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- First reviewAugust 7, 2008
- Last reviewNovember 14, 2008
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![American Gangster [CD] [PA]](https://pisces.bbystatic.com/image2/BestBuy_US/images/products/8582/8582786_sa.jpg)
Customer Rating
4
american legend
on November 5, 2008
Posted by: frank12345
from miami, fl
Jay-Z is one of the greatest rappers of all time. Back in the 90's he dropped classic after classic but then he decided to retire after The Black Album although he was never really gone but he didn't release a new albums til last year when he decided to return from the hiatus with Kingdom Come. The album got lukewarm response and while the production wasn't bad it wasn't the right album to comeback with dealing with anything from his hollywood friends, to how 30 is the new 20 and the redundant strip club anthem with Pharell and Usher. It was obvious that Sean Carter wanted to be #1 but not for any price. The album was commercial but not too interesting. Being the richest man in Hip Hop it looked like he had completely forgot about his roots but desperatlely wanted to hang on to his crown. One year after that the news came about Jay-Z dropping another album. Being the president for Def Jam, holding clothing lines, owning the 40/40 club and co-owning the New York Nets he doesn't need to release another album cause the majority of his income comes from elsewhere and being closer to 40 then 30 he belongs to the seniors of rappers, so why another album?. But Jay-Z is doing it for the love of the game and he's proving it more then ever with this release.
"American Gangster" as this album is called is a conceptual album based on the Denzel Washington film with the same name. It's about the drug dealer Frank Lucas in the early 70's. And that itself works well cause Jay-Z was one himself and his classic debut album "Reasonable Doubt" portraited his early life before success with Hip Hop. Most of the songs here are suppost to make references to scenes from the film. So, Incase you have seen it you probably have a better understanding. The sound is very much retro soul, taken from an blaxploitation flick from exactly that time. Perhaps the sample-driven sound could pass as dated by today with all of the extra-ordinary productions we find but considering that it's suppost to be the soundtrack to something from the early 70's it's understandable. The majority of the production is from Diddy's proteges LV & Sean C (Also known As the Hitmen). But some of the songs also comes from The Neptunes, Jermaine Dupri, Just Blaze and Dj Toomp. But most of them haveone thing in common, they're sample driven retro soul sounding.
After a short intro, The album starts with dramatic "Pray" where you also can hear the spoken words of Beyonce. It feautures violins and church choirs and sets the tone for what's coming. The song is semi-autobiographical where he talks about his childhood and what made him a hustler. References to Sinatra, Berry Gordy, Kennedy an be heard here. In the last verse he'll make a reference to a Kanye West' song by saying "Everything I've Seen Made Me Everything I Am". Second song "American Dreaming" heavily samples from Marvin Gaye, even by using his voice. Lazy as that may be the lyrics are really good where he talks about how he chose fast money over education. "Hello Brooklyn" Pt 2" is unfortunately a miss-step. The minimalistic production is inadequate and Lil Wayne singing the hook is just corny. It simply doesn't fit in here. "No Hook" is another autobiographical song simular to "Pray" with no hook just verses and a deep laidback sound. He said that hustling was his ticket out of the hood and even if he promised his mom to stay out of trouble he was going to die inside if he didn't try. "Roc Boys (The Winner is)" is the closest to hit potential here, it uses a soul horn sample and would work fine for radio. It's a celebration to a successful lifestyle. More classic soul/funk on "Sweet". Pharell provides the beats and backround vocals for "I Know", but it does feel a little out of place here but the song is really good.
With "Party Life" we have another decent midtempo backed by a soul singer while on the Beanie Sigel collaboration "Ignorant S*it" we have a song that samples The Isley Brother's "Between the Sheets". The Dj Toomp produced "Say Hello" follow the path of soul-funk and is pretty good aswell. Next up is something that most Hip Hop fans don't wanna miss. "Success" is another duet between Jay-Z and his former rival Nas, just like on "Black Republican". It was produced by Jermaine Dupri but got to say the beats here suits the song perfectly. The same producer follows up with the jazzy "Fallin" where Bilal sings the hook. It reminds me of some of the songs from Common's last album, where Bilal also appeared. "Blue Magic" from Pharell was the first single and it one of the best songs with it's minimalistic production and beats, if you liked the Clipse's last album you're gonna love this one. The album closes with the title track which is 70's soul-funk aswell.
Overall, This album isn't perfect but it's the best Jay-Z released in a long time and it's obvious he's trying to drop another album simular to Reasonable Doubt dealing with the issues he knows best. It's a conceptual album, it got good lyrics and a production that both feels suitable as a score and as an autobiography. The production is quite simular from song to song and it doesn't have the obvious hit single like most Jay-Z fans are used to. But neither did "Reasonable Doubt" with few big hits or major album sales after it's release. This album is much diffrent then what most people would expect from one of the most commercially appealing Rap stars, but that also why I like it and admire him for dropping it. "American Gangster" is the best Jay-Z album in a long time and if he finally decides to call it quit now atleast he'll do it by the knowledge on retiring on top.
