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Fred Coury



John William Lowery, better known as John 5, currently plays guitar for both Marilyn Manson and Rob Zombie and even logged time with David Lee Roth in the late ‘90s. His solo spans some fifteen years and nine studio albums, beginning with VERTIGO in 2004. His latest release with his band, the Creatures, INVASION is the topic of this review.

JOHN 5 AND THE CREATURES (John 5, Logan Miles Nix, Ian Ross) (publicity photo)

The album’s title track opens with some percussion and the eerie sound of wind whistling through the darkness; the creepy vibe almost reminds me of a Rob Zombie project, with its dark, percussion-fueled sound. A filtered guitar with a phaser slides over the top, playing a simple melody ‘til the end. All in all, the tune sets a good tone for the album. “I am John 5” starts with a robotic voice repeating “I am John 5” over and over again before the blistering lead kicks, something we’ve all come to expect from John 5. The tune shifts to the chorus, then into another solo section, even faster than the first and up an octave. The song breaks into a really groovy clean section with a funk feel and back into another phenomenal solo, extremely clean and distorted. This song is incredible! John does instrumental songs and albums as good as, if not better than some of the accepted greats (Satriani, Vai, Gilbert, Malmsteen). A badass riff kicks off “Midnight Mass.” The drumming on this one is also not to be overlooked… Logan Miles Nix is a monster on the kit. The song is an incredibly good metal track, even looking past the soloing (which, as always, is brilliant and super technical); it sounds like a cross between groove and extreme metal. The second half of the tune has the best riff and best soloing, as John breaks up the shred style for a minute, adopting a blistering Blues style that’s definitely killer. “Zoinks,” the only song I’d heard from the album before I sat to listen to the whole thing, is my favorite John 5 song to date and is VERY close to my favorite instrumental guitar piece of all time. It has everything you could possibly want: It begins with an amazing, slapping bass riff from Ian Ross that has enough pop and funk to make Flea jealous before moving into a section that sees John incorporating shred and sweeps and tapping into the overall melody; repetition of this part throughout the song is what won me over. About two and a half minutes in, the number breaks as the slapping part comes back heavy before John tears into a high speed solo with a really cool ascending and descending lick and a ridiculous sweep at the end before heading back to the original melody shortly before the end of the track. “Howdy” explores John’s “chicken pickin’” abilities. For those that are unfamiliar, chicken pickin’ incorporates your middle finger, ring finger and pinky finger, as well as a pick in your strumming hand to play extremely complex (usually Country or banjo-style) licks on the guitar. It’s extremely difficult and there are only a couple guitarists within the world of metal music who can do it well. As an avid banjo player, John 5 is one of the few. Along with the chicken pickin’, John adds some “traditional” Country licks over the two-step Country beat, very reminiscent of Les Paul and Chet Atkins. The tune also features a harmonic section in the middle that is really cool. About two minutes in, we’re hit with a VERY Les Paul-inspired section of licks that is beyond cool. After, the beat speeds up extremely fast and John breaks out an actual banjo! What a cool song!

JOHN 5 AND THE CREATURES (John 5 playing with Rob Zombie, 2016) (photo credit: DARREN TRACY)

