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	The Piano
	"THE PIANO (MIRAMAX FILMS/1993)"	2008-09-11
REVIEW: Set in the stark, muddy, yet beautiful backdrop of New Zealand: Jane Campion's award winning "THE PIANO" is a most unusual love story that revolves around newcomer Ada (a willfully mute woman played by Holly Hunter), her daughter Flora (Paquin), Ada's husband by a pre-arranged marriage (Neill), and their mysterious neighbor Baines (Keitel) who has been initiated into the Maori tribe. Centering around these four characters is Ada's piano which comes to represent many different things: for Ada it is her refuge, and the extension of her own fierce individuality; for Flora it is a common bond the links her to her mother's own closed-off world; for Ada's husband, Stewart, it becomes an instrument that mocks his efforts in trying to win Ada's heart; and for Baines it becomes a tool to pierce through Ada's seemingly impenetrable fortress of self while re-awakening in her the desire to love and the passion to embrace life again. The central theme of the film is sex which is used by the director in order to contrast the more conservative/civilized manner of Stewart and his ilk with the wild/unorthodox Maori native traditions which Baines is a part of. It is this unbridled sexual passion that drives Baines to bargain with Stewart for Ada's piano, and then to strike a deal with Ada that is totally unexpected and which leads to a shocking conclusion. "THE PIANO" is not a film for everyone's taste. Campion's idea of using sex in order to "jolt" Ada out of her self-imposed exile is an interesting psychological twist; but the scenes of full-frontal nudity were really unnecessary and may keep some viewers from wanting to see the film. But regardless of the "controversial" aspects of the story: "THE PIANO" remains a completely original, gorgeously filmed work that is brought to life by a first-rate cast; and a musical score by Michael Nyman that is absolutely haunting in every sense of the word. HARSH LANGUAGE: about 17 words. VIOLENCE: about 5 scenes. NUDITY/SEXUAL REFERENCES: about 11 scenes including full-frontal male and female nudity and simulated sex. NOTES FROM A CHRISTIAN PERSPECTIVE: Although a great film from a humanistic/psychological viewpoint: the fact remains that "THE PIANO" has some very shocking scenes of nudity and raw, simulated sex. And even though the passion between Ada's character and Baines is shown to be more than just lust: the line between adult drama and mild pornography becomes very thin when Campion let's the camera roll on their romantic escapades together. Add to that the realization that Ada IS committing adultery (regardless of the fact that her marriage to Stewart has been pre-arranged), and you've got a morally ambiguous stew that should cause a few headaches for the Christian believer. If Campion had edited out the more extraneous moments of nudity and simulated sex then at least Christians could deal with the story itself on a more emotional level. But with Keitel's character walking around nude, bumping-and-grinding, and slurping away: it's safe to say that most Spirit-filled believers will be turning their heads during the more explicit scenes (unless they can catch an edited version of it on T.V.). But because of the film's sexual content, nudity, a bit of violence, and some harsh language: it should earn a mild OBJECTIONABLE rating from a Christian moral perspective. ACADEMY AWARDS: WON: for Best Actress (Hunter), Best Supporting Actress (Paquin), and Best Original Screenplay. NOMINATED: for Best Picture, Best Director, Best Editing, Best Cinematography, and Best Costume Design.
