Number 54

Today seemed like a good day to add to my all time favorite CD list and today's disc is from one of my all time favorite bands. Number 54 is:

Yes - Close To The Edge (1972)

Considered by many music critics to be the definitive highpoint of Yes. Close to the Edge features three songs. The songs are written in the style of classical compositions where there are movements within an overarching theme. Classic Yes' sound gels here, the disparte influences of art rock, classical music, jazz, folk and hippie dippy psychedelics merge with beauty and power. The title track clocks in at 18+ minutes with it's dizzying array of all things Yes. Back in the days of vinyl this song took up an entire album side. The song begins as a shimmering, psychedelic rush before moving to a lumbering beat until the middle. The middle section moves quietly with haunting harmonies and Rick Wakeman's grandiose organ blasts. The climactic finale rushes through frantic solos to the big finish. The first of Yes' epic "masterworks", the song is a highlight of their career. Amazingly, in the eight Yes concerts I've attended I've never heard this song live.

The second song I've heard at every Yes concert I've attended and that's "And You And I". The song alternates between folky Hobbit style hoedowns and slowly building musical themes. One of the songs that helped defined their early tag as "space rock", "And You And I" is a moving piece of music with no literal meaning. It does what Yes does best, express pure emotion without making sense.

Then final song, "Siberian Khatru" is an upbeat, surging piece that closes the album in fine style. If you like Yes, this is one of THE discs to have with all members at their peak. Jon Anderson at his spaced out hippie best, Chris Squires strong melodic bass lines, Rick Wakeman's bombastic classical styled synth playing, Steve Howe's fussy angular guitar parts and Bill Bruford's unpredictably jazzy drumming. Creatively, Yes would never top this disc.

Movie Roundup pt 2

I've managed to fit in a few quality films lately so I thought it would be a good time to make a sequel to the previous post. Movies that for the most part, didn't suck:

The Rules of the Game (1939) was made by French director Jean Renoir about a decadent weekend at a wealthy estate. A sharp satire of society, the movie takes a bemused look at the French idle rich and the people who work for them. All of the characters scheme and lie to pursue their hearts desire but all must obey the rules of society and propriety. Most of the movie flies by at a rapid pace to allow the viewer to vicariously enjoy their pithy vapid existence. But the movie builds up to a sobering conclusion that places an exclamation point on its meaning: no matter what anyone wants all have to play their prescribed part in society.

Hoop Dreams (1994) is a documentary that follows the lives of two inner city kids who aspire to be NBA players. Dreams follows two incredibly talented young teens as they deal with peer pressure, poverty, drugs, teen pregnancy, talent scouts and career threatening injuries. It was educational to watch these players lives, being scouted and negotiating with junior high and high schools just like in college or pro basketball. All of the hopes of the person and his family rides entirely on his ability to win basketball games. Meanwhile, the surrounding elements of their lives cave in around them. In the movie's most memorable sequence, a boy shows off his basketball skills while his father buys drugs on the same playground before his eyes. Hoop Dreams starts off slow but is a moving film about the pressure placed on both young atheletes and American families living in poverty.

V for Vendetta (2006) is a futuristic sci fi film about a masked terrorist taking on a totalitarian British government. V revels in its pulpy comic beginnings with it's zippy camera work, dark atmosphere and outsider's viewpoint. The film is effective as a thrill ride and cautionary tale, yet it all seemed storyboarded to death. Even with all it's anarchic rage and Nazi zealot symbolism, V for Vendetta comes off as...safe. It tries hard to point out how the modern wave of conservatism can be transformed into state sponsored bigotry. Despite this, V for Vendetta was unrelatable to me-a movie that entertains but exists in a vacuum of it's own construction.

