Shuffler In The Dark

Game Music Review "SILENT SCOPE TRILOGY Original Soundtrack"

2010-07-05T22:49:00.005-04:00

While there's some fine stuff to be searched out, even fans of Jimmy Weckl might find his Silent Scope saga to be lightweight compared to his other contributions in the realm of Konami.

Konami's Silent Scope series is best remembered as a prime arcade experience enjoyed by many on the last stages of arcade thrill, at least in the U.S.. Silent Scope armed players with a life-sized sniper rifle with built-in screen mounted in front of a cabinet ready to shoot down rows of terrorists and other eccentric bad guys named Scorpion (and just wait until you get a load of the game's final boss). The game was just right; never too serious, B-movie Hollywood fare complete with epic save-the-world moments with silliness abound and action-heavy (sniping in stadiums, highways and even floating from parachutes!) -- just right for the zaniness of arcade action.

Like most arcade game soundtracks, they go unheard and unnoticed among the cacophony of the arcade jungle (at least in Japan). Furthermore, I always wondered if sound designers ever considered this aspect influenced the overall quality of sound design since most arcade soundtracks don't feature complex a la live or instrument-heavy musics more common with home-based games. Well, the Silent Scope series might be one of those games to fall through the cracks with many audibly, but luckily someone over at Konami's record label sought it to be a good idea to receive a two-disc trilogy of music.

Silent Scope Trilogy features music from all three arcade Silent Scope titles on two satisfying discs; Silent Scope on the first, Dark Silhouette: Silent Scope 2 and "Sogeki" on the second disc."So," what? That's "Sogeki," or "Sniper" more commonly known as "Silent Scope EX" in the U.S. or "Silent Scope 3" (later retitled when released to home consoles). Musically, the games have similarities throughout sans the final game with a mix of musical styles, mainly keyboard-heavy and manipulated tunes often venturing into Hollywood-style action flick with touches of jazz in a la composer and one-man band Jimmy Weckl's own signatures of jazz thrown into the otherwise heap of forgettable tunes.

Jimmy Weckl, stage name for the more commonly known Harumi Ueko (Weckl = play on Ueko?) who adapted many arcade game soundtracks onto the Super Famicom (including Goemon and TMNT: Turtles In Time) later becoming a Bemani Guitarfreaks/Drummania regular contributor across that series bazillion volumes and iterations as the fusion-jazz centric, multi-talented composer and arranger. Playing mainly piano and keyboards, saxophones and guitar, Weckl plays a range of other instruments, too, including brass (which he plays and mixes tandem/ one-man brass sections) often applied to his eclectic musical styles of rock, jazz, funk and occasionally some handsome, spiky backing horns.

The album begins with "Supreme", a lengthy, jazzy "series image score" of, oddly enough, no particular track from Silent Scope but a perfect blend of not only Weckl's stylings and signature sounds but the overtone imposed throughout the first and second Silent Scopes. Ever changing, jazzy and energetic with a piano and keyboard-solo led piece backed with an array of busy drums and percussions with tandem spikes of brass for added touch. The entirety of Silent Scope's sound mimicks this jazzy outfit and whether you like it or not, works well for the game in almost a spy-themed outing.

If only the bulk of the album mirrored this track, Silent Scope could've had a more interesting and memorable soundtrack beyond a few highlights scattered across the discs. Sadly, most of the tracks (the first) Silent Scope are keyboard and program-heavy mirroring a generic Hollywood soundtrack with a slutty saxophone on "Peeping Tom" (music played when focused on a scantilly clad lady), bass-and-percussions with a jazzy keyboard solo on "Search and Destroy" and even some heart-pounding, edgy orchestral work for the infiltration of the final mission "Menace of Darkness".

Weckl does incorporate his own one-man brass section complete with trumpets (regular and mute -- and you'll hear a lot of backing mute trumpets within), trombones and saxophones he's well-known for supplying on a good number of his Guitarfreaks tracks). These, are undoubtedly the better of the tracks found here if often sounding underdeveloped and short albeit true to his energetic, hyper packing of sounds within a few hot minutes. OK, there may be less of that here compared to his Bemani works, but the shadow of it is still evident.

One of the finest tunes remembered from the game is "Deadly Invitation", reprised on here as a seven-minute (double-looped) chilling, edgey orchestral piece that gains momentum, often feeding off strings and some sinister brass accompaniment nicely as you scale the dark hallways, peering through your nightvision scope.

Perhaps one of the most comical pieces of overdrama, "Er Halt Unds Beide" attempts some grandiose, choir trading the inaudible chanting with sharp brasslines and militaristic pounding of drums. You gotta love this one.

Silent Scope 2 moves on to target less of that jazzy influence, moving towards more of a dramatic and varied audio presentation. Dropping much of jazz overtone, apart from the superb opening stage "Fateful Encounter" which lured me into buying this set many years back, Silent Scope 2 goes for more a cafeteria-variety with more thematic musics for the accompanied stages.

"Fateful Encounter" ought to be this game's best offering; beginning with a pounding of tolling bells, a trickle of piano and jazzy cymbals against a sinister howl of evil voices and epic encounter over The London Bridge is, too, a memorable opening stage in the game, accompanied by this ideal track.

Sadly, the rest of the soundtrack falters from here not without some impressive, Hollywood-style melodrama throughout. Weckl provides more malevolent, choir-backed "Dark Silhouette" on the thunderous, dark middle-earth looking stage, an uneasy strings-led operahouse tune "Deadly Playhouse" and even some male operatic vocal for the boss "Devil of Opera".

One of my only gripes about the Silent Scope 2 soundtrack is two things. One, they included these radio-commentary briefing introductions seemingly ripped from the game's opening missions on a few of the tracks -- that go on for an entire minute or so before the soundtrack kicks in. It does this on the "Blizzard" track, so you might want to get that audio editing software queued up. Speaking of the audio on this game sounds a tad fuzzy, compressed -- even the clarity and production of the first game seems to have taken a drop.

Per usual, a few of the auxiliary tunes like the trumpet-and-trombone-heavy "Name Entry" and "Bulls Eye 2001" retain that rich horns-backed jazz sound that Weckl is known for and also stamped in the original. Even the bonus modes contain more chill music than the game's faux orchestral fare.

I guess nobody liked Silent Scope's music up until now which probed Weckl's third outing on "Sogeki" to throw it all away and replace it with a more ginchy electronic and techno-driven (no, heavy) soundtrack which ends up being very noisy and forgettable rather quickly. In spite of this, Sogeki actually has some surprises albeit very few; "The Fly" is reminiscent of a Guitarfreaks or Drummania track with some intense hyper keyboard-and-drumming action along with the soothing "Let's Go Home", beginning with zapping effects segway into a haunting jazz-fusion ending theme were Weckl (finally) busts out his tenor sax for a fine sun-setting etude for the game's "good ending" -- only wish he could've extended this one past a minute and a half. I even dig the new "Bulls Eye 2001" track, a remix of the former "2000" edition done up with some extra funky keyboardmania and thrashing electric drums. But that's it, I'll pass on the rest of this mess.

The only drawbacks with his release are the lack of the (dumbed-down) Playstation 2 soundtrack for Silent Scope 2, which could've help complete the set. The lack of more arrange or extended tracks like the first disc's "Supreme" would've been as kind on a third disc as well. Overall, while promising in patches, Weckl could have aimed higher.

SHUFFLER'S SCORE: 6.5 (D)

Phantom "Leon's Bomber Jacket" Update

2009-11-09T20:31:00.007-05:00

Remember this story we did earlier this year about Japanese military clothier and accessorizer Phantom producing an almost true replica of that iconic bomber jacket warn by Leon S. Kennedy in Biohazard 4 (Resident Evil 4)?

In late 2008, Phantom produced a shadow of replication of Leon's Bomber Jacket, a much sought after short-lived item of apparel warn by protagonist Leon S. Kennedy of Biohazard 4. In our aforementioned story, we urged the company to produce more of the reservation-only jacket shortly after the remaining supply had vanished from e-Capcom, Capcom's official web-only merchandiser of often exclusive and rare items based on their myriad video game franchises.