	The Piano
	"THE PIANO (MIRAMAX FILMS/1993)"	2008-09-11
REVIEW: Set in the stark, muddy, yet beautiful backdrop of New Zealand: Jane Campion's award winning "THE PIANO" is a most unusual love story that revolves around newcomer Ada (a willfully mute woman played by Holly Hunter), her daughter Flora (Paquin), Ada's husband by a pre-arranged marriage (Neill), and their mysterious neighbor Baines (Keitel) who has been initiated into the Maori tribe. Centering around these four characters is Ada's piano which comes to represent many different things: for Ada it is her refuge, and the extension of her own fierce individuality; for Flora it is a common bond the links her to her mother's own closed-off world; for Ada's husband, Stewart, it becomes an instrument that mocks his efforts in trying to win Ada's heart; and for Baines it becomes a tool to pierce through Ada's seemingly impenetrable fortress of self while re-awakening in her the desire to love and the passion to embrace life again. The central theme of the film is sex which is used by the director in order to contrast the more conservative/civilized manner of Stewart and his ilk with the wild/unorthodox Maori native traditions which Baines is a part of. It is this unbridled sexual passion that drives Baines to bargain with Stewart for Ada's piano, and then to strike a deal with Ada that is totally unexpected and which leads to a shocking conclusion. "THE PIANO" is not a film for everyone's taste. Campion's idea of using sex in order to "jolt" Ada out of her self-imposed exile is an interesting psychological twist; but the scenes of full-frontal nudity were really unnecessary and may keep some viewers from wanting to see the film. But regardless of the "controversial" aspects of the story: "THE PIANO" remains a completely original, gorgeously filmed work that is brought to life by a first-rate cast; and a musical score by Michael Nyman that is absolutely haunting in every sense of the word. HARSH LANGUAGE: about 17 words. VIOLENCE: about 5 scenes. NUDITY/SEXUAL REFERENCES: about 11 scenes including full-frontal male and female nudity and simulated sex. NOTES FROM A CHRISTIAN PERSPECTIVE: Although a great film from a humanistic/psychological viewpoint: the fact remains that "THE PIANO" has some very shocking scenes of nudity and raw, simulated sex. And even though the passion between Ada's character and Baines is shown to be more than just lust: the line between adult drama and mild pornography becomes very thin when Campion let's the camera roll on their romantic escapades together. Add to that the realization that Ada IS committing adultery (regardless of the fact that her marriage to Stewart has been pre-arranged), and you've got a morally ambiguous stew that should cause a few headaches for the Christian believer. If Campion had edited out the more extraneous moments of nudity and simulated sex then at least Christians could deal with the story itself on a more emotional level. But with Keitel's character walking around nude, bumping-and-grinding, and slurping away: it's safe to say that most Spirit-filled believers will be turning their heads during the more explicit scenes (unless they can catch an edited version of it on T.V.). But because of the film's sexual content, nudity, a bit of violence, and some harsh language: it should earn a mild OBJECTIONABLE rating from a Christian moral perspective. ACADEMY AWARDS: WON: for Best Actress (Hunter), Best Supporting Actress (Paquin), and Best Original Screenplay. NOMINATED: for Best Picture, Best Director, Best Editing, Best Cinematography, and Best Costume Design.
	Alien
	"ALIEN (20TH CENTURY FOX/1979)"	2008-09-06
REVIEW: Nerve-jangling sci-fi/horror flick that has become a modern cinema classic thanks to eye-popping sets, superb special effects, Ridley Scott's spot-on directing, and H.R. Giger's unforgettable monster designs. "ALIEN" takes the basic concept of Agatha Christie's "AND THEN THERE WERE NONE" (to cite the most famous of the isolate-a-group-of-people-and-kill-'em-off-one-by-one movie plots), and transplants it into space (complete with a bogus little "Indian" boy). The title creature that threatens the crew of the space ship Nostromo has got to be one of the most terrifying movie villians ever: but is he any match for Sigourney Weaver's tough-as-nails heroine, Ripley? Or the other members of a stellar cast who use every resource they have in order to play a deadly cat-and-mouse game with the hungry predator? Director Scott takes a lot of chances with this material, and succeeds on every level in conveying a sense of isolation (which is enhanced by the minimal use of a musical score punctuated by long