knull. For now, I’m good. Peter David is excellent and I’m sure he has a great plan in store for us. And, hey, I’m a sucker for a good Watcher story.
I am a little confused, Glenn. I thought Mister E was a member of the Twelve. Did I miss something?
Art:
Glenn:
You either like Greg Land or you don’t and that can very depending on how ‘Landish’ his art can get. I think his work across the previous two Symbiote Spidey mini’s has been very good and this is no exception. He draws all the characters very well and his black suit Spider-Man is striking. In this issue he draws some pseudo-symbiotes and does a great job there and draws an imposing version of the guest villain this issue and a suitably furry badass depiction of another guest at the end. I’ve never had too much of an issue with Land’s art and with this being their third mini together, it seems he and David have a good flow going in terms of creative back and forth and it shows in the narrative.
Steve:
As always, Greg Land produces crisp lines and beautifully rendered pages. I don’t always love his work, but he has definitely grown over the years. His pages with Peter fighting are excellent and far more fluid than his work of old. For me, his best pages were with Uatu and Kang, especially the page with Uatu rifling through the years of Kang’s experience. It moves closer and closer on his eyes leading to an explosion on Kang’s ship. It builds tension expertly leading to the destruction of Kang’s ship. Land also does a great job with a flying horse and an anthropomorphic raccoon. He does a lot of character work here and does it very well. I like his relationship with Peter David; they are definitely in lock-step here.
Grade:
Glenn: A-
Steve: B
Courtesy Marvel Comics
Come back next week to find out what happens in the explosive beginning to the King in Black! Click on the Pop Culture tab to follow the event.
On August 28, 2001, Slipknot released their sophomore album, Iowa. There was a lot of expectation and high hopes following the release of their self-titled debut in 1999. (Mate, Kill, Feed, Repeat aside) The record executives were looking for something more radio friendly, something more palatable. The boys from the 515 delivered an answer that spat in the face of convention. They would be no one’s puppet. They would not sell out. “All the money in the world can’t buy me.” Oddly enough, that attitude and ferocity endeared fans to the band- their debut album likened them to other nu-metal bands, but Iowa separated them and defied expectations which truly birthed maggots for the long haul.
This day marks the 19th anniversary of Iowa. For me, it really marks my start with the band. Self admittedly, I was not a maggot on the first record. Somehow it flew under my radar. I’ve told this story on the Wanderings and Woolgathering podcast. Basically, I was introduced to the band by my 8th grade student who burned a copy of the record for me. One listen to the insane drums, fierce guitar riffs and truculent lyrics- I was sold and still am.
The beautiful thing about Iowa is that it still stands up today as a tour de force in terms of metal albums. The album digs in emotionally with Sid’s screams over the death of his grandfather on 515 and then doesn’t let up from there. The next five songs: People = Shit, Disasterpiece (amazing drum cam footage here:https://www.youtube.com/watch?v=l4y1HPrKa8I, My Plague, Everything Ends and the Heretic Anthem are arguably the most solid five songs in a row on any album in history. Throw in Gently and Left Behind which follow, and there is no stopping this album. The Shape is aggressive but offers some softer more melodic moments and then I Am Hated takes us back to Self-titled a bit with some rap and dj moments. And then, Skin Ticket- the enigmatic fan favorite. “Come see my cage, built in my grain”- allusion to the state of Iowa or clever word play on “migraine? Don’t know- don’t care- love it! The New Abortion screams for individuality and self actualization. Metabolic- “My demise, I took a life worth living and Made it worth a mockery”- don’t throw it away folks. And finally, Iowa- the behemoth album closer. It has a crazy backstory and an even more crazy recording story. It is the punctuation on the album and indicative of the treasure that Iowa is. Here is a brutal performance of Heretic Anthem on the Conan O’Brien show during the album cycle.
Slipknot has six albums, yet none will compare to Iowa. Self-titled, Vol. 3- Subliminal Verses, All Hope is Gone, .5 the Gray Chapter and WANYK are all excellent albums. All are regularly on my playlist. Jay, V-Man and Tortilla Man are worthy replacements. The Knot will live on and I can’t wait for more “Music for the Maggots!” However, nothing will ever replace the ferocity, the aggression, the lyrics and the magic that is Iowa! Today- August 28- let’s celebrate by cranking Iowa to the Heavens. If you’re 555…..well, you know the rest. Stay Sic my friends.
Make sure you come back to WanderingsandWoolgathering.com for more music news. And be sure to subscribe to the Wanderings and Woolgathering podcast: linktr.ee/Wanderingsandwoolgathering
A Wave Blue World, AWBW, stopped by to chat with Metalhead Mundy and I on Mini-Sode 7 of Wanderings and Woolgathering. Tyler Chin-Tanner and Justin Zimmerman talked about their passion projects, making it in the comics world, and their AWBW upcoming releases.