It appears the powers that be have listened to eager fans willing to burst open their wallets because producer Phantom will be making another wave of Leon's Bomber Jacket this year.

As the site exclaims, the jacket will be open for reservations within in the same frame of last year's model; sizes Medium, Large and X-Large, each priced at 26,040 yen ($289). According to Phantom, the jacket will be available to ship sometime in December, so if you want one (overseas fans, keep reading), you had better get that credit card ready.

Because Phantom will likely not cater to overseas patronage, those interested will have to contact a middleman, or just get in touch with your familiar local import retailer (try NCSX) who has connections in Japan to further make financial and logistical arrangements. Be forewarned, the costs may exceed $400 for such services.

The jacket, more or less a modified B-3 bomber jacket with more forgiving synthetic leather with faux-shearling weathered to handle harsh conditions (unlike real leather), cut to fit more like Leon's than a typical B-3 with the trimmings, buckles (which are leather) and such. Since, we've uncovered a much better, officially-commissioned, ultra-rare replica made by (obscure) Korean company Johnny-Hill (which I paid out the nose for!). Needless to say, we will be purchasing the sought-after Phantom version for our collection.

Recently, one of the very few actual seen Phantom products has appeared on Japan's equivalent U.S. eBay auction circuit, Yahoo Japan Auctions back in late October. Remarkably, that one sold for roughly 82,000 yen (a whopping $911, at the time I'm writing this). I wonder if the buyer knew of the reproduction...

As suspected, the jacket shown in the company's model pictures versus the actual product is very true. We still think the cut and color, which seems to be cut too far below the waist and too black than brown looking are less than true to the actual jacket seen in production and in-game shots, but it's still a cool collector item and distinctive jacket to have. Below are more images we've collected of the item sold on various auction sites in Japan.

From the words of that creepy merchant, "Heh, heh, heh thank you!"

Game Music Reviews "Rockman 1~6 20th Anniversary Arrange Ver."

2009-07-31T12:00:00.003-04:00

Oh, Rockman 1~6 20th Anniversary Rock, Techno Arrange Ver.: you could've been so much more: vision, execution and value.

Ever since the early 1990s, I like many others in my now early 20s age range, in my childhood grew up playing Mega Man games. Not just playing them, living (live role playing, yes I did it), playing outside the game (had the Bandai show-based action figures), watching (the U.S. TV series) and humming the music outside the game since before there was even an internet to distribute line-in rips of each track. Delving deeper into the wonderland of game music arrangement seeking, never found was a full-blown arrangement treatment done to the original Nintendo/Famicom series. Sure, it took some indie bands and later doujin covers to do a few tracks here and there, but nothing grand.

Now Rockman X received an outstanding jazz-fusion arrange in 1994, but the original series was limited to keyboard-frenzied mixes done by mainly by Alph-Lyla (Capcom's in-house sound team moniker). The closest we ever got was the fun remixes included in the "Complete Works", but they skimped and swiss-cheesed on the first three in the series.

Wanting more, I had always imaged hearing the catchy, melodic 8-bit tunes done up in something of an eclectic live musical foray -- which is why my jaw was on the floor when TEAM Entertainment released early bits on two arrange albums for the 20th Anniversary of the blue bomber.

To commemorate Rockman's 20th Anniversary, Capcom commissioned two albums be made to celebrate a decade or so of wondeful Rockman music (considered by myself as some of the greatest video game music ever composed) with a Rock Arrange Ver. and a Techno Arrange Ver. Thinking the Rock Ver. might follow in the mighty path of the recently released Wild Arms Rocking Heart, the results were of high expectation -- and the result was not of that same ilk.

In fact, dare I say whom ever commissioned these albums should be shamed -- I want a do over.

It's not to say both albums are terrible. In fact, they're decent -- but the expectation of waiting far too many silent years for a quality musical treatment will have to wait even longer for a true arranged musical tribute. Instead of gathering up a team of the industry's greatest, the Rock Arrange Ver. was given to Tohru Iwao, a heavy-rock guitarist known for his work on a couple Guilty Gear games but mainly Valkyrie Profile while the Techno Arrange Ver. was given to techno and sampling king, Shinji Hosoe who needs no such introduction.

After learning of the arranger choices, I believed these were golden from the start (well, at least with Hosoe). For Iwao, I had thought he won a raffle or something. Having not really heard of him, it was expected having anything to do with Guilty Gear would qualify for doing a rock-centered remix album. However, this selection as a guitarist of such a shallow resume in front of a line of the myriad brillant guitarists to be chosen is beyond me. Not to say one with a shallow history can't do great works -- Nittoku Inoue certainly surprised us all on Wild Arms Rocking Heart.

Either way, a mystery it shall remain.

Let us begin with the Rock Arrange Ver.

I don't know what happened here. Call it an uninspired couple of weeks in the studio, a lacking budget or a dubious director in charge of the playlists on both albums -- the burden to undertake Rockman music is something of a colossus. What's here is highly disappointing, steming right from the production. Skimpy, non-creative arranges and a short, oddly picked track list leaves too much more to be desired here begging further question. And why not two discs? If we're covering 1~6, why only ten tracks spanning the entire series?

The musician breakdown was another blow -- a simple "quartet" Tohru Iwao (guitar), Atsushi Hasegawa (Bass), Okky (Who? Drum *programming* -- not even live drums!), Masao Nakano (Keyboards/Programming). There's no guest artists, no eclecticism or surprises (truth be told, I was hoping for a sax or trumpet inclusion), and the guitar solos are slouchy in spaces. Did I mention those drums aren't even live? Not to dis Mr. Iwao, but these are lethargic and a giant slap to the face of the composers who worked legend to create the legendary Rockman sound tracks.

Putting aside the juggernaut disdain for the lackluster production of the album, that doesn't go without the tracks being engaging and ultimately salvagable though the material here never quite lifts off and results in being dry, often flat. They're all listenable, even if you try to block out what could've been. Actually, Dr. Wily 1 (Rockman 2) mix is pretty mean; exactly the amount of slobbering guitar meat I'd expect minus the extra polish and steam found on other superb guitar-centric albums like the aforementioned Wild Arms Rocking Heart, Konami Dracula & Shooting Battles, SEGAROCKS, Metal Slug 5, Shin Sangokumusou (Dynasty Warriors series, but specifically 3 & 4) and F-ZERO X Guitar Arrange Edition.

Each game receives a good two tracks (for the most part), which includes the Boss Mix medley, and well-performed at that (my blood starts to go when original Rockman comes on halfway through) even if they burned my ears by using Rockman 2's lame battle as the foundation here. The melody idea should've carried seeing the team only sought to pick ten tracks, but the "mix" at the end of each track will mislead a bit. Upon intial listen, I was hoping for "mix" to suggest inklings of other themes thrown in for good, well, mix.

And for gosh-darn-darn, who thought Get a Weapon (Rockman 3) should get its own of the sacred ten? A good track, but hearing three plus minutes of an originally under-minute tune to do nothing terribly special in that time is unacceptable.

Yamatoman mix was done with a native Japanese twist, Shadowman mix sounds off-beat at the chorus, Cutman mix is decent but don't know why Tomahawkman mix had to be here -- perhaps to get something in there that diversifies with a Western sound a bit? Not hearing trumpets here is just wrong. Dr. Cossack 2 mix was good on the Complete Works iteration, but is just ho-hum here. Most of the tracks pace too slowly, even ones intended to be slower, like Dr. Wily (Rockman 5) mix doesn't have the intensity, so I found it hard to really rock out to these arranges.

The disc rounds up the list with ten bonus tracks -- but don't get too excited. They're all the original 8-bit versions of ones arranged here. You can have them all on Suleputer's now-I-can-finally-die-in-peace three-disc complete boxset of the original tunes released back in 2003.

Shortly after, Techno Arrange Ver. reared itself.

