2013 Movie Awards- The "I Just Don't Get It Award"

My first year-end movie award goes to the praise that Stories We Tell has been receiving from critics I follow. It's the second consecutive film by Sarah Polley that left me cold. Polley's last film Take This Waltz was about a marriage falling apart and a woman finding a spark from outside her marriage. I thought Michelle Williams' performance was pretty ridiculous, and there was no drama to me as to why the marriage was failing, especially given that her husband (played by Seth Rogen) was doing things like dumping cold water over her head each morning while she showered. There was no indication that there was ever a spark, so the film just didn't work for me.

In Stories We Tell, Polley portrays her own family's drama. It should be a very fascinating story, as Polley interviews family to find out the identity of her birth father. However, I felt nothing but distanced from the story, as certain decisions Polley made almost made it feel like Polley was making this film strictly for her family. She has a family member read the narration for the film live, and to me it would have been more fascinating to get more of her reaction about all this, as to me she feels more like a bystander.

Nebraska

In Alexander Payne's latest film Nebraska, Will Forte plays Daniel Grant.  Daniel is a very patient man, and he has to be.  His father Woodrow is an alcoholic who is pretty much oblivious to the world around him, and his mother doesn't have any filter and constantly badmouths Woodrow (and pretty much everyone else).

 

Woodrow receives a letter saying that he may have won a million dollars, which he takes to mean that he has won a million dollars.  He no longer drives, so he starts walking to Lincoln, Nebraska to claim his prize.  Daniel, realizing that his father is not going to stop trying to get there, offers to drive him to Lincoln.  This also offers both of them a respite from his mother's sharp tongue, so they set out for Lincoln.  They do make a stop to visit family, and when word gets out of Woodrow's supposed winnings, complications ensue with friends, family, and others in the town they visit.

 

Overall, I thought Nebraska was an outstanding film, one of the best I've seen all year.  Between Nebraska and The Descendants, Payne has shown a mastery of how to portray a family, warts and all.   In fact, the two films go together very well even though there is a stark contrast in the setting.  The Descendants takes place in Hawai'i, and the beauty of the island makes Hawai'i almost a character in itself.  Nebraska is shot in black and white, which de-emphasizes the scrubby settings and puts more emphasis on the characters.

 

Speaking of the characters, Bruce Dern plays the exasperating Woodrow as a man who can't get out of his own way and doesn't seem to want to.  Forte is mostly a reactionary character, as he has to deal with his exasperating, yet still intimidating father and crochety mother (not to mention all the other characters from their past.

 

Nebraska's not in wide release as of yet, but is definitely worth seeing, as I have a feeling one or more Academy Awards could be in the cards for such an excellent film. 

Night Visions- Imagine Dragons

The first exposure that I had to Imagine Dragons was during the NBA playoffs. Seemingly every commercial break, a spot would run with LeBron James practicing,  with "Radioactive" serving as his practice  music. There's an element of  struggle that makes it an ideal workout song, and combined with the many anthemic songs on Night Visions, it's no wonder that the Imagine Dragons have broken out in 2013.

Indeed, the theme of struggle carries on throughout Night Visions, giving the album a weary feel on many songs.  There are momentary detours from the struggle (such as the bouncy and slightly annoying "On Top Of The World" and "Amsterdam", which is probably the quiet gem of the entire set), but overall the grim mood is successfully set. 

Is there a lather-rinse-repeat quality to Night Visions?  Undoubtedly. Many of the songs follow the same pattern of catchy-hook intro/establishing lyrics/sweeping chorus, but it doesn't feel too repetitive, mostly because there is a lot layered into these songs that make them more repeatable. I did hear some echoes of other anthemic groups (U2, Coldplay, and Keane, to name a few), but I don't think there is a lot out there like the Imagine Dragons, and they are especially refreshing when compared to much of what else is on the radio now.  It'll be interesting to see how they branch out with their next release.

Captain Phillips

In Captain Phillips, Tom Hanks plays the title character, Captain Rich Phillips. Captain Phillips and his new crew on the Maersk Alabama embark on a mission around the horn of Africa to deliver food and supplies for the starving. We're also introduced to a band of Somali pirates who are looking to score a big payday by robbing a ship. The pirates set out on crude skiffs and spot the Alabama. As they approach, the crew begins to prepare for the worst, and Captain Phillips has a few tricks up his sleeve. The pirates board the Alabama, leaving the ship's fate in doubt.

Overall, Captain Phillips is a choppy ride, and I mean that in the best way. The camera work is very choppy throughout the film, which adds to the suspense and sense of chaos, especially when the pirates board the ship. This is Hanks' best performance in a long time, and his character's relationship with the pirates is an interesting one. I did feel the film grew just a little tedious in the middle. The last few minutes of the film definitely rewards the patience, however, and I do highly recommend the film.

Music Review- Mountains of Sorrow, Rivers of Song (Amos Lee)

Mountains of Sorrow, Rivers of Song is Amos Lee's fifth studio release, and although there are elements that I really enjoyed, overall the listening experience was a bit disappointing.

 

The good:  Amos Lee does depressed really well.  Tracks four through six are all mournful tunes, but with either such a well-set mood ("Indonesia,"), poignant lyrics ("Dresser Drawer"), or both ("Chill In The Air").  I'm not saying that Lee should only write sad songs, but the songs that surround these stellar songs make for a choppy listen.  "High Water" sounds like a Black Keys B-side, "Loretta" features some really cheesy lyrics, and "Plain View" is Lee's soapbox song, but the muddled vocals make it more annoying than profound.

 

 Lee also seems to be shooting for a country twang and a throwback sound on MoS, but a song like "Tricksters, Hucksters, and Scamps" doesn't sound natural for him.  "Stranger" is lively as well, but again doesn't sound entirely believable coming from Lee, although it does feature some nice guitar.   Luckily for Lee fans, there are three great songs here.  I'd recommend grabbing those three and skipping the rest.

