Audio

We Live To Rock

TRACK #94:

We Live To Rock by Thor and The Tritonz

The best song (and maybe even scene) from The Edge of Hell is also perhaps Thor’s greatest song altogether, We Live To Rock.

Perfectly summarizing Thor’s rock-philosophy in a 4 word chorus, We Live To Rock is a metal anthem for the ages.

It hails from a time in metal when the greatest source of inspiration was one’s own devotion to, and level of – rocking. These were the good ole days; the days when all you had to do was talk about how much you rocked, the manner in which you rocked and that you fully intended to continue rocking, to make a great song.

And a great song it is.

The end sample is from John Cody Fasano’s Thor: The Rock Opera. Taking place after the events of Edge of Hell’s sequel The Intercessor, the final installment in the Rock ‘N Roll Nightmare Trilogy finds Thor battling the evil snake god Jörmungandr and his evil karaoke henchman Metallus.

Standby for a GIF-rally from John Cody’s Rock Opera, starring my good pal Matt Mastrella.

Until then, let them know…

 

Audio

Me Against The World

TRACK #93:

Me Against The World by Lizzy Borden

Heavy Metal contains a demonic power. It seems a sinister and subversive force seeking to set upon our children and corrupt them against ourselves, our values, our religions and our very way of life.

In John Fasano’s Black Roses, the titular band takes this idea to its natural and literal end. They are demons in disguise; corrupting and possessing the children of Millbasin in an all-out-war of the night against the adults. They become the black roses, soldiers of the night, and slowly begin killing their parents.

Listen Bro, I don’t care how cool your Powerslave shirt is, you touch my Black Roses LP and you’re getting laid the fuck out.

Fasano’s second roll ‘n rock horror odyssey plays almost like antithetical companion piece to Edge of Hell. Where Thor’s metal works as a power of light to defeat the Devil, The Black Roses show us it can also have the power conspire with the old scratch and do his bidding.

Viewed as such, they make a nice double feature. Black Roses, however (for better or worse) is a much more polished work. In not serving as a vehicle for Jon-Mikl Thor’s ego and equally large wardrobe, the whole thing feels less like a glorified music video and more like a genuine film.

There’s definite production value increases; a larger cast, a more involved plot, multiple locations, a pretty legit looking concert opener, and an overall improvement on a special effects level.

I say for better or worse because all of this may or may not increase your enjoyment of Black Roses over Edge of Hell. Gone is Thor’s over the top muscle-metal machismo. Gone are the truly silly effects. Gone is that absolutely ridiculous b-movie sensibility.

Now, if that’s the sort of thing you hate about Edge of Hell, then perhaps Black Roses will prove more enjoyable for you. However, if those are the very reasons you absolutely love it, then Black Roses will probably feel like a bit of a let down.

In other words, Black Roses in a much better film in the classical sense. However, if you’re the kind of viewer that likes their movies with a little extra cheese, Edge of Hell’s got it beat by a furlong.

Black Roses has plenty of its own goodness to match that of its predecessor, however:

  • More breasts minus Thor’s ass. Check Plus.
  • Better FX.
  • Better, non-musician based acting.
  • A more identifiable plot.
  • John Martin straight handling she-demons like he was John Macenroe.
  • An equal (albeit less awesome) amount of rocking.
  • A glimpse at what might have been if Tom Selleck played Marty McFly.
  • Some really kick-ass demons playing some serious hair metal to set the whole thing off.
  • And above all, a great soundtrack.

This opening sequence is really what The Shindig is all about, though.

It kinda makes you wish the whole movie was nothing but this, and wonder just what the hell happened when The Black Roses finally reveal their true selves again during the film’s climax.

Who the hell are these dudes? Where’d those other demons go, from the begininning? It’s anyone’s guess. I’ll have to ask John Cody. I imagine they just ran outta money. Or shot the ending first, and then found more money after.

Oh well. Least we get some kick-ass gifs.

From that killer opening sequence, here’s Lizzy Borden playing Me Against The World, under (ironically) the guise of the demonic Black Roses.

Oh, man. This is heavy, Doc.

 

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Tenement is a Place to Live!

Here’s the awesome VHS 1 sheet poster for Roberta Findlay’s Tenement (aka Game of Survival) painted by John Fasano himself.

Give Tenement a go to get your next fix of sleazy 80’s punk vs. vigilante apartment dwellers action.

Plus it’s got that awesome Title Track from The Kool Krew!

“Tenement is a place to live!”

Audio

Wild Life

TRACK #92:

Wild Life by Thor and The Tritonz

The Edge of Hell; a movie so badass it finds its main character (legendary rocker Jon-Mikl Thor) tricking the Devil himself.

Essentially, Jon and his band of cliched rock ‘n roll cut-outs named The Trintonz, take up lodging in a old barn to cut a new record. Only problem is Beelzebub and his minions have already taken up residence, and slowly begin possessing the band.

The real problem is, all these cliched characters are just that, characters Jon pulled from horror movies to entertain the Devil’s minions. “Shadows” he tells the Devil, fresh souls to lure the Devil out of hiding.

And it worked.

See, Jon is the Intercessor, the Archangel Triton, set to do battle with the Devil whenever he crosses over into the world of the living. And boy does he ever battle.

After dodging some star fish and grappling with the beast for about 10 minutes, Jon trips the Devil, forcing the old scratch to concede. The day is won.

But we’re the real winners, when Thor and The Tritonz rock out, as they are wont to do throughout the film.

Though the soundtrack is composed entirely of Thor songs, we’ve taken 2 of the best tracks and featured them back-to-back for your enjoyment.

First up is the first cut from the film. A track which, under any normal circumstance would be the title track. However, it’s not. It’s just called Wild Life, which is weird, because if it weren’t for Thor simply shouting “Wild Life” repeatedly during the last 30 seconds, the phrase “The Edge of Hell” would appear more times the the title of the damn song.

So, what’s the deal then? Is it a Title Track?

Naw, not officially. Which is kinda lame, ‘cause we really want it to be, and it kinda almost is.

So, we’ll file it under the category anyway for fun, with the hashtag addendum that it’s not really a title track.