- #Diesel max summertime madness by kool and the gang full#
- #Diesel max summertime madness by kool and the gang series#
Although he is a very grumpy diesel engine, Diesel 10 agrees and helps to clean the wreckage, allowing Thomas to retrieve George to flatten the runway. He was later seen clearing tree branches from Gordon's Hill, where Thomas persuaded him to help clear the tracks at the airport. A lot of the steam and diesel engines were afraid of Diesel 10. He also appeared as a character in the special, Calling All Engines, where he works mainly in the scrap yards, picking up scrap metal and dumping it into trucks.
He did not make a reappearance until the full-length special, Calling All Engines.
#Diesel max summertime madness by kool and the gang full#
Diesel 10 did find her near the end of the film, but during a chase, he fell from a collapsing viaduct and was sent plunging down into a barge full of sludge. He was said to have been on the island before, and has returned to find Lady, whom he almost managed to destroy. He likes to cause chaos and scare the other steam engines. He is the Second main antagonist and described by Thomas the Tank Engine as "10 out of 10 for devious deeds and brutal strength, But the Tertiary Antagonist in Day of the Diesels, the blast from the past who hates steam engines." Diesel 10 is the main villain in the film.
#Diesel max summertime madness by kool and the gang series#
Peirce brosman (All-New Shining Time Station series only)ĭiesel 10 is a large diesel engine with a huge claw attached on top of him.
With some of the production ideas already on show, there’s a lot of promise for the future.Promotional picture of Diesel 10 in full CGiīR Class 42 "Warship" with illegally modified hydraulic clawīR green livery (1973), Rusty brownish-olive green with yellow-tan warning stripes, covered in oil stain and brown-grey claw (since 1973) Joel Culpepper might be an artist that displays his inspirations a bit too transparently but this is often a typical trait of a debut album and artists tend to grow into their own on further releases. In addition, the Outkast reminiscent ‘ Dead Bodies’ borders on social commentary and features intriguing percussion, a voice-mail message and police siren sounds. The Tom Misch-produced ‘Poetic Justice’ features a conversation between Joel and a female friend that gives the album a a genuine south London atmosphere away from the American-heavy touches. ‘ Tears of a Crown’ has a marching brass lift with humble yet defiant lyrics, the most rewarding track ‘ Return’ features police surveillance speech within the Motown groove. Nonetheless, Sgt Culpepper has tracks with bold production choices and some good emotional lyrics. Some of the poorest attempts include: “on this funky ride, there’s a chance we could collide” on the 1990s R&B vibe ‘ Break’ and “a pink lunchbox, says he’s cold but never wears socks” on the otherwise respectable neo-soul track ‘Black Boy’. Furthermore he has voice that is distinctively high (a pitch that is over-used on some occurrences such as on ‘ Kisses’) that it would be interesting to see him perform. When taking away these tributes, what are we left with? Well Joel Culpepper is an artist with an abundance of impulsive energy that makes one think of him positively as a male version of Janelle Monae. On ‘Remember’, Joel sings: “song to the key of your life (acknowledging a Stevie Wonder album), on the brilliant standout track ‘ Thought About You,’ he honours Shuggie Otis – the style of bells used Otis’ ‘Strawberry Letter 23’ feature in Culpepper’s songs – and it’s hard to deny that the way the title is sung on ‘ W.A.R’ draws similarities to a certain track by Edwin Starr. There are signs that this isn’t coincidental though, as Joel actually references titles and musicians inside his songs. Yet the tracks themselves also borrow moments from particular songs without actually being samples: the trumpets from Michael Jackson’s ‘ Don’t Stop ’til You Get Enough’ (‘ W.A.R’), the iconic high pitched moment in Kool & The Gang’s ‘Summertime Madness’ ( ‘Kisses’), Van McCoy’s ‘ The Hustle’ (‘ Return’) and the robotic vocoder of Daft Punk’ s Harder Better Faster Stronger ( ‘Remember’). Throughout Sgt Culpepper, Joel adopts the characteristics of other musicians the “huhs” of James Brown against a funkalicious backdrop and the falsetto style of Prince, as well as the British-accented talking of Ghostpoet and the hazy vocals of Andre 3000. However, considering that the title of the record is seemingly a nod to a certain Beatles classic ( Sgt Culpepper = Sgt Pepper), perhaps the obvious imitations of classics are deliberate after all. In the case of south Londoner Joel Culpepper’s debut album, his muses seem to be too apparent, that the tracks often border on pastiche. It’s natural for an artist to be influenced by musicians of yesteryear and to mix the sounds of their heroes with their own original take.
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