Wednesday, November 21, 2007

THE REVIEW CORNER -- Chrome, Smoke & BBQ: The ZZ Top Box. 2003 issue, Warner Brothers.

This was a boxed set I'd been eying for a few years now, and I finally picked it up today with some birthday cash.

I even found the limited edition box (designed to mock a Texas roadhouse shack), as you can see here... very cool, corrugated iron Tejas style, with a "menu" booklet inside and little figures of the band you can cut out to create a sort of mini-model scene on your work desktop... it conjures up a memory of models on my old HO train track set, where I built urban landscapes around the train track -- just to wipe everything out with a train calamity... you know, boy stuff.

So now I can harken back to my childhood and pair my ZZ Top action figures with my old eagle-eye G.I. Joe... there's even a little cactus and picnic bench included with the figures, for some real life ZZ Top scenarios. Great, it's so good that I now know how these guys live their day to day lives... that's soooooo important...

Then there's a flipbook showing the band twirling their guitars and doing that thing with their hands, like they did in the video of "Legs" back in the day... you know, the one with the flashy red car, remember?

Oh, and there's music in the box set too, I almost forgot. 4 CDs spanning the band's time with Warner Brothers...

However, I must admit that I did pick up the roadhouse shack box set partially with a purpose in mind---in that being the alphabetizing freak that I am, I can now place this nicely on the far right side of my alphabetized box sets on the shelf as a sort of "ZZ Top bookend." So I'm a happy camper... if there's room on the shelf I may even set up the action figures, along with my Rush and Dwight Schrute bobbleheads---a sort of "trio-off" if you will...


For those who know ZZ Top through their 70s pre-long beard period, or through MTV and the flashy red car videos of the 1980s, this box will cover the whole spectrum for you and showcases the growth of this bluesy Texas trio.

Here's a review of the box set from the All-Music Guide. Since I hit a bit of a wall, not being very familiar with their early material, I'll let them take it from here.

Prior to 2003's Chrome, Smoke & BBQ, ZZ Top's catalog was crying out for a comprehensive retrospective.

Not that the band hadn't been anthologized before: they had two hits collections, with notably different track listings, and in 1987's
Six Pack, they even had a makeshift box set, but all three of these were hampered by limited focus and haphazard execution.

Chrome, Smoke & BBQ addresses both of these concerns by focusing on the trio's 20 years at Warner -- from 1970's ZZ Top's First
Album to 1990's Recycler -- picking the best 70 or so songs from these ten albums and spreading them over the course of a lavish four-disc, 80-track box set.

This is the first logical approach to ZZ Top's career yet, and while it isn't a perfect collection, it comes tantalizingly close to that ideal. The primary problem is that by the time the fourth disc rolls around, the collection has lost considerable momentum -- and that's without even touching any material from the forgettable albums the band waxed for RCA in the '90s.

With its robotic beats and flattened production,
Recycler pointed the way toward those RCA records, yet it did have some excellent songs -- "Give It Up," "My Head's in Mississippi," and "Doubleback" -- that harked back to the group's strengths, something that would have been more apparent if these songs appeared at the end of disc three, after the Afterburner material.

Instead, they're stranded on the fourth disc, along with four other songs from
Recycler, for a grand total of seven of ten songs from that album, to which are added six "Medium Rare" tracks -- the obligatory obscurities that are included on each box set, this time being a pretty cool Spanish version of "Francene," an OK live take on "Cheap Sunglasses" from a 1980 promo single, and four 12" remixes, none of which are very good. This disc is required listening only for diehards.

Fortunately, the other three discs are damn near perfect, containing six to seven songs from each of their albums except their debut (nearly all of those records had a mere ten tracks, making this a very generous sampling) along with three tracks from guitarist/vocalist Billy Gibbons' first band, the Moving Sidewalks, and a single, "Miller's Farm"/"Salt Lick," from the "embryonic" ZZ Top, before bassist Dusty Hill or drummer Frank Beard joined forces with Gibbons.

All the hits and classic rock radio staples are here, of course, along with a wealth of album tracks that illustrate that even if the band didn't have much range -- whether the production was raw and greasy as it was on "La Grange" or clean and sleek, like the Police playing
the Rolling Stones, as on "Pearl Necklace," they rarely strayed from either fast blues boogie or slow blues -- they did have strong songwriting chops, witnessed by such buried treasures as the raucous "Brown Sugar" and "Just Got Paid," the monster groove of "I'm Bad, I'm Nationwide," the sweet "Leila," the crawling "Blue Jean Blues," and the unspeakable sleaze of the oozing "Mexican Blackbird" and smirking "I Got the Six." All this and more (including a radio commercial for Deguello) spread out over three addictive discs that truly do condense ZZ Top's records to their very best.

