There are some albums that for me not only define a point in my life but also define the artist or artists who made them. While there may be other albums I love by that artist, that specific album will always be the one I point to when I say “This is what they sound like.” Here are a few of those albums.
Queen – A Kind of Magic: It almost seems offensive to pick just one album to “define” Queen. Freddy Mercury was truly mercurial, reinventing himself (quite successfully) almost on a whim. And yet the powerful, soulful, and almost operatic performances that he and the rest of the band brought to rock and roll are undeniable, and the entire range and depth of their considerable ability is on display in this one compact album. Granted, I have a special love for it in that it encompasses not only the soundtrack for one of the greatest movies of all time (seriously, I once wrote a class paper on just one scene from this film), but also includes the themes song from one of the other greatest movies of all time. All that having been said though, this is still an amazing work of art on its own. To truly appreciate the range and scope of this album, check out “One Vision”, “A Kind of Magic”, “Who Wants to Live Forever” (one of the most beautiful and poignant songs I have ever heard), “Gimme the Prize (Kurgan’s Theme)”, and “Princes of the Universe”. You won’t be disappointed.
Genesis – Invisible Touch: The first Genesis album I remember being old enough to really appreciate, this one absolutely floored me. From the first time I heard “Land of Confusion” I was hooked. Granted the video was pretty cool, but that was just a bonus. When I listened to the entire album I became obsessed. I would literally spend hours listening to it (no, it wasn’t healthy, but this isn’t about me, this is about Phil Collins… and my obsession with him… shut up.) Three amazing musicians explored all kinds of new territory, including a practically unheard of (at the time) nearly 11 min. long song, as well as a nearly five minute long instrumental piece that is absolutely amazing. The best songs on the album for my money are “Tonight, Tonight, Tonight”, “Land of Confusion”, “In Too Deep”, “Domino” (the aforementioned 11 min. song, so brace yourself), “Throwing It All Away”, and “The Brazilian” (the instrumental piece). Give it a try; it’s a lot more than just a pop rock fixture.
Jimmy Buffett – Last Mango in Paris: I first got exposed to Jimmy Buffett the same way lots of fans did: someone I knew (in my case my Dad) owned a copy of Songs You Know by Heart, and I listened to it incessantly. Eventually after several years I decided to take a risk and venture out into, you know, actual albums (instead of just the “greatest hits”) and this was one of the first I stumbled across. Johnny Loftus of allmusic nailed it for me when he wrote that “Last Mango in Paris’ host of high points make it essential for anyone enamored of Buffett’s live shows, or even the casual fan looking to expand beyond Songs You Know by Heart.” While the songs all had the same wry wit and fun I had come to expect from Jimmy Buffett, there was also something fresh and unexpected in some of them. In particular I recommend “Please Bypass This Heart” and “If the Phone Doesn’t Ring, It’s Me” for the sound and texture of them, “Gypsies in the Palace” and “Jolly Mon Sing” for the storytelling, and “Desperation Samba (Halloween in Tijuana)” just because it’s a fun, different sound from this versatile artist.
Billy Joel – Piano Man: As I’ve mentioned previously, I’ve been a lifelong Billy Joel fan, and it started with Glass Houses. The defining album for me when I think of Mr. Joel’s work however (I’m sorry, I just can’t call him Billy, it just feels too informal; we’ve never even been introduced) is Piano Man. It’s more than the storytelling that is evident not only here but throughout his career, and it’s not just the title track that (admittedly) had such a strong influence on my perception of him for decades to come. There’s a passion and theatricality to the songs on this album, as well as a certain gritty realism, that defies simple classification as “pop music” or “soft rock”. The soaring vocals are matched by Mr. Joel’s earnest and full-bodied compositions. The stand-out tracks on this album are “Piano Man” (obviously), “You’re My Home”, “The Ballad of Billy the Kid” (which I always silently dedicate to my family in Long Island), “Somewhere Along the Line”, and “Captain Jack”.
Oh, and Mr. Joel, feel free to call me Bobby.Related Posts:
Sometimes it seems as if my life is less a continuous journey from one point to another and more a disjointed, constantly interrupted bashing about through random stops in time. This is particularly the case when I look back on my teens and early twenties, when I managed to find every way to creatively screw up that I could that didn’t involve drugs, violence, or jail (although I may have flirted with all three at some point, Your Honor). Among the few signposts I have as I journey back through those tumultuous memories are the songs I listened to, the soundtrack that accompanied my foolish decisions and what seemed to me at the time to be heroic deeds.
Dire Straits – Making Movies: I love this album for a lot of reasons, some of which are personal memories from my senior year of high school (and if My Not So Humble Wife is reading this, let me remind you honey that was about fifteen years before I met you, so you don’t get to hold it against me), and some of it is because the song “Romeo and Juliet” was indirectly referenced by Douglas Adams in So Long and Thanks For All The Fish (it would be the song with the really good guitar bit when Arthur goes flying), or so I was told when a friend first introduced me to the album. Having listened to the song many times, I have no reason to doubt his word on this. It really is an excellent guitar bit. The album covers a fair bit of terrain artistically, more I dare say than on most other albums from Dire Straits (except possibly Brothers in Arms), and while the expected jazz-rock fusion is there for the entirety of the album they manage to find a lot of room to experiment. In addition to the aforementioned “Romeo and Juliet”, I highly recommend “Tunnel of Love”, “Expresso Love”, and “Hand in Hand”.