A Wave Blue World is comics publishing company that produces high quality products and supports creator owned endeavors. While small in comparison, AWBW is huge in scope tackling stories about monsters and mech, the neo-west, fantasy worlds, music shops, classic re-imaginings and more.
AWBW originally came onto our radar due to its collaboration with Jack the Radio- presenting the comics side to the Creatures project released earlier this month. The comic offers stories representing every song on the album and some big names in the comics world. Creatures Anthology brings the album to life and adds a layer of enjoyment you don’t get from a simple musical release.
Courtesy A Wave Blue World
In addition to producing beautiful books, A Wave Blue World is performing a valuable public service right now offering some hope in the form of a Kickstarter project called “Maybe Someday.” It’s the sequel to “All We Ever Wanted” and claims to contain stories of promise and visions of hope. Let’s be honest, we are starving for hope right now, and “Maybe Someday” will offer respite from our daily grind.
A few months ago, I became acutely aware of a burgeoning rock scene in Greece. We had Ody and Marianna from Project Renegade on our podcast and I reviewed another record from Bend for Eleven. There are other groups I will be addressing, but a very interesting band has caught my attention- Winter’s Verge. To categorize this band would do them a disservice. They are rock for sure, a little metal, a little symphonic and a whole lot ambitious.
On September 11, Winter’s Verge drops their seventh full length studio album called The Ballad of James Tig. It is a concept album with lyrics written by playwright Frixos Masouras. It is a nine song album with the following tracks:
1. It Begins 2. A Thousand Souls 3. Dead Reckoning 4. Timeless 5. Khilagorak 6. I Accept 7. Blood on the Foam 8. The Sea 9. The Ballad of James Tig
Anyone who knows me or has listened to the podcast knows that an album like this is totally in my wheel house. I love concept records. Rush’s 2112 and Clockwork Angels are on my regular rotation. Iron Maiden’s Rime of the Ancient Mariner wowed me as a kid and led me to my favorite poet Samuel Taylor Coleridge. I even found a sweet spot for 21 Pilots following their last release, Trench, which we reviewed on the podcast.
Of course, these artists couldn’t be more different, but they all deliver concepts that successfully run through an entire album and tell compelling stories. At this point, we have only heard one small part of The Ballad of James Tig, but if “I Accept” is indicative of the entire record, we are certainly in for a treat. They recently released the lyric video, below:
Highlights for me: The song opens with a piano and a choir. Background ambience belies an intense scene. The rock portion kicks in with George Charalambous belting out lyrics that would make Bruce Dickinson proud. A beautifully ominous female voice joins midway during the break to add depth and foreboding. George returns following a technical guitar solo. For a concept involving the sea, we needed some proper tropes to make this familiar. We get them: seagulls, morning mist, a veil, a myth, a curse, guilt, etc. This song, and seemingly the record, seem to be on the right path. Can’t wait to hear the entire record and hear this tale. Be sure to check back for a full album review.
Bend for Eleven is a rock band from Thessaloniki, Greece. Greece is a hotbed for exciting new artists; you can check my review for fellow Grecians- Project Renegade here. Like Project Renegade, Bend for Eleven has a lot to say, yet is relatively unknown in the United States. With Rebel Day, that could change quickly.
Courtesy Bend For Eleven
Listening to Rebel Day for the first time, I find this album incredibly easy to listen to. It has that quality that says, “This band is good at their craft, understands rhythm and tempo, and lets the various members shine from song to song.” Without reading a single lyric, I loved this record.
Yeah Yeah Yeah
This song is an excellent choice for the album opener. It’s a rocker, it’s singable and it sends a message that the band is here on a mission. The song opens with a catchy guitar riff that feels both post-punk and grunge at the same time. The lyrics come shortly therein and are accompanied by a guitar break and some excellent work on the bass. The groove is deep and supports the vocals. The lyrics seem to be the band saying, we stepped away, reassessed and are now ready to conquer the world.
“Let the leaving build my strength now Let the coming feed my soul”
“I can do it on my own now.”
The album opener is important. All great albums have them. Rebel Day is no different and Yeah Yeah Yeah is up to the task.
Rebel Day
Rebel day hits very differently with a quick snappy drum beat courtesy of Nikos Siaxabanis that leads to another catchy guitar riff. In many ways, Rebel Day is a throw back to heavier pop rock days. The enigmatic lyrics are aggressive and seem to point to the cost of rebelling, or casting off your old self. Rebel Day feels familiar and fresh at the same time.