I would recommend this to a friend!
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+4points
4of 4voted this as helpful.
![A Little Bit Longer [CD]](https://pisces.bbystatic.com/image2/BestBuy_US/images/products/8915/8915962_sa.jpg)
Customer Rating
5
New hooks, new tricks, top notch production
on November 5, 2008
Posted by: frank12345
from miami, fl
4.5 stars
Here I am, surprised again by the Jonas Brothers. What an outstanding offering.
Before I go any further, I want to explain my ranking system. I'm not comparing this CD to Abbey Road, Dark Side of the Moon, or even Thriller. I'm placing it into its intended category: young boy bands making pop music. Then I assign it a rating, 1-5 stars, based on how well I believe they represented their genre of music.
And boy (pun intended), are they making good pop music.
I came upon the Jonas Brothers last year when I saw their last CD debut in the top 5 on Billboard. As always with a group or performer for which I'm unfamiliar, I checked them out and saw that they were "Hanson-ish". As Hanson, mostly full grown, had released a terrific and highly underrated CD (Underneath) not too long ago, I was interested to see if Jonas Brothers was another Hanson in the making. I sampled a few tracks, liked what I heard, downloaded it, and instantly loved it. I was, and still am surprised by the maturity evident in their music (if not always their lyrics).
When they announced a new album, so close upon the heels of Jonas Brothers, I was worried that they were moving too quickly, especially as I read that they had been on tour, filmed a movie, and apparently did at least one hundred million different things between then and now.
When they announced that that they would be releasing four singles off the CD prior to its release, I thought they were insane. Most bands have one commercially appealing single, if they're lucky, and if they're phenomenally talented, they'll have several. I hadn't made the jump yet to thinking that the JBs were quite that talented.
The first song, "Burnin' Up" was a great song, musically, though again the lyrics were suspect, and the video (sorry guys) was really, really cheesy. "Pushing Me Away" was a good song, but it didn't elicit the number of listens that "Burnin' Up" did. Still, I thought it was a commercially viable single. The third was "Tonight," and while that wasn't my favorite of the bunch, I still liked it. It has good guitar work, and a strong, driving beat. With that driving beat, though, I was somewhat concerned that they were leaning toward that style. We've seen it on a few of their songs already. "A Little Bit Longer" went a long way toward quelling any concerns I had, as it was very different from anything I've heard from them in the past (I am not familiar with their first CD, and wish it would be re-released). It seemed strange to listen to Nick singing a song about his diabetes, especially with the clichéd line, "you don't know what you've got until it's gone," normally reserved for human relationships, but that strangeness wore off quickly, and I found the song very touching - especially after I found the lyrics online (being a bit hard of hearing, I rely on seeing the lyrics, and often tend to judge music first on the music, second on lyrics - odd because I'm a writer...).
And now the whole CD is here.
My other concern, that they would be releasing the only songs worth listening to, thus making the CD a downer, was blown away with the first chords of BB Good. Really excellent song, amazing beat, silly but fun lyrics, and the guitar work reminiscent of some of the 70s stadium bands like Queen or Journey, with great keyboard accompaniment. And their ability to craft insanely addictive hooks is so evident here. I haven't been able to get the chorus of this song out of my mind all day.
Lovebug, too, was a standout. It had a touch of bluegrass to it, reminding me somewhat of Michelle Shocked combined with the calmer sensibilities of "Anyone Else But You", from the movie Juno. I thought the talking in the song was funny - unlike others, it didn't throw me off, but felt organic.
The rest of the CD is strong too. They've really grown, musically, and that's good to see. They're not relying on old hooks or tricks, and are, for the most part, finding new ones.
Now my concern is that they're over-saturating the market with everything JONAS, especially with the upcoming sitcom on Disney. Flames that burn too brightly when they're first lit sometimes are the quickest to die. It didn't happen to the Beatles, though, or their solo careers, so let's hope it doesn't happen with these guys. They're still very young, and they seem (well, Nick's the leader, and he seems) to have an innate ability to write music people want to listen to. I hope that they're able to stick to what they seem to best at: making great music that's easy to love.
I would recommend this to a friend!
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+2points
2of 2voted this as helpful.
![Growing Pains [CD]](https://pisces.bbystatic.com/image2/BestBuy_US/images/products/8599/8599288_sa.jpg)
Customer Rating
4
inspiring Mary
on November 5, 2008
Posted by: frank12345
from miami, fl
Studio album number eight from Mary J Blige is beautiful, a little bit sad, a little bit happy, immaculately played and exquisitely sung in that gorgeous voice: a warm and charming collection of songs in the styles with which Blige has become associated - blues, jazz, hip hop, soul.
