Author Archives: Yuri Duncan
Greatest Albums in the Universe: Delirious Nomad
It’s 1982 and Dave Prichard hands the smoldering joint over to Phil Sandoval. Along with Phil’s brother Gonzo, they finish the hand-rolled and head to the theater to see the retelling of the King Arthur legend – Excalibur. A bit over two hours later, the band mates head out of the theater and Gonzo announces that he’s found the perfect name for their South Pasadena-based band: Armored Saint.
In what could only occur in at the crossroads between 80s Metal and California weed, Armored Saint not only took to the stage singing songs about marching, mutiny, and saints, they did so in body armor. Their first single, Can U Deliver, gave us a video straight out of Road Warrior, complete with beat up cars sporting mounted artillery, motorcycles, and radioactive skies. Once you get past the trappings that came with 80s Metal and post-apocalyptical music videos, this video rocks balls. Above all, the track grooves in ways that eluded the rest of the Metal pack and stands strong as a great rock cut even to this day. Just close your eyes if your preconceptions can’t get past the armor.
I saw Armored Saint twice during the armored years (1984-ish). The first time blew me away – along with Whitesnake (this was before Coverdale recruited virtually every unemployed Metal musician for the super group most people associate with the band) they opened up for Quiet Riot at the long-gone Market Square Arena in Indianapolis. Their short set was powerful enough for me to buy the album and spin it constantly for the next year. The second time was part of another triple bill featuring the Saint, Metallica, and W.A.S.P. The venue doubled as a cafeteria, so the setup was fairly transparent with no backstage area for the bands to hide between sets, and it wasn’t hard for me to spot my favorite band member, Dave Prichard. I’d obsessively watched and re-watched that Can U Deliver video to the point where it appeared clear to me that Prichard was one cool fucker. Name me one other red-haired Metal guitarist who not only rocks his axe with groovy soul metal flair while totally pulling off that armor. So, for my scrawny pimple-faced teenage self to be able to strut up to Dave Prichard himself (yes, in armor) was a thrill. I’d met the Scorpions, Quiet Riot, Bon Jovi, Ozzy, Cliff Fucking Burton, and a few others by this point, but never so one as cool as Prichard. He was signing autographs with excitement and graciousness, but really seemed to beam when I told him I’d seen them play with Whitesnake and Quiet Riot a few months back and thought they were far and away the better band. He wasn’t willing to take the credit away from John Sykes in terms of who was the more skilled guitarist, but he took his time shaking my hand, listening to my gushing praise, and thanking me for simply being a fan. I’ve been a fan ever since, not so much a fan of Armored Saint as a fan of Dave Prichard and the cool guy he seemed to be.
There was talk of a follow up album that never came. This was the mid-80s and here in Indianapolis we didn’t have much in the way of record stores, used or otherwise. My girlfriend at the time was old enough to hit the clubs and one night came home with two albums she won at a nightclub as part of a promotion. One of which has forever been lost to memory, but the second one made me literally jump up and down: Armored Saint’s second full-length album “Delirious Nomad”. First there’s the cover – another scene from the apocalypse with a modern flair, offering a departure from the D&D trappings of their first LP. The back cover gives us a glimpse into the nomad’s survivalist abode, complete with enough Easter eggs to keep any stoner Metal head busy for hours. Lord knows how many times I listened to the album while gripping the inner sleeve, drooling my fanboy spittle over these badass dudes. The inner sleeve offered two sets of band pictures, one with and the other without armor. Normal jean jacket-wearing guys juxtapositioned with live images in full armor – these guys didn’t so much reject their armored identities so much as they seemed to say “yeah, we wear armor on stage, what’s the deal?” It didn’t hurt that they looked like they were rocking about as hard as possible in those images. The flip side of the inner sleeve took an interesting approach to the tradition of providing lyrics by only offering a single key line from each song. All in all, the offering had a modern approach typically not seen in most Metal bands, mid-80s.