All of My Memories
All of My Memories starts with a climbing guitar groove. The vocals soar on this one, like the aforementioned guitar groove. Lead singer Antonis Tsars does an excellent job with emotion and inflection. Again, the theme of succeeding in light of that past recurs- defeating the enemy.
My Inner Sight
My Inner Sight is the longest song on the album. It is a nod to prog rock in the best of ways, recalling elements of Tool. It’s a slow builder that adds elements as it progresses. Simple guitar notes and sparse drums lead to heavier drums and added guitar weight. The tempo picks up leading to the vocals. Like the beginning instrumentation of this song, the feelings are lying right below the surface. The speaker can’t outrun his demons which are deep inside and surface repeatedly. The marriage of music and lyrics is perfect here. Truly an excellent version of prog rock. And, the video, well I will just leave that here. Wow
Order of the Minus marks the first full length album from the Greek foursome. Formed by Marianna and Ody in 2014, they released three songs under the single title Cerebra in 2017. Order marks their most ambitious effort to date as Project Renegade (PR) comes out of the gates swinging with a seriously biting collection of songs. It’s interesting that a band in its relative infancy could produce an album this tight, aggressive, and musically diverse while delivering a clear consistent message of change, hope and desperation. And that is exactly what we get.
The Big Boss
The album opens with a speech explaining that the government is the most successful group of gangsters of all. It explains that children are identified as subversive or revolutionary and must be rounded up. I was unable to find the source of this speech, but it was profound, ominous and set the tone for the entire record. The tricky part about opening with a spoken word track means that the following track must land with heft and continue the message while hooking the listener with musical precision. I’m reminded of Slipknot’s self-titled “the whole thing I think is sick” followed by the fan favorite “Sic,” or Iowa’s “515- death” followed by “People =Shit.” Clearly the bands are very different, but the formula is the same….if done correctly.
Liber8
Cleverly, Project Renegade opened Liber8 with warning sirens. The opening message is realized and the album begins to pulsate with aggression. Heavy guitar riffs ensue, occasional double bass drum kicks while Marianna sears our ears with beautiful soaring lyrics that bite with anger and rebellion. The message is clear in the chorus:
“Sick of the way we’re treated We’re gonna rise against their lies and they will pay for everything”
It’s a song filled with melodic hooks, yet breaks frequently to remind us things are ugly. The most effective moment in the song takes place when the music drops away twice and Marianna sings:
“The reins of suffocation burn in every bone and vein”
“The tears for our salvation fuse all of our hate and pain”
Accompanying her haunting lyrics is a simple drum roll and snare drum giving a militaristic, marching feel. At this point, it is impossible not to take this song seriously.
The time prior to an album release is kind of like being a kid a few days before Christmas. It’s not lost on me that that analogy is a bit silly considering I’m nearly 50, but it speaks volumes about my love of music and its effect on me. I’ve had this experience recently on the 40th Anniversary release of Rush’ Permanent Waves and Slipknot’s We Are Not Your Kind. And now, I’m completely chuffed about a release from a musician I only learned about a year and a half ago.
When I heard Ashton Nyte on A Beauty in Chaos‘ release Finding Beauty in Chaos, I was blown away. He was featured on Storm, which he re-envisioned and somehow made better, Bloodless and Fragile, and Finding Beauty in Chaos. I immediately searched his catalog and dug in. I found that he has 19 studio albums since 1997 both solo and in his band the Awakening. The albums are eclectic wavering between goth rock, post punk rock, straight up rock, and a little folk. As a listener, it’s exciting because you aren’t sure what you might get, other than brilliance. In the past few years, Ashton gave us a more upbeat, post punk album in Some Kind of Satellite ( and my favorite Ashton song Halo in the Dirt) and a seriously rocking song, Back to Wonderland, on the Awakening’s release Chasm.
Side Note: I wish I was aware of the Awakening in 2000. The Dark Romantics is a song that could make me visually remember where and when I first heard it.
So, that brings us to Waiting for a Voice. As I said, I wasn’t sure what to expect. His last two records, both solo and with Awakening, were a bit more upbeat. This one, like his live Facebook show, is more intimate and more poetic. That isn’t to detract from those other releases, it’s just that this one from a musical perspective, ethereal lyrics and visuals from the album and book lend itself to a soul baring bit of poetry.
Waiting for a Voice -The album opens with a short, melodic and sad song. It’s beautiful and haunting. The speaker speaks desperately to the ocean and a tearful willow waiting for a voice. It’s interesting to note the beauty surrounding him, yet he chases horizons- those things out of reach rather than reveling in what is. Perhaps, our speaker is at the beginning of a journey and is still a bit lost.