Bruce Willis – The Return of Bruno: This album will always hold a special place in my heart for two reasons. First because it’s one of the first real records I ever owned that I bought just for me. Second because it’s one of the first records I played so much that just the mention of it is enough to make My Not So Humble Sister want to throw something heavy at my head. Ah, memories. So why do I enjoy this album so much? Is it because Bruce Willis is a great singer? No. But let’s not kid ourselves; neither is David Lee Roth, and everybody howled for his return to Van Halen. What Willis does do is attack the songs on this album with a passion and an honest love that you just don’t find in most singers today. What he may lack in technical performance is more than made up for in his virtue of an indescribable fun and joy. It’s clear that this is exactly what he wants to be doing, and he has the charisma to transmit some of that sense of fun to the listener as well. In addition to that, as I’ve previously mentioned I really do enjoy a good bit of harmonica playing. He may not be a virtuoso, but just because not every guitar player is Jimi Hendrix doesn’t mean we say they are somehow lacking, we just enjoy what they bring as long as they bring enough, and Bruce Willis brings more than enough. This album would be enjoyable enough on its own merits, and it’s doubly so considering it came out in an era of vanity albums being produced on behalf of other actors who didn’t understand they should have stayed actors. The best tracks off this album are “Young Blood”, “Under the Boardwalk”, “Secret Agent Man/James Bond Is Back”, and “Jackpot (Bruno’s Bop)”.
Sponge – Rotting Piñata: This is another album that I love as much for the memories (good and bad) that it invokes as much as for the music. It reminds me of a time in my life when I made some of the worst choices and best mistakes, and I ended up with some great stories if nothing else. I also learned some of the most important lessons, although I didn’t appreciate most of them until much later. Things like who truly cared about me and who didn’t; who I could trust, and how to figure it out fast enough not to get burned too badly; and exactly how much my family really means to me, and just how much they’ll forgive. Vinnie Dombrowski’s vocals, which sound like he regularly gargles with straight whiskey, blended with the gritty post-grunge sound of the instrumentals on the album immediately bring me right back to that place, and the shadowy (or at best semi-bitter) lyrics remind me again of all the damn fool things I’ve done, enjoyed, survived, regretted, and come out the other end of, hopefully better than I went in. Top tracks on this album are “Pennywheels”, “Miles”, “Plowed”, “Drownin’”, and “Molly (Sixteen Candles)”.
R.E.M. – Out of Time: This is another album that was pretty big my senior year of high school. Ironically this album starts off with “Radio Song”, a song about music on the radio controlling the tastes of the masses, which is kind of appropriate, since I feel like a lot of the best music on this album never got the airplay it deserved. I also seem to remember most of the R.E.M. fans I knew at the time being disappointed (if not outright horrified) by this album, which I find to be rather ironic as well, since this is the first album of theirs I loved from start to finish. Despite the two biggest songs on this album being “Losing My Religion” and “Shiny Happy People”, I personally feel like those are the least representative tracks for the album as a whole. For my money “Low”, “Near Wild Heaven”, “Belong”, “Half a World Away”, “Country Feedback”, and “Me In Honey” are a better sample of what the album is about.Related Posts:
There are some bands, some performers that utterly transcend the genre of music, who go on to become legends. Time after time, album after album, they continue to produce world-changing music that inspires generations of listeners to either become performers themselves or, if not, to at least seek to their own form of achievement in whatever field suits them.
Sadly, these are not among those few.
While they each have managed to go beyond the level of “one hit wonder” in my own personal estimation, in the pantheon of music greatness they will never rise above the level of once-was or might-have-been. That’s not to say they didn’t make more than one album, just that they never managed to make another album I could get behind. They never quite hit it, they veered off in the wrong direction, or they petered out almost before they started, but at least each one managed to leave behind one album I could love forever before vanishing into the night.
Spin Doctors – Pocket Full of Kryptonite: Despite having produced one of the most execrable earworms of the 90s (“Little Miss Can’t Be Wrong” – it’s stuck in your head just reading the name, isn’t it?), this was actually a fantastic album. The sound was something fresh and jazzy, a welcome change from both the pop ballads and the grunge invasion that were vying for control of the airwaves. The lyrics on this album tend toward to be sharp and clever, although sometimes a bit too clever for their own good. My personal favorite song is (arguably) the title track “Jimmy Olsen’s Blues”, from which the line “I’ve got a pocket full of kryptonite” originates. Other great tracks (that haven’t been overplayed on the radio) are “Forty or Fifty”, “Refrigerator Car”, “How Could You Want Him (When You Know You Could Have Me?)”, and “Shinbone Alley/Hard to Exist”.