 

 

The 17 (September 24)

The 17

Tuesday, September 24, 2013


Bus Stop (The Hollies): Nice, upbeat start to the playlist this week. Love story on a bus stop. It's one of two songs in my collection mentioning a bus stop (Don't Stand So Close To Me by The Police being the other).
http://youtu.be/It75wQ0JypA



Cabaret (Louis Armstrong): I'm seeing many movies in the next couple of weeks at the Milwaukee Film Festival. The films are a great escape, which Armstrong encourages in this song.


Abacab (Genesis): I've started liking this song again, particularly the last few minutes.


Man (Neko Case): From her latest, The Worse Things Get, The Harder I Fight, The Harder I Fight, The More I Love You. Case is a singer that I can usually handle for a few songs, but her voice grates on me after a while. I like the rebellious tone in this one, though.

Introspection (MGMT): Another new song, this one from MGMT's self-titled latest. I listened to the entire CD, and there's very few catchy hooks, but this one reminded me of an early 70s song.

Kids (MGMT): This one has a very unique music video, and it's probably MGMT's second catchiest song (after "Electric Feel")

http://youtu.be/It75wQ0JypA



The Orchids (Califone): The only Califone song that I like, it's a song about appreciating what's around.

http://youtu.be/4e1jgqX0Y8g



Out of Touch (Hall And Oates): To the 80s! My favorite Hall & Oates song.

It's The End of The World As We Know It (REM): Speaking of singers I can only take in small doses, this is my favorite REM song.

My top 5 REM songs:

1. It's The End Of The World As We Know It

2. Drive

3. Bang And Blame

4. I Don't Sleep, I Dream

5. The One I Love

The Great Divide (The Mowglis): I think this might be the last time on the playlist for this song. I liked it the first couple times, but it's a little too shouty.

Fragments of Time (Daft Punk): There's just something about this song off Random Access Memories that I really love. It's kind of retro and chill.

Perfect World (Huey Lewis And The News): My favorite Huey Lewis song, and I like me some Huey Lewis.

http://youtu.be/7NltTUWU-y4


You Don't Know Me (The Polyphonic Spree): Unlike "The Great Divide", this one has grown on me.

Get Back (The Beatles): Time for some classics with some whoopin' Paul.

You've Got To HIde Your Love Away (The Beatles): Probably my favorite song from the movie Help!. It's a forlorn song from John, but a heartfelt one.

Ants Marching (Dave Matthews Band): I'm probably not going to any more Dave Matthews Band shows (I just haven't like what I've heard of them on live recordings since LeRoi Moore passed away and Tim Reynolds joined the live lineup), so it's a shame that I didn't get to hear this one in my four shows.

California Dreamin' (The Mamas And The Papas): When I put this playlist together, a little autumn chill was in the air. Man, did it change again. It won't be long before we're dreaming of the summer weather again.

The 17 (September 10)

The 17

Tuesday, September 10, 2013

 

Diamonds On The Soles Of Her Shoes (Paul Simon):  I had this song from Graceland in my head after seeing a very interesting 25^th anniversary special.

 http://youtu.be/uf4YyXVoWeA

 

You Can Call Me Al (Paul Simon): This was the first Paul Simon song I ever liked.  Couldn’t hear it enough as a kid, and glad it’s in my collection.

 http://youtu.be/uf4YyXVoWeA

 

Go Insane (Lindsey Buckingham):  This is from the Bass Performance Hall live CD.  It’s almost cheesy near the end, but still OK.

 

 

Mad World (Tears For Fears):  I hadn’t heard this in a while, but this may be one of my favorite TFF songs.

 http://youtu.be/3gFl2OXySs8

 

Whiskey, Whiskey, Whiskey (John Mayer):  Ah, Born and Raised.  Maybe whiskey, whiskey, whiskey can make me forget about Paradise Valley.

 http://youtu.be/zM1SWzYNzzM

 

Ghost Story (Sting):  This song and Big Lie, Small World are two underrated songs off Brand New Day.

 http://youtu.be/zM1SWzYNzzM

 

Golden Years (David Bowie):  My  favorite song right now.

http://youtu.be/HRD0ghlFSgk

 

 

 

She Blinded Me With Science (Thomas Dolby):  I never got into this song before, but I love everything about it right now.  SCIENCE! 

http://youtu.be/nMWGXt979yg

 

 

Some Days Are Diamonds (Amos Lee):  Love this cover of a John Denver song.

 

 

 

Ice Storming (Aloha):  A nice mood song, even if the mood is kind of bleak.

 http://youtu.be/V4TPPmKlA8M

 

Natural Blues (Moby):  Play is a great album, and this is my favorite song from it.

 

 

Linus And Lucy (David Benoit):  After a few more somber songs, time for a classic, and David Benoit’s version is solid.

 

 

I’m So Afraid (Fleetwood Mac):  Back to somber.  I had never heard the studio version of one of my favorite Fleetwood Mac live songs.

 http://youtu.be/nN5Wx9YR0oc

 

World Turning (Fleetwood Mac):  My dad’s favorite Fleetwood Mac song.

http://youtu.be/nN5Wx9YR0oc

 

 

Reggatta De Blanc (The Police): 

 

 

 

Bring On The Night (The Police):  Two solid Police songs

 

 

 

The Afterlife (Paul Simon):  Paul Simon’s version of the afterlife?  It starts like a visit to the DMV:  fill out a form first, and then wait in a line.

 

http://youtu.be/1y6j593KJHc (live on Jimmy Fallon)

The World's End

It was a dark and stormy afternoon.  Well, maybe not the entire afternoon, but the clouds did gather early Saturday afternoon and the rain poured down just as I left for the Times Cinema.  I arrived at quarter to one and found my seat smack dab in the middle of the theater.  I was the first to arrive, and as the thunder rumbled and the minutes passed and the previews showed, I found myself still alone.  Someone will come, I thought to myself (although I could have said it aloud, as there was no one there).