Here's a brilliant composer whose career and diversity in arranging talent was built upon the vast Namco sound history including the hyper-sampled Ridge Racer, later the fusion-edged Street Fighter EX series and simply far too many games to mention and his work with the first six Rockman titles' is nothing short of painful mediocrity. Did you hear Rockman EXE Transmission (Mega Man Network Transmission)? I thought that might influence him here a bit -- a smooth electronica. Nothing of it here. Instead, the techno used on the album is more of his classic, foundation material -- not bad, but not satisfactory by any means.

Still, Hosoe exhibits his mastery in the field of techno -- though not to the best of his abilities here. The tracklist is what it is -- like the Rock Arrange, Hosoe likely chose a bunch of tunes that would be ideal for a techno arrange -- and he chose well. Again, there's too much material left aside, and the creativity train has no steam. Though my musical umbrella is spacious enough for a plethora of genres, these are tried and true techno mixes -- like the rock ones, you won't find any surprises here.

Though I know Dr. Wily 1 (Rockman 2) is a sensation across the world (a BA song, yes, appearently, they're nuts for it in Japan too), I'll take the rock version over this raver edition. Snakeman might take you back to racing 170 kph on a the highways of a Rave Racer, especially with the voice samplings. Quickman takes a while to warm up, Magnetman is just too slow and Dr. Wily 2 (Rockman 4) misses out. Starman can't help feeling off-sound, which disappointed the most after expecting something as funky as the aforementioned Complete Works version. And poor Rockman 6, again for the shaft. Who picked this? Flameman? Oof.

Oh, and they put Dr. Wi -- I mean "Mr. X". Aside from the contrast to the Rock Ver. cover, there's no such Mr. X Stage Arrange here.

We're glad Rockman got some official recognition for its 20th on the arranged music front, but both albums had high standards to live up to -- and both have failed to meet them. Both albums were handled like late-term projects, feeling rushed, soulless and underproduced. To reiterate, both are not horrible, but the lackluster production values halt both albums tremendously.

But there's still time to pull out all the (guitar) strings for the forthcoming 25th...

-----------------------------------

SHUFFLER'S SCORES:

ROCK ARRANGE VER. : 5.5

TECHNO ARRANGE VER. : 4.0

All scores are graded on a scale of 1~10 (1 / Worst, 10 / Best).

Here samples on YouTube, Buy Them at CDJapan or Play-Asia.

Game Music Review "Gunstar Heroes"

2009-07-23T13:11:00.000-04:00

NON & Nazo² Unit's collaborative Gunstar Heroes arrangement has a constance of catchy melodies, superbly-peppered with instrumental solos and downright funky, bouncy space-vibed dance beats faithful to the original sounds

My history of video gaming is fruited. I grew up in what I consider to be the golden age, or the 1990's. But even in such a time of rich exploration for gaming combined with advances in technology, I've realized now that I missed out on some of what are considered by enthusiasts as Treasures. We're talking about the company "Treasure", responsible for many of today's rarer, more sought after, steep-difficulty curved titles in the shooter genre. Just a handful of their titles include "Guardian Heroes", "Radiant Silvergun" -- all of which either didn't reach the North American shores or were marred by their limited print runs due to their SEGA-only formats (mainly, the ill-received Sega Saturn in the West).

Gunstar Heroes, released for the Sega Mega Drive in late 1993 around that same time made its way over to the Sega Genesis shortly after. We'll spare the usual hideous U.S. box art commentary to pale in comparison to the superior native version for this album evaluation (and if you think that's bad, go compare Guardian Heroes: U.S. and Japan).

A few months later, Pioneer Records released an album for Gunstar Heroes. Like many game music releases in Japan, the vague cover art doesn't suggest the music on the disc is actually "arranged" (for those unaware, "arranged" music is typically reworked as to remix, extend for the purpose of utilizing broader musical capacity or genre that may or may not have been limited by the original hardware) and not the original game's soundtrack. Luckilly, the team commissioned to perform the album with staple Treasure composer Norio Hanzawa (known as "NON"), a well-known in-house group led by Jun Irie, Hideki Matsutake and the phantom guitarist Nazo² Suzuki called the "Nazo² Unit", whose done composition work for Treasure (see: Dynamite Headdy, Alien Soldier, Silhouette Mirage).

Nazo² Unit, just another variant of a more commonly known "Nazo² Project" under Konami and its "Perfect Selection" releases in the early 90's and before that "Akihabara Electric Circus" under various Nintendo releases. "Nazo²" has also appeared on countless other works, mainly for Konami and even Falcom, nevertheless employs a signature electronic-funk fusion sound. And, if you can forgive them for their infamous' Dracula "rap" album (to which I'm a proud owner of), you'll be glad to hear of their vocal-free Gunstar Heroes effort.

Irie (Keyboards) and Matsutake (Synthesizer) know how to arrange; they've been doing it since the early 80s under their group "Logic System." The results are, as usual, nothing short of excellent with arranges that never stray too far from the material. Over the course of the 90's, they've carved a signature sound for themselves that makes them rise above other arrange groups.

If you don't know the original soundtrack well, you'll be oriented to enjoy it anyway because of its constance of catchy melodies, superbly-peppered instrumental solos and downright funky dance beats making it faithful but also supplemental to the original works.

To go along with the theme, those who've heard Nazo² works will known of their well-stocked bevy of always impressive guest musicians who spice-up various tracks against Irie and Matsutake's funky-electronic sound. Following with the trend, this one's no slouch with the frequency of such musicians as Masato Honda (A. Sax, S. Sax), Ken Shima (Keyboards) and Willie Nakao (Guitars) -- with some of those names who've appeared on their previous Konami works.

NON & Nazo² Unit have selected 12 tracks to arrange (though opening and endings are on the shorter side), the ten on here are heavy on the bass and satisfying. Whether it be my long-time favorite "Last Party on the Moon" with Nazo² Suzuki's signature cool guitar riffs against bouncy beats or "Dice-Dance-Days" with Masato Honda belting out a series of fantastic, tight alto sax solos, the album has steam from start to finish. Other favorites include "Military on the Max Power" and "Stairs to High" which has their synthesizer sound in-tact against. Honda later appears on "End of Our World" with a slower, nasaly soprano sax effort and a taste of the group's chilled-out diversity.

Gunstar Heroes is a successful effort; faithful to the original music and co-existing with a happy medium to make it a solid arrange album. While this one has always been a lesser preferred Nazo² works to, say, mainly because this album leans more dance-funk across the board with less musical diversity than their superb Konami discography. Still, it stands up there as a classic, having been apart of my digital library for many years now. Though long out-of-print, and pricey to obtain on the used market, there's no exception as to why anything by Treasure is a sought after Treasure.

SHUFFLER'S SCORE: 8.0 (B-)

----------------------------------
Gunstar Heroes
PICA-2001

01 Legend of the Gunstars
02 Empire~The Final Assault~
03 "Good Night, Baby!"
04 Theme of Seven-Force
05 Dice-Dance-Days
06 The End of the Battle ~to our world~
07 Dancing~Smash~Hero
08 Military on the Max-Power
09 Stairs to High
10 Last Party on the Moon
11 Rolling chaser
12 Heroes~reprise for Yellow

Cover Image Courtesy: VGMdb (submitted by Kewing Darksun)

Now, Your Local Forecast...

2009-06-26T21:18:00.006-04:00

I've always gushed at The Weather Channel -- but not the current iteration on your local cable box. We're talking about the 1990's one I and many grew up watching before the advent of on-demand weather brought about by the internet. The ol' days of flipping on the TV to channel X to hear that phantom voiced man "And now, your local forecast" followed by the most plush smooth "jazz" background tunes (this genre of music is either extremely loved or hated/tolerated and please leave Kenny G alone).

Something about weather and smooth tunes strikes a cord within me of warm, nostalgic comfort. Oh, yes.