Martika – Martika: O.K., true confession time. I was first drawn to this album because I had a huge crush on Martika back when she was on the kid’s show Kids Incorporated (I was a kid myself at the time). When I found out she was all grown up and had an album out, of course I went out and bought it immediately. I listened to it over and over, and fortunately for me I was at exactly the right age to enjoy it, considering the album was basically an average teen pop album and I was a teenager who liked pop music. Listening to it now, it’s pretty good for teen pop music; Martika has a strong voice, and the production values are pretty good. I think most of the enjoyment I get out of it is nostalgia, although actually hearing a good alto in pop music is so rare I’m almost ready to take it at any cost. If you decide to give it a try, I would suggest her big radio hit “Toy Soldiers”, her cover of Carole King’s “I Feel the Earth Move”, and “You Got Me Into This”. If you don’t like those, you won’t like the rest.
Ned’s Atomic Dustbin – God Fodder: I don’t really remember when I first heard this album; it was sometime in high school and I just fell in love with it. Everything about it just says punk to me in a way few other bands do, especially bands that explicitly proclaim themselves punk. Maybe it’s the extra bass. What I love most about Ned’s is that they do what they do without being just like everyone else: the guitar lines are power-driven without being the standard “power rock” lines, the drums are hard hitting without feeling like the drummer is coked out, and the lyrics are rebellious and strong without needing to be screamed or merciless. There’s a beauty here that belies the notion punk has to be ugly in order to be raw. For a taste of what I mean, check out “Kill Your Television”, “Less Than Useful”, “Grey Cell Green”, “Capital Letters”, and “What Gives My Son?”
Violent Femmes – Violent Femmes: This is the one I expect to get the most pushback (read: blast of shit) from my friends about, but I’m not going to qualify it in any way. The simple fact is, this is a great album, and as far as I’m concerned the Femmes never lived up to it ever again. They had a few songs I liked after this, but it was never the same or even close. That having been said, when you set the bar so high on your freshman effort, it really is near-impossible to live up to it on any subsequent try, although their drift to different sounds (notably in country and deep alternative direction) didn’t help any either. All that having been said, it takes nothing away from the stripped down, severe beauty of this album, and if you haven’t taken the time to enjoy it in its entirety I strongly recommend doing so. Most of the songs on this album that are most worth listening to have become radio standards, so I’ll pick out the ones that tend not to get airtime that I think are worth extra attention: “Please Do Not Go”, “Prove My Love”, “To the Kill”, “Ugly”, and “Gimme the Car”.Other posts you might like:
About a week ago I was going through my Dad’s old movie collection, packaging it up and selling what I could, disposing of the rest. It made me realize something: my Dad and I had very different tastes in movies. Not that he had bad taste, mind you, just very different. James Bond, for instance. I like Bond films well enough, and I’ve seen all of them since Octopussy, but Dad had seen and loved all of them, and he had them all on DVD (and more than a few on VHS). As for John Wayne, he had more than a few collections, and he had most every John Wayne film ever made on DVD… all 169 of them. I never really understood his appreciation for John Wayne, but then I’m not sure he ever understood my appreciation for Tim Curry, so fair’s fair.
I had planned to talk about all the obscure movies that I found in Dad’s collection that I loved, but the truth is most of the ones we had in common were either well known (like Rocky II) or I’ve already mentioned (like Excalibur). So I’ll take this opportunity to cover a couple I did find as well as a couple I think Dad would have liked.
The Name of the Rose (1986) – Based on the book of the same name by Umberto Eco, this film stars two of my favorite actors, Sean Connery and a young Christian Slater (somehow I only seem to like a young Christian Slater). It’s the story of a Franciscan monk and his apprentice who investigate a series of strange deaths at a monastery. Call it a period mystery, if you will. I can’t really go into much more description without giving away lots of the plot, but the best part of this movie for me is the depth of characterization and world building. Apparently a lot of that derives from the source novel (which My Not So Humble Wife loves, although I’ve never personally read it), but the acting is top notch as well. While Connery drives the majority of the action, I want to give special attention to Ron Perlman as Salvatore; it’s a difficult role to play with empathy and he does it exceptionally well.
The Legend of the Lone Ranger (1981) – This was probably the first (and for a long time the only) western I ever really liked, let alone loved. I think this film gets a lot of grief for both deserved and undeserved reasons. There’s a certain amount of unrealistic expectations, in the same way that any iconic pop culture figure will have that any departure from established traditions will only exacerbate. That having been said, there’s also a certain amount of heavy-handedness: in the attempts to make the bad guys truly evil, to make Tonto more than a stereotype (and in the process making every other Native American in the film a bigger stereotype), and in the attempts to make John Reid into a larger-than-life hero. With all that having been said, I still believe this movie largely succeeds at being greater than its flaws, and if approached with an open mind and in the spirit of a western dime novel or “gritty remake” of an old radio show, it can be very appealing.