Then there’s the music. Produced my Max Norman, this sonic sequel offered more groove, more depth, and darker subject matter than their first effort. Norman’s production resume reads more like a who’s who of mid-80s metal, but the highlight would have to be producing all of the good Ozzy solo albums. His influence can be heard most prominently on the second half of the album, particularly the three song cycle made up of “For the Sake”, “Aftermath” and “In the Hole” that really brought the post-apocalyptical world of the Delirious Nomad come to life. Even if the lyrics weren’t always painting that picture, the soundscape surely did with layered guttural guitar supporting an insane solo while John Bush wails in the background. At 5:31, Aftermath starts off with a widescreen electric introduction that sets the stage for an acoustic interlude before Bush lays on the soul and talks about the aftermath of a post-World War 3 world. In a final plea for someone to make him feel that he’s not alone in this world, the vocals echo on as the electric guitar ushers in the riff that takes us through to the slightly more optimistic “In The Hole” – another balls out epic with unique breaks and a sense of urgency that fits the song perfectly. All in all, the experience of these three songs lasts around 13 minutes. After a short break, here comes “You’re Never Alone” and takes the perspective of a misogynist stalker madman while the haunting, electric, and tuneful lead guitars support the breaks and the rhythm section grooves right into the back half of the song and lets Bush improvise up until the escalating finish. And then, just like that, the song ends with “Released” – a song about fucking and a bass solo that simply kills.
I’m not sure why I started writing about side 2 first except that in the end, it was the side that got the most play on the record player. It does a lot of what side 2 does in terms of song structure and killer production, but just not as well as the concept-album worthy second side. It’s funny, but as I listened to this album repeatedly while writing this, it occurs to me that almost the entire album could be taken as a larger concept album about the Delirious Nomad’s place in the world both before and after the bombs drop. Other than “Released”, of course, since it’s really just about fucking. “Over the Edge” , the third track, offers a desperately longing atmospheric break in the middle of the track that dips into a bluesy riff coupled with a haunting guitar riff usually found on a Bob Ezrin-produced piece, and ends in a colossal ending that is clearly Metal.
In the end, each song on this album is a gem, taken individually or as a larger whole. Yes, it was recorded by men who wore armor on stage, but it is clear that these men had deeper feelings and thoughts that eluded their fellow mid-80s Metal merchants. Visually, Armored Saint will bring back memories of big hair, fantasy-themed stage sets, and the height of the heavy metal scene. Delirious Nomad will create new memories and grant those willing to take the ride with a vision of the future. On the surface it might feel like a bleak future but the music makes it clear that heart and groove will overcome anything the nuclear winter can throw at a nomad.
Fantastic Four #13 – Versus the Red Ghost and his Incredible Super-Apes!
Issue #13 – Versus the Red Ghost and his Incredible Super-Apes!
Issue #13 of the Fantastic Four is a timeless mind-expanding reading experience that transcends the era in which it was created by kicking such solid ass on many levels. The immediate pleasure comes with the turning of the cover and being greeted by the pairing of Kirby’s pencils and Ditko’s inking. The alchemy between the two staples of Marvel’s art stable is instantly recognizable and excites the pleasure centers of anyone who has an appreciation for comic book art. Prior to this issue, the Thing never looked more menacing than when inked by the master of mystic comic art himself. This issue is perfectly suited for Ditko’s magic with the introduction of both the Blue Side of the Moon, and the Watcher.
The issue packs in many concepts and locations within the Marvel Universe that are still being revisited today. To kick things off, we are introduced to Ivan Kragoff, a brilliant communist scientist who launches not only himself but his three pet apes into space in an attempt to replicate the fateful trip that gave the Fantastic Four their powers. This bold attempt to gain powers sourced from Cosmic Rays would be replicated again in 1980 when the U-Foes would absorb even more Cosmic Rays than expected, transforming them into a formidable super-villain team. However, Kragoff’s experiment would not result in such dramatic changes as seen with both the Fantastic Four and the U-Foes. No, Kragoff and his apes would retain their normal appearance yet gain powers just the same. Kragoff gained the ability to take on a ghostly form and adopted the Red Ghost identity while his apes each gained their own unique power: magnetic powers, shape changing, and super-strength.