Now I've always seen the internet as a conduit of time travel. One can harness, the technology bringing us material akin to one only could've imagined through hitting 88 miles per hour in a stainless steel beast designed by a wild-eyed scientist. Made possible through the internet, computers and technology, a nostalgic indulgence through the wonders of the vast technology it brings us to new realms, possibilities.

The "WeatherSTAR" or computer program and unit was designed to report the weather through your cable box, harnessing live data from the National Weather Service. The program really gained notoriety in 1990 with the graphics-capable "4000" version, succeded by the 1986 "3000"; formerly text-based, no-frills into the 4000's colors, animated graphics and live radar.

It was a heavenly, calming, enjoyable background environment -- that's before The Weather Channel starting mouthing off about global warming -- I mean "climate change", chasing storms and the dreaded day they installed a news-style podium to "report" the weather. Just bring me back, give me my "On The 8s" and let me be.

As the 1990s roared on, the iconic 80s-laden graphics of the 1990 established "WeatherSTAR 4000" went by the wayside on most cable providers as newer technology brought about fresh graphics and more "programming" for TWC. Swallowed by the past, the new iteration just hasn't charm. Seeing the old WeatherSTAR 4000 once again is almost a dream, though reportedly some regions of your state might still carry the old-school look, according to Wikipedia (yeah, where is Lakeville, CT again?).

Since I won't be barging into anyones Lakeville home to see a live cable broadcast, I'll sit at my PC and view it on a constant loop...

Your dreams can become as clear as the night sky (with unlimited ceiling)...

Founder "Bill" and his team from his website Taiganet.com have managed to replicate the much favored program through emulation of the WeatherSTAR 4000 software. That's right, the iconic "The Weather Channel" look and feel will run right on your PC, based on the somewhat archaic Microsoft .NET (and "ver 1.1" currently).

THE LATEST VERSION UP-AND-RUNNING WITH FURIOUS CONDITIONS OVER BRISTOL, CONN.

Though the program has been fluttering around the net for almost a decade now, I tend to arrive late to the party, just in time for Bill's long-awaited update, still in the beta stages. Make no mistake, though the program is and has been beta for many years, keep in mind of the small team as well as its entirely no-cost venture. Entirely functional and almost 100% emulated as you'd see on your cable box with nice, crisp (vintage) graphics, the WS4000 emulator is simply a marvelous recreation -- certainly one of the most intruging acquisitions of recent time. Yes I know, I love this kind of stuff.

So you've heard enough, you know you'd like this on your desktop (it beats any app or desktop buddy you could currently download), but getting started isn't as quite as easy it ought to be. You'll have to sign up at Taiganet's somewhat fortified forum, past the dreaded anti-spam "captcha" (which took me many, many attempts and patience to pass). Oh, and you can't register using a Yahoo email account (not sure what his beef is with Yahoo, though it might have something to do with crippling quantities of spam).

You must have version 1.1 of Microsoft .NET, so if you've got anything higher, trash it and download the regressive version (though reports claim to have gotten the current versions running on ones higher). Once you've gotten registered, head over to the downloads section and grab the latest version. Set-up will take a while as you'll have to endure data entry (though this is where the customizable option could make it "fun") but once it's all in there, you will likely never have to change a thing unless you just want to play around.

Because this emulator grabs data right from the official source, The National Weather Service, you will have to enter specific data and certain codes including an "ASOS ID", and "NWS Zone" number, both of which can be gathered from an excellent WeatherSTAR 4000-themed site. Following the user-friendly parameters of the emulator in order to get the program running will only take five-to-ten minutes.

DATA ENTRY MENUS: CUSTOMIZABLE TO YOUR PREFERENCES

In order for the program to run, you must enter your data in all fields on the various categories of Local, Regional, Travel (though you needn't toy with this at all). Radar data is currently null and void on the program, so even if you've entered your radar code for your region, you won't see it on the emulation. In the local segment, you must enter seven cities and this is where you can get somewhat creative. Want to always keep tabs on conditions in York, Pennsylvania? Perhaps Miami, Florida? Simply enter seven desired cities anywhere in the U.S. known or unknown and you'll be kept abreast.

What's a "flavor"? Simply the arrangement of the various segments. The "J" flavor is known as the common version but there are many other preset flavors formerly used on the WeatherSTAR 4000 and can also be tweaked to your liking.

LATEST OBSERVATIONS: CUSTOMIZABLE TO YOUR OWN LUCKY SEVEN REPORTS

REGIONAL FORECAST: RINDGE, N.H. YOU SAY? PLOT YOUR OWN CITIES ON THE MAP AND STAY INFORMED

Finally, the program wouldn't be The Weather Channel without the music. While I'll typically run my own hand-picked playlist on iTunes of a soundtrack reminiscent of On The 8's, (and yes, I have many) you can program music to run with the loops through the emulator program. Need a muse? Head over to YouTube and grab some ideas or check out The Weather Channel's official (though incomplete) listings of music actually used on the segments from the WeatherSTAR 3000 days of 1986 to the 4000's 1990 advent to the present.

YOUR 36-HOUR EXTENDED FORECAST: ADD YOUR OWN HEADER AND KEEP AN EYE ON THE HUMIDITY AND DEWPOINT

MOON DATA AND SUNRISE/SETS GUIDE COMPLETE WITH BAROMETRIC PRESSURE READINGS (!)

Now Run the emulator and enjoy -- and have fun with it. Oh, and don't forget to grab your desired "classic" logo to run in the upper-left corner of your screen. You can find all that and more on the Taiganet forums.

Thank you to Bill and his team for creating this wonderful program for all of us to enjoy and bask in nostalgic goodness -- and entirely free. Be sure to check in frequently for revisions, updates which are forthcoming.

Here's the video that got me started featuring a classic: "Rainbow Seeker" by Joe Sample, previously used on The Weather Channel.

The Lost "Space Road"

2009-04-08T01:00:00.000-04:00

"Space Road" by Tetsuo Sakurai with Casiopea featuring Kazuki Katsuta (2000)

Performers: Tetsuo Sakurai (E. Bass), Issei Noro (Guitar), Minoru Makaiya (Keyboards), Akira Jimbo (Drums), Kazuki Katsuta (A. Sax)

Casiopea is one of Japan's foremost and eldest jazz-fusion groups which helped pioneer the sound of guitars, keyboards and basses to the tune of funky music too smooth for rock, too eclectic and fresh for traditional jazz, thus the birth of fusion -- combining the best of both worlds. The genre of fusion boomed in the 1970s with many experimenting beyond the galaxy of jazz and rock.

"Space Road" was of Casiopea's finer, lesser known achievements not performed too much beyond the early 80's in live shows, eclipsed by their newer works. The original, a gem of a tune was released on their first album "Casiopea" in 1979.

In 2000, Tetsuo Sakurai, the former bass guitar player of Casiopea, whose gone towards other projects and collaborations since 1989, had played live with his former band in commemoration of the 20th Anniversary (which had struck in 1999, went to continue touring live in 2000) of Casiopea's discography.

This special show: Tetsuo Sakurai with Casiopea 20th Anniversary Live, which had released only on the web after a premiere on "Music Air", a music channel on Japan's cable, remains visally unreleased onto any home format. Well, actually there was a CD released though disappointingly a handful of tracks (actually all the Casiopea tracks, likely halted by licensing issues) didn't make it onto the disc's impressive performances including this amazing rendition of "Space road" which features Kazuki Katsuta's signature rocket-fast, super action high-registering alto sax playing.

If you haven't seen this video yet, it's a must watch: an array of incredibly talented, fine musicians.

Ahh! I'll Buy It At A High Price!

2009-02-12T14:00:00.002-05:00

"What're ya buyin'?" Phantom produces Leon's Bomber Jacket from biohazard 4.

It's taken 4 years. 4 years since that horrible incident in some nowhere part of world...

F our years since the release of biohazard 4 (Resident Evil 4) on the Nintendo GameCube in late January 2005 and a clothier has finally made a nearly closely scaled replica of Leon S. Kennedy's iconic custom bomber jacket worn in the first (and only first) Chapter 1-1 of the game before it disappears after an unfortunate capture. Upon waking from unconciousness, tied-up in captive next to a strange long-haired Johnny Depp lookalike, Leon recognizes his jacket off.