It would be nice to have the good
Recycler songs sandwiched onto the third disc and top the set off at three discs -- it would have been a nice symmetry, with one disc for each band member -- but it's easy enough to ignore the last disc and revel in how good the rest of the set is. Basically, Chrome, Smoke & BBQ is all the ZZ Top you'd ever need. [Chrome, Smoke & BBQ was released in two editions, both containing a terrific book, filled with great photos -- including early shots of Gibbons in the Moving Sidewalks, without the beard -- testimonials by the likes of Billy Bob Thornton, Dwight Yoakam, Ann Richards, and of all people, David Lynch (who immortally proclaims "ZZ Top = the fast track to cool"), an excellent history by Tom Vickers, and track-by-track notes by Gibbons, Hill, and Beard, as told to Bob Merlis.

The limited edition is quite fancy in its own right, encased in a mock roadhouse shack and containing a booklet shaped as a menu, a sheet of ZZ Top paper dolls (no perforations, however; this is for display purposes only), and a flipbook that finds the trio doing their signature twirling guitars and hand gestures. It's a little elaborate, but it's fun, particularly because the four discs are in jewel cases and can be transported while this sits on the set, next to the other impractical, oversized box sets, such as that
Charley Patton box designed as a fake album of 78s, in your collection.]
~ Stephen Thomas Erlewine, All Music Guide

Sunday, November 18, 2007

On my birthday, my happy place is with music.

Ah, it's November 18. Today, for my 39th birthday, the listing started with Quadrophenia by The Who, then moved onto their Live at Albert Hall DVD from 2001.

Then I spent some time downtown with KJ and explored antique furniture stores, and took a trip into the Smith Tower, where we were able to eavesdrop on a Seahawks game below. I picked up an interesting poster of Seattle in the late 19th Century; a bird's eye view of the city and Elliot Bay before it filled in the harbor to form what today exists as the "Sodo District."

After getting home this evening, I watched a documentary on the making of The Band's second eponymous album, and moved onto portions of The Last Waltz DVD by the same band.

Being the stubborn Scorpio that I am, I go in streaks and musical binges; so my day's ending with The Band, as I noodle around their catalog on the iPod. After considering them, I'm sure I'll helicopter into some bluegrass or country.

Off to listen to some tunes and read a bit, ciao! S

Saturday, November 17, 2007

THE STAGE HECKLER: Neil Young still proving he's one of a kind

I've stalled my reporting on the Neil Young concert I saw last month, primarily because I was so blown away by the guy that I needed some time to digest the whole experience of seeing him live.

I'd been waiting years for a chance to see Neil Young perform live, and since he's one of my top 3 artists, it was especially exciting to see him for the very first time... like I felt as if I was being christened for the first time with something new that I didn't know before... almost like going to my first concert, Rush, back in 1984... close, but not quite the same.

To add, none of us knew what he was going to play that night. I had a notion that we were going to get the split set (acoustic followed by electric) based on his latest CD Chrome Dreams II (which was actually released on the day of the show, but I got it in the mail a few days early as a result of my ticket purchase that night), but Neil tends to do whatever he wants, so we knew nothing going into it... which was how I preferred it. I'd been spoiled with set lists from my other favorite bands before, due mainly to my stupid curiosity.

This time, I wanted to be surprised... and I was, pleasantly.

Here's the set list from the evening:

Acoustic set

  1. From Hank to Hendrix
  2. Ambulance Blues
  3. Sad Movies
  4. A Man Needs a Maid
  5. No One Seems to Know
  6. Harvest
  7. After the Gold Rush
  8. Mellow My Mind
  9. Love Art Blues
  10. Love is a Rose
  11. Heart of Gold

Electric set

  1. The Loner
  2. Everybody Knows this is Nowhere
  3. Dirty Old Man
  4. Spirit Road
  5. Bad Fog of Loneliness
  6. Winterlong
  7. Oh, Lonesome Me
  8. The Believer
  9. No Hidden Path
  1. Cinnamon Girl
  2. Like a Hurricane
There were some things that went on at this concert that I've never heard nor seen before.

Just prior to the beginning of the acoustic set, the usher came around to the audience in our section, barking out orders that apparently came from the artist himself, Mr. Young. The requests involved the following, assuming I'm not garbling things a bit:

  1. Please do not use any flash photography, as it disrupts the performer's concentration.
  2. Please refrain from getting up from your seat to use the restroom.
  3. Please refrain from shouting and talking during the performances.
The set lists he chose were especially interesting, in that he played songs from projects that he never released on any of his albums; with "Sad Movies" and "Love Art Blues" being the two culprits... now that's a very artsy fartsy thing to do.

Sure, the guy's aged a bit... and got lost and indecisive on the stage a couple of times... but he still rocks the house and leaves it all out on the stage.

He played a flawless acoustic set, part of which he seemed to be winging. Some research of set lists from other shows reveals that he mixes it up a bit from night to night, which explains some of his indecisiveness on stage... like when he paused to choose a guitar... then picked one up... then set it down... then took a drink of water... then got up to go over to the piano on the far right of the stage, where he sat for a few seconds doing nothing... (Shhh---there's an ar-teest on stage thinking...) Then he got up to go all the way across the stage to the other piano... only to break into "Everybody Knows this is Nowhere"... finally! Yeaaaa!

It was more charming and amusing than anything else. I saw it simply as an artist at work. It was nice to finally witness a performance where the artist was willing to to take a few risks. It was like watching a painter developing their work in progress.

After the intermission, Neil came onstage with an assortment of musicians from his prior bands; Crazy Horse (the drummer) and the Stray Gators (the latter band having accompanied him on his most commercially famous album of the 1970s, Harvest)... so the electric set was suited to play anything from any previous album in his massive cannon.

During most of the songs in the electric set, a roadie would come out onstage to place large paintings on an easel with the name of the song to be played printed on them. For me, the paintings were spoilers. The timing of the sign placement was often a bit off, to the effect that it would go up just before the song began... so I found myself covering my right eye so I couldn't see the sign, as I wanted to be surprised by the music and enjoyed the exercise of recognizing what tune he was playing.

Security seemed to be rather tight that night, but during the electric set, when "Spirit Road" began, some folks in the front got up from their seats to dance. Since security didn't to anything about it, the masses poured onto the floor to occupy the space between the front row and in the aisles. A reserved seats show essentially turned within seconds into one of general admission... so much for that $500 front row seat on eBay (the fella up front, not me).

Electric Neil was impressive too. I can't get enough of the distorted crunch of his harder songs. We were treated to a 20 minute extended freak-out version of "No Hidden Path" from the new album, in which Young WENT OFF noodling around with feedback from his guitar as he crunched and chopped his way through his classically unique soloing style.

We were then treated to a couple classics in the encore; heavy versions of "Cinnamon Girl" and "Like a Hurricane."

I would liked to have heard more, but that would involve a week long Neil Young festival of four hours sets---and we still wouldn't get through the man's catalog. I was happy with the mixed set of this evening.

My group walked out of the venue very impressed, and we all agreed that it was unlike anything we'd ever seen before.

Wednesday, November 14, 2007

Missin' The Ox

When his untimely death occurred in Las Vegas in 2002, just prior to The Who's opening night of their tour that year, the band not only lost one of their founding members in John Entwistle, they lost the greatest rock bass player of all time.

I can say that while his passing that night in Las Vegas was beyond unfortunate, it seems that he went out like a rock star. I'll let you research that further to find out what I mean.

Entwistle was also commonly referred to as "The Ox" and "Thunderfingers." He more than lived up to the imagery of the latter nickname.

I was watching the 2001 live concert DVD of The Who the other night, Live at Albert Hall, and forgot how incredible this guy was on four strings. He made it look effortless, and used multiple techniques on the instrument over the course of a single song. Stemming from the mid-1960s, he single-handedly changed the way the bass guitar was played in rock music. His style could be so smooth, like a knife through butter---and then he'd get percussive to accompany Keith Moon's drumming or assist Pete Townsend's guitar playing. He floated seamlessly between the Who's rhythm and lead sections.

Anyone who picks up a bass guitar is influenced by him, and forever walks in his shadow. He's simply unreachable---and that's not even a slight exaggeration. He was that good.