The theater darkened completely, and for the first time in my life, I was seeing a movie completely alone.  It's a strange feeling, sort of like having your own private showing, and it was kind of a shame.  Kind of a shame because The World's End is one of the best moviegoing experiences of the year and would have been a blast with a huge crowd. 

The World's End is directed by Edgar Wright and features Simon Pegg and Nick Frost.  Pegg plays Gary King, a man who never really grew up.  Many years ago, Gary and his friends set out on an epic pub crawl.  Their goal was to drink a pint at all 12 pubs in town, all within walking distance of each other.  They never finished, and for Gary, it's served as a lifelong regret, so he decides to try to get the friends all back together.  None of them really wants to, as they've all moved on to successful, safe lives, but Gary cons all of them into trying again.   I'm going to stop with the plot summary there, as there are twists and turns that I don't want to give away.

Wright, Pegg, and Frost have constructed a masterpiece.  The World's End is the most fun I've had in the theater since The Avengers.  This is a tale about reliving the past and the hazards of doing so, the passage of time and what happens to those who choose not to change as time goes by.  It's so successful because at no time does it come off corny or maudlin (and there are many chances for it to go in those directions), and the action and suspense keep coming.   Finally, despite some rough language, it's not gory or obscene. 

Go now and see it.  Don't let the theaters be empty for such a great film!

 

The 17 (August 30)

Wow, today is September 1.  Good luck to those who will learn, to those who will teach, and those parents who might use parts of their brains they haven't used in a while.  My parents still flinch at the word diorama, and I don't think think dioramas were the hardest things they helped me with.  Anyway, happy September!

On to the songs for this week!

Hocus Pocus (Focus): http://youtu.be/MV0F_XiR48Q

Red Red Wine (UB40): I had "Hocus Pocus" in my head and tried to think of a song totally unlike it, so after some yodel-rock, why not some reggae-rap?

Angel Dance (Robert Plant): I was never a big Zeppelin guy, but I do love Raising Sand, Plant's duets album with Alison Krauss, and Band Of Joy (featuring this song) is pretty solid as well.
http://youtu.be/9dPwd9JgbT0



Mysterious Ways (U2): I remember that I couldn't hear this song enough when it first came out. Still holds up just as well today.



Outside (The Fixx): This is from 1011 Woodland, and it's just a nice spaced-out jam.
 http://youtu.be/yB341J0kM4g



First And Last Waltz (Nickel Creek): The instrumental interlude is back this week. It slots in well after "Outside", and provides a great bridge to..
 http://youtu.be/_UCyvyZa92o

Stairway To Heaven (Rodrigo Y Gabriela): Again, not a big Zeppelin fan, but I love this version. I've really enjoyed just about all of Rodrigo Y Gabriela's work. Their latest, Area 52, finds them working with a 13-piece Cuban orchestra and reworking some of their originals.
http://www.youtube.com/watch?v=sEk8wTB7UfU



The Storm (Tedeschi Trucks Band): This is a fierce, grooving jam with great guitar and driving vocals by Susan Tedeschi. One of my favorites off their latest.



After The Storm (Mumford And Sons): I don't usually like to put songs together just because they have similar titles, but this one fit well after "The Storm". It's my favorite Mumford and Sons song. (They're in Milwaukee on Tuesday.  I saw them at The Riverside, and now they're playing the Marcus Amphitheater).
 http://youtu.be/EMsTSdHIJds



Spirits In The Material World (Paco Banton and Sting): From Reggatta Mondatta, which is a reggae tribute to Sting and The Police. Haven't listened to this version in a while, and it comes off a little cheesy, but a good alternate version.

Tea In The Sahara (The Police): Some of my favorite songs set a mood really well. The opening notes make you feel like you might be in the desert, and the lyrics are haunting.

Here Comes The Rain Again (Eurythmics): We're still in the eighties with my favorite Eurythmics song.

Woman In Chains (Tears For Fears): I was excited to find my copy of The Seeds of Love. Another song I haven't heard in a while, this song about the injustice of oppressing women features a greatvocal by Oleta Adams and drums by Phil Collins.

Running For Cover (Ivan and Alyosha): This may be one of my favorite songs of the year. I love the vocals.
 http://youtu.be/jJN1A_DHtsM

Summer Lawn (Aloha): Summer is fading, so here's a sprawling song about the passage of time.
http://youtu.be/9ArrN0wOWZg



The Sound of Silence (Simon and Garfunkel): My favorite S & G song.



Gentle On My Mind (Glen Campbell): I think this is my favorite song that I heard for the first time this year. So poetic and beautiful.
 http://youtu.be/cFIRTtn_ZSE



I Still Care For You (Ray LaMontagne): A great song from Gossip In The Grain. I love the drumming in this song.
 http://youtu.be/JODKEqp4nYI

Tedeschi Trucks Band/The 17

Before we get to this week's playlist, I'd like to recommend Made Up Mind, the latest release by Tedeschi Trucks Band. I'd never listened to a second of Susan Tedeschi or Derek Trucks, but was very pleasantly surprised to find a soulful and adventurous set of songs. "Idle Wind" prominently features the flute, "The Storm" is a rocking blues-rock jam, "Sweet and Low" sounds like it came out of the sixties, and in many places, Made Up Mind gets the toes tapping. Three songs from this week's 17 come from Made Up Mind, but there are a few more that merit a listen.

Now, for the playlist this week, there were no instrumentals and no electronic songs, no songs about possibly being a king, no songs from Sting... this was a pretty low-key set, especially near the end, but after last week, a less noisy group was called for. 


Lying In The Hands of God (Dave Matthews Band): DMB saxophonist LeRoi Moore passed away on August 19, 2008, so this selection was a bit of a tribute. From the album Big Whiskey and The Groogrux King (and Moore was the Groogrux King), this is DMB's most beautiful song.

　
http://youtu.be/xLEgio0C-Xs


Substitute (The Who): There's a couple lyrics in this song that I've never managed to de-code, but still one of my favorite tracks from The Who.