The Searchers (1956) – I had to watch this movie for a film class I took a few years ago, and I’m glad I did. After I finished, I immediately called my Dad and said, “Hey Dad, I take back everything I ever said about John Wayne. You were right.” He asked me what movie I watched, and when I told him, he wasn’t in the least surprised. “You started with the best.” The conversation went on from there, and we must have talked for an hour just about this movie and how amazing it is, and why. I could lay it all out for you here, but you should really just watch it for yourself. Not only does John Wayne give one of the most fantastic, nuanced performances I have ever seen, but the entire film is full of great performances, amazing visuals, and a stirring and poignant plot. If you only watch one western in your life, this should be it.
Cat Ballou (1965) – Now, if you’re going to watch two westerns in your life, may I make another suggestion? I remember watching this movie as a kid with my Dad and My Not So Humble Sister and it made no sense to me whatsoever. Why were people singing? In a western? (Bear in mind this film preceded Paint Your Wagon by about five years.) Isn’t that Nat King Cole? And I’m pretty sure that’s Jane Fonda. Wait, why is that gunslinger drunk? What in the world is going on here? That was basically my reaction to this movie the first five times I watched it. It took me a long time to realize (a) this was a comedy and (b) there was a plot, I just wasn’t following it. Once I got it all straight, I learned to stop worrying and just go with it, and it actually turned out to be a pretty funny little film. Not the greatest comedy or western ever but enjoyable, and Lee Marvin puts in an Oscar-winning performance, so it has that going for it. And hey, Nat King Cole.
While I’m more of a stay at home kind of guy, I do enjoy listening to the travel adventures of my friend Keri from Heels First Travel. So much so, in fact, that I’ve even considered traveling myself at some point (for those who know me, this comes as a truly amazing revelation). When I asked Keri for her top suggestions to take the edge off my travel concerns, she offered the following excellent advice.
I’m an avid traveler. And by avid, I mean crazy. Like spending 25 hours in Alaska because a cheap fare came up and I really wanted to see it but couldn’t take time off work. So at this point I’ve made almost every mistake with my flights, hotels, and tours you can make. And far from ruining my trips I’ve actually found it freeing. Because now “the worst” has happened and I no longer have to worry about what I might have forgotten and can dare to be impulsive, spontaneous, and last minute.
But it took quite a while for me to initially get into travel because I was afraid of messing up and not knowing what I didn’t know. So I’m here to spare you my paralysis. If you want to travel, start booking! Are you going to get things wrong? Yes! And is it the end of the world or will it totally ruin your trip? Probably not.
Things I’ve learned:
- Eventually you will oversleep and miss your flight. You will be able to rebook and/or afford a different last minute ticket.
- You will not hear your flight announcement and miss your flight even when you’re in the airport. You might do it twice. Or more. This is why they have airport hotels.
- No matter how much research you do, the place you most want to see, in my case the Louvre, will be closed, in my case on strike, the whole time you’re there. Think of it as a great opportunity to see the lesser known, hopefully just as awesome but less crowded, sites in the area.
- You will show up at the hotel only to discover you had one more page to go before your reservation was confirmed, you booked for the wrong dates, or the hurricane that swept through New Orleans over Labor Day left your hotel without power. This is what Hotwire and Priceline are for.
- Or you show up to discover the pictures on the website had caught that hotel at its absolute best, never more to be seen again. That just makes for a better travel story. J
- Public transportation is unreliable (2 hours wasted on a 36 hour stay in Sydney Australia) and cabs are far more expensive than you think ($200 to the airport). Just roll with the punches and think about it as investing in colorful memories.
- Sometimes the $5 mini bar snacks are better than wandering an unknown city at night for 45 minutes looking for a 7-Eleven.
- You will repeatedly forget and re-buy phone chargers, laptop chargers, deodorant, and toothbrushes. If you’re averaging forgetting one thing or less every trip you’re doing great!
Some consider me an expert at travel, but I’m not afraid (although maybe a little embarrassed) to admit I’ve already re-experienced 4 of the things on the list above since the year started. So if a so-called travel expert can make these mistakes, you’re totally off the hook.
For more on Keri’s adventures and travel tips visit www.HeelsFirstTravel.com.
One of the funny things about going through the dustbin of your own history is that you will occasionally discover odd synchronicities that you had never been aware of before. There are three great bands with three great albums that I never realized all released in the same year, although considering everything else that failed to happen in that year, I suppose it’s not surprising I didn’t notice all the great music that was going on all around me at the time.
Wheatus – Wheatus: Anyone over a certain age knows the song “Teenage Dirtbag”, which is almost a shame, because I think that’s what doomed this fantastic band. While it’s not unusual for a band to be a one-hit wonder (particularly when their one hit is nothing like the rest of their music), Wheatus got doomed for the opposite reason. Their one hit was too clever by half; it seemed like there was no way the rest of their music could possibly be that sharp, could hit that same note of teen angst so accurately, with just the right blend of sympathy and gentle poking of fun. Truth is, the rest of the album may not be in the same character of “teen angstyness”, but it is sharp, witty, and powerful. Lyrically the tracks range wildly, and the music varies between alt-rock and just this side of experimental in some places. Some of the songs may sound like typical pop fluff on first listen, but there’s a lot of substance underneath, and the album is worth more than a few listens. I highly recommend “Sunshine”, “Hump ‘em N’ Dump’em”, “Leroy”, “Love Is A Mutt From Hell”, “Punk Ass Bitch”, and the awesome cover of “A Little Respect”.