The album’s second half kicks off with “Crank It”/“Living With Ghosts,” which has a very strange sound indeed, sort of metal mixed with EDM at the start; when the melody/solo comes in, it’s just an absolute showcase of 5’s abilities. He does such a good job bringing the solo to you in a way that doesn’t feel excessive. It is incredible! The middle section between the two tunes slows things down with a clean section leading into a heavy, dirty rhythm guitar as John goes into a slow melodic solo with a wicked two guitar harmony section. There’s more insanity as the soloing heats up. The song ends after one more round of the dark, slower part. “Cactus Flower” opens with a quote from the Stephen King movie CARRIE and goes into a very different direction than anything we have heard so far on this album: The guitar sound is cleaner, the pace slower. It’s a great song for allowing yourself to drift away… super moody and great at evoking emotions, making you feel what John was trying to convey. The opening salvo of “I Want It All,” an arpeggio sweeping lick into a very intricate sliding lick, just shows how absurdly talented and amazing John 5 really is. The song dropped my jaw a couple times; as a guitar player, I’m in shock… it definitely showcases John’s abilities. Nestled toward the end of an album of killer music, “I Want It All” is a must listen. John throws a talk box in throughout the song, intoning the track’s title whenever there’s a break from the soloing. The main riff is full of everything you could want: Emotion, shred, distortion, unbridled technical prowess… just a killer track, an absolute GEM for any guitar player or fan of guitar instrumentals. To this reviewer’s ears, “I Like the Funk” almost sounds Tom Morello-inspired, FULL of that man’s emotion and undeniable groove. It’s got plenty of wah, pop and slapping, with some moments of absolute killer shred and insane bends that just make you… move. There’s a really awesome section at about 2:50 in, a call and response with a sample of a female singer (Lisa Forman) saying/chanting “I like the funk” and 5 just RIPPING licks afterwords. As a point of interest, Cinderella’s Fred Coury plays drums on the cut. The last song on the album is “Constant Sorrow,” a cover of the folk classic “I Am a Man of Constant Sorrow,” written by Dick Burnett in 1913 and first recorded by Emry Arthur in 1928; it’s the song that George Clooney’s character sings in O BROTHER, WHERE ART THOU?. Side note: My favorite version comes from a 2002 live Alison Krauss and Union Station. If you’ve never heard of Union Station, PLEASE PLEASE go check them out; they play Bluegrass and Country and are incredibly talented and woefully underrated. The song’s appearance here is John 5 paying tribute to the tune’s message and staying power. As always, John’s version is full of technical wizardry and skillful playing. I don’t know what more I can say about it; it is a solid instrumental cover and a really cool way to close out this album.

JOHN 5 AND THE CREATURES (John 5) (publicity photo)

If you have the time, sit yourself down and give the whole thing a listen. There is not a bad song on this album. I loved it! Every second is something worth hearing. If there is a complaint, it would be this: I would have liked to hear him slow things down just a bit more; I feel like those slower moments are the ones that make it original, setting it apart from other people. All in all, though, a solid 9 out of 10 and one of my favorite guitar albums ever. If you ever had any doubts about John 5’s talents, this record goes a long way in showing that he really is an incredible musician, one of the best guitarists on planet earth. He’s made great progress with these solo albums, with his playing maturing and changing, while still maintaining his original style. So, what are you waiting for? Check it out!



The Human Race

The son of director John Hough, Paul Hough, like his father, has a rather dark palette from which he works. This rather frightening visionary focus has given life to some of the most depressing (and bloodiest) world views in the past decade plus. From the plight of a suicidal amputee in the music video, “The Enemy,” by Fozzy to the brutal reality of extreme backyard wrestling in THE BACKYARD to the new movie, THE HUMAN RACE, Paul has taken the universal themes of suffering and man’s inhumanity to man to new heights. Yet, in all of this pain and misery (and exploding heads), there is a subtle beauty that focuses on some of the more enjoyable aspects of the human condition. These aspects – unquestioning friendship, love, hope, belief in a higher calling, religion in all of its varying forms (Muslim, Christian, et cetera) – tend to make the grotesquerie more palatable… even enjoyable.