silences and/or the natural beeping and buzzing of computers and engines and sirens found aboard the ship) and a real atmosphere of claustrophobic dread that creates an almost unbearable level of suspense. The ending itself is a masterpiece of scream-your-lungs-out tension. If you enjoy thrillers or science fiction movies (or if you just enjoy being scared out of your wits): Then "ALIEN" is a must-see film that should keep you awake long into the night. HARSH LANGUAGE: about 54 words (72 if you count the rough language found in the deleted scenes). VIOLENCE: about 9 scenes including some very graphic gore. NUDITY/SEXUAL REFERENCES: only 3 instances involving Weaver in some very skimpy panties, a fairly quick shot of some porno photos hanging on a wall, and the sight of Veronica Cartright's semi-bare chest in the opening scene where they are waking up from hibernation. Also the "sexual" implications of the "face-hugger" scene as well as Giger's phallic alien design. NOTES FROM A CHRISTIAN PERSPECTIVE: Although an awesome film (and a very, very scary one): the fact remains that "ALIEN" has an awful lot of (needlessly) foul language. The violence itself is understandable (after all it IS a horror movie), and because the evil doer is a completely imaginary creature there is a "distancing" effect that makes it a rollercoaster thrill ride more so than a depressing slasher flick. Credit for a good measure of the film's success belongs to the ensemble cast (who obviously had a great time bringing this story to life), and to the awesome sets and Giger's alien designs which are absolutely knock-out! Add to that the positive heroics of the Nostromo crew who put all their personal, social, and class discrepancies aside in order to fight against a common enemy: and you've got a bullseye of a motion picture. But because of the profanity, the sexual suggestiveness of Giger's designs, and the gore: the film should probably earn a mild OBJECTIONABLE rating from a Christian moral perspective. ACADEMY AWARDS: 1.) Won for Best Effects/Visual Effects 2.) Nominated for Best Art Direction/Set Decoration
	Alien - The Director's Cut (Collector's Edition)
	"ALIEN (20TH CENTURY FOX/1979)"	2008-09-06
REVIEW: Nerve-jangling sci-fi/horror flick that has become a modern cinema classic thanks to eye-popping sets, superb special effects, Ridley Scott's spot-on directing, and H.R. Giger's unforgettable monster designs. "ALIEN" takes the basic concept of Agatha Christie's "AND THEN THERE WERE NONE" (to cite the most famous of the isolate-a-group-of-people-and-kill-'em-off-one-by-one movie plots), and transplants it into space (complete with a bogus little "Indian" boy). The title creature that threatens the crew of the space ship Nostromo has got to be one of the most terrifying movie villians ever: but is he any match for Sigourney Weaver's tough-as-nails heroine, Ripley? Or the other members of a stellar cast who use every resource they have in order to play a deadly cat-and-mouse game with the hungry predator? Director Scott takes a lot of chances with this material, and succeeds on every level in conveying a sense of isolation (which is enhanced by the minimal use of a musical score punctuated by long silences and/or the natural beeping and buzzing of computers and engines and sirens found aboard the ship) and a real atmosphere of claustrophobic dread that creates an almost unbearable level of suspense. The ending itself is a masterpiece of scream-your-lungs-out tension. If you enjoy thrillers or science fiction movies (or if you just enjoy being scared out of your wits): Then "ALIEN" is a must-see film that should keep you awake long into the night. HARSH LANGUAGE: about 54 words (72 if you count the rough language found in the deleted scenes). VIOLENCE: about 9 scenes including some very graphic gore. NUDITY/SEXUAL REFERENCES: only 3 instances involving Weaver in some very skimpy panties, a fairly quick shot of some porno photos hanging on a wall, and the sight of Veronica Cartright's semi-bare chest in the opening scene where they are waking up from hibernation. Also the "sexual" implications of the "face-hugger" scene as well as Giger's phallic alien design. NOTES FROM A CHRISTIAN PERSPECTIVE: Although an awesome film (and a very, very scary one): the fact remains that "ALIEN" has an awful lot of (needlessly) foul language. The violence itself is understandable (after all it IS a horror movie), and because the evil doer is a completely imaginary creature there is a "distancing" effect that makes it a rollercoaster thrill ride more so than a depressing slasher flick. Credit for a good measure of the film's success belongs to the ensemble cast (who obviously had a great time bringing this story to life), and to the awesome sets and Giger's alien designs which are absolutely knock-out! Add to that the positive heroics of the Nostromo crew who put all their personal, social, and class discrepancies aside in order to fight against a common enemy: and you've got a bullseye of a motion picture. But because of the profanity, the sexual suggestiveness of Giger's designs, and the gore: the film should probably earn a mild OBJECTIONABLE rating from a Christian moral perspective. ACADEMY AWARDS: WON: for Best Effects/Visual Effects NOMINATED: for Best Art Direction/Set Decoration