SR-71 – Now You See Inside: Okay, so I’ll be honest, I have no reason to be proud of discovering this band earlier than most folks did. It’s not like I knew them back when they were Honor Among Thieves, nor did I ever go see them live even though they were right up in Baltimore (which isn’t all that far away). So what pulled me in? The song “Right Now”. Yeah, I was that shallow. Or rather I’d at least like to establish that, at the time, I was very much between relationships and… you know what, I can’t even defend this one. Yes, it was sad that this song is what grabbed my attention, but I didn’t pick up the album until after I heard “Politically Correct”. That was the song that made me realize these guys were more than a one trick pony. The lyrics were just as clever on both songs but went in totally different directions. The music was the sort of solid rock I had been missing for a long time, with driving rhythms, strong guitars, and a lead vocalist who has what I can only describe as an acid-washed whiskey voice. IN addition to the two I mentioned above, to get a good sample of the range on this album, I would suggest checking out “What a Mess”, “Last Man on the Moon”, “Fame (What She’s Wanting)”, “Non-Toxic”, and “Paul McCartney”.
Snake River Conspiracy – Sonic Jihad: Possibly the only time I can remember MTV doing anything for me since the mid-1980s (and this is not because of me, this is because I can’t stand “The Real World”), I accidentally turned on the falsely named Music Television one day when they left an intern in charge and he (or she, I won’t be sexist) and this fool unknowingly played music videos. I was so stunned I actually sat and watched them for the whole half hour they were on before cooler heads prevailed and put on a three hour marathon of Road Rules: Say Goodbye to Good Taste. In the midst of this accidental bonanza, I saw a video for Snake River Conspiracy’s cover of “How Soon Is Now?” by the Smiths. The secret to a good cover is to find something in the original that you can reference while making the song your own, which SRC does beautifully here. They take the lush, deep, symphonic sound of the original and bring the tempo up just slightly to make it feel a little more rushed, a bit more like a dance tune. Tobey Torres’ vocals strike a unique counterpoint to Morrissey’s somber tone from the original, and they go in a playful direction where the original goes more serious and (dare I say it) full of itself. They bring this same fun, playful energy to many of the other tracks on the album, including a great cover of “Lovesong” by the Cure, although there are more than a few harder, more industrial-influenced moments as well. Overall there’s a lot to like here, including “Breed”, “You and Your Friend”, “More Than Love”, and “Somebody Hates You”.
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I watch Netflix about as much these days as I do regular TV, and here’s why: when I can actually get the service to work (thank you Verizon), I can watch entire seasons of shows at once, without having to wait a week at a time, without having to sit through reruns, without having to “choose” between two shows in the same time slot (like I really watch either of them when they come on anyway, it’s called DVR folks), but most of all because I don’t have to sit through commercials.
Unfortunately, I usually have to wait a few years for a single season of a show to hit Netflix, assuming it ever does. I assume this is because they want to make sure to get their money from the first run, the reruns, the syndication, the DVD sales, the syndicated DVD sales, the reruns of the syndicated DVD sales, and whatever all else they do. It’s not until they have a given season running on at least three basic cable channels (or they’ve been passed up by five) that they “stoop” to leasing the rights to Netflix, and even then I’ve seen some shows yank the rights back (I got about five episodes into Babylon 5 before they did this to me).
Why? What do they really think they’re getting out of this? Is there some rabid ocelot in a back room that flails around on a Twister board and they interpret these signals as decisions? Here’s a little clue for you, Oh Great And Powerful Television Executives: the people who bother to watch syndicated television are not the same people who watch Netflix or similar streaming services. Not even close. There may have been, once upon a time, a cross-over audience between those who bought entire seasons of TV shows on DVD and the streaming audience, but that’s a dying trend, too. Only the truly rabid fan base is going to care that much and they will still be there for you (probably wearing a handmade costume piece from their favorite character that you sent a cease and desist order about).
As I see it, there are three primary audiences “second run” television should be aiming for. The first is the hardcore audience, the folks who love a show enough to want everything about it. These folks will buy the entire season on DVD/Blu-Ray, especially if it comes with extras like cast interviews and commentary. The next audience would be the “catch-up” audience. This is what I envision as the folks who only heard about the show from friends well after the season (or the show itself) started and don’t want to jump in halfway through. They want to binge, catch-up to the current storyline, and watch all the first run episodes from there. These are the folks who will watch all the back episodes on a streaming service (small revenue source) and then become more eyeballs for the new episodes, you know, the ones with the most expensive commercials (big revenue source). Finally there’s the casual viewers who like the show well enough to leave it on but don’t consider it “must see” television. This is where you get your syndicated television dollars.