The school, the house, and the prison are safe. Follow the arrows, or you will die. Stay on the path, or you will die. If you are lapped twice, you will die. Do not touch the grass, or you will die. Race… or die.” That is the startlingly simple premise of THE HUMAN RACE. Eighty people, all who were unlucky enough to be occupying the same city block, are struck by a blinding white light (was it God? A priest, who is seen offering comfort to a homeless – junkie? – woman believes that they are in Purgatory) and transported to an undisclosed area and given the instructions above. Through two flashback vignettes, we meet three of the 80, survivors of their own personal hells: Veronica (Brianna Lauren Jackson), a young woman who has lost her family to a particularly aggressive form of cancer only to find out that she, too, has been stricken. She curses God for his cruelty. Flash forward to her doctor’s office where Veronica is told that her cancer is in total remission. She looks to the heavens and gives thanks, only to find herself a part of this macabre race; Eddie and Justin (Eddie McGee and Paul McCarthy-Boyington), two soldiers who meet for the first time on an Afghan field of battle. Eddie has, basically, been blown apart, his left leg is gone and Justin is determined to save him. Justin drags Eddie into a cave and using his own body, covers him to keep him warm until they can be rescued. Back in civilian life, they both work with underprivileged or disabled youth. Other “racers” include a pair of deaf friends (Trista Robinson and T Arthur Cottam), a Tour de France bicyclist (played by Cinderella drummer Fred Coury), a pregnant woman, the priest and homeless woman mentioned earlier, a Korean War (?) Marine vet with a walker, three vicious BEAVIS AND BUTTHEAD types, a self-absorbed, Better-Than-Thou yuppie type, a young girl and her little brother… in other words, people from every walk of life, representing every facet of the social, racial, political and religious spectrum. Any more information than what I’ve already given would ruin the movie for you; let’s just say that, “THE HUMAN RACE takes more twists and turns than I thought possible for a film of this kind, especially one that runs less than 90 minutes.” The plot, script, acting and visuals all work together perfectly to present a stunningly moving look at the foibles and fallacies that make up the human condition. The following interview with writer/director/producer Paul Hough offers insights into his career, his journey to make this movie and the film itself.


Director Paul Hough (uncredited photo)
Director Paul Hough (uncredited photo)

THE MULE: Hey, Paul, thanks for taking the time to answer a few questions about your new project.

PAUL: You’re welcome, Darren, it’s a pleasure.

THE MULE: So, let’s start at the beginning. Your father is famed director, John Hough, who had a penchant for the gruesomely horrible… maybe the only person to ever work for both the legendary Hammer Studios and Disney. How has his work influenced you, particularly in the making of this brutal new film, THE HUMAN RACE?

PAUL: My dad has a career that doesn’t focus on one particular genre but got those Disney films because of the horror movies he made. Disney wanted someone who could bring something dark to Disney. He taught me early on to make sure I said something when making a film, to have a point of view. Not necessarily overtly but to bring something that was me to it. He taught me also to try and make everything as interesting as possible when shooting and taught me how to cover things from the best and most unique angles.

THE MULE: This isn’t – so to speak – your first rodeo, but it is your first feature length, scripted endeavor. Can you give us the breakdown of your short films and the extreme wrestling documentary, THE BACKYARD?

PAUL: I did a short called THE ANGEL, which can be found on YouTube with Eddie McGee and Celine Tien (both from THE HUMAN RACE) and did a music video, also with Eddie, for Chris Jericho’s band, Fozzy (called “Enemy” – also online). In that, you can see quick glimpses of Fred Coury and Luke Y Thompson, who also appear in THE HUMAN RACE. I met Luke after he wrote a good review of THE BACKYARD (he is a film critic, currently working for THE VILLAGE VOICE). THE BACKYARD was about kids who wrestle in their backyards, using weapons such as barbed-wire baseball bats, staple guns and nails. The documentary focused also on their parents, who were more than often supportive and were high school teachers, principals, doctors and nurses.


THE MULE: THE BACKYARD is every bit as violent and as bloody as THE HUMAN RACE, but everything was real. Did that make things harder for you, knowing that these guys were really hurting themselves and each other? Did their brutality, in any way, affect the way you approached THE HUMAN RACE?

PAUL: It didn’t really make it hard because I wasn’t the one getting hurt. And they were going to be doing this whether I was there or not. While I was shocked at a lot of what I saw, I found it an amazing sub-culture which I enjoyed being immersed in. There was an incident in Modesto which was scary because these really tough guys (presumably from a gang) had seen some of the kids fighting in the street and lighting each other on fire – and were super unhappy about it. It was very unexpected and there was a lot of tension. I thought it could have got really ugly – but, luckily didn’t. And there was another incident in England, where a 15 year old blades and cuts himself with a razor blade. He wouldn’t stop bleeding as I’m doing the interview and it was hard then, as to whether I should keep filming – but I did, since there were other adults off-camera who attended to the situation. It’s funny – in THE HUMAN RACE, there is a lot of blood. And in THE BACKYARD there was a lot of blood. And the reality is, when I see someone bleed, it makes me ill. I hate the sight of blood in real life. But I was comfortable with the blood in THE HUMAN RACE because I knew it was movie blood, and comfortable with the blood in THE BACKYARD because it, too, seemed like movie blood to me because I was watching it from behind a camera.

