Nick Cave has had many phases in his career, and with The Boatman's Call he starts a new one. Having kicked his habits with drugs and alcohol, he embarks on new territory. His tone is now somber, evoking The Velvet Underground's self-titled masterpiece. He still discusses romance and death at length, but he doesn't sound as angry. The Bad Seeds back him superbly, specifically the sharp, brushy jazz beats by Thomas Wydler. The Boatman's Call is Cave darkest, finest album.
The Black Angels certainly don't hide their influences. The Austin based band has plenty of Velvet Underground, Sonic Youth, and Shoegazer era sounds to them. The first track, Young Men Dead, sounds like the Velvet Underground playing Zeppelin's When the Levee Breaks with Jim Morrison on vocals. They even use the Maureen Tucker's tribal tom-heavy drumming style. What is truly amazing about this band is the unabashed fury they fuse these influences with. Truly a band to watch.
With Tender Prey, Nick Cave cemented his status as the gothic Elvis. The terrifying Mercy Seat kicks off the album in a cacaphonous fashion, with Cave alternating spoken word vocals and crooning. He sounds like the devil himself on Up Jumped the Devil, snarling like he sold his soul. He also unleashes his inner Joe Strummer on the punk anthem Deanna. So many musical styles are covered throughout Tender Prey, including the lovely, delicate Watching Alice, and the ethereal harmonica in City of Refuge. Cave, to this day, is one of the most majestic, unique, touching, and hilarious performers in music. Tender Prey was the first milestone in his incredible career.
The Boondock Saints tries to go the Tarantino route, but fails miserably. The vengeance motif is painfully overblown and contrived, complete with a brotherly prayer before each death. Willem Dafoe is wasted as a cop, even being featured in arguably the worst scene. He dramatically pieces together a crime scene, with classical music being played in the background. A terrible movie trying to be a Ritchie/Tarantino flick. Avoid at all costs.
It is strange to hear Neil Young before the death of Danny Whitten, the event that set the tone for the rest of the decade and that was responsible for arguably his finest album, Tonights the Night. But Neil's voice hits fever pitch on the first grunge song ever, Southern Man. His guitar is as disjointed and independant as anything Lou Reed ever played. He even delves into Elton John territory on the haunting piano-driven title track. Other highlights include Tell Me Why and I Believe in You. This album is probably better than his most popular, Harvest. Worth many repeated listens.
While premier jam-band Phish have released a large number of live shows on compact disc for their fans, Phish: Live In Vegas marks the first time they've issued one of their concerts as a DVD video. Phish: Live In Vegas has been transferred to disc in its original full-frame aspect ratio of 1.33:1, and the audio (in English) has been mastered in Dolby Digital 5.1. Beyond a gallery of production photos, the DVD includes no additional bonus features, though for many fans the simple availability of a complete concert in this high-quality video format will be more than enough reason to add this DVD to their collection.
Customer Rating
5
one of the best
on September 30, 2007
Posted by: Phil
from Mundelein, Il
It is truly a shame that this DVD is so hard to find considering the fact that it is one of the first indispensable concert films ever made. The setlist features such obscure favorites as Walfredo, The Curtain With, and Colonel Forbin's Ascent. Chris Kuroda's light work is blinding as usual, and leader Trey Anastasio shuns the spotlight in favor of drummer Jon Fishman. A belligerant crowd roars in approval throughout. A beyond satisfying performance by one of the great live bands of our generation.
Anyone who has read Capote's novel In Cold Blood knows the story. A rural Kansas family was murdered in their home for no apparent reason. This movie tells the story from Capote's point of view. Philip Seymour Hoffman's performance is beyond powerful, every ounce of his being is channeled through Truman Capote. The cinematography is fantastic, and the score is simple and piano based, simultaneously haunting and beautiful. A great buy.
Bowie's Low kicked off his massively influential Berlin Trilogy, in collaboration with Brian Eno. In a role that cannot be over emphasized, producer Tony Visconti steps in to add some of the most important and memorable ideas to Low. The razor sharp first side introduces jagged, distorted guitars mixed with high end snare beats. The second side is highlighted by atmospheric masterpieces Warszawa and Subterraneans. Low is a beyond adequate way to the second half of Bowie's incredible decade. An album that Bowie will likely never top.
If the Dead Kennedys wrote the soundtrack to Borat, this is what it would sound like. Gogol Bordello is a full band from New York, complete with accordian. Their energy on songs like Tribal Revolution and Alcohol cannot be matched. They even manage to mix elements of dub and reggae into their elaborate amalgamation of influences. Their songs do not follow the typical three chord punk blueprint. These are fully fledged ideas, not song outlines. An incredibly focused effort from a supremely unique, talented band.
This three-disc set contains all 22 episodes from the Emmy Award-winning first season of the situation comedy Arrested Development. Each is presented in an anamorphic widescreen transfer that preserves the original broadcast aspect ratio of 1.78:1. English soundtracks are rendered in Dolby Digital Surround. English, Spanish, and French subtitles are accessible. Supplemental materials include three commentary tracks recorded by series creator Mitchell Hurwitz. He is joined by many of the cast members on one of those commentary tracks. Deleted scenes, original songs by David Schwartz, and footage from a panel discussion on the show held at the Museum of Television & Radio round out this excellent collection from 20th Century Fox.
Customer Rating
5
officially TOO good
on August 31, 2007
Posted by: Phil
from Mundelein, Il
Ours is a sad world when Everybody Loves Raymond lasts for 10 seasons and Arrested Development lasts for 3. It is by far the best show of the decade. The narrative is constantly engrossing and rarely loses focus. The faux-reality angle always works as well. One factor that cost the show longevity is that there is no laugh track. Pretty sad that we can't like a comedy unless we are told when to laugh. The show flew over the heads of most Americans, and FOX didn't know how to market it. The 3 year run that Arrested Development had is one of the best in the history of TV.