From my own listening experience with the albums of The Who, the best moments
of THE OX that stand out occur on 1973's Quadrophenia. There are moments on that album where the bass guitar is taken to other worlds---with the song "The Real Me" being the best example that comes to mind. "The Punk Meets the Godfather," another highlight with its pops and fills, defies logic---but he also gives the bass personality, as it reacts to the storyline of the music. The percussive fills and lead he does in the middle bridge section to "Sister Disco" (from Who Are You) during Townsend's vocal part sends shivers up my spine. That song as a whole is a bass run that's totally creative and one-of-a-kind.

However, to really understand all the elements that Entwistle imposed on his bass, you need to go beyond the albums and check out the live performances. That's where the man REALLY shines. There are many out on DVD (just make sure it's from a Who performance before his death in June 2002).

I was fortunate enough to see Entwistle preform with The Who in 1989, and witnessed the greatest rock performance of my lifetime. I saw a legendary band and a legendary bass player in the flesh... only Keith Moon was missing in action. I can only imagine the band with him. Wow.

Nobody ever played the bass like Entwistle before him, and for anyone to try in the future means they'd merely be a copycat... but the man's style simply can't be replicated. Furthermore, his absence in music these days simply reveals how much of a lack of instrumental prowess there currently seems to be in the music scene. Other bass warhorses such as Chris Squire, Geddy Lee, Flea, and Les Claypool are still around---but it's sad that I can basically name the great living bass players on only one hand.

"Thuderfingers" and his unique style went beyond the technical thing, however. He gave his bass personality. He made the instrument sing for us.

It was just a random thought for the night, but John Entwistle, also known as "Thunderfingers" and "The Ox," is sorely missed. When I think of great rock musicians and people who simply mastered their instrument, he's usually one of the first who comes to mind. S

John Zorn/Earshot Jazz situation, Pt. 3

To follow this story from its origin, I'd advise you to scroll down to the initial post (with a similar title) and work your way upward. Thanks!

It's been over a week now, and no response from Earshot Jazz. Could they really be blowing me off and dismissing me as a crazed John Zorn fan? Is it true?

Huh. Next time I bring this up, I'm hoping I'll actually have something to report---but I figured no response was worth a quick mention (sorta). S

Wednesday, November 7, 2007

Update: John Zorn/Earshot Jazz situation

To follow this story from its origin, I'd advise you to scroll down to the initial post (with a similar title) and work your way upward. Thanks!

Earlier today, after calling the Moore Theater and chatting with a manager, I was told---by the second person from the theater---that I needed to take my issue up with the Earshot Jazz Festival, despite the fact that I purchased my John Zorn ticket at the Moore Theater box office.

So, I've decided for right now that I'm simply going to put the conspiracy theories dancing around my head on hold for a minute and simply follow the advice of the manager, assuming that everyone is working in good faith and that I'm not being tossed around the brick oven like pizza dough.

That being said, I fired off an email to the events coordinator at Earshot Jazz.

Here's what I wrote:

What I am bringing to your attention today is something I have not done before, in my attendance of over 100 concerts and performances in my lifetime.
I purchased a ticket for John Zorn at the Moore Theater on 11/4, this last Sunday. I purchased the ticket at the Moore Theater box office in advance and paid $34 for it. I understood that there was an “outside-the-box jazz performance” to be expected, as I own many of his works, and that is how I will describe what I actually saw that night. That’s fine, no problem, I figured you’re running a jazz festival. I did expect, and would reason, one of the performers to actually be John Zorn… since his name was printed on the ticket.
When I attended the performance, John Zorn did not perform, so I guess that essentially makes the performers I was watching… a surrogate band, I guess? Since John Zorn was not in attendance onstage?
Now I have an issue.
In the lobby, I presented my concerns to the manager, along with 2-3 others in the lobby who were also confused the same way I was, and feeling like they’re wallets were taken advantage of. They were asking the managers how they could get a refund, but I wasn’t at that point yet. I was just trying to understand what was happening and if John Zorn was going to be performing. The manager of the Moore Theater, I believe an Asian woman in her late 20s, mentioned that others in attendance were asking the same question and expressing confusion. She was also confused and didn’t have any answers.
The manager then saw who she believed to be an official from Earshot Jazz, and flagged him down; who I recall as a tall and thin gray-haired gentleman. When she expressed the concerns being brought up, I piped in as well to try to understand what was happening with the performance. I got some story about “literature” explaining what John Zorn’s intentions were with the performance or something to that effect. Three days later, in writing this, I’m still unclear about what “literature” the man was referring to (assuming he was not talking about the print on the ticket I purchased), and I was basically asked “why I was the only one in the lobby clueless and asking these questions while 800 folks in the theater were watching the show.” Since the gentleman was being abrasive and defensive with me, and talking down his nose to me as if I was a moron, I had to walk away from the conversation before I lost my temper.
My response to that comment now would be:
  1. I was not the only person in the lobby who was confused, asking questions, or trying to determine if a request for a refund was in order.
  2. I cannot speak for the attendees in the theater and what their level of confusion might be, but I did witness several shouts of disapproval of the performance – including but not limited to shouted questions about “where John Zorn was.” That being said, I would like to reiterate that I am not taking issue with the quality of the performance itself that was happening onstage.
Look. I might not take issue with this if I paid $10. I could let that go… but I paid $34 for this performance – where, in all fairness, I reasoned that I should be seeing John Zorn perform. If a performer’s name is on the ticket, I expect to see said performer. If I buy a ticket for Jason Moran, I expect to see Jason Moran. If I buy a ticket for Ornette Coleman, I expect to see Ornette Coleman. I saw Andrew Hill perform last year (and his name was printed on the ticket), and he still made it to the performance despite playing in pain and struggling to remain alive with cancer. The guy was totally sick, yet he still performed his entire show.
You are running a jazz festival, so help me understand this. What am I missing?
I am asking for a refund of my ticket price, which after more thought I find to be a reasonable request. I look forward to a response from you and finding a way to feel better about this – through a refund of my $34.
Thank you for taking the time to read my concerns, and thank you in advance for responding. Other than this “unfortunate event,” I have attended many other Earshot Jazz performances and have had no issues. I hope to attend more next year and in the future.
I'll let you know what kind of a response I get---this might be VERY interesting---I hope you're all on the edge of your seats waiting with baited breath for an update on Earshot's response.
Ooooooh, I can't wait, can you? S

Sunday, November 4, 2007

THE STAGE HECKLER: Fleeced by John Zorn & Earshot Jazz

Actually, tonight is a night where i literally WANTED to heckle the do I begin with this one.

Let's see. I've seen over 100 concerts in my lifetime; nearly, if not all of them, being rock, jazz or bluegrass---and through all that I've seem lots of things.

I've seen plenty of equipment failures and things go wrong in the middle of performances. I witnessed Alex Lifeson (guitarist of Rush) run into serious equipment connection/distortion issues, and perform through 2 songs without delaying the show---while noodling with his equipment rack onstage when the tech couldn't figure out what was wrong---and successfully fix the problem. You probably had to be there, but it was beyond amazing---the guy's a total magician, what can I say.

I've also seen bad behavior at concerts; I saw Axle Rose make audiences wait for him while he stalled a show until 1AM in the morning---to the effect that we were watching the sunrise when we got home after the show. I've seen performers get hammered onstage drinking booze, as was the case with Van Halen one time. I've also seen miracles; like the time when Andrew Hill, a jazz pianist fighting cancer and struggling to stay alive, perform and finish his set---all done with professionalism and dignity when he probably should have been resting in bed. After that show he passed less than 6 months later.

I've never, however, purchased a ticket for a concert in which the performer never showed---until tonight. Not only did this guy not show, but he put a surrogate band onstage to fill his absence.

The only time I ever heard of that happening was in the second half of The Wall by Pink Floyd, and in that instance it was obviously intended to be tongue in cheek.

Granted, the performance of what I did see (which I can only describe as a bombastic exorcism being performed live onstage) was mildly interesting, then annoying after 20 minutes. ...but that's okay... as long as it's coming from the person who I came to see---the person whose name is printed on the ticket. If the ticket says "John Zorn" in print, then I reason that John Zorn should appear, most likely playing the saxophone he's known for.

Is that not reasonable? Am I nuts? Was I born yesterday?

According to the head of the Earshot Jazz Festival, I WAS born yesterday.

So after 30 minutes I did something I've never done at a concert event before, in 25 years of attending live shows. I went to find a manager to complain. Assuming I didn't have all the facts, I began by simply asking if the performer printed on the ticket was going to perform. After some discussion the manager mentioned that others had asked the same thing, and it seemed like she was as confused as I was.