THE MULE: You wear many hats for this project: Producer, director, writer… I understand that you even had a hand in the visual effects end of things. Do you have a favorite part of the creative process? How does writing for yourself differ from writing a script for another producer or director?

PAUL: I wore many hats out of necessity – not out of desire. If I had my choice, I would only direct. Maybe write and direct – but my main focus is on taking a compelling story and making it happen on camera. Unfortunately, due to circumstances, I had to produce this, edit this, do FX for this. I had to write something that was practical enough for me to shoot. When writing for someone else or for a budget, I think you have more freedom.

THE HUMAN RACE (Brianna Lauren Jackson) (publicity still)
THE HUMAN RACE (Brianna Lauren Jackson) (publicity still)

THE MULE: The title of the movie works on – at least – three different levels. The first two are quite obvious from the beginning; the third is revealed in the final 15 or 20 minutes of the film, with a twist ending that kicked the whole thing up a notch for me. Without giving anything away, when you came up with the idea, did you start with one level and find that the others played well into what you wanted to say, or was it a simple case of coming up with a great play on words for the title and working from there?

PAUL: I started with the ending of the movie before anything else – and the knowledge that I wanted Eddie McGee in it. I think the idea of running then came next since I love to torture Eddie in everything we do together – and what better than to put him (a guy with one leg) into a marathon-type race. The title of the movie came then, as I was writing other aspects of the movie and just fit perfectly.

THE MULE: Aside from the obvious horror/sci-fi aspects of the film, there are also several underlying themes that are woven into the fabric of THE HUMAN RACE: Religion is a big one; racial and economic divides; sex, I guess, is unavoidable in any circumstance. Was the purpose of introducing these themes to draw the audience away from the larger theme, allowing for a greater impact at the end of the movie?

PAUL: A lot of the movie is from the characters’ points of views and you don’t really know where you are – along with them. They are people from all walks of life who express their different views. Certainly, because of the blinding white light it gave a path to introduce Christianity. Once I had that in – I wanted somewhat balance by introducing a Muslim. Overall, however, all of these themes and the conflict of these themes is both a reflection and representation of the human race and the struggles it has with itself.

Side note: one of my favorite critical reviews of the movie is this one:

THE HUMAN RACE (Gabriel Cullen) (publicity still)
THE HUMAN RACE (Gabriel Cullen) (publicity still)

THE MULE: Making this movie was a very slow process. Can you take us through the various stages and give us a little insight into why it took so long to complete?

PAUL: It took over four years to make. We started to shoot for seven days, then stopped due to lack of money. A few months later, I saved up some more money, so we could shoot for two more days. Then we’d shut down again until I could raise more money – so months would go by until we could shoot for a few more days. I’d never recommend to someone they shoot a movie this way but… it was the only way I could get this movie done.

THE MULE: Given the time lapses between shooting, was it hard for you to maintain continuity? Most of the cast are adults, which may cause some small problems (weight change and the like), but there are two children who play small but important roles. How did you handle those growth spurts and physical changes that kids go through?

PAUL: The kids’ stuff wasn’t a problem at all – all of their stuff was shot at the same time. But otherwise, it was difficult, but I made all the actors responsible for their own continuity. There is one scene, however, that I had to shoot before I lost a location and Eddie’s hair was super short compared to the rest of the movie, so I had to shoot it from a super low angle just to disguise his haircut. It’s weird having to make choices like that – but when you’re making a movie you can’t anticipate or plan everything and have to adapt as you go along.

THE MULE: The set-up for the first death was ingenious. It was one of many unexpected swerves throughout the movie. It was so unexpected that I have to ask: Was it planned from the start or did other factors – scheduling and budget issues, perhaps – cause a change in direction?

PAUL: No, this was planned. I wanted a character that you really like – and then kill her off – in the same way Hitchcock killed off Janet Leigh in PSYCHO.