Ocean Song– Ocean Song opens with a groovy guitar and fingers sliding on the strings. The intimate nature of the song is clearly on display here as the instruments are stripped down allowing us to sit in the room with Ashton. This one is interesting in that in the album opener, he is listeneing for a voice, but here he is surrounded by voices. He needs to accept what they are saying. We can’t wait on what is not there.
This Isolation– This one opens with some beautiful guitar work with Ashton crooning over the top. It’s a sad song that offers hope. “Standing at the edge, but the story never ends.” I love that notion and the true poetic nature of those words can be used in any facet of our lives. That is the mark of an effective poet.
Has Anybody Seen My Love– Ashton begins singing here with a slight beat and chime in the background. As the first verse ends and the chorus begins, the song picks up with a heavily pronounced guitar. “My days of blurry echoes and with empty nights. The morning holds no promise without a light.” Ashton’s word play on this record is so clever. He is painting with broad strokes here so the listener can connect in a more personal way. I get the feeling that there is a very personal message here, but our message isn’t taken from us.
Dark Star– This one is a definite groover. It has a catchy guitar and vocal melody. The percussion kicks in and immediately invokes head nodding or foot tapping. Ashton’s vocals ebb and flow before a very cool keyboard-like string effect kicks in and takes this one to another level. “Dark Star in the sky, I wanted to be you. Your silent glow is so removed from the things I need to prove, from the cracks below the truth.” I’m not sure what the inspiration is here, but again, the speaker here seems to be looking outside of himself for answers. This motif is apparent throughout the album; sometimes the answers are out there and sometimes inside. The enigmatic nature will keep me guessing for a while.
I Asked For Nothing– This is a departure from the last song. It has a much more folksy feel. We continue our trip through nature. A man is washing his soul in the fountain. Again, nature may hold the key to our happiness or fulfillment. My favorite line on the album, or any other album I have heard recently appears in this song, “And there’s the truth meets pain, for comfort. We talk in rhyme just to prove we believe.” Paradoxically- I love this. Best song on the record.
Creatures is the fourth studio album from Jack the Radio. It’s a fourteen song mix of southern rock, blues and country filled with a lot of heart and positive messages. For this release, Jack the Radio has paired with comics company A Wave Blue World to create an ambitious album/comic book experience. This, of course isn’t the first time music has been paired with a visual medium. Recent examples like Gord Downie and Jeff Lemire’s Secret Path, or Stone Sour’s House of Gold and Bones comic series, or even Neil Peart and Kevin Anderson’s novel accompaniment to Clockwork Angels come to mind. This one, however, is different in that Jack the Radio has invited a number of different creators to bring their individual songs to life. It is a tapestry of visions. Like those other brilliant examples, this one is visually stunning. Upon listening and reading, does it hold up? Metalhead Mundy and I dig in to find out.
Electric Haze and Introduction from George Hage
Steve: This is the only song without an illustrated story. Instead Mr. Hage gives us the intro to the issue and explains the concept. Electric Haze, like the intro, has no story or lyrics. It simply serves as a bluesy sampler for what’s to follow. The song starts with a slow driving beat and heavy guitars. It breaks shortly into it and leads into the slightly funkier Don’t Count Me out.
Don’t Count Me Out – art by Brandon Graham
Steve: First of all, Don’t Count Me Out is an outstanding song with a bluesy sound, smooth vocals, and a positive outlook. The sequential art is spot on here with the lyrics serving as narration. Graham interprets the animals hanging out in a clever way and shows the moon secretly “conspiring” which adds to the battle for our protagonist Jack. As the song climaxes following Jack’s fall, the art show’s the metaphorical and literal fall ending with Jack breaking the fourth wall as he looks up following his fall on the beach, “But don’t count me out.” Powerful and inspiring. The story ends with a triumphant Jack with his hand in the air, “Walk on.” The marriage of story and music is well executed; the art truly enhances the experience.
Trouble – art by Jorge Corona and Jean-Francois Beaulieu
Steve: Trouble is another song with a positive message. We will have troubles in our life, but we have the strength to persevere. Steel guitar meets keyboards here as Hage sings this slow builder. Jeanne Jolly joins Hage with backing vocals that round out the sound and give it depth. The lyrics here are beautiful and poetic. The story shows the journey through life as a car ride for Jack to his next gig. There are boulders and dinosaurs, and highlights like space flight. Eventually, Jack finds his place at what appears to be a bar, guitar in hand. Cool concept for a simple, straightforward message. I really love the depiction of Jack here with suit and tie, magic eight ball on his keys. Another great entry.