In an ideal world, I envision the lifecycle of a show would be this:
- First run, including all reruns in primetime slot. Season ends.
- As soon as season ends, entire season is available on DVD/Blu-Ray and streaming services. DVD/Blu-Ray includes bonus features.
- Over off-season, previous season reruns in primetime slot.
- After new season starts, last season enters syndication immediately.
The benefit of this system for the viewers is obvious. The benefit for the studios is a little more subtle, but what it means in the long run is less pirating and more eyeballs for first-run content. When people don’t have to feel 2-5 years behind the storyline (unless they feel like coughing up a couple hundred bucks for a show they might or might not like), they’re more likely to get invested. And more invested fans means a higher percentage of rabid fans, which means more DVD sales. The syndicated episodes aren’t going to be hurt any, because the folks who weren’t willing to pay for streaming services are still going to be there, and the ones who did? You grew your audience for those episodes.
The fact that Netflix and Hulu are coming up with their own original programming is just going to hurt these guys even more. Now there are even fewer reasons to be attached to networks and their ridiculous scheduling. I understand once upon a time the system was rigged in such a way that it was winner take all and pitting the best shows against each other meant you had the best chance of crushing the other guy and getting all the money, but here’s a thought: maybe people don’t watch TV that way anymore. Maybe (and this might even date back to the advent of the VCR) people expect to be able to watch ALL the shows they like, not just one or two. Having them all in the same time slots and on the same schedule just seems… well… dumb. But if you have to continue playing that game, at least give yourselves the best chance at a second chance, and stop holding back last year’s episodes until nobody cares anymore.
As I look back on this series so far, it’s occurred to me that I may seem to be stuck in the 80s. There’s a reason for that.
I am (just ask my wife).
But seriously, it’s not like all the music I listen to came out in the 80s (or before then…), it’s just that shortly after high school I started listening to a wider variety of music, but I also found fewer albums that I really enjoyed all the way through. I think there may have also been a drift away from the idea of albums sometime in there, and more towards singles, such that it became easier to care passionately about a song but not a band. Fortunately there were still a few bands creating great records all the way through, and I still listen to them today.
Stone Temple Pilots – Core: If I had to pick one phrase to describe this album, I’m afraid it would have to be “bad timing”. Caught right in the middle of the grunge explosion, squarely between Nirvana’s Nevermind and In Utero on the one hand and Pearl Jam’s Ten and Vs. on the other, and releasing basically the same day as Alice in Chains’ Dirt, being seen as anything other than a “me too” would be damn near impossible for anyone. Which is too bad, because if any album could stand tall among these giants, this would be it. For my money this album is every bit as good as Nevermind and Ten (although it’s well known among my friends that I’ve never been a huge Nirvana or Pearl Jam fan, I still acknowledge those are amazing albums), and it comes pretty close to Dirt (“Would” and “Rooster” alone are enough to put Dirt over the top in that contest). If you’re a grunge fan who somehow missed this one, pick it up, and if you never got into the grunge scene, this is a great place to start. Best tracks are “Sex Type Thing”, “Wicked Garden”, “Creep”, “Plush”, and “Where the River Goes”.
Garbage – Garbage: On a slightly different note, there’s the self-titled debut release from Garbage. Shirley Manson captivated me immediately with her dark, smoky vocals, and the heavy, almost goth/grunge sound of the music hit the sweet spot for me. There also seemed to be a certain tongue-in-cheek humor to it, as the first single I remember hearing off the album was “Only Happy When It Rains”, which has a healthy dose of self-mockery that was sorely lacking in the goth scene I found myself escaping at the time. While the album tends toward an alt-rock/grunge sound, the instrumentals are a bit too clean and sharp to really fit neatly into the grunge category, and the vocals manage to soar past most of what I generally think of as grunge (although whether that’s because of Manson’s skill or just because I haven’t heard any hardcore female grunge bands is hard to say). All around a great album, and in addition to “Only Happy When It Rains” I would suggest checking out “As Heaven Is Wide”, “Stupid Girl”, and “Milk”.
Blues Traveler – four: And now for something completely different… It’s a little known fact, but I absolutely love good harmonica playing. I don’t know why, but I’m a total sucker for good harmonica, especially when it’s blues or rock style. Small wonder then that I should get sucked in by the likes of John Popper, harmonica virtuoso, fronting up a band called Blues Traveler. What I particularly liked about this album was that they managed to range over a wide area both thematically and musically, being everywhere from up tempo to down tempo and inspiring to… well, to be perfectly honest there’s some out and out depressing moments in this album, as well. But taken as a whole it feels like life. This is a serious and mature album from a band that has had time to get a sense of who they are and what they can achieve, and they bring a great sound together with brilliant lyrics. My favorite tracks include “Run-Around”, “The Mountains Win Again”, “Crash & Burn”, “Price to Pay”, “Hook”, “Just Wait”, and “Brother John”.