L eon's jacket, a leather and fleece or shearling inner-lined bomber style has been contrast to it's resemblance to a B-3 flight/bomber jacket, customarily warn by fighter pilots in World War II. Unlike the traditional B-3, and unlike many a poor replication by cosplayers across the land, Leon's was designed to be custom form-fitting, like a motorcycle jacket, with the length stopping inches below the torso with a standing colar. A spiffy jacket, there's no surprise why the Ganados stole it at the end of Chapter 1-1: it's a very unique piece of apparel which has not been without mimicking since (I'm looking at you Mummy 3).

Back in early 2005, Capcom Japan produced a "Leon's Collection" series which included various apparel, most of which Leon never wore (nor did much of it have anything to do with the game) but included a (rather ugly, inaccurate and overpriced) iteration of Leon's jacket back in February 2005 but so few were produced and I've not seen any living person with one.

But now...

"Leon's Bomber Jacket", made and sold by a Japanese company called Phantom was not mistakenly released on January 28, 2009 or one day and four years after the release of the very game it originated and a few weeks before the release of BIOHAZARD 5. Retailing for 26,040 yen ($287), it's somewhat steep price tag didn't stop eager fans from exhausting the scarse supply from all retailers including e-capcom, Capcom's online store functioning out of Japan, seeing all units sold out no more than a couple weeks after release.

"Not enough cash! ...stranger..."

It's just not fair! Produce more, we demand!

Now, I've got a few beefs with this jacket by the looks of it. Firstly, the one pictured on Phantom is quite black looking. No biggie, probably a conceptual/pre-release version. The one on e-Capcom looks more true, brown, but still off in its cut. Conclusively, it's not cut 1:1 scale like the game's iteration. Moreso, it's looking like a traditionally cut jacket with the length encroaching below the waist line. The colar looks also looks too tall and floppy, which makes us question the ability to stand up straight without fidgeting. Finally, the sizing doesn't offer anything below a "Medium" size unlike other Phantom jackets, which is approx. 48.5 cm at the shoulder, 63.5 cm at the sleeve so it might run a little loose (for myself, at least). You can see the dimensions on the former ordering pages.

Leon's Bomber Jacket on Phantom

I'm no cosplayer, but my own chapter goes further; ever since even before Resident Evil 4 released, I've had an obsession, no, a manly love affair with this jacket. In all my attempts to track one down, I have been somewhat successful. I've managed to snatch up a couple in my years-long search; one from Calvin Klein Jeans and an actual leather from Wilson's Leather. (got both for under $100). Furthermore, I've searched all over the net, through poor reproductions and ugly, baggy versions, nothing has been found. Not one retailer has made an attempt on Leon's stylish, short-lived outerwear... until now.

Leon's Bomber Jacket (Medium shown in pictures) on e-capcom

Even if one wanted the jacket, you'll have to go through an importing service which wouldn't be a huge deal if it weren't sold out. Since it's only been two weeks, we would see it as foolish for Phantom not to produce more. So far, I've contacted our friends at NCSX to snag a couple for overseas fans. Luckilly, they've agreed to import one once the stock has been replenished (if at all). I can hope, I suppose. Until then, like a pack of hungry, torch-wielding Ganados, storm the desk of Capcom, urging them to produce more!

But If some creepy, masked trenchcoated man with glowing eyes finds me in my travels, "I'll buy it at a high price!"

UPDATE (February 2009): PHANTOM e-mail claims there "will not be the possibility of the arrival in future."

UPDATE (September 2009): PHANTOM has begun taking reservations for a new batch of jackets for December. Pre-order yours now, it's likely this offer will expire around Christmas.

It Has Wings

2009-01-23T15:30:00.000-05:00

Because it's all "fly." Here's a cool stuff post of things I must slowly acquire.

"Wii Super Famicom Classic Controller"
From: club.nintendo (Japan) > eBay

Sure, it's the price of maybe three U.S. classic controllers.

But it's fancied after the multi-colored button scheme of the Super Famicom controller, 1:1 scale. The Japan-only goods came out last year as a limited item once offered as part of Nintendo's "Club Nintendo" program; a points-based program whereby the more games you buy, the more points you acquire and turn in for exclusive goods. We have one such in the U.S., but our rewards... well... kinda suck compared to theirs.

While they're just about out of print, they can be found on eBay for a good $65~70 (dry) bones. One simply cannot resist the rainbow palette us west of Japan did not get in turn for a bland-0-matic shades of purple on our Super Nintendo controller though vestigial in the U.S. version of Super Mario World upon the Star Road Yoshi selection.

Click the above link for juicy images.

"Empire Urban Regeneration" from Star Wars series T-Shirt
From: snorgtees.com

"Save The Clock Tower" T-Shirt from Back to the Future series (and/or) Hoodie
From: snorgtees.com

"Objection!" T-Shirt from Gyakuten Saiban (Phoenix Wright)
from: Way of the Rodent

Resistant on all of the above because it's still freezing in Connecticut plus it's often hard to throw down $20 for iron-on T-Shirts.

Also. Our tenth episode of Friday Knights of The Round Table will be filming tonight, new episode (Ep. 9) ought to be available now.

Bird Vomit Saves Lives + $289 EVA Watch

2009-01-21T14:58:00.006-05:00

Two-for-one special because people are bogged down by the economy!

FIRSTLY, Caught this story on the Weather.com news reel picked up from Yahoo! News. As if this story about bird vomit survival didn't sell me to click on it, it further had me at the "two men from Myanmar" caption...

Ok, it's a pretty boring story with lacking delivery in quotes and pictures. Ah, the slow scrap news day...

SECONDLY, Seiko is releasing a wickedly cool Neon Genesis Evangelion digital wristwatch fancied after Shinji Ikari's EVA Unit-01; decked in purple, priced at almost $300 and to be released in mid-February. I've got a few days to decide if I'm to make such a plunge amidst these Wintry weathery blues. All I have left to say is watchout wallet...

As you'll know, as co-host of FRIDAY KNIGHTS of the ROUND TABLE with my buddy Nick Fusari, the entirety of NCSX today could fuel a segment or two on my featured Japanese Tech chapter.

And You'll Never Guess Where It's From...

2008-12-10T14:06:00.002-05:00

Came across this story from (in)famed British tabloid "The Sun" and just had to share a collective chuckle with all who read us.

Given the paper's title, you'll just never guess where today's story about a "Man [who] lives with female robot" comes from. Give you another hint: Nuclear attacks during World War II probably made them this way for generations to come...

BeatNuts "POWER ZONE"

2008-11-25T14:13:00.015-05:00

BeatNuts' record debut illustrates a refreshing sound; vivacious, energetic and eclectic as each musician packs its own prowess and passion for the instrument, especially its lead sax man, Mitsuru Kanekuni.

Not to be confused with some New York-based hip-hop group The Beatnuts, this electrifying self-proclaimed "Japanese Instrumental Jazz Rock Latin Band" sextet (more commonly) known (in Japan) as "BeatNuts" has finally released their first studio mixed album after years of touring as a group of pro musicians in the homeland Japan since 2000. Courtesy of a much needed record deal with Columbia Music Entertainment, just last week their nine-track effort proves to be a gushing success for any fan of jazz and its edgier fusion sub-genres.

You might've heard their samplings on their MySpace or on their sax man, Mitsuru Kanekuni's website, the six man band of "over fifty years old and keepin' grooving" members consists of lead by firey sax and flute man Mitsuru Kanekuni, Yasuhiko Fukuda (Keyboards), Akira Suzuki (Guitar), Noboru Takasugi (Percussion), Masayuki Higuchi (Drums), Masahiko Rokukawa (Bass).