	Alien
	"ALIEN (20TH CENTURY FOX/1979)"	2008-09-06
REVIEW: Nerve-jangling sci-fi/horror flick that has become a modern cinema classic thanks to eye-popping sets, superb special effects, Ridley Scott's spot-on directing, and H.R. Giger's unforgettable monster designs. "ALIEN" takes the basic concept of Agatha Christie's "AND THEN THERE WERE NONE" (to cite the most famous of the isolate-a-group-of-people-and-kill-'em-off-one-by-one movie plots), and transplants it into space (complete with a bogus little "Indian" boy). The title creature that threatens the crew of the space ship Nostromo has got to be one of the most terrifying movie villians ever: but is he any match for Sigourney Weaver's tough-as-nails heroine, Ripley? Or the other members of a stellar cast who use every resource they have in order to play a deadly cat-and-mouse game with the hungry predator? Director Scott takes a lot of chances with this material, and succeeds on every level in conveying a sense of isolation (which is enhanced by the minimal use of a musical score punctuated by long silences and/or the natural beeping and buzzing of computers and engines and sirens found aboard the ship) and a real atmosphere of claustrophobic dread that creates an almost unbearable level of suspense. The ending itself is a masterpiece of scream-your-lungs-out tension. If you enjoy thrillers or science fiction movies (or if you just enjoy being scared out of your wits): Then "ALIEN" is a must-see film that should keep you awake long into the night. HARSH LANGUAGE: about 54 words (72 if you count the rough language found in the deleted scenes). VIOLENCE: about 9 scenes including some very graphic gore. NUDITY/SEXUAL REFERENCES: only 3 instances involving Weaver in some very skimpy panties, a fairly quick shot of some porno photos hanging on a wall, and the sight of Veronica Cartright's semi-bare chest in the opening scene where they are waking up from hibernation. Also the "sexual" implications of the "face-hugger" scene as well as Giger's phallic alien design. NOTES FROM A CHRISTIAN PERSPECTIVE: Although an awesome film (and a very, very scary one): the fact remains that "ALIEN" has an awful lot of (needlessly) foul language. The violence itself is understandable (after all it IS a horror movie), and because the evil doer is a completely imaginary creature there is a "distancing" effect that makes it a rollercoaster thrill ride more so than a depressing slasher flick. Credit for a good measure of the film's success belongs to the ensemble cast (who obviously had a great time bringing this story to life), and to the awesome sets and Giger's alien designs which are absolutely knock-out! Add to that the positive heroics of the Nostromo crew who put all their personal, social, and class discrepancies aside in order to fight against a common enemy: and you've got a bullseye of a motion picture. But because of the profanity, the sexual suggestiveness of Giger's designs, and the gore: the film should probably earn a mild OBJECTIONABLE rating from a Christian moral perspective. ACADEMY AWARDS: WON: for Best Effects/Visual Effects NOMINATED: for Best Art Direction/Set Decoration
	Elephants Can Remember
	"ELEPHANTS CAN REMEMBER (DODD, MEAD, & COMPANY/1972)"	2008-09-02
REVIEW: Not exactly the best book to start with if you're curious about Christie; and her expertly crafted, wildly plotted crime novels. Still, "ELEPHANTS CAN REMEMBER" does have its charms and its moments of glory. The story concerns the murder/suicide of General Ravenscroft and his wife Margaret on a lonely cliffside at their house in Cornwall some twenty-odd years before the book's opening scene. Famed mystery novelist Ariadne Oliver (Christie's alter-ego) is approached at a literary luncheon by the overbearing presence of a Mrs. Burton-Cox who wants her to find out the truth behind the tragedy as it involves Mrs. Oliver's goddaughter, Celia Ravenscroft, who just so happens to be engaged to Mrs. Burton-Cox's son, Desmond. The reason why she wants the whole affair dug up is