Concert Review: Muse at Staples Center in Los Angeles - Techno-Mages of Epic Art Rock

Muse makes music fit for science fiction, fantasy, and, yeah superheroes (saw that coming, didn’t ya?).  But really, one can imagine the Silver Surfer spanning the spaceways or the Green Lantern Corps seeking justice and finding wonders in galaxies far, far away with Muse songs as the backdrop. But for all the cosmic trappings, at the heart of the group’s sound is passion matched by fiery craft.  And that’s what drove the British band’s performance at Staples Center in Downtown Los Angeles this past Saturday night (Sept. 25).

The show was the first of two nights at the venue, following a concert a couple of days prior at the Honda Center in Anaheim. Muse could’ve easily played one huge stadium gig, but the arena shows – this one and the others, by all reports – were more satisfying than a single stadium spectacle, in fact, rave-worthy.
Muse frontman singer-guitarist-keyboardist Matt Bellamy may not be a loquacious out-there kind of guy in a Bono or Bruce mold, but he is a bandleader and a mesmerizing player. His plaintive vocals, which range from tenor intonations to melodramatic falsetto, rides atop musical constructs that tap into art rock, prog-rock, world, electronic and dance sounds, plus plenty of hard edge and even metal riff thunder. There’s guitar firepower, mood-casting, raging and supple rhythms and big ‘ol beats, too.

Muse, France 2010 - Photo by Danny North

Bellamy, bassist/keyboardist Christopher Wolstenholme and drummer Dominic Howard played on two levels – the usual stage and also risers, surrounded by multiple video screens flashing their images and other often eye-catching visuals ranging from intricate graphics to scorched earth and tranquil nature views. This was complimented by banks of mind-twist lighting plus lasers as well.

While Muse’s current release Resistance isn’t as captivating as the superb Black Holes and Revelations - the album that really sent the band into the success stratosphere - it certainly has a number of strong tracks. Mixing those numbers with Muse’s past material made for a stellar set list overall and just a few lulls, and even that depended on the level of Muse fan as many were enraptured the entire night.

Muse, Glastonbury, UK 2010 - Photo by Danny North

The show kicked off with the glam-rock stomp of “Uprising,” (with it’s loopy little Doctor Who-ish sub-theme) followed by the challenge of “Resistance” and racing “New Born.”

The sold-out arena roared for the space funk of “Supermassive Black Hole”  (aka the soundtrack for vampire baseball in the first Twilight film)  A flash of the “Star Spangled Banner,” gave way to bubble-and-blast churn of “Hysteria” and its demand of “I want it all.”  The titanic trio sound was augmented in some cases by not tracks or programming, but by longtime tour keyboardist Morgan Nicholls (considered by some hardcore fans to be an unofficial fourth member).

Bellamy sat at the piano for the band’s version of “Feeling Good,” a Leslie Bricusse & Anthony Newley tune that dates back more than 45 years to musical productionThe Roar of the Greasepaint, the Small of the Crowd.  Next up was the original tension-wrought ballad “Guiding Light.”

After a slithering “Undisclosed Desires,” the band launched into the pulsating bliss of “Starlight” (still their biggest of the biggies) and while parts of the crowds had sung along to other songs, this one brought the loudest participation, especially for the refrain. It was a start of a killer troika of tunes that also included the ripping “Plug In Baby,” and then, “Time is Running Out,” set off by Bellamy playing a bit of the classic “House of the Rising Sun,” and the audience joining in to sing the lyrics.

Muse, Netherlands 2010 - Photo by Hans-Peter Van Velthoven

The push and pull “Unnatural Selection” – another Resistance number – closed out the main set.  The encore began with “Exogenesis: Symphony, Part 1: Overture” (making one wonder if they’d play the entire three-part space opera, which is a bit of faltering bloat, really), then came the churning sonic assault of “Stockholm Syndrome” and a final epic in “Knights of Cydonia,” which still sounds (as I've said before) like the lost theme for a BBC sci-fi series or mystical sword-and-sorcery film.  Or according the wife, like Iron Maiden. Fair enough. 

Though Muse does often evoke fantasy imagery, many themes and lyrics are rooted in tightly wound emotions, working on multiple levels as the songs may detail individual struggles or communal battles against all manner of darkness. But ultimately, light emerges and that’s key to the Muse and the wonder it creates on record and especially, in concert.

Muse opened some dates for U2 last year during its 360°Tour and now, with Bono sidelined following back surgery, the group not scheduled to play again until next year, it looks like the front-runner as the world’s biggest band, certainly in all manner of rock.  Sure, there’s Coldplay, while surely warm and inviting, that sense of power beyond the realm isn’t quite there, even if the songs are.  Arcade Fire might be a contender, too, but isn’t at that level quite yet and remains an eclectic, albeit ever more popular delight.   At this moment, the men of Muse stand out above all the rest, masterful techno-mages conjuring a mysterious magic all their own.