With his primary Tenor Sax (and by mention of his site, a choice Selmer Mark VII Super Action 80), Kanekuni has been known to me for a number of years as an inspiration to obsess over the saxophone for his masterful, obsessively rich, soulful tone ever since I first heard him blow on a couple Meldac label game arrange albums including "Double Dragon II" and more so his unforgettable performances on little known videogame arranged gem from 1990 "V'BALL" where his solos made for a complete package.

On POWER ZONE, Kanekuni's sound is able to flourish aside from his other instrumental talents and excellent windwood tones as he plays flute and an array of saxes from his weapon-of-choice Tenor, but also Soprano and even a little rythmic Baritone on the album's opener.

No more than halfway through, Power Zone fulfills as a power house, laying down an impressive demo of BeatNuts' nearly decade-long career. It all begins with "Skip Onodera", conga percussion lead the way for an outstanding lead Tenor by Kanekuni, fans have come to know his unique, passionate stylings from here on out. "Celtic Waltz" has Kanekuni put his saxes down for some outstanding jazz flute, and an impressive performance throughout.

From there on out, the upbeat sound BeatNuts grooves with seldomly slows down with energy and passionate work by the band but mostly its stars Kanekuni and Suzuki, often working in lead concert.

"Blue Bullet" is a smooth, cool down piece as Kanekuni melts with his sultry, seductive Tenor sound, conversing with Akira Suzuki's electrifying Robben Ford-style bluesy-jazz licks.

"Gogatsu No May" (translating to Mei of May) a bubbly, yet jovial tune nicely envelopes with Suzuki's solo work intertwined with soprano sax-lead and accompanied solos.

"Zone" turns over, opening with a more hardrock-tinged performance with Suzuki grinding when not paired in performance with Kanekuni's rock-style Tenor playing as does "BeatNuts", a self-titled track that engages their unpredictable, rock-leaning fusion style.

The disc ends off with their softest pieces yet, a flute-and-piano hypnotizing piece before a explosive etude into-the-sunset of guitar and heroic Tenor Sax in "Honoo No Athlete" (translating to "Athlete of Flame") and "Tender Touch", and a tune that has Kanekuni displaying his sunnyside Soprano against a easy-like-Sunday morning conga drum, acoustic rhythm pace.

From latin, to rock, hard to often bluesy licks and growling jazz sax, BeatNuts has a colorful, fun flare and variant to fusion-jazz, with each track each with its own value as its cover art leads with a rainbow explosion of sounds in jazz-tinged sub-genres. The sound, may not be for everyone, as J-Fusion employs a different sound than western smooth jazz with its often plush, "gamey" tracks. Ultimately, it's a cleanly mastered album with nice rich studio live sounds for each of its band members to show off.

Power Zone leaves me sad: the nine-track journey is over too soon but the tracks keep building appeal long after listening. If only they could've polished and thrown on a few from their MySpace page, the ones that made the cut are contenders for potential classics for those who enjoy sounds of T-Square, Casiopea, Dimension or others in the J-Fusion sphere, while offering something different and a true display of Kanekuni's astounding playing. It's a shame it took this long for an album deal, perhaps the group will engender more of a demanding following, enough to see another work soon over the horizon. With each track it's own rich flavor, stunning sax work by Kanekuni, there's no reason not to consider this crowning first record achievement.

SHUFFLER'S SCORE: 9.5 (A)

---------------------------
Hold-Up Take: Shuffler In The Dark employs what we call a "Hold-Up Take" method, which seeks to review retake the album at sometime down the road to see how it holds up to time and possible initial impression bias. Stay Tuned!

A Final Note For Overseas Buyers: The album is only available in Japan, so you'll be making an import purchase via one of the websites below.

Buy and/or hear samples at these fine retailers: HMV Japan, Tower Japan, Play-Asia

---------------------------
BeatNuts - POWER ZONE
COCP-60042

1. Skip Onodera
2. Hey Brian
3. Celtic Waltz
4. Blue Bullet
5. Gogatsu No May
6. Zone
7. BeatNuts
8. Honoo No Athlete
9. Tender Touch

PILGRIMAGE TO THE HOLY LAND (U.S.A.)

2008-10-13T14:30:00.000-04:00

Ever since I was four years old, upon trips to the Danbury Fair Mall, we drove by the central Waterbury area on I-84. Upon passing through, especially by dark, a giant cross upon a hill welcomes those who pass by. Later discovering The Cross was a relic of a bygone project called "Holy Land", the mystery surrounding the ill-fated Waterbury Christian theme park of Holy Land has been a divine goal of mine to one day visit. Many years have yielded it but this pas weekend my good buddy, Nicholas Fusari, and I took a trip to Holy Land U.S.A. on a beautiful Fall, Friday afternoon.

Call it a pilgrimage of sorts.

Holy Land, emblematic by an enormous Cross seen perched atop the zenith of The City, oversees the traffic-heavy Interstate 84 and nearby highway 8 (to the westerly portions) has mounted itself, shrouded in a vale of darkness and disarray for over four decades. Since, the oddball "theme park" entirely constructed at the late John Greco, a local evangelist and lawyer, has become something of an off-kilter destination for, well, geeks like us and has obtained post-mortem internet fame by Roadside America, who specializes in the Chronicles of offbeat locales across the country.

After a few minutes of driving around the dwellings of nearby neighborhoods (and through the bowels of The City before it), we eventually found the "Holy Land" directory sign, which still remains on nearby streets. Upon our arrival at Slocum Street, we identified one fatal error that led to the once attraction, marred by horrible logistics of driving through people's residential streets as we drove the elevating, snaking path that led us to a divine intersection: The morose, rusted yet pearly gates of Holy Land (and some more homes).

We parked the car near a hillside cemetery, aside visible homes whereby we believed nuns dwelled. This was merely the beginning of our morose journey into one of Connecticut's most bizarre landmark. We do implore that this site is technically off-limits, so entering these premises may be subject to, well, unintended consequences. Likely due to the frequency of the site's past of violators, we weren't at all yielding.

SEE: TOUR OF HOLY LAND U.S.A.

We couldn't find the notorious Catacombs and even if we did, I think I'd be too chicken to explore that. Actually, I think we may have missed more than we know whilst hitting the major sites.

Even though its owners don't have the funds to restore the once dedicated Jerusalem recreation, the people still care enough to save the cross.

Salvation At Last!

Just this past Summer, the emblematic christian symbol of Waterbury was replaced after many years of deterioration and neglect. A once beaming, illuminated Cross faced many years atop the hill, apart greeting millions of motorists daily, also saw its victimization to time and vandalism upon high.

At the behest of the people's donations, which were gathered by the nearby convent, its iconic symbol was "saved" or, actually, the idea was. The convent's nuns managed to raise a fair deal of the money (around $250,000) to reconstruct a brand-new, though more "economic" iteration. Though it doesn't match the value of the old one, which included neon illumination, this steel-bodied version depends on its nearby lamp posts to shine divide light upon it.

Unlike the rest of Holy Land, which today, resembles a post-apocalyptic blight as it hangs in the balance of its own dimension, not entirely (we say "entirely" because trespassing is not permitted) accessible by tourists since 1984 when the park shuttered for good. Perhaps its a telling tale of the current state of Waterbury, which has strayed far from the once glorious Brass City it once was (sadly, like most Connecticut's urban centers which are borderline disasters *cough* Hartford).

Enjoy the full photo gallery, with all shots taken by myself. Though it's ideal to see this place in early Spring, the colors do the trip justice. I urge you to check out some historic decade-by-decade "developments," especially that of the original Cross found on Road Trip Memories.

Lastly, I can't seem to find any vestige of that other funky all-caps "Hollywood-style" sign that used to be at the ledge of the mountain on I-84, behind those white-roofed homes (signified by the faint red oval), facing (what's now) the Brass Mill Center mall. If anyone knows or remembers this, let me know.