Sporting a white shift with her strong features in proud profile, Mary J Blige is dressed as the high priestess of self-help for the cover of her latest CD.
Although the Queen of Hip Hop Soul has long since quit drugs, got married and found God, the motivational message she began spreading with 2005's triple-platinum-selling The Breakthrough will still be delivered in ghetto-fabulous style.
"Growing Pains" doesn't break much musical ground, but it is inspiring to hear 38-year-old Blige maturing with such energy and honesty.
The CD is also just a little bit dull.
Some of the ballads drag, but the fiery upbeat anthems designed to empower the "grown woman" will certainly inspire a few smiles and starjumps between laundry loads.
The album, which includes Mary's Top 10 single "Just Fine" features guest appearances from Ludacris and Usher, and production by The Neptunes, Johnta Austin, Ne-yo, Stargate, Bryan-Michael Cox, Dre and Vidal, Tricky, The Dream and Sean Garrett.
Her previous masterpieces that was the becoming of Mary will always come into question because Mary established herself in the Hip Hop/R&B/Soul genre as an artist who had to take the rough with the smooth.
She was an artist that fought a tough and hard winding battle, opened up to her darkest moments and fought with her demons, which made for good music.
Compelling music in fact. And music that can even be deemed 'classic'.
Now Mary has finally found a happy place, an inner pace, her comfort zone.
It's good that her self-empowered confidence is reflected in the music.
"Growing Pains" leaves the listener no uncertainty as to how she feels today.
"You know I love music," she says during the opening bars of "Just Fine". "It makes me move, it makes me wanna have fun!" It's a funky, determined track and the fact that it samples Michael Jackson's "Don't Stop 'Til You Get Enough" gives it a hugely triumphant feel.
Plus, its upbeat message is given an inspirational twist because of the long, arduous journey that lies behind its protagonist's getting to feeling "Just Fine".
The album definitely has an updated feel complete with good ole contemporary (but mature) R&B with the oldskool sound here and there especially in superb gems like "Hurt Again" (signature Mary), "Feel Like A Woman", "Stay Down", "Work In Progress" (Growing Pains) and "If You Love Me".
Apart from those, the album pretty much hit a couple of blunt corners. Mary has nothing to prove with this album though because everything has already been proved.
Still the Queen of Hip-Hop Soul without a remarkable doubt, Mary is doing 'just fine'.
There's plenty to admire here, not least the musicianship.
But mostly there's that voice - strikingly powerful and unique, utterly flawless.
My highlights : "Work In Progress"(Growing Pains), "Grown Woman" and "Work That".
Have a very pleasant listening experience!
Sporting a white shift with her strong features in proud profile, Mary J Blige is dressed as the high priestess of self-help for the cover of her latest CD.
Although the Queen of Hip Hop Soul has long since quit drugs, got married and found God, the motivational message she began spreading with 2005's triple-platinum-selling The Breakthrough will still be delivered in ghetto-fabulous style.
"Growing Pains" doesn't break much musical ground, but it is inspiring to hear 38-year-old Blige maturing with such energy and honesty.
The CD is also just a little bit dull.
Some of the ballads drag, but the fiery upbeat anthems designed to empower the "grown woman" will certainly inspire a few smiles and starjumps between laundry loads.
The album, which includes Mary's Top 10 single "Just Fine" features guest appearances from Ludacris and Usher, and production by The Neptunes, Johnta Austin, Ne-yo, Stargate, Bryan-Michael Cox, Dre and Vidal, Tricky, The Dream and Sean Garrett.
Her previous masterpieces that was the becoming of Mary will always come into question because Mary established herself in the Hip Hop/R&B/Soul genre as an artist who had to take the rough with the smooth.
She was an artist that fought a tough and hard winding battle, opened up to her darkest moments and fought with her demons, which made for good music.
Compelling music in fact. And music that can even be deemed 'classic'.
Now Mary has finally found a happy place, an inner pace, her comfort zone.
It's good that her self-empowered confidence is reflected in the music.
"Growing Pains" leaves the listener no uncertainty as to how she feels today.
"You know I love music," she says during the opening bars of "Just Fine". "It makes me move, it makes me wanna have fun!" It's a funky, determined track and the fact that it samples Michael Jackson's "Don't Stop 'Til You Get Enough" gives it a hugely triumphant feel.
Plus, its upbeat message is given an inspirational twist because of the long, arduous journey that lies behind its protagonist's getting to feeling "Just Fine".
The album definitely has an updated feel complete with good ole contemporary (but mature) R&B with the oldskool sound here and there especially in superb gems like "Hurt Again" (signature Mary), "Feel Like A Woman", "Stay Down", "Work In Progress" (Growing Pains) and "If You Love Me".
Apart from those, the album pretty much hit a couple of blunt corners. Mary has nothing to prove with this album though because everything has already been proved.
Still the Queen of Hip-Hop Soul without a remarkable doubt, Mary is doing 'just fine'.
There's plenty to admire here, not least the musicianship.
But mostly there's that voice - strikingly powerful and unique, utterly flawless.
My highlights : "Work In Progress"(Growing Pains), "Grown Woman" and "Work That".
Have a very pleasant listening experience!
I would recommend this to a friend!
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+3points
3of 3voted this as helpful.
![Saw III [Unrated] [WS] [DVD] [2006]](https://pisces.bbystatic.com/image2/BestBuy_US/images/products/8188/8188141_sa.jpg)
Customer Rating
5
and yes, there will be a lot of blood
on November 5, 2008
Posted by: frank12345
from miami, fl
Not being an avid fan of the first Saw and disliking a lot the second one, I nevertheless was very surprised in a good way about the third installment. Yes, it's utterly relentless and gory, I saw people covering their eyes with hands in a theater, even I winced a couple of times although I had seen many of the films alike. But what I liked the most here was not the brutal nature of Saw III (and it's quite important for the fans when a movie lives up to its R-rating, so that they can say money was spent wisely) and not even the intricate story-line that keeps you surprised and on the edge of your seat all the time. Not the final twist which was expected of course but surely you didn't know what it would be exactly.
The main merit of the third part is that it doesn't appear to be a usual stupid sequel that lacks ideas, it brings some new sense into the series, glues all the three films together making a perfect trilogy out of it which now can be watched as a one big 5-hour film. There's plenty of flashbacks here that explain a lot from the second and even the first part, and some things become clear that were not in the ends of previous series. It really takes talent to make a movie that not just stands alone, but adds a lot to the other parts and completes them. Guys that were making it are true professionals and real maniacs :)
And apart from being as it seems overly gory and graphic Saw III can boast of being rather thoughtful too. The evil genius of Jigsaw (and of the makers of the film) made the characters (and us along with them) think about rage and its manifestations, about revenge and people's insatiable urge to punish those who took their beloved ones. By quite simple examples inclusive of flesh-ripping, bone-crushing, joint-wresting etc. the killer himself shows us killing is bad. Those will survive who don't succumb to the desire of payback. Only forgiving can grant forgiveness for ourselves. And that's the rule for everyone, even for the evil manipulator's apprentice, and it can't be broken. Otherwise death awaits you as well as your victims. In this movie Jigsaw is seen not as an ordinary killer maniac, but as some kind of a teacher if you will. So this time his puzzles must be solved not only using strength, keen wit and will to live, but also by testing your own virtue and that's something new for this kind of flicks, don't you agree?
I don't know what they will do with Saw IV, because the third part wrapped it all very nice making a perfectly neat structure of a trilogy. I'd leave it like that. You can top previous parts in respect of blood and guts, but it'll be pretty hard to keep the same level of thoughtfulness the third part established.
I would recommend this to a friend!
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+2points
2of 2voted this as helpful.
![Saw II [WS] [DVD] [2005]](https://pisces.bbystatic.com/image2/BestBuy_US/images/products/7633/7633242_sa.jpg)
Customer Rating
5
as good, may be better than the original
on November 5, 2008
Posted by: frank12345
from miami, fl
After watching the incredible SAW that graced our screens last year - it was a given that I would see the MUCH ANTICIPATED sequel.
This film seems to have more of a story-line than the original... JIG-SAW is at it again and this time locks up 8 people inside an abandoned, creepy old house. They are trapped in the building and a lethal gas has been pumped into the house for a while. They have exactly 2 hours to each, find a room marked for their attention, crack the game needed to be played and won and inject the antidote into their systems. They also have the option to play each game a little "further and harder" in order to find a 2nd Antidote : perhaps for a friend they have made amongst the 8 strangers. Inevitably, going for the 2nd one - may end in death.
To add an incredible dimension to the story, DONNIE WAHLBERG, who plays a cop in the film : catches JIG-SAW at the start of the film and then finds out that JIG-SAW has his son in he house. The race against time plays out awesomely in the film, as does the films running time and the fact that each and every character in the house is running closer to death from the lethal gas.
DONNIE WALHBERG is awesome, as is the cast of basic unknows. TOBIN BELL (JIGSAW) is incredibly creepy.
And finally : if you thought the original ending came at BREAK-NECK-SPEED... this one is going to hit you LIKE A SACK OF BRICKS TRAVELLING AT MACH 1...
As is the basic rule for sequels : THE BODY COUNT IS ALWAYS MUCH HIGHER... THE DEATH SCENES ARE ALWAYS MORE ELABORATE AND OH YES... THERE WILL BE BLOOD!!!...
This film seems to have more of a story-line than the original... JIG-SAW is at it again and this time locks up 8 people inside an abandoned, creepy old house. They are trapped in the building and a lethal gas has been pumped into the house for a while. They have exactly 2 hours to each, find a room marked for their attention, crack the game needed to be played and won and inject the antidote into their systems. They also have the option to play each game a little "further and harder" in order to find a 2nd Antidote : perhaps for a friend they have made amongst the 8 strangers. Inevitably, going for the 2nd one - may end in death.
To add an incredible dimension to the story, DONNIE WAHLBERG, who plays a cop in the film : catches JIG-SAW at the start of the film and then finds out that JIG-SAW has his son in he house. The race against time plays out awesomely in the film, as does the films running time and the fact that each and every character in the house is running closer to death from the lethal gas.
DONNIE WALHBERG is awesome, as is the cast of basic unknows. TOBIN BELL (JIGSAW) is incredibly creepy.
And finally : if you thought the original ending came at BREAK-NECK-SPEED... this one is going to hit you LIKE A SACK OF BRICKS TRAVELLING AT MACH 1...
As is the basic rule for sequels : THE BODY COUNT IS ALWAYS MUCH HIGHER... THE DEATH SCENES ARE ALWAYS MORE ELABORATE AND OH YES... THERE WILL BE BLOOD!!!...
No, I would not recommend this to a friend.
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+1point
1of 1voted this as helpful.
![Saw [Uncut Edition] [New Artwork] [DVD] [2004]](https://pisces.bbystatic.com/image2/BestBuy_US/images/products/7368/7368742_sa.jpg)
Customer Rating
3
a horror classic
on November 5, 2008
Posted by: frank12345
from miami, fl
Saw' is a delightful movie to review, as it is such a mix of both good and poor qualities that it is a challenge to weigh them against one another to see what comes out ahead. For the impatient, I will say that I think the two cancel one another out in weighing the overall quality of the movie; however, the interesting aspects make the movie worth seeing and buying, in spite of the negatives.
The first and most important positive for a horror film is the visceral reaction of the viewer. Did the movie scare, frighten, or cause mad dashes to the bathroom to clean out soiled underpants? The answer to this question for me is a tentative yes, but only with regard to a single, minor character, where the movie played the `Aliens' / `The Exorcist' card which put a child at genuine risk, not the supernatural, kinda spooky, kinda neat type of menace of `Poltergeist'. So my score on this point is positive.
A second important positive for a horror film is the inventiveness of the threat. `Halloween' scores big on this point with its creative minimalism of a psychopathic stalker with a blank, white mask. This is in strong contrast to a lot of more elaborate scare scenarios done up until `Halloween' was made, whereupon everyone copied John Carpenter's idea. Another prime example among `B' movies is '28 Days Later' which changes the rules about how zombies are expected to act. It doubles its impact by adding a twist to the behavior of a group of survivors which seems to be making a psychological statement not unlike the classic `Lord of the Flies' survivors novel. My favorite example from A list movies is the nature of the threat in `Alien'. The object lesson here is to be sure to hire a great graphic artist when you design your monsters.
The seemingly most striking original element of `Saw' is the fact that the perp is not literally killing the victims himself, he is putting them in situations where they do things which leads to their killing themselves, or at least failing to find their way out of a trap before the trap is sprung and they are killed by the environment created by the perp. While this is the element of originality explicit in the movie, this story line may not be quite as original as the authors would have you believe. There is a strong similarity between the fate of the victims in `Saw' and the way in which the murders are done in `Seven'. In both cases, the scenario in which the vics die is connected to perceived past sins. And, the deaths in `Seven' are to some extent a result of the victims' own actions.
The truly more original aspect of `Saw' is that it is laid out very much like an adventure video game, where progress or even survival is based on solving puzzles. Clues are doled out by a very stingy puzzle master and they are generally couched in riddles, so we double the fun by making one answer one puzzle to get the clues needed to solve the next puzzle. The frustration in seeing the nested puzzles, yet you are stuck at the first step. Reminds me of the frustration of trying to find my way into the Underground Empire in `Zork I'. I must also say that most of the perils created by the perp win points for originality. These add to the dangers to those among us with weak bowels.
The biggest question for the audience is for how long does the filmmaker maintain the suspense for the viewer? The answers to some of the puzzles are evident to the audience long before they dawn on the characters, partly because the producers let the cat out of the bag for at least one major piece of business in their promotional material. The writer did manage to keep the identity of the ultimate perp hidden until the very end of the movie, largely by presenting us with a fairly transparent red herring that kept our attention diverted from the real puzzle master.
Weighed against these positives is a rather serious list of negatives beginning with the question of whether the two main characters would really behave as they did in the movie if they were presented with their situation. I think the initial panic is real enough, but I think the writer does not give enough credit to the problem solving abilities of a normally intelligent person, and at least one of the two principals is a highly educated surgeon. I really suspect that with the tools at hand, the two principle vics would have been a lot more clever in being able to free at least one, so he could go get help. As evidence of this, I offer the resolution to a similar problem in Stephen King's novel `Gerald's Game'.
If you resolve the improbabilities, you are left with some bad writing for the roles of the police detectives working this case, lead by Danny Glover. The glaring contrast between Glover in this movie and Academy Award winner Morgan Freeman in `Seven' makes my point better than anything else I can say. This is not Glover's fault, except in the fact that he decided to play this weak role to begin with. I am inclined to say that the movie would have been much better if the roles of Glover and his partner had been eliminated or minimized. The movie makers probably felt they needed the detectives' business to have someone to chase perps and take bullets from the potential perp and from booby traps, since the two main characters are trapped inside their own personal dungeon. The cops also introduce scenes from past perp scenes that fill out the way in that our perp works and thinks.
The movie does not live up to its hype, but it is worth a good chill.
I would recommend this to a friend!
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0points
0of 0voted this as helpful.
![4:13 Dream [CD]](https://pisces.bbystatic.com/image2/BestBuy_US/images/products/9029/9029918_sa.jpg)
Customer Rating
5
has it's moments but something is missing
on November 5, 2008
Posted by: frank12345
from miami, fl
If you hated The Cure's 2004 self-titled album, you might like 4:13 Dream more. But I liked the last album, although the grungy sound would have been more timely in 1992. Despite its flaws, I think I listen to it more often than to Wish. I'm less enthusiastic about this album, however.
What's especially noticeable, to me, is the crudeness of the vocals. It's not necessarily that Smith's voice has gotten worse, but it seems that there is much less variety in his performances. He doesn't emote much anymore. In most of these songs, he sort of half-yells, half-recites the lines, and it sounds like he's having a harder time fitting them into the music, like his voice is straining to keep up with the rhythm. For instance, the music in "The Only One" is almost exactly the same as in "High" from Wish (the intro induces serious deja vu), but Smith's vocal is much tighter and catchier on the 1992 album. And since his voice is loud in the mix here (like on the 2004 album), every flaw is made especially apparent. This "loose" feeling doesn't serve The Cure well -- somehow I suspect that this exact same song, with the same words and music, would have sounded a lot better if Smith had sung it ten years ago, with the more disciplined approach he had then.
At the same time, "less catchy" is still pretty catchy, in this case. Even if you only listen to the first thirty seconds of "The Only One," you might not be able to get it out of your head. In fact, you might have a better impression of the song if you only listen to the first thirty seconds. But if you're willing to forgive Smith everything as long as he can still summon some of that addictive pop magic, well, he does enough of that to get off scot-free again.
The band is going for more tonal variety on this album than on the last one. They've done away with the chugging alt-rock guitars. This time, the target seems to be The Head on the Door ("Sleep When I'm Dead" was actually written during those sessions, which may explain why it has the catchiest chorus on the album) or the sunny parts of Wish. But unfortunately, they don't recreate the clean sound of The Head On The Door. For some reason, every Cure album after Disintegration has been plagued by a somewhat muddy production, which blends the instruments together into a formless blur. This style actually worked pretty well in 2004, when the guitars were more aggressive, but it doesn't suit a sunny pop album -- rather, it just makes the songs sound more similar than they really should.
It may also be that the band has become content to sketch out basic "Cure-like" grooves rather than actually writing new hooks. "Underneath The Stars" almost evokes the majesty of "Plainsong" with its expansive sound (it helps that this is one of the few songs on the album where Smith tones down his delivery a little), but this is entirely due to production sleight-of-hand. Recall that "Plainsong" also had a towering guitar line and thunderous percussion to add to the production, which are missing here. None of the songs can compete with "Lullaby" or "Fascination Street" for memorable musical content. I sometimes think that the band's latter-day albums would sound a lot better if Boris Williams were still drumming for them. Jason Cooper is good at playing typical rock patterns, but Williams always had all kinds of original rhythmic fills that were memorable pop hooks in and of themselves. Simon Gallup gets one chance to shine here, on "It's Over," but his bass is quickly overwhelmed by the noisy production.
At least Smith's writing has improved a little. He still relies on rhymes like "head/bed," "cry/die," "please/squeeze," but at least these lyrics are less primitive than on the self-titled album. "The Hungry Ghost" is a critique of consumerism, a favourite topic for aging rock stars, but it's oblique enough to avoid sounding preachy. And there are even times when everything seems to come together almost like in the gloomy old days -- catchy lyrics, a good guitar hook, interplay between instruments... For example, look at the lovely guitar lines in "The Hungry Ghost," or the keyboard/guitar interaction in "The Reasons Why."
It's not such a bad album. Objectively, it's probably better than the previous one, in some ways. But, paradoxically, it's less attention-grabbing, actually harder to listen to. Unlike the self-titled album, which tried to modernize their style, albeit using outdated grunge templates, I just can't see 4:13 Dream attracting a new audience, or even reinvigorating the old one.
I would recommend this to a friend!
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![Kill Bill Vol. 1 [DVD] [2003]](https://pisces.bbystatic.com/image2/BestBuy_US/images/products/6184/6184899_sa.jpg)
The first installment of Pulp Fiction director Quentin Tarantino's hyper-violent revenge epic makes its DVD debut courtesy of Miramax Home Entertainment. Presented in 2.35:1 anamorphic widescreen, the image sports even skin tones and bright, vivid colors, offset by deep, solid blacks. Some unfortunate evidence of moderate edge-enhancement seems to be the only drawback to an otherwise near-flawless visual treatment. Sound is presented in English Dolby Digital 5.1, English DTS, and an alternate French-language track, with optional Chinese, Japanese, Korean, and Spanish subtitles. It is in regards to sound that this disc truly excels, with Tarantino's exhausting, eclectic soundtrack offering an ideal auditory backdrop to the onscreen mayhem. Limbs are detached and swords clash with resounding fury and clarity, while the roar of motorcycle engines and airplanes push the low-frequency capabilities of one's home-theater system. As The Bride makes her final decent into the House of Blue Leaves, it's hard for viewers not to be seduced by the slick sound editing and driving score that accompanies the eye-popping battle. If there's one aspect of the disc that disappoints, it has to be the lack of extra features. Though the promise of a massive special edition DVD release when Kill Bill Vol. 2 hits the home-video market looms on the horizon before the concluding chapter has even hit theaters, it's hard not to feel slighted with the sparse offerings here. Despite the offering of the occasional interesting tidbit, "The Making of Kill Bill Vol. 1," when all is said and done, is little more than a cog in the ever-present hype machine -- an extended, 20-minute commercial for the film that is similar to the brief previews shown in-between movies on pay cable. A pair of bonus songs by infectious House of Blue Leaves rockers the 5.6.7.8's at least entertains, though it's all-too-brief, and aside from the intriguing "Bootleg Trailer" for the film (also included on the soundtrack CD), the trailers offered here are nothing that Tarantino fans haven't already seen a million times before.
Customer Rating
5
a near perfect epic
on November 5, 2008
Posted by: frank12345
from miami, fl
"Kill Bill" is an anomaly in today's Hollywood culture. Here is a movie that neither makes you think too hard nor tears at you heartstrings--and it is a truly excellent flick. Under the shrewd (and possibly insane) hands of Quentin Tarantino, "Kill Bill" details an ultrally brutal and even more emotionally statisfying quest for revenge.
Beat to a bloody pulp and shot in the head and left for dead at her wedding day, The Bride (Uma Thurman, whose name is never revealed) is carted away in a four-year-long coma. She wakes up and vows revenge. And, oh, does Thurman play revenge well. It seems that the supporting cast (Lucy Lui, Vivica A. Fox, among others) truly beat Thurman to the edge of death. Her eyes convey her emotion--the limited and brief dialogue isn't even necessary. She is surpremely convincing in every aspect of her performance, even throughout the amazingly stylish fight sequences (which put "The Matrix" to shame). She fights like a pro with samurai swords, lethal daggers, butcher knives, and frying pans.
Beat to a bloody pulp and shot in the head and left for dead at her wedding day, The Bride (Uma Thurman, whose name is never revealed) is carted away in a four-year-long coma. She wakes up and vows revenge. And, oh, does Thurman play revenge well. It seems that the supporting cast (Lucy Lui, Vivica A. Fox, among others) truly beat Thurman to the edge of death. Her eyes convey her emotion--the limited and brief dialogue isn't even necessary. She is surpremely convincing in every aspect of her performance, even throughout the amazingly stylish fight sequences (which put "The Matrix" to shame). She fights like a pro with samurai swords, lethal daggers, butcher knives, and frying pans.
One of the main draws to this redefining adventure is the hilarious subject matter. Tarantino goes overboard. Blood flies about like fruit punch, gushing out of wounds like a torrential downpour (sometimes, in fact, you will even wonder if the human body has that much blood), and in any other movie, that gore would force you to leave--but here, it doesn't. Why? Because Tarantino never takes himself too seriously. Fight scenes are punctuated with effective and sometimes laughable dialogue. But beneath the hokey action scenes and the cute quips, there is a real movie at work here. Tarantino dances about the timeline, bouncing the story back and forth to a dizzying point, which forces your full attention on the gradually unfolding general story. The cliffhanger ending merely seals the deal.
"Kill Bill" deserves all of the accolades it gets. Although it may seem to be a hackfest on the surface, there is true talent at work here. Uma Thurman and Lucy Lui give inspiring performances; the story, however linear it may be, it instantly grabbing; and Tarantino's masterful direction is as inspiringly as it is slightly distubring. A true masterpiece. One of the films to beat for 2003.
I would recommend this to a friend!
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![The Life of a Song [CD]](https://pisces.bbystatic.com/image2/BestBuy_US/images/products/9070/9070042_sa.jpg)
Customer Rating
5
one od the best cds of the year
on November 3, 2008
Posted by: frank12345
from miami, fl
This is one of the best traditional country music CDs to be released this year. Joey has a voice like Emmylou Harris. Rory writes with the best of any songwriters in Nashville.
The Heart of the Wood is also one of my personal favorites, as well as Sweet Emmylou.
FYI, Joey and Rory were on the Grand Ole Opry a couple of weeks ago.
The Heart of the Wood is also one of my personal favorites, as well as Sweet Emmylou.
FYI, Joey and Rory were on the Grand Ole Opry a couple of weeks ago.
I would recommend this to a friend!
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![Lucky Old Sun [Deluxe Edition] [CD]](https://pisces.bbystatic.com/image2/BestBuy_US/images/products/9028/9028456_sa.jpg)
Customer Rating
4
an honest and emotional gift
on November 3, 2008
Posted by: frank12345
from miami, fl
This is my first Kenny Chesney cd. I had the tv on and heard someoneone singing on Jay Leno. It was Kenny Chesney singing EVERYBODY WANTS TO GO TO HEAVEN. I loved it and have always been intrigued by Kenny Chesney so I purchased this cd. What an amazing gift this cd has been. I can easily say that the song I heard him sing is great but not even near the best on this cd.
This is a very cohesive set of honest, heartfelt declarations from Kenny Chesney as he goes on different levels of a true spiritual journey of discovery. He finds that the water, boats, the ease of Carribean life bring him a true comfort and place of peace in life. I can relate to this. I have always loved the quiet side of Key West and always go there when I need to get in touch with myself.
This set flows effortlessly and draws you in as each song gently evolves like waves gently rocking you. The set opens with I'M ALIVE an introspective piece about just being grateful and thankful for being alive and that life as it is is better than all the problems that may be going on. He is being reborn. All the tracks do center around ocean life and how it helps Kenny deal with life. WAY DOWN HERE shows him at a difficult time but turning to the ocean where he feels most at one with himself. SPIRIT OF A STORM uses the storm and weather to signify the troubles and unrest he has been feeling. These songs are all sung with the raw emotional delivery only Kenny Chesney can provide. His broad baritone caresses every note.
BOATS and THE LIFE both exemplify the wonders that life can be and the simple, peaceful beautiful life we can possesss by keeping things simple. The nature of the ocean and rest by the sea that helps Kenny evolve brings an emotional honesty rare in music today. NOWHERE TO GO, NOWHERE TO BE wraps it all up. This is the only place to be for all that life has to offer - the good and the bad - to be ok. This cd is very introspective and every time I listen to it it helps me and makes me feel at peace. The single EVERYBODY WANTS TO GO TO HEAVEN is a great track and fits in here perfectly but it is the emotive depth and raw honest way every track is delivered that makes this cd great. This is country music at its best. I thank Kenny Chesney for sharing his personal journey.
I would recommend this to a friend!
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frank12345's Answers
What characteristics make a speaker a good and powerful one?
I need a small but powerful external speaker for my laptop.
When bass is strong and the sound does not get distorted with high volume. when highs and lows are noticeable makes the musical experience more pleasant.
Materials are important...if the speaker looks made out of cheap plastic, of course the sound is going to be cheap also
Materials are important...if the speaker looks made out of cheap plastic, of course the sound is going to be cheap also
15 years, 7 months ago
by
frank12345
miami, fl
Where can I get my camera fixed?
My camera fell on the floor, and its kind of broken. The zoom lense wont go in or move at all, even when i close it.
normal warranties won't cover this type of accident (or any other), but few extended warrantied do. So if you have an extended warraty, specially from BB, then you can go and ask. they honored one of my extended warraties once, by just replacing the product, that is the reason why I get all my guilty pleasures at BB. If you don't the you should reconsider purchasing a new camera and buy a good carrying case this time around.
pd: normally fixing an electronic such as this one, is more expensive that just replacing it (getting a new one), since this producs are the result of mass production, then materials are cheaper when sold to the manufacturer and builder. So getting a piece of replacement specifically for YOU is going to be RIDICULOSLY expensive.
pd: normally fixing an electronic such as this one, is more expensive that just replacing it (getting a new one), since this producs are the result of mass production, then materials are cheaper when sold to the manufacturer and builder. So getting a piece of replacement specifically for YOU is going to be RIDICULOSLY expensive.
15 years, 7 months ago
by
frank12345
miami, fl
what is SLR short for?
The single-lens reflex (SLR) camera uses an automatic moving mirror system which permits the photographer to see exactly what will be captured by the film or digital imaging system, as opposed to non-SLR cameras where the view through the viewfinder could be significantly different from what was captured on film.
HOPE IT HELPS
HOPE IT HELPS
15 years, 7 months ago
by
frank12345
miami, fl