Santa Monica (Everclear): Got this one free from the Google Play Store. I never got into Everclear, and vaguely remembered this song. Some very cheery lyrics: We can live beside the ocean/Leave the fire behind/Swim out past the breakers/Watch the world die

Oh Dear (Brandi Carlile): Just a haunting song from Giving Up The Ghost.

http://youtu.be/GLwSw3YMuOQ (live version)


That Year (Brandi Carlile): Another song from Giving Up The Ghost, this one has Carlile remembering a friend from high school. Heartbreaking song, really, but Carlile's good at that.

I Found You (The Fixx): An early Fixx song from Shuttered Room, which I think is one of their best.

Idle Wind (Tedeschi Trucks Band): The flute jam!

Something To Talk About (Bonnie Raitt): Hearing Tedeschi's voice reminded me of Raitt.

Mandolin Rain (Bruce Hornsby and Ricky Skaggs): I think this is a much better version than the original, and I like the original. Bluegrassy version. These two are on tour with Skaggs' band Kentucky Thunder.

Mellow Yellow (Donovan): Quite right, slick.

Being For The Benefit of Mr.Kite (The Beatles): After the slightly odd "Mellow Yellow", I went for more odd, waltzing horses and all.

Misunderstood (Tedeschi Trucks Band): Another solid groove from Made Up Mind, which is an altogether determined set of songs. Determined to rock, determined soul, and I'm determined to listen again.

Sonnet (The Verve): Ah, yes. An old favorite. Even as the other songs from the Verve have kind of faded in my mind, this one's good for a listen every once in a while.

http://youtu.be/1WmGMdaxQLk

Sweet And Low (Tedeschi Trucks Band): I love songs that sound like they came out decades ago.

Waiting On The Day (John Mayer): One of the few songs that I dug on Paradise Valley, John Mayer channels David Gray pretty effectively.

http://youtu.be/AeatEpPzi-0



Back In Your Arms Again (The Mavericks): The first track from In Time, which right now is my pick for favorite new album in 2013.

http://youtu.be/ypJ3dP7qCpE

　

 

John Mayer- Paradise Valley

John Mayer released Paradise Valley on Tuesday, a little more than a year after releasing Born And Raised, and to me the  difference between the two could not be more stark.

It look me a little time to get to really like Born and Raised, but once I did, I really appreciated the mood that Mayer was trying to set.  The songs really breathe and give a wide open feeling. It's a nice, mellow listen that has some stories ("Walt Grace's Submarine Test, 1967") and contemplative tracks ("Shadow Days", "Born and Raised").  It's probably my favorite in the Mayer catalog for these reasons, and knowing that Mayer is capable of a such a complete set of songs makes Paradise Valley ultimately disappointing.

There are a few tunes worth mentioning on Paradise Valley.  The opener, "Wildfire", is a summery romp.  "Waiting On The Day" reminded me so much of a David Gray song that I can hear David Gray singing it, but that's not a bad thing. I also enjoyed "You're No One 'Til Someone Lets You Down", which is about how a broken heart or broken promise makes one grow in the long run.  Some of the other songs left a bad taste, and as a collection, the set leaves the impression that Paradise Valley is almost a collection of "B" sides.  "Dear Marie" needed a few more bars before launching into the "whoh" section of the song, so the abrupt transition is a little jarring. The second "Wildfire" is under 90 seconds long, features Frank Ocean on vocals, and rhymes "suicidal and Eiffel".  And I know that Mayer is fond of covers (he covered "Crossroads" on Battle Studies), but on such a short release (40 minutes), it would have been nice to hear a Mayer-written song instead of "Call Me The Breeze", which ends abruptly, but at least doesn't end with Mayer and Katy Perry laughing like the excruciatingly repetitive and self-indulgent duet "Who You Love".

Ultimately, there are a few bright spots, but Paradise Valley isn't a memorable or very replayable set of songs.

The 17 (August 15)

The 17 this week brings a noisy middle of the set (a little too noisy, if I'm being honest) and a mellow finish.


Golden Years (David Bowie):  This is turning into my favorite Bowie song.  It's funky, catchy, and just fun. 

This Must Be Love (Phil Collins):  I love Phil Collins' lesser known songs much more than his hits, and this love song from Face Value is one of my favorites.

I Could Be A King (The Dunwells):  The Dunwells are back, and there's something kind of '80s about this track that I like.

Dear Lord (Give Me The Strength) (Preservation Hall Jazz Band):  I dig this gospel tune quite a bit.

Mylo Xyloto (Coldplay):  Sometimes I like me a little short instrumental intro.

Two Step (Bear Mountain):  It's not a cover of the Dave Matthews Band song, but a poppy electronic song. 

You Don't Know Me (Polyphonic Spree):  Another new song, and another bouncy one.

Color Of My Soul (Pretty Lights):  Still like this one that I first heard last week.

Home Life (John Mayer): Mr. Mayer sings about wanting to be domestic and lays down a funky sound.

Bring On The Night (The Police):  Sting always used the first couple verses as an intro to "When The World Is Running Down, You Make The Best Of What's Still Around" in concert, but I like the whole song.

Dance On A Volcano (Genesis):  Once again with Phil Collins, the obscure stuff rules, although the end is a little wacky to me.

Electric Feel (MGMT):  I was introduced to this very danceable song by my brother a couple of years ago, and the excellent music video features the animatronic band from Showbiz Pizza.

Gentle On My Mind (Glen Campbell):  Going in the complete opposite direction, this was the first time I heard this ballad.  Beautiful song.

Long Black Veil (Johnny Cash):  One of my all time favorite songs.  Very haunting.

Heaven On A Sunday (Paul McCartney):  Such a mellow, blissful mood created on this tune.

Under The Skin (Lindsey Buckingham):  For the second straight week, a relaxing song near the end.  This one's a good one for a "chill out" playlist.