HEY, EARLY AMERICAN: YOUR CAR SMELLS

2008-10-05T00:00:00.000-04:00

Some of my most temperamental tempests, by far, is spent in my car driving from point A to point B. I can go through a list of things that will send me on a swift, often filthy, racy rant (with no one to listen except myself, mostly) against my fellow drivers. Whether it be people who block left turn lanes without even getting a hint to move it, don't use turn signals, people who pull out into traffic when I'm gaining speed on the freeway on-ramp, drive 60 in the passing lane on the highway without moving over (what I call activist slow drivers) or go from zero to 40 in 20 seconds after the light turns green...

Phew! Let me take a breath. OK, we're fine now.

One thing in particular that has me wound up is a newfound flaming tire around the neck of despair, is that of an "elite" class of drivers: The Early Americans. You can't find too much info about them on the internet, probably because they haven't a) found it yet or b) they're still dialing-up to get on(to America Online 4.0).

BEWARE: MY CAR IS RICHLY PRESERVED BUT IT STINKS AND I'M SLOW AND YOU CAN'T PASS (MY POOR MS PAINT MOCK UP OF A TYPICAL EARLY AMERICAN PLATE)

I've had a hard time classifying them, with mixed feelings abound. They're like war veterans who deserve your unwavering respect (or you'd be speakin' German, whippersnapper!), except they're really not. Sure these cars and their possible multi-generational owners have seen things, but the fact reeks on high: their cars stink horribly as if you were stuck behind a school bus or one of those loud, stank (typically tan-colored) Diesel-powered Mercedes. They take you to a time when The Ozone layer was nozone, when the clarity of the air we took in was about as relevant as fumes output by gramps' stogie.

Immobily, Early American hobbyists can be found either in the local McDonald's on a Tuesday evening or any other disshelved, vacant parking lot filled with bird poop windows on a Saturday night all standing around, admiring others cars, other people (with accompanied clouds of Old Spice in the air) when not in transit -- which is when they are best experienced.

Upon closer inspection, Early Americans are typically who appear to be...

a) Geriatrics or other card-carrying members of the AARP (before they were hip or broken-hip), so, over 65
b) Driving cars who've outlived their various, generational-spanning owners
c) Those with an excuse to bust out their leather jackets/pants again
d) Experienced or were produced in the aftermath of a World War
e) Knew Strickland when he had hair
f) Had a trunk that once hauled junk from Woolworth's
g) Saw two Darrens on "Bewitched"

Hold it like Seabond.

One thing I know is that being in their wake is not pleasant for a few reasons. For one, their cars hearken back to a time when a gallon of gasoline was cheaper than a pack of gum and the burning pollutants were enough to intoxicate you and stain your upholstery and lungs faster than the Surgeon General can slap a label on a pack of Marlboros. Not withholding, a good portion of their drivers either have cataracts or can't see a speed limit sign enough to follow half of it. I don't blame all of them because, heck, if their car survived the Great Depression, I'm impressed to them still running albeit their inability and sputtering to reach 60 MPH.

But there's a reason I can't bust an aneurysm over the Early Americans.

Respect your elders. Whether they be the car or the driver, they saw a time when vehicles were synonymous in with pride, class and design, often funky color (people not included here, that'd probably be racist), and real distinction -- not just ugly boxes of plastic in three different colors, most made in Mexico. So what if your immigrant great grandpa pulled levers for 12 hours straight, maybe lost an arm only to be later thrown out on the sidewalk after a lifetime of loyal employment. They held a grade of dependability and reliability of the once vital American automobile industry (sorry Ford Pinto, you and your exploding gas tank are FAIL for Early American plates).

Ah, fooey for lousy work conditions. If I have to sit through another grumpy "In my day..." speech, I'll hide the Metamucil and value BenGay vats.

THE "M-22": A TAX-FORM LIKE DOCUMENT YOU'LL BE REQUIRED TO FILL OUT TO GET A EARLY AMERICAN PLATE. OH THE HUMANITY! MY EYES ARE BLEEDING. I CALL DISCRIMINATION, NO OLD FART CAN POSSIBLY READ THIS TAX FORM-INSPIRED MICE TYPE THAT HAS SO MANY As, Bs, Cs AND 1,2,3s, EVEN JACKSON FIVE GIVES UP.

So after being stuck behind a few of these clunkers lately in my travels, I've decided to do some new-age research (a Google search) to find out just how any pion can obtain Early American status. Initially, I had thought you had to have stretching family linage. But after seeing I will have to cross my time with the more-plain-than-Avril Lavigne-without-make-up DMV webpage (a blight; The Drudge Report looks more welcoming), I realized that it only spent a quarter the amount of pain and suffering as opposed to the third-world experience or standing in line at the local DMV.

Below is a pie graph of estimated 30 seconds of my time behind an average Early American driver:

10%: Admiring the rare site of the old car
2%: Checking out the vintage of the driver
3%: Wondering how many flaming tires one had to jump through to get the plate
15%: Strategizing the operation to pass the car before I pass out
70%: Choking from the fossil fuel funk syndrome

It appears with the low, low payment of $92 (pretty sure your social security and/or your AARP card won't cover that) and a (lifetime challenge) longevity of 20+ years, you can have that insipid, monochrome plate to match your dinosaur car which in its prime has suffered through times as harsh as the Red Scare to long lines at the gas station to Taco Bell commercials after they got rid of the dog.

Soon after, I had a dark vision: a neo-Early American for my and near future generations. What will it be like? I think of the hideousness of a possible future with those queer looking Priuses no self-respecting man with all his parts in working order would ever drive. In the year 2052, where ripply gray skies fill my vision as I drive down to the Wal-Mart (yes, Wal-Mart has Earthly stores but also their own planet in my future) with a dinosaur 2003 Honda Civic EX on all four wheels -- while the majority of the population is driving their flying hybrid cars. In that regard, I'd hope auto makers make hybrids look less like fat Skim Milk-drinking sissy cars (even if the demand is high right now...).

Now, it's time to take mah back pills... and then nap. Again. *snore*

Here's to me, who went an entire post on senior citizens without throwing Preparation H or Depends into context...

LICENCE TO BILL

2008-10-02T00:00:00.002-04:00

When you buy a television, you need to then, I jest not, buy a television licence to operate it. Legislation this loony could only come from a couple of places but one in particular. Yeah you guessed it: The Nanny State.

While in lecture yesterday morning, my Criminology professor Edwards brought forth this chillingly real but humorous 'criminal' offence to the class, direct from ever-coddling Nanny State ("across the pond" as Larry Miller would say, not Massachusetts) of Britain. Oh, and a license could cost one up to $300 (at today's exhange rate, about 169 GBP) to procure my professor claimed and even though enforcement may not have been as ardent as it was in the 1970's when this ad appeared as a public service announcement, you best get one or *gasp* earn you some jail time!

BEHOLD: THE TV DETECTOR VAN! YOU'VE BEEN CAUGHT WATCHING COLUMBO!

Even Peter Falk, who was well known for fraternizing at great length with the guilty party before knowing it, wouldn't have wasted his time.

In actuality, this propagandistic 'Big Brother' PSA is more fear and sheer nonsense. There are no "detector vans" or suited British gentlemen inside them whose just caught you watching Colombo without a licence. Your greatest penalty, should you be caught, reportedly officials might visit your residence and give you fair warning to obtain a licence in 24 hours, would be to appear in court, followed by a hefty fine. Transparently, you can see the scheme at play.

Wondering how officials would know of your illegalities? Simply purchasing a TV from any store could be your undoing claimed Edwards, as the retailer collects and records such information at the behest of the government.

Ironically enough, isn't this along the lines of why the British left for America in the first place?!

SOMEBODY GIVE "H." A RECORD DEAL

2008-10-01T00:00:00.002-04:00

A few days ago a came across a stunning article on a superb game music blog called Hadouken, detailing SEGA's "Sound Unit" band known simply as "H." In an age of post video game music "bands" which boomed on high during the early through mid-90's, H. has the heritage intact as many of its current members were once apart of various past SEGA band projects like the S.S.T. Band and B-univ.