Muse, Staples Center, Sept. 25 Setlist

Uprising

Resistance

New Born

Supermassive Black Hole

MK Ultra

Hysteria

Nishe

United States Of Eurasia

Feeling Good (Leslie Bricusse & Anthony Newley cover)

Guiding Light

Helsinki Jam

Undisclosed Desires

Starlight

Plug In Baby

Time Is Running Out

Unnatural Selection

Encore:

Exogenesis: Symphony, Part 1: Overture

Stockholm Syndrome

Knights of Cydonia

DVD Review: 'Secret Agent AKA Danger Man Complete Collection'

"They've given you a number and taken away your name...."

The year was 1965. CBS-TV in the USA launched a new series, Secret Agent, that had already been running successfully in the U.K. as Danger Man. Patrick McGoohan starred as John Drake, a spy more about wits than guns and slick moves (though he had both when truly needed). Around the same time, McGoohan had captivated viewers of Disney's Wonderful World of Color with his portrayal as the Scarecrow of Romney Marsh. Following Secret Agent, he went on to create the still-acclaimed series The Prisoner.

 Danger Man launched a year prior to another excellent British spy series that would also hit American shores, The Avengers, and a couple of years before the big screen arrival of Sean Connery as 007.  The initial UK episodes were a half-hour, with John Drake a N.A.T.O. agent, said to be American (McGoohan’s attemped an accent of sort and times, but it somewhat disappears eventually).

The show was actually almost canceled in Britain after three years, but the Bond craze gave it new life, This led to a longer 50-minute episodes, an hour with commercials statesidem plus something of a makeover as Drake became a British Special Security Agent for MI9 and the American accent issues vanished.

In both short and long form versions, the tales are taut and well-woven. The half-hour stories are compact, though generally lack the more expansive mystery and thriller elements of the longer shows.  McGoohan's acting is straight-ahead as Drake takes on undercover roles of various kinds.  There are no Bond puns and such, but there is wit and it's quite sharp. He's cocky, yes, but no womanizing, either, one should note.

Among the particularly notable episodes are "View From the Villa," one of the half-hour stories shot in Portmeirion, Wales, where McGoohan would stage The Prisoner a few years later and "Colony 3,“  from the hour-long era, a story of a spy retirment locale that would inspire the trappings of the The Prisoner.

All 86 episodes of Danger Man/Secret Agent are collected in this new edition complete series set from A&E. They're presented in the original black-and-white television broadcast order, from the original programs that aired only in the U.K. as Danger Man to the 47 episodes of Secret Agent that were seen internationally, including the two-part series finale "Koroshi" and "Shinda Shima" filmed in color. 

Bonus features include: A Patrick McGoohan Biography/Filmography; Complete Full-Length Original U.S. Opening featuring the “Secret Agent Man” theme song performed by Johnny Rivers; and Photo galleries. 

This was and still is one of the greatest spy series in television history a precursor to shows such as Alias, 24 and others, even the current TV series Nikita.  The overall black-and-white look gives things a noir feel as well and while some period things and sitatutions may be dated, Secret Agent/Danger Man is an enthralling collection and for those unfamilar with the series, waiting to be discovered.  Of course, it’ll likely lead you to the Complete Prisoner. And that’s a good thing. A very good thing, indeed. Be seeing you.

For a limited time, enter to win a copy of this amazing collection from That Writer Guy and also Buzzine.com. Follow both on Twitter - Twitter.com/thatwriterguy, Twitter.com/buzzine and tweet or re-tweet this review.  

Win a Copy of the 'Secret Agent AKA Danger Man' Complete Collection

You could win a copy of Secret Agent AKA Danger Man - The Complete Collection in a joint giveaway from That Writer Guy and Buzzine.com. 
Details are right here on That Writer Guy's latest giveaway page.
Good Luck!

'All-Star Superman' Slated as DC Universe Direct-to-Video Animated Film

The comic book series and graphic novels All-Star Superman will be made as a DC Universe direct-to-video film. 

The original tale, written by Grant Morrison and illustrated by Frank Quitely, first appeared in comic book form, running from 2006-2008 and was also published as the graphic novels, All-Star Superman Vol. 1 and Vol. 2. In the tale (elseworlds, imaginary, whatever you wish to call it), Superman faces death following over-exposure to radiation that even his Kryptonian body under our yellow sun can't handle. It's a powerful work.
According to the Hollywood Reporter's "Heat Vision," Superman will be voiced by James Denton (Desperate Housewives), Christina Hendricks (Mad Men) is Lois Lane, Ed Asner (Mary Tyler Moore Show, Lou Grant) plays Daily Planet Editor (shades of Lou Grant!) Perry White and Anthony LaPaglia (Without A Trace) is Lex Luthor. The voice cast will also include Linda Cardellini (Scooby-Doo live action movies) and Arnold Vosloo (The Mummy).
The script adapting Morrison's story will come from veteran comics and animation writer Dwayne McDuffie (Justice League TV series, Justice League: Crisis on Two Earths). 
As with all the DC Universe animated films in recent years, such as Batman: Under the Red Hood and Green Lantern: First Flight, All-Star Superman will be rated PG-13.