THE MULE: Obviously, with 80 people forced to participate in this “event,” you couldn’t possibly flesh out the character of each and every one but, the several that were more than just extras all seemingly had a back story, allowing the audience to identify each with a label: Hero, Villain, Victim. How did your vision of each main character play into the casting? Did any one audition cause you to rethink any of those roles and adjust the script accordingly?

PAUL: One of my favorite characters in the original script was a huge guy called the Blob. I just couldn’t find someone large enough for this role – and then when I did find an actor who was close – right before filming, he (inexplicably for the movie) went on a diet and… didn’t look like a Blob anymore. His part then got cut from the movie when he no showed on a particular day. That was incredibly frustrating but, again, is something I just had to deal with. I wrote the movie around a lot of actors I actually already knew and some were friends who started off as extras and then got promoted into bigger roles as the movie went along.

THE HUMAN RACE (Fred Coury and Paul McCarthy-Boyington) (publicity still)
THE HUMAN RACE (Fred Coury and Paul McCarthy-Boyington) (publicity still)

THE MULE: One of the primary characters is played by Fred Coury. Even though you’ve worked with musicians before, on videos by the bands Pitbull Daycare and Fozzy (the latter also featured Eddie McGee), Fred is more out-front in an acting capacity here. How was he to work with? Was this his first acting gig?

PAUL: He was actually fantastic to work with – and a really amazing actor. Being a rock star, he has a great confidence that shows through on screen. After the shoot, he told me he had quit acting but I hope one day he’ll return to it.

THE MULE: You worked with Eddie McGee and Celine Tien, one of the youngsters, previously on the short, THE ANGEL. Were their parts for this movie written with them in mind or was it just a lucky coincidence that they both ended up in the cast?

PAUL: Both written with them in mind. In THE ANGEL, the Grandma was Celine’s real Grandma. In THE HUMAN RACE, her brother character is actually her real brother. I hadn’t seen her for a few years s,o while I wrote the role for her in mind – I still needed to audition her. Originally, there was only one kid in the script – but when she came to the audition, she turned up with her brother – who I thought was fantastic – so I made the role two kids rather than one.

THE MULE: Honestly, I wasn’t familiar with Eddie McGee, but when I found out that he was a cast member of the game show BIG BROTHER during its first season, I didn’t hold out much hope for this movie. I’m happy to say that I was wrong. The guy’s got chops… leading actor, action/adventure/sci-fi/horror chops. How did you become acquainted with Eddie and, based on a few things that I’ve read elsewhere, how did he become the “go-to” guy on your projects?

PAUL: Yeah, his being on BIG BROTHER has not been a good thing for his acting career. The only good thing is that he didn’t become a “reality star” per se – since his season happened before the whole reality boom. I’m hoping, going forward, that he’ll become Eddie McGee from THE HUMAN RACE and that his BIG BROTHER past will become that – a thing of the past. I met him while I was looking for a double-leg amputee for the Fozzy video. I couldn’t find anyone who wanted to do the role – since most people found the character I wanted (ie: a disabled suicidal person) not suited for them. Eddie shared the same philosophy and beliefs of myself and taped an audition for me. He got the role and… I hope to work with him now on everything I do. He is an amazing actor and we’ve gone through a lot together. When you find someone as good and as brilliant as he – then he does certainly become your “go-to” guy.

THE HUMAN RACE (Trista Robinson) (publicity still)
THE HUMAN RACE (Trista Robinson) (publicity still)

THE MULE: Speaking of projects, what’s next up for Paul Hough? In a bit of a spoiler, THE HUMAN RACE left itself open for a sequel. Will there be one?

PAUL: I’d love to do a follow up to THE HUMAN RACE and already have a script written – but it will depend on how successful this film is first. I’m off to Korea in a month, working on a new dark thriller which I hope will be my next project…

The film debuts in limited theatrical release and on Video-On-Demand and iTunes on June 13, 2014. Comparisons to the apocalyptic Japanese bloodbath, BATTLE ROYALE and the Young Adult book/film series, THE HUNGER GAMES (among others) are unavoidable but, THE HUMAN RACE is, in my humble opinion, not to be missed.