Adrian Belew – Young Lions: While it seems like the odd duck out in my collection of music in many ways, this album always puts a smile on my face. Adrian Belew first came to my attention with his hit single “Oh Daddy” off his album Mr. Music Head, and although I was never a big fan of that one, I latched onto this album immediately. Something about the title track just grabbed me, and even to this fay every time I hear it I am inspired with wild ideas of artistic works I will never complete, but at least it gets me started. There’s a few more experimental tracks on this album that also inspire me to just let loose and go with whatever crazy new artistic venture I’ve been holding back on, although I usually abandon them by the time the album is over. The rest of the tracks are more standard pop-like fare, which is not a bad thing, because they’re all executed exceptionally well, with guest appearances on a couple of tracks by David Bowie. “Young Lions” is not to be missed, “Pretty Pink Rose” is great for Bowie fans, “I Am What I Am” is just a trip, and “Men in Helicopters” is another good all-around song.
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I’ve had a little free time lately, so I decided to check out some books on my Kindle Fire (yes, that’s a shameless plug, but I do love it so very much). I’ve been a fan of fantasy ever since I was a kid, and in the last ten years or so I’ve become a huge fan of the sub-genre of modern fantasy. Most of it actually seems to be a spin-off of trashy romance novels, but I can’t honestly say that’s a bad thing (I have been known to enjoy some trash in my day as well). My most recent forays have been somewhat hit-or-miss, but there have been a couple of gems that I stumbled across, as well as a couple near-misses that if you have a higher tolerance than I do you will probably enjoy.
Chance in Hell and Texas Hold ‘Em (The Chance Lee Series, by Patrick Kampman) – I first picked up Chance in Hell through the Kindle Owners’ Lending Library. I figured for free how could I go wrong? Turns out I managed to go so very, very right on this one. It’s a witty, fun, breezy ride through a modern interpretation of vampires, werewolves, witches, and other things that go bump in the night, with an unusual twist for modern fantasy/horror: the protagonist is a vampire-hunter. Well, ex-hunter, anyway. Which is a good thing, since one of his love interests in the series is a vampire. And the other is a werewolf. Makes that just a touch awkward. The first book is actually light on the romance, which I appreciate, and heavy on the action, which I appreciate even more. The action is fast-paced without being frenetic, the plot is well-developed and interesting (it revolves around Chance trying to dispose of an urn with… less than ideal results throughout), and the characters are all very well developed. There are no stock characters; everyone feels very real and fun, even the bad guys. While I could have stood to see a little more heft to it, I’m not sure the plot could have sustained it, so I think the author ended it in the right place, leaving enough hooks lying around for the second book to roll right in and keep going, which feels like a natural extension of the first. The characters in this one are even more fun, the plot is even more intricate, and I feel like Mr. Kampman is just starting to hit his stride with this volume, which made it well worth buying for me. There’s clearly going to be a book three, and I can’t wait for it. All that having been said, I don’t know that it’s worth the purchase price for the paperback version of either book. It’s easy for me to recommend either one at the Kindle price of $2.99, but with the physical copy of either one coming in at three times that, you may want to save your money for something else unless you’re really into guys who date monsters.
Death’s Hand (The Descent Series, by S. M. Reine) – This is another book I got through the Kindle Owners’ Lending Library (yes, I’m cheap. Sue me.) This is one of those near-miss books for me. It’s the story of a young woman who is a retired exorcist, but not the kind you’re thinking of. This kind involves a lot more ass kicking. Like, a lot more. The storyline is actually quite good, and the world is fully developed. In fact, and I never thought I would say this outside of a Tolkien novel, it’s too developed. I never found myself feeling anything at all for the protagonist outside of a vague contempt, and a lot of the details seemed superfluous in many cases. The saving grace was the supporting cast, most of whom got a lot less attention than I would have liked. It also seemed to me that Ms. Reine was setting herself up to make a very bold choice at the end, but instead she went in a different direction which was far less fulfilling for me. While the rest of the series may play out in such a way as to justify that choice, I won’t be finding out, because I just don’t have the patience to invest in another book. While I don’t exactly regret having read this one, I can’t see myself pursuing another. If you have more of an appetite for exquisite detail than I do (and she really does have a deft way with words), there’s a lot to love here. It just wasn’t my cup of tea.
Kindle Only Books
I don’t know if these books/stories are available in other formats, but I was only able to find them on the Amazon Kindle store. Be warned.
Faculty of Fire (by Alex Kosh) – I really have no idea what to say about this one. Should I lead with the great story or the bad editing? The wonderful characters or the horrible grammar? The amazing world-building or the atrocious spelling errors? There’s so much that’s right about this book, and yet so much that’s wrong. It comes so close to being one of the best high fantasy books I’ve read in a long time, but it suffers from a bad case of young teenage boy wish-fulfillment. I suppose the best thing I can say is I’ll be buying the next book in the series when it comes out, warts and all. Just know what you’re getting into, and if the downsides are going to be too big of a turnoff then don’t bother.