I first heard of "H." a year or so ago on the OutRun 20th Anniversary Box, gushing at the sheer quality of their "Passing Breeze" arrangement, largely keeping me wondering since just who is "H." ...and how can I get more of them?!

"H." is a electronica-jazz-fusion cover band consisting of veteran SEGA sound team members who perform rockin' cover arrangements to plenty of well-known SEGA arcade franchises including After Burner, Hang-On, Galaxy Force and others (though only the hardcores will know most of its source material) though they have branched into other territory. The band's initial members include such SEGA sound team veterans: Hiroshi "Hiro" Miyauchi (keyboards), Takenobu "Daytoooona" Mitsuyoshi (keyboards/bass guitar/vocals), Kentaro Hanada (guitars), Takahiro Kai (guitars), and Mitsuhara Fukuyama (trumpet/flugelhorn/trombone and/or sax). The band later saw F-ZERO GX composer HidenoriShoji take on the band's other guitar member, mainly for live performances. The group's preferable one letter identity is suspectedly that of leader and legendary SEGA composer Hiro or "H.".

Game music bands, the funky and energetic "H." preserves what fans miss most about their childhood games and its music, bringing most into the 21st century. With many of them withered away since the golden 90's like CAPCOM's Alph-Lyla (or Alfh-Lyra, according to the late Scitron Records), Konami's KuKeiha Club lead by Motoaki Furukawa, Nazo² Project (Konami), Nazo² Unit/Suzuki (Treasure), Taito's ZUNTATA, and some newly formed like Square-Enix's THE BLACK MAGES, a metal band consisting of many golden Square sound members including the legendary Final Fantasy series composer, Nobou Uematsu. H. is that of a spiritual evolution of SEGA's past bands: S.S.T. and B-univ.

In 2004, H. began making plenty of live performances covering various SEGA themes even making an appearance at the EXTRA Hyper Game Music Live show in 2007 with cuts featured on the later released album featuring a previously unreleased rendition of the classic Daytona USA "Let's Go Away", performed live.

SEKAIJU NO MEIQ 2 SUPER ARRANGE VERSION FEATURES TWO ARRANGEMENTS BY "H."

In 2007, H. branched out with what's likely to be their finest arrangement effort yet on Sekaiju no MeiQ Super Arrange Version with "Battle - Destruction Begets Decay" with Fukuyama's eloquent flugelhorn intro before blasting into a foray of jazz-fusion and some outstanding keyboard and guitar performances within -- just the right amount to fulfill the band's potential. In 2008, the band reprised its role on the sequel "Super Arrange" and album's producer Norihiko Hibino who is the suspected phantom alto sax player on their jazziest funk "Town - The Wind Doesn't Draw Heroes" and the somewhat campier "The Heroes Return".

So what's next for H.? Without my own dreams of them taking on covers of much needed Sonic the Hedgehog arrangements or even Rockman/Mega Man (preferably 1~6, though mostly 3, 4 & 5), the band continues to reprise its role in unexpected places, recently showing up with a new arrange track on the Fantasy Zone Complete Album, soon making an appearance at EXTRA 2008 along with other game music composer legends.

I think it's time SEGA recognized H., giving them their own debut album, maybe let us Westerners at some of their live performances. Until then, some of my favorite H. arranges are as follows (links to Hadouken, check your volumes at the gate!):

"Battle - Destruction Begets Decay" from Sekaiju no MeiQ (Super Arrange Version)
"Passing Breeze" from OutRun (OutRun 20th Anniversary Box)
"Beyond The Galaxy" from Galaxy Force (Galaxy Force II & Thunder Blade O.S.T.)
"Town - The Wind Doesn't Draw Heroes" from Sekaiju no MeiQ 2 (Super Arrange Version)
"Quartet Medley 2005" from Quartet (SDI & Quartet SEGA System 16 Collection O.S.T.)

Title image courtesy of scan from EXTRA Hyper Game Music Live Vol. 1 featuring "H." (left-to-right): Hiroshi Miyauchi, Hidenori Shoji, Takenobu Mitsuyoshi, Mitsuhara Fukuyama and Kentaro Hanada.

YOU GOT T-SHIRT

2008-09-30T00:00:00.000-04:00

Now offered at the Capcom Store is the Mega Man 9 T-Shirt (to end all), which does not warn to ready one's eye bleach for those who will awkwardly look on with morose. The few will know of your prominent fanboy-ism upon throwing down $24.95 for the dark blue tee which mirrors the download-only game's official "box art," which doesn't include the $8 (most thrifty) shipping available.

Upon the recent release of the throwback Mega Man 9 by the Inti-Creates team, Capcom has shaken and taken the video game world into an 8-bit time warp fantasia with the release of the initially announced WiiWare title that struck it and competing console download services on September 22 and shortly after.

Since then, fanboys of the long-beloved Rockman (Mega Man to European/PAL and North Americans) series have been foaming at the mouth of the latest ninth in the series, which takes players back to a choice 1989-style graphics and presentation, with some polish to the later in the series, though much deviated from the last 32-bit based Mega Man 8, which featured full-on handdrawn, fluid sprites and full-motion video cutscenes.

It's so bad, it's just awesome. The box, that is.

THE MEGA MAN 9 BOX ART: COMPLETE WITH HORRID ART AND MOCK STICKER LIKE YOU FOUND IT IN THE BOTTOM OF A BARGAIN BIN! (Image mirror: The Kotaku)

To further keep fans breathless, Capcom USA has made the wonderfully cruel and unusual homage to the historically hideous array of box arts for Mega Man and its sequel including one U.S. fans known well as what's best described as the retarted grandpa iteration of our blue bomber on the U.S. region Mega Man box art; complete with pop gun and rubber suited foolishness in its geriatric fare. Living on with the tradition of looking like horrid low budget movies, this was designed more craftfully than the original's, made to gush the hardcores. Well, I think it looks most like the silver surfin' European region Mega Man 2 art, but you decide...

Shortly after the artwork's 'stunning' debut at E3, Capcom went ahead and announced a "mock" tangible version of the box, wrapped up NES-style and included "asset CD" within the plastic cart housing. Unfortunately, legalities impeding, Capcom announced they would not be able to mass produce the idea, leaving them in a decision to sell a good 300 of them right on their own newly established (errr... relevant) Capcom Store. With the mock box yet to be available (hopefully they will take preorders to combat the limited run announcement), Capcom will be servicing fans something second-to-nothing: this glorious T-shirt.

I've considered scoring one myself, though I'm only a good 20 minutes into the game (my childhood is obsessively rooted in Mega Man, but reactions on '9' forthcoming) but at $34 post costs included, I might yield for now. Now if only Capcom will start proding fans on retail details on that "moxart" or, heck, I'd even settle for a shiny poster.

PREPARE FOR A LANDING

2008-09-29T00:00:00.003-04:00

Welcome to SHUFFLER IN THE DARK, a "comprehensive" web log of thought and opinion.

A brief introduction. I started a rather successful enterprise called THE CALDOR RAINBOW back in September 2006; a mostly reminiscent look-back on retail store chains, shopping malls and trends with original photos and research which received media attention by The Hartford Courant back in January 2008.

For the last couple months, I had once again questioned the future of THE CALDOR RAINBOW, realizing myself and other fellow "mall" bloggers (really don't care for that word "blog") had seen a significant slowdown in our news and productivity mill. As you'll know, sites like ours often requires travel for juicy stories to focus on and when the stability of daily life impedes that, you need a place to go on the downtime.

Upon thinking, I envisioned another endeavor parallel to that universe, a sanctuary whereby general interest and content could be shared and discussed amongst friends and strangers.

And here we are, at the precipice of a concept called SHUFFLER IN THE DARK. It's like a astro-jazz-lounge beyond the bounds of space, the stars, and a vibraphone soundtrack in the distance.

Like the infinite space, one won't know what to expect.

So please step into my outer space of opinion, interest and who knows, share a cup of coffee with me. I'll be drinking mine black...

Oh, and if you're wondering more about the title, you'll just have to stay tuned, won't you?