It Beats 4 U (My Morning Jacket):  I have an interesting relationship with My Morning Jacket.  I don't get into many of their songs, really, but I love the ones that do reel me in, like this one, "First Light", or "Off The Record"

Movie Corner- Blue Jasmine

Blue Jasmine is the new Woody Allen film.  In it, Cate Blanchett plays Jasmine both before and after her financial life is turned upside down.  Before her world changes, Jasmine lives a life of luxury with husband Hal.  Sister Ginger (Sally Hawkins)  is not quite so fortunate, but after calamity strikes, Jasmine winds up moving in with Ginger in San Francisco, much to the chagrin of Ginger's new boyfriend Chili (Bobby Cannavale). 

The story moves back and forth between Jasmine's old life and new life, and in her new life, Jasmine is an absolute basket case.  She talks to herself, and when she goes completely off the rails, she can't stop talking, often revealing very embarrassing information.  She looks for companionship while reinventing herself as an interior designer.

Blanchett is the highlight of Blue Jasmine, as her unraveled Jasmine is funny and entertaining, yet also mildly disturbing.  Otherwise, there's not a whole lot going on. The film tries to make a statement about class, as Jasmine's sister Ginger is prominently featured, but her subplot revolves mostly around her taste in men.  I'd recommend waiting for the DVD on this one, but do see it for Blanchett's performance.

The 17 (August 9)

Each week, I make a playlist of 17 songs, often with songs that I haven't yet heard or recently just got into. Here's what I listened to this week and some impressions:

August 9, 2013

In Ohio (Joseph Arthur)- short little intro

I Can See For Miles (The Who)- This may be my favorite Who song.

The Great Divide (The Mowglis)- I'm on the fence about this song (free from Google Play Store) Catchy but could get obnoxious

Tennessee (Arrested Development)- first time I've heard this song (also from GPS). Cool song.

Crush (Dave Matthews Band)- classic song from my favorite band.

Doubting Thomas (Nickel Creek)- A tender song about pessimism

Color Of My Soul (Pretty Lights)- first time I've heard this one. Pretty innovative stuff. (from GPS)

The Man Who Wants You (Amos Lee)- new single from Amos Lee. I really enjoyed Mission Bell, but this song is just OK.

Something To Talk About (Bonnie Raitt)- from GPS. I think I've heard this song a million times, but not recently.

Everybody Wants To Rule The World (Tears For Fears)- a song from the 80s that holds up well today. One of my favorite songs in terms of setting a mood (somber but melodic).

Stairway To Heaven (Rodrigo Y Gabriela)

Buster Voodoo (Rodrigo Y Gabriela)- from the excellent 11:11 album

The Riff (Dave Matthews Band)- an adventurous song from their latest release.

Go Insane (Lindsey Buckingham)- Lindsey Buckingham does unhinged very well. This is from his "Live at the Bass Performance Hall". Not as great as the hard to find version from The Dance

I Could Be A King (The Dunwells)- also from the GPS. First listen, and first impression yields a catchy, bouncy tune.

Beg Steal or Borrow (Ray LaMontagne)- one of the few songs I liked from God Willing and The Creek Don't Rise. It has a nice shuffle to it and some jangly slide guitar.

Step (Vampire Weekend)- from the GPS. The only song of Vampire Weekend's that I've heard, and I do like it. Interested in hearing more from Vampire Weekend. I've only seen their appearance on SNL, and they seem quirky to the point of precious, but I do want to give them a listen.

Breathe (Alexi Murdoch)- A quiet song to close it out. This is a good song to play at the end of a stressful day (or in the middle of one).

"Keep your head above water, but don't forget to breathe" 

Movie Corner: Robot and Frank (2012)

Robot and Frank is set in the “near future”, a future in which videochat is routine, the phones are even thinner, and robot assistants are commonplace.  Frank (Frank Langella) has dementia, and his family is growing increasingly worried.  His son Hunter (James Marsden) comes to check up on him once a week, but the distance makes the trip a burden, so Hunter’s solution is to place Frank in a robot’s care.

The robot describes itself as a “health care aide”, and devotes itself to Frank’s well-being.  It wakes Frank early and tries to establish a routine.  Frank develops a routine, but after a trip to a library fundraiser, his old passion is awakened and he wants to start stealing again with the robot’s assistance.

Overall, Robot and Frank is an entertaining film.  It raises questions subtly about the role of robots (present and future) and society’s push toward digital media (the library that Frank visit has a sole worker and the books are being digitized and then discarded).  Frank ultimately is an anti-hero, as once he gets back into thievery, he lets nothing come before that compulsion, and Langella plays him as a towering yet complex character. 

Other than Langella, however, the supporting cast is not noteworthy.  Liv Tyler is quite annoying as Langella’s daughter Madison, James Marsden’s role could be played by anyone, and the library “consultant” played by James Strong reminded me of the villain in Despicable Me for some reason.  Susan Sarandon does add a little soul as the librarian love interest, but Langella’s performance opposite an unnerving robot carries the day here.

Movie Corner: The Squid and The Whale (2005)

 

 

 

The Squid And The Whale features one of the more unlikable movie characters that I’ve ever watched.  Jeff Daniels plays Bernard Berkman, a struggling writer whose marriage to Joan (Laura Linney) is crumbling.  Bernard is hyper-critical of just about anything and anyone, a trait that seems to have rubbed off on his older son Walt (Jesse Eisenberg).   A lot of Bernard, in fact, has rubbed off on Walt, who parrots his father’s views on many issues, including why Bernard’s marriage is failing.  Joan is an uptight mother who has some affairs in her past, and the cracks in the marriage have left scars on Walt and younger brother Frank.

I thought the film did an excellent job portraying a family in shambles from the very start.  The film opens with the four main characters playing doubles tennis, and some of the signature behaviors begin to appear.  Bernard swears every time he misses, which begins to rub off on Frank.  The match culminates with Bernard hitting Joan with a volley and then doing damage control.  Walt emulates his father and appears to be a maddening mini-Bernard, lobbing meaningless criticism and demeaning others.  Frank doesn't seem to feel love from any direction, so he begins experimenting with alcohol on his own (startling because he's eight or nine). 

 

Daniels as Bernard is a towering figure in the film, and I think his character, although unlikable, is a fascinating watch.  The same goes for the entire cast, and I definitely recommend The Squid And The Whale.

 

 

 

 

Walkin' Through Jacobus

It's always great for the mind, body, and soul to find new ground to wander, new paths to tread. (OK, that sounded a little hippie-zen-ish, but it's true).  In the last month or so, Jacobus Park in Wauwatosa (accessible in the area of 62nd and Wells) has become a favorite haunt for me.  I recently went with camera at the ready and snapped some photos of some favorite features.

On 62nd Street, a staircase greets visitors.  There's another staircase down immediately after this one, so it's a good start to a workout

Speaking of staircases, there are many in Jacobus Park, some straight up or down, some winding.

Picnic area/indoor meeting place

Pond beyond the meeting hall

Out of the woods and into the sun

Up the staircase, or to the left?

 

 

 

 

This time, the staircase leads out.  Jacobus Park is a short walk from Wisconsin Avenue or Wells Street, and it might be good to follow the workout with coffee or some breakfast at Alterra on 68th and Wells.

So long for now!

 

 

 

 

 

 

The Kings of Summer, The Way Way Back

In The Way Way Back, Duncan and his family are headed with his mother's boyfriend's family to a beach house. Upon arrival, Duncan discovers that the beach house can be a nightmare, as he doesn't fit in with the kids, and the adults are busy either getting drunk or stoned. His mother's boyfriend Trent (Steve Carell) is a constant antagonist, and Duncan's mom (Toni Collette) doesn't seem happy but also doesn't seem too concerned about him. Duncan takes to riding a bike during the day and stumbles upon a waterpark. The park's manager Owen (Sam Rockwell) offers him a job, and at last Duncan has an escape from the beachfront misery

In The Kings of Summer, Joe and Patrick seek escape from their unbearable home situations. Joe's father Frank (Nick Offerman) demeans Joe (and pretty much everyone else). Frank's parents are clingy to the point of suffocating. Joe gets the idea to build a house in the woods, and after initially being skeptical, Patrick joins him, as does an odd kid named Biaggio.

To me, the two films with similar premises offered a similar experience. These are two entertaining but not great films with noteworthy performances. The Way Way Back features Sam Rockwell as Owen, a waterpark manager that befriends Duncan, and the film is much better when Rockwell is on screen than at any other time. The film succeeds in portraying Water Wizz as an oasis for Duncan and his coworkers as a second family, but away from the park, The Way Way Back is nothing out of the ordinary (although Alison Janney does steal some scenes as a loose-lipped neighbor, and Carell plays a convincing jerk, something I've been waiting for after all his nice-guy roles).

The Kings of Summer covers familiar territory as well, and I think Offerman and Moises Arias (Biaggio) steal the show. Offerman's scowl and criticism drive his family away, but he also has some funny moments, and Arias provides the wackiness that an otherwise earnest film needs.

I'd recommend both films. They're not groundbreaking films, but have individual performances worth the price of admission.


　

　

　

　

　

　

Concert Review- John Mayer at Summerfest July 6, 2013

For me, John Mayer's show Saturday night already had a lot of intrigue going in.  I'd never seen Mayer live, didn't know the flow of his show, and was curious to see what he would perform and how he would perform, especially given that this was his first full set since his vocal cord scare sidelined him and nearly prevented him from singing again.  I also wondered about the opening act, Phillip Phillips, as I didn't really like his album but vaguely remembered enjoying his performances on American Idol.

Phillips was much better live than I imagined.  His songs gained new life on stage, from the opening "Get Up Get Down" through the rousing closer "Home", as he and his band added jams to nearly every song.  Phillips interacted nervously with the crowd but performed like a veteran and added some interesting twists (like adding a few verses of Eminem's "Lose Yourself" to one of his songs), so all in all he was much better than I had anticipated.

I'm sure John Mayer had some nerves as well when he stepped on the stage, but he settled in nicely with his large band in front of a virtual display of mountains and sky for "Queen of California" from his latest, Born and Raised.  His voice sounded a little different (some online reading uncovered that he's still, um, waiting on his voice to change as some Botox clears out) to start, but he looked relaxed and eager to go.

After "Waiting On The World To Change", he informed everyone that he was taking us on a trip and needed a little trust from us, which was a nice heads-up that he might be detouring from the hits.  Other than a few well-placed better-known songs ("I Can't Trust Myself with Loving You was jammed out, a rousing Mayer solo led to "Slow Dancing In A Burning Room", and the set closed with "Gravity", also jammed-out), Mayer stuck to Born and Raised, songs off his upcoming Paradise Valley, and a couple of covers ("Going Down the Road Feeling Bad" worked well, but "Free Fallin'" to me was the only bad choice of the night).  To me, it was an unusual approach to take, and might have tripped up a lesser musician, but Mayer and his band made it work, mostly because Born and Raised has a lot of good songs and Paradise Valley definitely sounds promising (I especially liked "Wildfire", which Mayer identified as the first track).  The virtual background added value, especially on "The Age of Worry", where the lyrics were projected on the screen.

Throughout the set, two women in the row in front of us kept leaning over and taking pictures of something or someone a bit far away.  I couldn't tell if they were taking pictures of friends sitting in another section, but it was definitely distracting for a little bit, but word got around that someone thought to be Katy Perry was indeed Katy Perry.  The two ladies left before the encore, which was too bad because  after his first encore song, Mayer went on a lengthly little spiel on how good Perry was to him when he was recovering and dedicated "A Face To Call Home" to her, and just before he did so, Perry walked right in front of our section (with security, of course).

All in all, it was one of the most entertaining shows I've been to.  I didn't hear many of the songs that I wanted to, but it just shows that Mayer is a compelling musician capable of taking any trip he wants to.

Lincoln (2012), Broken (2012)

Lincoln (Daniel Day Lewis, Sally Field, Tommy Lee Jones)

 

I'd put off watching Lincoln for a long time.  I guess I needed to be in the mood for a two and a half hour history lesson, but recently I did take the plunge. I recommend Lincoln for the performances more than anything else.  Daniel Day-Lewis won the Academy Award for his portrayal of Lincoln, and he is excellent, but I found Tommy Lee Jones's performance as Thaddeus Stevens to be the best in the film, and Sally Field burns with intensity as Mary Todd Lincoln, a First Lady who feels hidden away by her husband.  The performances are excellent, but the film itself is very dialogue driven and procedural.  That's not to say it's dull, but it's less than scintillating in many parts.

Broken (2012)- Cillian Murphy, Eloise Laurence, Tim Roth, Rory Kinnear

Broken is the story of Skunk (Laurence, a girl living in North London.  Coming home one day, she is chatting with her friend Rick while he is washing a car.  Rick is savagely attacked by Mr. Oswald (Rory Kinnear) who believes that Rick has assaulted his daughter, and from there, we learn about the three families living on their end of the block.  Skunk's family has its share of complications (Kasia, the family's au-pair, has a rocky relationship with Mike (Murphy), who is also Skunk's favorite teacher), but the other two families have even more trouble brewing.  Rick is often institutionalized and is dangerously unstable, and the man who attacked him is an abusive single father whose daughters become absolutely ruthless bullies. 

Broken is a dark, often violent tale, but I definitely recommend it, as it's a suspenseful, well-told tale.  There are noteworthy performances here as well.  Laurence is very good as Skunk, a curious and perhaps over-trusting girl. Roth's character is loving but understandably baffled at times with his daughter, and Kinnear's presence is looming as Mr. Oswald, a character who seems to know nothing but violence as a way out of a situation.





 

Harry Connick Jr- Every Man Should Know

Twice was the charm for Every Man Should Know, Harry Connick Jr’s latest release.  The first pass didn’t leave much of an impression on me, and in fact I found it to be a little snoozy.  But the second listen revealed EMSK as a subtler pleasure, as Connick switches moods and styles pretty effortlessly.  He begins with the title track, and to me it’s a shaky and pretty sappy opener, as Connick reflects on what a man should be to a woman.  The next three songs are much sharper, as Connick goes from lusty (One Fine Thing”) to blissful (“I Love Her) to penning a tune that may become a wedding staple (“Greatest Love Story”). 

          The middle of the album is solid, as the mood shifts again from slightly desperate longing  (“Come See About Me”) to the complete opposite (the gleeful solitude of “Being Alone”).  Connick gets supportive with a gospel choir in “You’ve Got It”, and then follows the best track, “Let Me Stay”, which is a beautiful love song featuring great interplay between Connick and many instruments.

         Every Man Should Know doesn’t finish well, though.  I wasn’t quite feeling the more gospel-ish “S’pposed To Be”, and “Time To Go” is a downright puzzling choice to close.  “Time To Go” is told from the point of view of an aging performer whose days are long behind.   Connick has the audience in this song practically booing said performer (who is, incidentally, living out of his car) off the stage.  It’s an utter downer of a song and leaves a pretty bad taste.   Despite the last track, though, “Every Man Should Know” is an interesting listen.

Concert Review- Sting at The Ravinia Festival (June 7)

Friday night marked my fifth Sting concert, and this one was at a bit of a different venue.  The Ravinia Festival (in Highland Park, IL) is like a concert in the park on a much bigger scale, as concertgoers (at least the ones on the massive lawn) are also picnic-goers.  Showtime was 8pm, but gates opened at 5 (4:30 for Ravinia members).  For us non-members, 5 o'clock was a rush, as the gates opened and we looked for that ideal spot. 

Turns out any ol' spot would do, as very few of the lawn seats have a close-up view of the pavilion, so we set up shop near one of the many speakers and began to relax.  Our fellow concert-goers were very friendly, which was a good thing since we wound up pretty tightly packed.  Some of our neighbors brought games, and some even burrowed into sleeping bags as the chill in the air intensified as the sun made its way down.

Thinking back on it, it's hard to imagine a more perfect headliner for Ravinia than Sting.  Since his days fronting The Police, Sting's tunes have likely wound up as the background music for many a shindig, and they seemed to serve the same function even with him present, at least for many on the lawn.  Sting's music is pretty mellow, and the most raucous song of the night was "Demolition Man", which livelied up what had been a pretty sedate start.  He opened with two hits, "If I Ever Lose My Faith In You" and "Every Little Thing She Does Is Magic".  For me, it was good to hear Sting's playfulness within these songs (and all his songs, really), but the night really brought out to me what a tremendous songwriter Sting really is. As much as I prefer his work with the Police, his solo work really blends well in concert, especially with a tight band behind him.  As earlier stated, I've seen Sting five times, and for three of those shows, Vinnie Colauita was the drummer and really seems to bring the best out in Sting.  Dominic Miller has long been Sting's voice on the guitar, and it's a distinct voice, even on Police songs.  David Sancious provides a jazzy feel on keyboards, David Tickell had a couple of rousing violin solos, and backup singer Jo Lawry complements Sting very well (and he let her howl on "Hounds of Winter).

Sting himself is in incredible shape.  He hasn't lost anything vocally, and was very laid-back and comfortable on stage, as he seems to have found a good groove with his band.  Overall, they put on a solid show with distinctly different takes on the hits and good choices on the more obscure material.