puzzling to Mrs. Oliver, and so she pays a visit to her old friend M. Hercule Poirot who (though at first reluctant) decides to help Ariadne uncover the truth about the deaths. The solution to the killings is sound (if trite), yet no where near as intriguing as Christie's other "murder in retrospect" cases. On top of that: the book rambles on too much and is too leisurely paced for a lengthy novel (as a short story it might have had more success). Still it's hard to dismiss "ELEPHANTS" as an all-out failure. It is flawed yet engaging, and the sheer joy of reading along with such wonderful characters as Ariadne and Poirot makes it all worthwhile. Alas, there is an excuse for Dame Agatha's slightly below par performance: after all the woman was eight-two-years-old and in diminishing health when the book was written. HARSH LANGUAGE: none. VIOLENCE: about 8 instances. SEXUAL REFERENCES: none. NOTES FROM A CHRISTIAN PERSPECTIVE: Agatha Christie will always be known as a treasure trove of first-class entertainment, and as such (and in comparison with her classic detective novels) "ELEPHANTS CAN REMEMBER" remains a terribly disappointing work. Luckily this was not to be the final Poirot case released before her death in 1976 (the wickedly twisted "CURTAIN" would have that honor). Hoever, if the reader doesn't expect too much from this book then the initial sense of disappointment will be lessened, while the die-hard Christie fan can appreciate the autobiographical asides that she infuses through the character of Mrs. Oliver. It is these little bits of insight into the mind of the author that proves the most amusing thing about "ELEPHANTS". Still, Christie manages to describe a most horrible crime with tact, and the handling of certain "manic" tendencies of the murderer is sympathetic yet not without a sense of Godly righteousness in how to deal with the consequences of such insanity. The use of suicide is also presented as understandable under the circumstances of the story even though it is viewed as wrong in the moral sense. But overrall: the tragedy of General and Molly Ravenscroft is quietly portrayed with taste and dignity, and with no foul language or sexual descriptions. As such the book's content should earn a strong ACCEPTABLE rating from a Christian moral perspective.
	Concert for Bangla Desh
	"THE CONCERT FOR BANGLA DESH (APPLE RECORDS/1971)"	2005-05-13
An amazing document and a truly compassionate gesture from ex-Beatle George Harrison who organized and donated all the proceedings from this hastily produced concert extravaganza to help the poor, starving refugees from Bangla Desh. Joining him on stage are a host of musicians and friends including fellow ex-Beatle Ringo Starr, session men extrodinaire Billy Preston and Leon Russell, legendary bassist Klaus Voormann, power pop group Badfinger, and (most impressive of all) two of rock's most enigmatic icons: Eric Clapton and Bob Dylan. Master sitarist Ravi Shankar opens the proceedings with the bejewelling and intoxicating "Bangla Dhun". After which Harrison (who seems a little nervous at first) kicks into a ragged version of "Wah Wah" then settles into the lovely "My Sweet Lord" and a nicely jived-up "Awaiting On You All" which provides a nice segue-way into Preston's soul/gospel showcase "That's The Way God Planned It". From there on out the album just blasts off, climaxing with an electrifying performance by Bob Dylan who hadn't been seen on stage in over a year. Side six closes with "Something" and an impassioned coda of George's "Bangla Desh" single. But the most unforgettable moment comes courtesy of Harrison and Badfinger guitarist Pete Ham as they deliver a haunting, all accoustic rendition of "Here Comes The Sun". It's a transcendent piece of pure Heaven. "BANGLA DESH" remains a grand delight, and a heck of a concert. HIGHEST POP ALBUM CHART POSITION: Number 1.
	George Harrison - Gone Troppo [Bonus Tracks]
	"GONE TROPPO (DARK HORSE RECORDS/1982)"	2005-05-06
Although not as bad as some critics have claimed, the fact remains that George's solo career was on a decline by the time he put out "GONE TROPPO". There are a few great tracks (the catchy "Dream Away", the shimmering "Mystical One", a wonderful instrumental called "Greece", and "That's The Way It Goes"), but most are slight and pleasant excursions that don't bear up to repeated listenings. With only one single making the "BILLBOARD" charts (the nicely percolating "Wake Up My Love" which hit Number 53), the whole effort proved to be Harrison's first commercial disaster. Thankfully, he would make a full-throttle comeback with his next record, "CLOUD 9". HIGHEST POP ALBUM CHART POSITION: Number 108.