Last Chance Jack – A Fantasy Short Story (by Cate Dean) – I’m not usually a fan of short stories; they so often seem to rush straight to the conclusion, or just leave out important little things like character development, details, plot, or any reason for existing. Ms. Dean manages in this story to avoid all of those pitfalls, crafting a deft narrative that is sweet, captivating, and intelligent. A surprising “fallen guardian angel” story, Last Chance Jack is a quick read, but has a compelling plot, strong characters, and doesn’t take the easy out I was expecting (although there is a solid payoff at the end). For less than $1 I highly recommend it.
Ice and Fire (by Christopher Bunn) – Another short story that I found surprisingly charming, particularly because it’s a fairy tale. Mr. Bunn manages to perfectly capture the innocent and sweet nature of modern fairy tales (not the old style, original Grimm’s Fairy Tales) in a delightful story of a princess and her childhood friend, the King who wanted more than he could have, and the deal that almost doomed them all. This is one for folks who want a taste of that childhood innocence back, and again, at less than a dollar it’s a steal.
I’m starting to think I have a habit. I blame it on my Dad. From the time I was a little kid, we always had the latest in television technology. Cable? You bet. VCR? Beta AND VHS, at the same time, usually more than one of each. Laserdisc? Okay, let’s not go crazy here. We weren’t rich, the man just liked his TV. But he did get on the DVD bandwagon early, and he got a Blu-Ray player pretty fast too. He even had digital cable AND a satellite dish at the same time at one point.
What I’m trying to say is I had a lot of exposure at an impressionable age to a lot of movies. I don’t know why I never picked up Dad’s fascination with John Wayne films, but I do seem to have picked up his love of cinema somewhere along the line, and I’m going to keep sharing it with you. At least the obscure bits.
Flash Gordon (1980) – I can’t even begin to describe how amazing this film is. It’s astounding, it’s mind-boggling, it’s a tour-de-force of awful. This is one of the worst sci-fi films I have ever seen, and that’s saying a lot. The plot is so far beyond insipid, it actually transcends its origins in the funny pages by making Flash Gordon the quarterback for the New York Jets (I am not making this up). He and reporter Dale Arden are kidnapped by a mad scientist in his homemade rocket during an apocalypse being caused by Ming the Merciless (still not making this up) in an attempt to save Earth. The plot actually manages to go downhill from there, and to top it all off the entire movie has a soundtrack done by Queen (and what is it with me and movies with soundtracks by Queen?). Despite all of this, or maybe because of it, I simply have to watch this movie every chance I get. It’s the kind of thing that is so unintentionally hilarious I just can’t get enough.
Sgt. Pepper’s Lonely Hearts Club Band (1978) – What do you get when you take the music of the Beatles as sung by the Bee Gees and Peter Frampton, add in an all-star cast (for the time) including George Burns, Steve Martin, and Alice Cooper, and add a special cameo appearance of Aerosmith doing possibly the most well-known cover of all time? That’s right, you get the movie that made my wife seriously consider leaving me (no I am not kidding, she has yet to forgive me for this, and it’s been several years since she watched half of it). This is the kind of movie that you will either love or hate, and unless you like your movies served with a very large slice of cheese, chances are you will hate it (particularly if you’re a Beatles fan). I’ve been watching it since I was old enough to operate the VCR, so for me it has nostalgia value going for it if nothing else, and I happen to like the music (and cheesy movies). If you’ve got a strong stomach and are willing to take a risk, you might just find a new favorite too. Or maybe you’ll leave me, but I’m willing to take that chance.
Clue (1985) – Long before the recent trend in creating movies out of board games became the hot thing, this movie set the bar, and it set the bar high. Rather than bothering with anything like a real mystery plot, it’s a screwball comedy of murder and mayhem, with bodies dropping left and right and great, quotable one-liners going off just as fast. Martin Mull puts in a solid performance as Colonel Mustard, Lesley Ann Warren is fantastic as Miss Scarlet, and Madeline Kahn is at the top of her game as Mrs. White. In addition to everything else it has going for it, this movie has the greatest performance ever by Tim Curry. Yes, I’ve seen The Rocky Horror Picture Show. I’ve seen it in the theater… over 1,000 times. I stand by my statement. The multiple endings are handled perfectly, and add just the right feel to the movie for the game tie-in.
Yellowbeard (1983) – A piratical satire starring… well, just about everybody who was in comedy in the early Eighties, Yellowbeard is basically what you might expect. The British Navy gets the vilest pirate in the world to escape from prison in order to follow him to his treasure and hilarity ensues. I won’t bother explaining the rest of the plot because really there’s not much point. The whole thing is basically a vehicle for jokes and gags, which suits me just fine. The cast includes Monty Python alumni Graham Chapman, Eric Idle, and John Cleese, as well as Cheech Marin, Tommy Chong, and Madeline Kahn. Once again Madeline Kahn is fantastic in this film, and I’m always a fan of all the Pythons. I’m not always as big a fan of Cheech and Chong, but they do a fantastic job of sending up Spanish Conquistadors. It’s very slapstick, very screwball, and a lot of fun.For more movie suggestions, why not check out these posts: