Much has been made of Amazon's attempts to limit losses in recent months. All of their international stores have abandoned the "Post-Order Price Guarantee", which until September this year allowed customers to claim money back if the price on an item purchased was decreased within 30 days of shipment. Around the same time, a number of Amazon.com customers began receiving e-mails stating Amazon.com was closing their account as "unprofitable".
But based on recent experiences, my personal feelings about Amazon remain positive. This morning, my copy of ER Season 12 arrived (a steal at £19.97 just five weeks after release). I loaded up disc 1, and oh! the horror: on the episode selection screen, I'm presented with episodes 9, 10 and 11. "Not to worry", I think to myself, they probably just put discs 1 and 2 in the wrong holders. Not so -- turns out, I had two disc twos. My heart was, naturally, terror-struck. What would I do without my ER fix? (Watch Third Watch, as it turns out -- probably the subject of a later post).
I logged onto Amazon and chose to return the item. I filled in a reason, and I'm immediately presented with a freepost label and bar-code insert. All I have to do is print them out, attach the label, stick the set in the post, and job's done. Meanwhile, a new order for the set was placed on my account within an hour (for free, naturally), and it's already "dispatching soon". (Bonus: my original order was with free delivery; this one's with first class). Impressive stuff from Amazon.
(This post subject to retraction if they deem me "unprofitable" at a later date.. though considering the number of DVDs I buy from them, this is quite the minor blip. Plus, Warners should refund them anyway.. silly lazy packaging department. I guess it's less obvious a disc has been duplicated when you're using label-free double-sided discs though..).
Friday, October 24, 2008
Thursday, October 23, 2008
A journey through my music collection
One of the popular memes going around the 'Net involves putting your media player on shuffle and discussing the first ten songs that come up. I've done it a few times on various forums (fora?) and website over the past few years, but not recently. A blog seems to perfect place to post such uselessness, so here goes.
1. Mason Williams - Classical Gas (added to my library June 2006)
Wonderful instrumental piece, very cleverly composed. Builds up to an impressive climax; the last minute or so must rank as one of the world's most recognisable tunes. 8/10
2. Fleetwood Mac - Tusk (added to my library October 2006)
I like the reggae beat, but if I'm honest, I tend to skew more towards the shinier, poppier side of Fleetwood Mac when I can. There's a cool drum solo, though. 6/10
3. Barenaked Ladies - The Ninjas (added to my library April 2008)
From their kids' album, Snacktime. It's one of the best tracks on that LP, with witty rhyming couplets ("The ninjas are deadly and silent, they're also unspeakably violent.. they speak Japanese, they do whatever they please, and sometimes they vacation in Ireland") and a catchy melody. 8/10
4. R.E.M. - Maps and Legends (added to my library June 2005)
One of the best tracks from Fables of the Reconstruction, an album that's grown on me considerably, this song pretty much sums up everything that's great about I.R.S.-era R.E.M. - Buck's arpeggio, an indistinct and incomprehensible Stipe vocal, and haunting Mills backing vocal. A nice driving, mid-tempo melody rounds out a fine song. 9/10
5. Barenaked Ladies - I'll Be That Girl (added to my library July 2006)
Another BNL track already? I'm not complaining - this is a career highlight. An irresistibly catchy, chant-along chorus masks a disturbing dark lyric ("if I had a gun, there'd be no tomorrow", anyone?) 9/10
6. Bruce Springsteen - Born to Run (Alternate Cut 3) (added to my library April 2008)
One of twelve versions of "Born" I have on my computer (what can I say? it's my favourite song), this version ranks somewhere in the middle of the pack. Not as polished as the later, and final cuts, but it does have a choir doing some backing vocals, which sound pretty awesome, and I wish they'd made it to the final cut. 9/10
7. Van Morrison - Cyprus Avenue (added to my library July 2008)
A solid track from the brilliant Astral Weeks, the near-acoustic opening gradually builds to something more powerful without losing its lilting melody. Van Morrison's vocals are on top form, too. 8/10
