The best heavy metal guitar solo ever

I'm not qualified to render this judgement. I've got the time in to make an educated guess, as I've been listening to heavy metal since the mid-1980s, some 35 years I'd guess. But what I lack is the required breadth. I'm not a big fan of death metal, or black metal, or doom, or some of the other peripheral subgenres, and so can't speak to any solos that might exist in these far-flung corners of metal. Nor was I ever a fan of the true guitar virtuosos. I admire and respect the craft of the Steve Vais, Yngwie Malmsteins, and Joe Satrianis of the world, and admit they are probably the most talented guitarists to come out of metal, but I find I lack an emotional attachment to their music that keeps me from being a fan.

Most damning of all I don't play guitar. I cannot tell you what makes one solo better from another from a learned musician's perspective, and I lack the technical vocabulary to analyze music properly.

So to make a long story short your mileage may very well differ.

But for me, my favorite heavy metal guitar solo and the one that continues to leave me speechless with wonder is Marty Friedman's solo in "Tornado of Souls." I appreciate guitar solos that don't insist upon themselves. I love it when they fit the song, take off from a logical place and return to the rhythm. Friedman's solo almost breaks that spell, but does not.

I recommend not jumping immediately to 2:10 where the madness starts to build, or 3:09 where it becomes a solo proper, 3:28 where it blasts straight up into the stratosphere and parts beyond, or 3:48 where you're like, "what the fuck?" Do it if you must, but realize that this solo works best as the orgasmic culmination of an awesome song. It's worth the 5 minute investment. His skill and artistry and sound are evident right from the electric shocks of the opening notes.

If you're a metal fan and somehow have missed this one, I beg you to rectify that right now. For non-metal fans who appreciate great guitar work, I realize that Dave Mustaine's voice can be off-putting, but don't let that stop you. Just listen.

A Canticle for Leibowitz, a review

A nuclear firestorm has caused the downfall of civilization, followed by a wave of benighted barbarism and book-burning. But the wake of the holocaust sees a slow unearthing from oblivion. Monks transcribe the literature of a lost age of mankind over centuries, cloistered in monasteries in the arid landscapes of the Southwestern United States.

This is the world of Walter M. Miller Jr.’s wonderful A Canticle for Leibowitz (1959) which I recently had the pleasure of re-reading after a span of many years.

A Canticle for Leibowitz is a fragmented read, consisting of three discrete stories separated by centuries of time. Each were short stories originally published in The Magazine of Fantasy and Science Fiction. As a novel this stitched-together structure helps to reinforce one of Miller’s central messages: The painstaking, fragmentary, and precarious state of knowledge transmission and preservation.

At its heart Miller’s book is a re-imagining of what the medieval monks did with classical Greek and Roman literature, transcribing it laboriously and preserving the flame of past knowledge until it could be used in a more enlightened age. While historical monks survived barbarian predation and Viking raids, in Miller’s novel nuclear war and predatory radiation-scarred scavengers are the equivalent of barbarian invasions circa 476 AD. The survivors of the nuclear exchange are subject to a brutal period called the “Simplification,” where mobs of bitter, vengeful survivors attempt to eliminate any trace of the science that led them down the path to oblivion. Books and men that dare to read them are burned and destroyed.

This scenario is played out again in A Canticle for Leibowitz, with the monks of Albertian Order of Leibowitz carefully preserving the old scientific literature, resurrecting an arc lamp from old electrical blueprints. By the second and third act technology has again risen from the ashes.

Checking in with Tom Barber

Tom outside his home.

This past week I had the privilege of dropping in for a visit with the great Tom Barber. As followers of this blog might know, Tom was a prolific fantasy and science fiction illustrator in the 70s and early 80s, with credits on a wide range of paperback titles and magazines like Galileo, Heavy Metal and Amazing Science Fiction. He did that wonderful skull with the rat that we all love, adorning the cover of the Lin Carter paperback revival of Weird Tales (he was never paid for this piece by the way, thanks to a shady agent).

You can find a couple write-ups of my previous meet-ups with Tom here:

https://thesilverkey.blogspot.com/2019/08/a-meeting-with-tom-barber-sword-and.html

https://thesilverkey.blogspot.com/2019/09/a-meeting-with-tom-barber-part-2.html

Tom dropped out of painting for a few years while battling alcohol addiction, but has since returned with a vengeance, getting some steady work from Bob McLain over at Pulp Hero Press. One of his recent projects was the cover of Flame and Crimson. I was incredibly honored to have someone of Tom’s caliber on the book.

Tom is a fun, interesting dude. We talked for a couple hours about some experiences he had meeting the likes of Harlan Ellison and Andrew J. Offutt at conventions (Ellison purchased one of Tom’s paintings at WorldCon in Phoenix), meditation and Zen states and humanity stuck in cycles of violence, checks bouncing for work he sold to Amazing Science Fiction, and the tension artists face trying to reconcile illustrating for money vs. pursuing their true muse. All while outside on his front lawn, socially distanced of course, and enjoying the sunny 80 degree weather.

The coolest bit to come out of our meet-up is the news that Tom is working on a short memoir of his own for Pulp Hero Press, one that will focus on his addiction years (his “drinking years”) and eventual recovery. The working title is Artists, Outlaws, and Old Timers. As befits the author it will be illustrated throughout with Tom’s own artwork. Tom is still writing the manuscript but is nearing completion. It will contain some amusing scenes from his early days in the late 1960s attending art school and breaking into commercial work, convention life, crazy bohemian days in Arizona, and recovery and lessons learned.

Train to Nowhere

Tom also gave me a look at some of his recent pieces, scanned onto his PC. These include the cover for an upcoming novel by Adrian Cole (a piece called Train to Nowhere; I’m not sure if this will be for a reprint of Cole’s previously published short story or a collection).