Setlist:

If I Ever Lose My Faith In You
Every Little Thing She Does
Englishman In New York
All This Time (introduced as a song about Newcastle, his home town)
Seven Days
Demolition Man (liked a lot with the guitar work at the end)
I Hung My Head (introduced as Sting's attempt at a country song)
Fields of Gold
Driven To Tears
Heavy Cloud No Rain
Message In A Bottle
Hounds of Winter (howling vocals at the end by Lawry and Sting)
Wrapped Around Your Finger
Band solos
Roxanne

Encore:

Desert Rose
King Of Pain
Every Breath You Take
Next To You
Fragile



 

Quick Hits- Daft Punk and John Fogerty

I couldn't really get into Daft Punk's Random Access Memories as much as I was hoping to.  There are some catchy songs, but there are some awfully repetitive ones and some just plain worn-out concepts.  "Instant Crush" repeats its refrain to the point of exhaustion similar. "Touch", while having an intriguing beginning, becomes pretty soggy by the time it's (over)done.  "Giorgio By Moroder" uses an interesting technique:  Moroder introduces himself and explains how he got into music, and then the song kicks into gear.  It's one of the best tracks on the album, but perhaps DP would have been better served spreading this into two tracks, as repeated listening of the intro gets a bit annoying.  The last few songs are the strongest (concluding with "Contact", which sounds like a space shuttle's re-entry to Earth) and leave a good impression in the listener's memory, but the middle of RAM prevents it from being great.







I was surprised by how much I really got into Wrote A Song For Everyone, which features John Fogerty reworking his Creedence Clearwater Revival songs with other artists.  I think I've heard CCR on the radio about as much as I've heard John Mellencamp, which means that they're pretty burned into my brain.  I didn't have high expectations when I started listening, mostly because I've seen Fogerty perform his songs live on television a few times and he seemed pleasant enough, but kind of bland and boring.

I was thrilled that Fogerty really let his collaborators give their flavor to his songs, and having him in on it still lets in some of the original flavor.  Fogerty mostly trades verses on these songs, and it's a fired-up Fogerty.  The Foo Fighters rock the opening "Fortunate Son", Zac Brown Band lends their jammy country sounds to "Bad Moon Rising", and the title track is a soulful collaboration with Miranda Lambert and Tom Morello.  Fogerty sounds like he's having a blast, and Wrote A Song is a treat to listen to.  It's also an excellent choice for a long drive, as most of the songs are upbeat and pretty free-wheeling.
 

Poem- Wake Up

I programmed the alarm
Six thirty am
And though I'm slow to go
I was never programmed to hit the snooze

Five thirty comes and I turn on the radio news
Listening to the stories
I'm grateful to have this day
Blessed to have the roof over my head
In so many different aspects of life

Sting had it right when he sang
About how fragile we are
How close we are to nightmare sometimes
But in denial place ourselves far

Gratitude means being thankful for our reality even when
The sun is days away from shining
Humility is showing respect for others
Whose paths we do not travel
Whose shoes we do not walk in
Whose troubles we do not know
Or may not even be able to  imagine

As I get older I am especially aware
How grateful I need to be for good health
And to never think that it will last forever
I've seen it taken away
Sometimes it's regained, sometimes lost forever












 

Django Unchained

2012

R (and a very hard R)

Director:  Quentin Tarantino

Stars:  Jamie Foxx, Christoph Waltz, Leonardo DiCaprio, Kerry Washington


In Django Unchained, Django (Foxx) is freed by Dr. King Schultz (Waltz), a dentist turned bounty hunter.  Django and Schultz join forces as bounty hunters and then scheme to free Django's wife Broomhilde from Calvin Candie (Leonardo DiCaprio).

While I very much enjoyed the performances by Waltz, Foxx, and DiCaprio, I found Django Unchained to be a long and brutally violent slog.  Waltz is excellent as Schultz, a slick talker and schemer who can find his way out of just about anything.  I enjoyed the interaction between Schultz and Django, especially how Schultz stuns everyone by treating Django as an equal.  Schultz gets Django involved in a tough world, but one that Django will bear in order to have a chance to set his wife free.  Eventually, they cross paths with Candie, and the battle of wits between Schultz and Candie is extremely entertaining.

Beyond the performances, though, I wasn't thrilled with Django Unchained.  It's an extremely violent film, with blood spilled and organs exploding throughout.  Perhaps Tarantino just isn't my cup of tea, but I just didn't see the point of all the blood being spilled everywhere.  There's no question that the world of the 1850s and 1860s was full of brutal and inhumane behavior towards slaves, and some of that is portrayed here (including some very disturbing slave-fighting), but I just didn't think the amount of blood and gore needed to be shown to get that point across. 

Django had some moments that also just seemed unfocused, such as a scene in which KKK members have trouble keeping their masks on, so they debate whether to keep their masks on and raid Django and Schultz.  It seemed like a cutaway on Family Guy. 

Overall, Django for me was an example of how performances can only carry a film so far.  I can't recommend this film, especially to the squeamish.

Brandi Carlile- Live at Benaroya Hall

In 2011, Brandi Carlile released her first live CD, Live at Benaroya Hall, which featured Carlile and her band accompanied by the Seattle Symphony.  The concert featured works from Carlile's third album Giving Up The Ghost, as well as songs from her other albums and a few covers as well. 

Before listening, I was interested to hear what effect an orchestra would have on Carlile's live show.  Having seen her once in Milwaukee, I knew that Carlile had incredible stage presence, but my fear was that her music and band (as has happened to others) would be drowned out by an orchestra, the music's impact made melodramatic. 

For the most part, that didn't happen at Benaroya Hall, as the orchestra nicely completed Carlile and her band.  The quieter songs (such as "Shadow On The Wall") retained their intimacy, while the more uptempo songs ("Dreams") got a not-too-overbearing kick.  Carlile showed her sometimes McCartneyesque rapport with the audience, leading a sing-along on "Turpentine" and telling the audience they sounded amazing.

For me, Benaroya Hall was a satisfying listen. Carlile's voice is breathtaking at times (such as on her haunting version of "Hallelujah"), and she's not afraid to showcase others (her twin guitarists perform a wonderful duet on "The Sound of Silence".  It did leave me wishing for a release of her and the band without the orchestra, especially since I won't be able to attend her July 3 Milwaukee show.