Another American Idol followup, Chris Sligh finally was given the boot after a few weeks of poor performances (his "Every Little Thing She Does Is Magic" was anything but magic). He was ejected a little later than I predicted, but not that much farther. I thought Haley Scarnato would be let go while watching the show, but I guess bringing Sexy back (She butchered "True Colors" but wore an tight dress with a bare cutout in the back) trumps Chubby back these days. Faux rocker Gina Glocksen gave the strongest performance with her version of The Pretender's "I'll Stand By You". Guest coach / performer Gwen Stefani gave useful tips abouit staying on the beat and gained some much needed pr for her recent CD. And the Malakar Express continues to roll on, rooster head mohawk and all.

Movie Roundup, AI and RTZ

Lately there hasn't been too much of interest on the movie front, so I've watched a handful of movies I normally wouldn't bother with when I have been tired and wanted to see some tv. I've come across some surprises amid the junk, here's a brief roundup of them:

Something New (2006) is a pleasant, straightforward film about interracial romance. The movie is about a high powered executive woman who falls for her scruffy landscaper. New maintains a friendly pace with the right amount of humor and social commentary where it gently makes its points without losing focus. The two actors have good chemestry and come across as real people. New also benefits from being seen on TV versus a movie theater because it has a bit of a TV Movie feel.

Poseidon (2006) once again proves if you put director Wolfgang Peterson near water, you get a harrowing claustophobic picture. Peterson (Das Boot, A Perfect Storm) once again pours on the digital waterworks in this decent remake of the 70's disaster flick. Everything is effective but forgettable. Don't go out of your way to see it, but if it's on you'll be entertained.

Into The Blue (2006) shows sunnier weather must be on the way for all these water movies to be on the air. Blue is a hokey mess about deep sea divers getting entangled in drug running and buried treasure while in the Bahamas. Even Jessica Alba in a bikini can't save this garbage.

Tamara (2005) is a gloriously bad horror movie about a wiccan geek girl who is accidentally killed in a high school prank and comes back to life for vengence. Everything in the movie is bad to the point it's funny and I loved the old school effects in a modern movie. Not much digital in digital effects, the special effects include the old plastic-pipe-at-the-side-of-the-mouth-to-similate-vomit trick, blatantly laytex body parts smothered in fake blood and lots of sugar glass. If you enjoy movies that are unintentionally bad, this is for you.

An American Idol update, I was once again proven wrong as Stephanie Edwards was ejected. Edwards was strong in the early going but became boring. All of the other Idols stepped up their game, some in unexpected ways. Haley Scarnato is being out Disneyed by 17 year old Jordin Sparks, so Scarnato made a move for Antonella's fan base by showing lots of skin. Phil Stacey stayed away from his low vocal range , Blake Lewis "Blakefied" another song well and Chris Sligh played a song with its original arrangement.

But the stand out was Sanjaya Malakar. Malakar unleashed his inner Michael Jackson, dumping his whispery reticence of past performances for a shouting, unbridled feyness on the Kinks' "You Really Got Me". Think the King of Pop performing "Dirty Diana" and you'll get the picture. If Sanjaya had one glove on and moonwalked it would have been like the ultimate tribute. In one performance, Sanjaya has crossed that line from awful bad to hilariously bad so I am now rooting for another week of the Malakar Express.

My only complaint from this week was the lack of musical variety. For the most part, they played only songs from The Zombies, Shirley Bassey or David Lee Roth. How can the judges slam contestants for song choice with such limited options? Meanwhile, 60's oldie Lulu kicked everyone's ass with a stirring rendition of her classic hit "To Sir With Love". The raspy belter worked her song with a passion and blew away any previous guest performance on the show ever. Good stuff!

In tribute to Brad Delp, I've been playing the CD RTZ - Return To Zero (1991) which was a band he formed with ex-Boston guitarist Barry Gordreau. Some of the disc is generic rock, but the highpoints recall classic Boston. "Face The Music" is a strident rock anthem and "All You Got" should be on the soundtrack of every sports bar in America. Best of all, Delp delivers his best vocal ever on the power ballad "Until Your Love Comes Back Around". Delp, not held down by the relentless vocal multi tracking of an actual Boston song, shows the full range of his voice to great effect. I think this disc is out of print but if you come across it, pick it up!