Then she caught the "head official" of Earshot Jazz happening to walk by in the lobby, and flagged him down. This is where it got REALLY interesting.

She explained what was happening to him, and then I eventually piped in. It turns out that while John Zorn was "present" for the performance, and while the performance was something he "wrote," he isn't going to be performing in the actual performance. Furthermore, it was explained to me that there was "information in the literature" that explained that. So I held up my ticket and asked: "Do you mean THIS literature?"

So after trying to figure out what literature we were talking about, I tried to shift the conversation to reason with the guy. When I tried to state that I should be seeing John Zorn perform if he's on the ticket, he gave me this line: "Well, there's 800 in the auditorium who seem to know what's going on, and you're the only one out here who doesn't."

I responded with: "Uh, no, I'm not the only one tonight who's confused by this. If I'm so clueless, then maybe you can help me understand what's happening. I look at a ticket that says John Zorn, then I walk into an auditorium---and no John Zorn. what am I failing to understand?"

After more bullshit about fine print in programs and the Earshot website, I gave up on the guy and walked away, and out of the venue... only to run into two more guys who were just as confused as I was.

So there we stood, each of us Just having been fleeced $34. More on this unfortunate situation in the next couple of days. S

Saturday, November 3, 2007

Career-spanning documentary on Rush currently in the works

When I attended RushCon7 in Toronto last September, I bumped into this friendly fella in the elevator who was carrying a bunch of filming equipment. When I asked him what he was up to, he went into some details on what he and his crew were doing.

As it turns out, I was speaking with Sam Dunn, who was filming the various events throughout the convention. I later saw him walking around the floor of the Air Canada Centre, on the evening of the last show on the band's North American leg of the
Snakes & Arrows tour. There were video cameras and other photography equipment that could be seen during the performance that evening.

They picked the PERFECT show to get footage of, as the boys were absolutely ON FIRE that night. It may have been the best performance I'd seen---and I'm a veteran of 19 Rush concerts spanning from 1984 to present. It was obvious that gigging at home gave the band---well, a rush (pun intended).

Anyway, digressing again. This documentary project, which has the blessing of the band, is REALLY exciting to hear about---as there has never really been a bona-fide documentary spanning the history of the band. After picking up the recently released 4-hour documentary Running Down a Dream, which focused on the career of Tom Petty and the Heartbreakers---if
this is anything like that, fans of Rush are in for a hell of a treat.

Here's text from an article that appeared in Canoe magazine in late October, just a few days ago:

Boutique Toronto distributor Grindstone Media is hoping to have a hit on its hands with Rush: The Documentary. The $1.5 million feature doc about the famed rock band is produced and directed by Scot McFadyen and Sam Dunn -- the creative team behind 2005's Metal: A Headbanger's Journey -- and executive produced by Grindstone president Paul Zimic.
McFadyen -- currently in Helsinki, Finland with Rush's Snakes and Arrows tour -- finds it ironic that despite the band's influence on groups as diverse as The Red Hot Chili Peppers and Metallica, that this will be the first in-depth look at its history and influence.
"Most Canadians are aware of Rush, but I don't think that the degree of their success or influence on the international music scene is recognized or respected. We're talking about a group that is ranked fifth in the world for most consecutive gold and platinum albums, behind groups like The Beatles and the Stones," he says.
The doc will include new interviews with some of rock's biggest names -- including members of Metallica, Nirvana and Iron Maiden -- plus never-before-seen footage shot by singer Geddy Lee himself, which Grindstone hopes will attract Canadian broadcasters.
Rush's previous two concert DVDs moved more than 500,000 units in North America and, at press time, McFadyen and Dunn had multiple offers on the table for international distribution.
"Scot and Sam are a proven team. They just added a Gemini award to their many wins for Metal and judging by the strong international audience response to their debut film, I think Rush will find eager audiences," says Zimic.
Grindstone recently signed a multi-picture deal with L.A.-based Lonely Seal Releasing, and handles Canadian TV deals for titles including Pauly Shore is Dead and Tideland.
"As a small Canadian distributor you have to find unique films that will appeal to our diverse audiences and for different reasons. Distribution is all about finding the right fit," comments Zimic.
Oh man, now I'm frothing at the mouth. We'll look forward to the release date of that, which I'm assuming is at merely a working title mode --- Rush: The Documentary. S