Meanwhile, Reed and the crew head for the mysterious “Blue Area of the Moon”. Although this would be the first visit to the Area, it would become an exotic locale for many pivotal milestones within the Marvel Universe. This is where Jean Grey died for her sins in the pivotal X-Men #137, this is where Black Bolt relocated the Inhuman city of Attilan, and more importantly, this is where Uatu the Watcher lives. After a space-race between the two parties, the Blue Area of the Moon is revealed to be the remnants of an ancient civilization and also contains just enough atmosphere to allow humans to breathe within its perimeter.
Touchdown by both parties leads almost immediately to fighting, which draws the attention of The Watcher – strange being from an ancient race sworn to observe all that occurs in this universe (and others), yet sworn never to interfere. The Watcher pits the Fantastic Four against the Red Ghost and his Super-Apes in the “most dangerous game”. As the two sides battle, Reed goes about the task of salvaging ancient technology to create a weapon to win the day, while the Red Ghost sneaks into the Watchers headquarters in search of a weapon of his own. Quickly detected, the Red Ghost is shown the true powers of The Watcher which is almost more than even Kragoff’s genius can comprehend.
In the end, Reed’s dedication wins the day, leaving the Red Ghost and his Super-Apes stranded on the Moon with the apes eventually turning on their master as The Watcher leaves to watch us all from a more distant part of the galaxy.
The Fantastic Four travel back to Earth in time for their next issue, their next adventure. Soon things would return to “normal” with reappearances from Prince Namor, The Pupper Master, and yes, Doctor Doom. But, for this one adventure, the curtain hiding just a few of the wonders of the Marvel Universe were peeled back and the view from the Blue Area of the Moon was glorious.
Issue #12 – The Incredible Hulk
Welcome to “Ultimately Nullified” – where I embark upon the insane endeavor of reading and writing about every issue of the Fantastic Four. Issue #1, #2, #3, #4. #5, #6, #7, #8, #9, #10, #11
Issue #12 – The Incredible Hulk
Hints that the paths of both the Fantastic Four and Hulk would eventually cross had been given in previous issues. With the Marvel Universe starting to converge in small ways, the worlds were about to collide. Unfortunately, this initial meeting contained none of the gravity you would expect from such a collision, which honestly isn’t so much about The Four meeting the Hulk as much as it is the desire to see The Thing and The Hulk coming to blows in an epic way.
From the perspective of existing in the year 2012, most people know the Hulk’s deal – Bruce Banner saves the reckless youth Rick Jones from a Gamma Bomb test, but absorbs a huge amount of gamma radiation in the process – the effects of which transform the gangly scientist into the Jade Giant whenever the rage of anger overcomes him. However, early on in his existence, the Hulk went through a number of changes before he fit into that description. For example, he was actually grey (not green) in his early appearances, and sometimes the transformation was triggered by a full moon. The nature of the Hulk’s powers were on shaky ground in this initial meeting as well. The proto-Hulk appearing in this comic speaks in complete sentences, requires a blast of manually operated Gamma Rays to transform, and displays tactical problem solving skills. To confuse things further, the diction between The Thing and The Hulk are basically identical.
The issue kicks off with the US Army mistaking The Thing for The Hulk. Once the mistake is sorted out, General “Thunderbolt” Ross (The Hulk’s main nemesis) woos The Four into helping his cause. We are introduced to a new Fantasti-Car design, and the hunt for The Hulk begins. Using a plot device that was common in the Hulk’s own first appearance, the crimes currently blamed on The Hulk are actually the work of yet another Cold War spy working within the US military. Rick is kidnapped and The Hulk is compelled to save his friend. The Four and The Hulk eventually clash in two brief fight scenes, neither of which do much to establish who is mightier between the two strong men. In the end, Rick is saved, Bruce Banner’s secret persona is still a secret, the Four are honored by the military, and the Hulk looks on from the desert as they return to New York.