My Father, The Pornographer: A Memoir

Andrew J. Offutt was a complex, deeply flawed man. A resident of rural Kentucky, Offutt was a husband and a father who supported his family with a successful insurance business, a job which he did not love and ultimately abandoned to make the bold leap into full-time writing. He was at one time a promising science fiction writer. He also subjected his children to emotional neglect, held baseless grudges against various personages, lacked a full emotional maturity and cohesive personality, and held a life-long obsession with pornography.

His son, author Chris Offutt, tells his father’s story with incredible bravery and honesty and a raw, pull no punches style in My Father the Pornographer: A Memoir (2016). I found this book to be absolutely fascinating and extraordinarily well-written, and burned through it in a matter of two days.

Andrew J. Offutt was “controlling, pretentious, crude, and overbearing” and spent most of his hours “in the immense isolation of his mind,” according to Chris. He demanded dead silence in the house while he hammered away in his office at this typewriter, churning out content. Chris often took to the woods to escape a stifling home existence.

The "later Leiber"

Recently I re-read The Second Book of Lankhmar (pictured, right), the 24th entry in the Millennium/Gollancz Fantasy Masterworks, a series that boldly declared itself comprised of "some of the greatest, most original, and most influential fantasy ever written." And, as I am wont to do, began taking a few notes on a piece of scrap paper, that quickly became a flood, then a formal review. Which I planned to post here.

Yech... fugly, bland cover.

The review got so long and detailed that I split it into two, then offered it up to the honorable Dave Ritzlin of DMR Books. If you haven't been checking out the excellent works Dave has been pumping out, you're missing out. Follow their blog here.

I am told that the posts will appear on DMR Blog on Monday and Tuesday.

The Second Book of Lankhmar includes the later works of Fritz Leiber, including The Swords of Lankhmar (1968), Swords and Ice Magic (1977), and The Knight and Knave of Swords (1988). These latter two in particular are not among Leiber's more popular or well-regarded Fafhrd and the Gray Mouser stories at least among S&S fans. They are certainly far removed from Leiber's pulp roots and his days writing for the likes of Unknown, and are in my opinion only loosely sword-and-sorcery/heroic fantasy. There is little to no swordplay, they meander, and the adventures are more inward than outward facing. 

But I think they are interesting, and well worth reading at least once. And thinking about. Enriching my reading was Bruce Byfield's Witches of the Mind, which makes a clear-cut case for the considerable influence of Carl Jung on Leiber's stories, particularly after 1960. 

Of sword-and-sorcery, politics, and the Flashing Swords that wasn't

I'm not naive, and I'm aware that politics leeches into all walks of life, art included. Consciously or subconsciously, ones religious beliefs, political affiliation, or sexual leanings make their way in.

But please for the love of God keep your overt political rants out of my fantasy. It's lazy and I don't like it.

I tried very hard to stay away from politics in Flame and Crimson and restrict my analysis to S&S as an art form, along with the artists, broad themes and conventions, and publishing facts and figures. For many reasons, one of which was made evident today.

Editor Robert Price could have and should have used this opportunity as editor of Flashing Swords 6 to talk about Lin Carter's legacy, the importance of the previous 5 Flashing Swords anthologies, and introduce some hard working new authors to a new readership. Instead he chose to pen an ugly, divisive, political screed, one that will win no one over to his side and is guaranteed to alienate more than than 90% of the book's intended audience. That includes anyone who identifies as a liberal, or a progressive, would prefer to live and let live, is female, or who has a daughter. Or frankly, has a brain.

Sword-and-sorcery appeals to strength, wish-fulfillment, acknowledges our species' fascination with violence, and celebrates self-determination. The subgenre has a history of muscular dudes lording over mounds of corpses, often with a scantily clad female clinging to their muscular thigh. I'm on record as saying I'm OK with all of this--its gorgeous art, I'm a sucker for all things retro, and moreover it's a product of its time. I also think that its OK to like stories about kicking ass, and getting the girl, and carving out one's path from street level thief to King of Aquilonia.

But I think these old S&S tropes can be successfully re-imagined for a modern audience. The anthology Heroic Visions (1983, so not exactly yesterday) for example was based around the thematic concept of strength, whether male or female, mental or physical, and proved that S&S could result in powerful new stories that did not require a muscular barbarian in a loincloth to prop them up.

For the record I don't like censorship. I don't like the implication that, because I enjoy Conan or Kane, I must be a misogynist. When I read old stories that contain casual generational racism or sexism, I apply historical context and move on. I wish more people would do the same.

But Price's introduction is poor, confusing, laughable, completely out of place, diminishes and tarnishes sword-and-sorcery, and has no business kicking off and celebrating what should be a nice relaunch of an old beloved series. We've got to do better. The genre that also gave us C.L. Moore, and Leigh Brackett, and powerful heroines like Valeria and Jirel of Joiry, deserves better.

Feel free to hit me up here or over email with your thoughts or comments. But don't expect more politics on the blog.

Feeling SAD on a Monday? Listen to this

Dangers galore in these old books...

By SAD of course I mean Swords Against Darkness, that awesome 1977 Zebra anthology of sword-and-sorcery edited by Andrew J. Offutt. I got to spend a nice hour+ talking about it with the hosts of the Appendix N Book Club podcast.

The episode is now live. Listen here or on your favorite podcast app.

Here is a sampling of what we covered:

Reading fantasy fiction as a kid, writing about swords and sorcery, second generation sword and sorcery authors, the understated prose of Poul Anderson, O. Henry’s sword and sorcery, multiclass characters, the collected Ryre stories, elves and dwarves in swords and sorcery, sword and planet, and much more!