8. They Might Be Giants - Olive the Other Reindeer (added to my library March 2005)
One of the Giants' lesser tracks, it's simplistic and pretty forgettable, though it was the theme tune to the Matt Groening-developed Christmas special of the same name. 6/10
9. The Magnetic Fields - Boa Constrictor (added to my library December 2007)
From 69 Love Songs, this 58-second piece uses a nice metaphor ("your love is wrapped around my heart like a boa constrictor") but it's ultimately a time-filler. 6/10
10. Barenaked Ladies - Home (added to my library September 2006)
Them again?! Oh well.This is one of their best ballads, really sweet and restrained, and I love the heartfelt simplicity of the "that's when I knew that I was home" refrain. 10/10
1. Mason Williams - Classical Gas (added to my library June 2006)
Wonderful instrumental piece, very cleverly composed. Builds up to an impressive climax; the last minute or so must rank as one of the world's most recognisable tunes. 8/10
2. Fleetwood Mac - Tusk (added to my library October 2006)
I like the reggae beat, but if I'm honest, I tend to skew more towards the shinier, poppier side of Fleetwood Mac when I can. There's a cool drum solo, though. 6/10
3. Barenaked Ladies - The Ninjas (added to my library April 2008)
From their kids' album, Snacktime. It's one of the best tracks on that LP, with witty rhyming couplets ("The ninjas are deadly and silent, they're also unspeakably violent.. they speak Japanese, they do whatever they please, and sometimes they vacation in Ireland") and a catchy melody. 8/10
4. R.E.M. - Maps and Legends (added to my library June 2005)
One of the best tracks from Fables of the Reconstruction, an album that's grown on me considerably, this song pretty much sums up everything that's great about I.R.S.-era R.E.M. - Buck's arpeggio, an indistinct and incomprehensible Stipe vocal, and haunting Mills backing vocal. A nice driving, mid-tempo melody rounds out a fine song. 9/10
5. Barenaked Ladies - I'll Be That Girl (added to my library July 2006)
Another BNL track already? I'm not complaining - this is a career highlight. An irresistibly catchy, chant-along chorus masks a disturbing dark lyric ("if I had a gun, there'd be no tomorrow", anyone?) 9/10
6. Bruce Springsteen - Born to Run (Alternate Cut 3) (added to my library April 2008)
One of twelve versions of "Born" I have on my computer (what can I say? it's my favourite song), this version ranks somewhere in the middle of the pack. Not as polished as the later, and final cuts, but it does have a choir doing some backing vocals, which sound pretty awesome, and I wish they'd made it to the final cut. 9/10
7. Van Morrison - Cyprus Avenue (added to my library July 2008)
A solid track from the brilliant Astral Weeks, the near-acoustic opening gradually builds to something more powerful without losing its lilting melody. Van Morrison's vocals are on top form, too. 8/10
8. They Might Be Giants - Olive the Other Reindeer (added to my library March 2005)
One of the Giants' lesser tracks, it's simplistic and pretty forgettable, though it was the theme tune to the Matt Groening-developed Christmas special of the same name. 6/10
9. The Magnetic Fields - Boa Constrictor (added to my library December 2007)
From 69 Love Songs, this 58-second piece uses a nice metaphor ("your love is wrapped around my heart like a boa constrictor") but it's ultimately a time-filler. 6/10
10. Barenaked Ladies - Home (added to my library September 2006)
Them again?! Oh well.This is one of their best ballads, really sweet and restrained, and I love the heartfelt simplicity of the "that's when I knew that I was home" refrain. 10/10
Five reasons to love "Two Cathedrals"
SPOILER ALERT: Haven't seen The West Wing episode "Two Cathedrals"? Don't read this!
1. Martin Sheen. He delivers a powerhouse performance in the cathedral: he's not bombastic or over-emotional, he simply makes you believe every word he manages to spit out is straight from the heart. He knows when to hold back too though - his restraint in the episode's early scenes is remarkable, hinting that beyond the tough, world-weary exterior, something has to give. The final scenes, as he stands in the rain, before taking the long walk to the press-room, as the strains of "Brothers In Arms" ring out, are worth the price of admission alone: Sheen gives Bartlet an expression that delivers a statement of intent better than any real President ever could.
2. Flashback. Flashbacks are fairly commonplace in 21st century television - from the mythology-building of Lost to the teary sweetness of The Simpsons' high-school years, television shows have been employing them left, right and centre. Rarely to the perfection exemplified here, though - meticulously judged and drawn, the scenes with a younger Jed and Mrs. Landingham are astoundingly heart-warming. So it's from dear old Dolores Bartlet got that inspiration to do something right in the world.
3. Believable "younger" versions of characters. Point two would be null and void without this. All too often, flashback sequences fail to capture the youth of the characters they're supposedly representing. This can be because they didn't find anyone who quite looked the part so settled for the vaguest of resemblance; or (and arguably worse) they used the regular actor, dolloping on heaps of make-up and fashioning an appropriately stereotypical hairdo. "Two Cathedrals" falls victim to neither trope: Jason Widener and Kirsten Nelson are able to portray our beloved characters remarkably believably, without descending into self-parody. Without such talent, this episode wouldn't be half as revered as it is; Widener and Nelson are this show's unsung heroes.
4. Shot composition and direction. Most people take such things for granted; hell, I do too, most of the time. But in episodes like this, you couldn't help but notice just how well the technical department composed the show that wound up on our screens. The final shot stands out, as we look at Bartlet from his right, the American flag waving and rain pounding down; but the scene transitions from flashback to present-day are also worthy of note, as are the stunning shots of the expansive cathedral - a genuine work of art.
5. Writing. The flashback scene where Jed discusses gender inequality with Mrs. Landingham. The scene where a posthumous Mrs. Landingham reminds Jed why he's in office. The scene where Jed curses out God, in both Latin and English. In each one, every word is perfectly judged. Every line fits. Wit is present where needed. So is intense, impactful emotion. Actors, directors and producers are only as good as the material on the page. Thanks heavens that here, that material was genuinely outstanding.
1. Martin Sheen. He delivers a powerhouse performance in the cathedral: he's not bombastic or over-emotional, he simply makes you believe every word he manages to spit out is straight from the heart. He knows when to hold back too though - his restraint in the episode's early scenes is remarkable, hinting that beyond the tough, world-weary exterior, something has to give. The final scenes, as he stands in the rain, before taking the long walk to the press-room, as the strains of "Brothers In Arms" ring out, are worth the price of admission alone: Sheen gives Bartlet an expression that delivers a statement of intent better than any real President ever could.
2. Flashback. Flashbacks are fairly commonplace in 21st century television - from the mythology-building of Lost to the teary sweetness of The Simpsons' high-school years, television shows have been employing them left, right and centre. Rarely to the perfection exemplified here, though - meticulously judged and drawn, the scenes with a younger Jed and Mrs. Landingham are astoundingly heart-warming. So it's from dear old Dolores Bartlet got that inspiration to do something right in the world.
3. Believable "younger" versions of characters. Point two would be null and void without this. All too often, flashback sequences fail to capture the youth of the characters they're supposedly representing. This can be because they didn't find anyone who quite looked the part so settled for the vaguest of resemblance; or (and arguably worse) they used the regular actor, dolloping on heaps of make-up and fashioning an appropriately stereotypical hairdo. "Two Cathedrals" falls victim to neither trope: Jason Widener and Kirsten Nelson are able to portray our beloved characters remarkably believably, without descending into self-parody. Without such talent, this episode wouldn't be half as revered as it is; Widener and Nelson are this show's unsung heroes.
4. Shot composition and direction. Most people take such things for granted; hell, I do too, most of the time. But in episodes like this, you couldn't help but notice just how well the technical department composed the show that wound up on our screens. The final shot stands out, as we look at Bartlet from his right, the American flag waving and rain pounding down; but the scene transitions from flashback to present-day are also worthy of note, as are the stunning shots of the expansive cathedral - a genuine work of art.
5. Writing. The flashback scene where Jed discusses gender inequality with Mrs. Landingham. The scene where a posthumous Mrs. Landingham reminds Jed why he's in office. The scene where Jed curses out God, in both Latin and English. In each one, every word is perfectly judged. Every line fits. Wit is present where needed. So is intense, impactful emotion. Actors, directors and producers are only as good as the material on the page. Thanks heavens that here, that material was genuinely outstanding.
Tuesday, October 21, 2008
How do I love Sorkin? Let me count the ways
Mere words cannot express my adoration-stroke-jealousy of Aaron Sorkin (masterful, impossibly witty scribe of The West Wing, Sports Night and Studio 60 on the Sunset Strip). Having only recently really got hooked on Wing (how it passed me over for such a long time, I don't know - I watched the first season back in 2006 but never got any further), I was suddenly inspired to revisit his other properties.
Stop one, naturally, was the triumph that is Sports Night's "The Apology", an episode that starts off sparkling with trademark Sorkin wit but culminates in a totally unexpected, out-of-left-field emotional blockbuster of a speech from anchor Dan Rydell (the criminally underused Josh Charles). For two whole minutes (and that's a long time in television), Dan delivers an on-air response to a magazine that misinterpreted a comment of his as being pro-cannabis legalisation. What begins as predictable in its apologetic and formal nature quickly digresses into moving and raw catharsis, as the heretofore unknown drug-laced past of Dan and his younger brother is laid out for all the world to see. The concluding revelation, while not particularly surprising, still manages to the make the spine shiver: Charles' delivery is perfectly timed, Sorkin's language perfectly judged. For a TV character we've known for just two episodes at this stage, it's almost unbearably heartbreaking, and significantly, it feels real.
In many other shows, such a move would seem hackneyed - hell, even in the self-aware, irony-laced likes of Boston Legal, such tone shifts are jarring; to imagine it in a traditional multi-camera sitcom is cringe-inducing. But here, it works without reservation. The Sorkin trademark walk-and-talk rat-a-tat-tat dialogue is so audibly recognisable - after a few episodes, it becomes as familiar and comfortable as your favourite pair of shoes - a change in pace allows for subtle emotional impact without our characters being forced to deliver sappy cliche. It's an effect Sorkin would perfect later on in The West Wing, but it started here, in this very episode.
Next up on my recap of Sorkin's work will probably be the season 2 finale of Sports Night, "Quo Vadimus". Up there with the finest "last episodes" ever, it's home to that immortal line: "If you can't make money out of Sports Night, you'd better get out of the money-making business". Never a truer word spoken..
Stop one, naturally, was the triumph that is Sports Night's "The Apology", an episode that starts off sparkling with trademark Sorkin wit but culminates in a totally unexpected, out-of-left-field emotional blockbuster of a speech from anchor Dan Rydell (the criminally underused Josh Charles). For two whole minutes (and that's a long time in television), Dan delivers an on-air response to a magazine that misinterpreted a comment of his as being pro-cannabis legalisation. What begins as predictable in its apologetic and formal nature quickly digresses into moving and raw catharsis, as the heretofore unknown drug-laced past of Dan and his younger brother is laid out for all the world to see. The concluding revelation, while not particularly surprising, still manages to the make the spine shiver: Charles' delivery is perfectly timed, Sorkin's language perfectly judged. For a TV character we've known for just two episodes at this stage, it's almost unbearably heartbreaking, and significantly, it feels real.
In many other shows, such a move would seem hackneyed - hell, even in the self-aware, irony-laced likes of Boston Legal, such tone shifts are jarring; to imagine it in a traditional multi-camera sitcom is cringe-inducing. But here, it works without reservation. The Sorkin trademark walk-and-talk rat-a-tat-tat dialogue is so audibly recognisable - after a few episodes, it becomes as familiar and comfortable as your favourite pair of shoes - a change in pace allows for subtle emotional impact without our characters being forced to deliver sappy cliche. It's an effect Sorkin would perfect later on in The West Wing, but it started here, in this very episode.
Next up on my recap of Sorkin's work will probably be the season 2 finale of Sports Night, "Quo Vadimus". Up there with the finest "last episodes" ever, it's home to that immortal line: "If you can't make money out of Sports Night, you'd better get out of the money-making business". Never a truer word spoken..
Wednesday, March 12, 2008
Music Review: "Indoor Picnic Music" - Various Artists
Nettwerk's iTunes-only compilation, "Indoor Picnic Music", is a grab-bag of indie's best-kept secrets. It's a mix-and-match of all those artists that don't make it to those arbitrary lists of "big in (this year)" but really, really should. This collection, which compiles fifteen of Nettwerk's finest indie acts, is available for just £3.16 ($3.99 in the US) on iTunes - frankly, beyond a bargain. It'd be worth that if just a third of the tracks were worthy listens. Thankfully, however, the hit-to-miss ratio is far more favourable than that.
The set opens, perhaps unsurprisingly, with the label's best-known act, the Barenaked Ladies. Present here is the acoustic version of "Easy", a ballad from their stellar 2006 "Barenaked Ladies Are Me". It's a solid start, but I'd gravitate towards the original if asked to choose one version over the other; it was never an all-out rocker but the acoustic version here lacks the electric punch of the "Are Me " cut.
The remainder of the compilation's tracks are presented in their original form; a wise decision, given the obvious intention of the set to serve as a taster designed to provoke listeners to delve into the back catalogues of the array of artists on display here.
It's certainly successful in that respect; every track here is immediately likeable, and there are few forgettable songs - from the Sixpence None The Richer-esque "Angel Tonight" by Leigh Nash, to "The Guy That Says Goodbye To You Is Out Of His Mind" by the Sufjan Stevens-inspired Griffin House, every melody is memorable, every .
While the set is firmly grounded in the indie subset of popular music, there's still a fair range of music here. Old Crow Medicine Show are fine representatives of the country set; Matt Wertz checks in with Geoff Byrd-style power pop and The Weepies' "Gotta Have You" fulfills the compilation's "lovelorn ballad" quota.
Conjure One's "Extraordinary Way" is perhaps the standout track from the collection, a vaguely hypnotic pop-trance tune vaguely reminiscent of Sia's "Breathe Me". But choosing the high point of such a consistent album is an impossible task; each and every track is a winner. There is no real sense of depth, challenge or profundity here. But that is not necessary. This is not a Captain Beefheart concept album; it's a collection of songs. And in that sense, the set cannot be faulted. For the indie-inclined, there is unlikely to be a finer "sample set" out there.
4/5
Standouts:
Conjure One - "Extraordinary Way"
Hem - "Not California"
Jars Of Clay - "Carry Me (Dead Man)"
The set opens, perhaps unsurprisingly, with the label's best-known act, the Barenaked Ladies. Present here is the acoustic version of "Easy", a ballad from their stellar 2006 "Barenaked Ladies Are Me". It's a solid start, but I'd gravitate towards the original if asked to choose one version over the other; it was never an all-out rocker but the acoustic version here lacks the electric punch of the "Are Me " cut.
The remainder of the compilation's tracks are presented in their original form; a wise decision, given the obvious intention of the set to serve as a taster designed to provoke listeners to delve into the back catalogues of the array of artists on display here.
It's certainly successful in that respect; every track here is immediately likeable, and there are few forgettable songs - from the Sixpence None The Richer-esque "Angel Tonight" by Leigh Nash, to "The Guy That Says Goodbye To You Is Out Of His Mind" by the Sufjan Stevens-inspired Griffin House, every melody is memorable, every .
While the set is firmly grounded in the indie subset of popular music, there's still a fair range of music here. Old Crow Medicine Show are fine representatives of the country set; Matt Wertz checks in with Geoff Byrd-style power pop and The Weepies' "Gotta Have You" fulfills the compilation's "lovelorn ballad" quota.
Conjure One's "Extraordinary Way" is perhaps the standout track from the collection, a vaguely hypnotic pop-trance tune vaguely reminiscent of Sia's "Breathe Me". But choosing the high point of such a consistent album is an impossible task; each and every track is a winner. There is no real sense of depth, challenge or profundity here. But that is not necessary. This is not a Captain Beefheart concept album; it's a collection of songs. And in that sense, the set cannot be faulted. For the indie-inclined, there is unlikely to be a finer "sample set" out there.
4/5
Standouts:
Conjure One - "Extraordinary Way"
Hem - "Not California"
Jars Of Clay - "Carry Me (Dead Man)"
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