Although the distinction between Thing and Hulk would eventually be much clearer than the obvious surface differences, the similarities found in this issue are telling of an interesting subtext – discrimination. Both parties are loudmouth brawlers with a chip on their shoulder, always looking for something to either “smash” or “clobber”. The primary difference is that The Thing, Ben Grimm, belongs to a family of heroes who live in a fairly posh Manhattan high-rise headquarters, while The Hulk managed to wound General “Thunderbolt” Ross’ ego and pays the price by being forever hunted across the globe. Strip away ben Grimm’s association with otherwise “normal” looking heroes, and chances are that he’d be living the same lonely existence that his green counterpart suffers from. During one of his long runs as writer of The Hulk during the 90’s, Peter David provided what may be perhaps the greatest battle between The Thing and The Hulk, and it was purely verbal in nature. In this conversation, The Hulk points out the biggest difference between the two is a matter of how they perceive their individual state of being – The Thing always resented what he’d become while The Hulk embraced his own existence.
The battle royal between the Hulk and the rest of the Marvel Universe was yet to come in the pages of The Fantastic Four, and what a battle it is…
Starbase Indy, the 16th Generation
Much like Pon Farr and Vulcans, Ferengi and money, or the USS Bozeman and the Typhon Expanse, some things are simply inseparable. Also bonded at the Tachyon Particle level – Star Trek and science fiction conventions. This writer was fortunate enough to have experienced the classic RiverCon events down in Louisville several times in the 70s. Even then the show was populated by various Trek fans decked out in costumes (often hand crafted) to give honor to their favorite characters. Self-published Fan fiction, homemade phasers, starship schematics, Mego action figures – the more things change, the more they stay the same and the Federation of Time would be proud. Over the past 40+ years genre fads have come and gone. Star Wars costumes come and go, men dressed as Predators can be found taking a leak in the men’s room, and the stray Babylon 5 t-shirt can be spotted now and again. But one constant remains: Star Trek has won the war of ages. If you need proof, rest assured it doesn’t require a sacrifice of Edith Keeler proportions to experience the past and future all at once. In fact, one has to look no further than the Indianapolis Marriott East (7202 E. 21st St.).
From December 9 – 11, 2011, the greatest “Midwest fan-run sci-fi convention” known as Starbase Indy holds its sixteenth gathering of genre-soaked bliss. Star guests representing the Trek universe include the legendary actor Tony Todd, John Billinglsley, and Deborah Downey. Despite the threads of Star Trek woven into its DNA, this year’s event also offers a variety of guests for all levels of obsession: stars and guest-stars from shows such as Stargate SG-1, X-Files, and Chuck will be on hand to add diversity. A masquerade, another staple of sci-fi cons, is another must-see event and the Klingon karaoke cannot be missed. In the quest for knowledge that underlies the Trek experience, sessions on actual 21st century science will be offered, and the kids will have an opportunity to build their own Tribbles.
New this year is the first ever battle of the bands, but this year the fate of the neutral zone is at stake. Yes, this battle of the bands will be waged between Starfleet and Klingons. If you wear your freak status proudly and you’ve got a flag, this event will be the ideal time to let that freak flag fly. Full disclosure – I am a self-admitted Star Trek freak on many levels (well, except for ST: Voyager…I was always a DS9 guy myself), and this event alone should be worth the price of admission.
Exploration, adventure, friendship, diversity – Star Trek has always been about many things. One constant that represents the Federation is its desire to help and defend those in need. To that end, Starbase Indy will be promoting and accepting donations for its chosen charities: Cat’s Haven, Jason’s Foundation, and LUNGevity.
These days when local and global events seem oh so heavy, we could all stand a little bit of futuristic optimism. Do yourself a favor this holiday season and visit Starbase Indy, the 16th Generation. Tell them the Emissary sent you!
Link: Starbase Indy
Issue #11 – A Visit with the Fantastic Four/The Impossible Man
Welcome to “Ultimately Nullified” – where I embark upon the insane endeavor of reading and writing about every issue of the Fantastic Four. Issue #1, #2, #3, #4. #5, #6, #7, #8, #9, #10
Issue #11 – A Visit with the Fantastic Four/The Impossible Man
Issue 11 is split into two tales. The first, A Visit with the Fantastic Four, seeks to do nothing more than to introduce new readers to the series. Well, that, and to introduce Willy Lumpkin –mailman to the Fantastic Four. The story opens with a line of both kids and adults waiting to buy the latest issue of the Fantastic Four. The real FF shows up in time to impress the kids before returning to the Baxter Building. In no time at all, the Yancey Street Gang pulls yet another gag on Ben Grimm, Ben turns into human form again, and we get a retelling of the team’s origin. This time, however, we get a few new details about the team’s back story: Ben and Reed were in fact college roommates (along with Victor Von Doom, as revealed in past issues), Ben came on a football scholarship, Reed’s dad is a millionaire, Ben was a fighter pilot for the marines in World War II, and Reed served the O.S.S in the same war. We also learn that Reed and Sue grew up together as neighbors. Post-flashback, Sue insists she is unwilling to discuss developing her relationship with Reed while Namor still confuses her emotions.
While the team opens their fan mail, Sue becomes upset by one letter suggesting that she contributes little to the team. Breaking the fourth wall, Reed addresses the readers directly, comparing Sue’s role to that of Abraham Lincoln’s mother and recapping her contributions to the team over the last few issues. Consistent with some of the criticisms made in this very blog, the evidence to support Sue’s contributions up to this point are unconvincing.
Ultimately, Ben reverts back into the Thing, and the entire story ends in a surprise birthday cake for Sue (presented to her in the saucer from issue #7’s Planet X adventure, no less!)
Although the story is somewhat silly and seems awfully early in the series for an origin recap (and sadly not anywhere near the last recap issue we’ll see), the story does serve to establish a firm connection between reader feedback and Marvel Comics. The point in which Reed addresses the reader directly seems like the perfectly ideal and surreal way to answer fan mail in a comic book.
The second story in the book introduces one of the more inconsistent and arguably annoying characters in the Fantastic Four cast. The Impossible Man is an alien from the planet Poppop, where the native inhabitants learned to escape their natural predators through an evolutionary development that allows them to change shape at will. If this sounds remotely familiar, that’s because the Skrulls share the exact same origin. The Impossible Man arrives on Earth seeking playmates to end his boredom. Once he learns that no one on Earth can overcome his innate ability to shape change into whatever defensive form works most in his favor, he runs amuck, causing general chaos wherever he goes. Reed, clearly not a father at this point, finally realizes that they can stop this attention seeking alien by simply ignoring him. Somehow, society learns of this tactic and successfully ignores the Impossible Man until he leaves the planet out of boredom.
For longtime readers of comic books, this issue can be a bit hard to suffer through. On the surface, the book could be considered little more than filler, as evidenced by pulling out almost every reoccurring plot device used so far (save a fight between Ben and Johnny) and putting them into this issue. Throw in an alien who shares a power set and origin that nearly mirrors that of the Skrulls introduced only 9 issues ago. However, when the issue was published in the late 60’s, it may very well have been a revelation. Up to this point in time, had any comic ever bridged the gap between reader and characters in such a direct fashion? It speaks to a degree of self-awareness and connection to the readership that made Marvel Comics the preferred comic line on college campuses during the 70s.