	George Harrison - George Harrison [Bonus Tracks]
	"GEORGE HARRISON (DARK HORSE RECORDS/1979)"	2005-05-03
With "THIRTY-THREE & 1/3" and this release it could be surmised that George Harrison had reached a pinnacle in his recording career that would not be matched again until he joined forces with Bob Dylan, Roy Orbison, Tom Petty, and Jeff Lynne as The Traveling Wilburys and subsequently deliver the glorious "CLOUD NINE" album before retiring from the musical limelight. That said, "GEORGE HARRISON" is (next to "ALL THINGS MUST PASS") my second favorite Harrison album: a low-key charmer that features some of the ex-Beatles' most unabashedly romantic songwriting ("Dark Sweet Lady", "Your Love Is Forever") mixed in with several ("Love Comes To Everyone", "Faster", "Soft Touch", and the Number 16 smash "Blow Away") of his finest compositions ever. Throw in a great lost Beatle classic ("Not Guilty" which was originally written during the "WHITE ALBUM" sessions), a quirky little slice of humoresque ("Soft-Hearted Hana") and a beautiful, uplifting closing number ("If You Believe") co-written with ex-Spooky Tooth member Gary Wright, and you've got a masterpiece worthy of an ex-Beatle. HIGHEST POP ALBUM CHART POSITION: Number 14.
	George Harrison - Thirty Three & 1/3 [Bonus Tracks]
	"THIRTY-THREE & 1/3 (DARK HORSE RECORDS/1976)"	2005-05-02
After the collapse of Apple Records (which George and the other Beatles founded and allowed to dive-bomb out of control) and his contract with the A & M label fell apart, Harrison worked out a deal with Warner Bros. and happily delivered his best album since "ALL THINGS MUST PASS". "THIRTY-THREE & 1/3" feels like a while different work compared to the mediocre (but colorful) "DARK HORSE" and (the colorless) "EXTRA TEXTURE" LP's. The production has a nice warm glow to it, and the range of material is widely dispersed and composed of several leftover tracks from various stages in his career ("Woman Don't You Cry For Me" and "Beautiful Girl" were, in fact, originally written during the "ALL THINGS MUST PASS" sessions while "See Yourself" was a long forgotten song that George had started to work on with The Beatles). Add to that the hilarious comedy of "This Song" (a Number 25 smash about the notorious case he lost to Bright Tunes who owned the copyright to "He's So Fine" which they claimed Harrison had unknowingly plagiarized in writing "My Sweet Lord" his biggest solo hit up to that time) and "Crackerbox Palace" (which also charted at Number 19 on the pop Top Forty), a couple of sweet ballads ("Learning How To Love You" and another Smokey Robinson tribute "Pure Smokey"), a slow-burning rocker ("It's What You Value"), an absolutely knock-out version of a Cole Porter classic ("True Love"), and the gorgeous "Dear One" with its delicate, meditative beauty and delightfully ethereal synthesizer and the result is one of Harrison's most rewarding efforts. HIGHEST POP ALBUM CHART POSITION: Number 11.
	George Harrison - Extra Texture
	"EXTRA TEXTURE (READ ALL ABOUT IT) - (APPLE RECORDS/1975)"	2005-04-27
No beating around the bush here: this is George Harrison's worst solo album. A slow, plodding effort that is barely kept afloat by its own expert musicianship and a Top Twenty leftover from the "ALL THINGS MUST PASS" sessions called "You". There are a few bright spots along the way: most notably the goofy finale "His Name Is Legs (Ladies & Gentlemen)" that is a fun autobiographical number about Bonzo Dog Band member "Legs" Larry Smith (who makes a cameo appearance on background vocals!), a slew of lovely ballads ("The Answer's At The End", "Can't Stop Thinking About You", "Tired Of Midnight Blue"), a Smokey Robinson tribute ("Ooh Baby (You Know That I Love You")), and the airily melodic "You". Unfortunately the album is burdened by duds like "World Of Stone" and a dreadful rewrite of "While My Guitar Gently Weeps" as "This Guitar (Can't Keep From Crying)". HIGHEST POP ALBUM CHART POSITION: Number 8.
	George Harrison - Living in the Material World
	"LIVING IN THE MATERIAL WORLD (APPLE RECORDS/1973)"	2005-04-24
After the epic "CONCERT FOR BANGLA DESH" (which Harrison organized in order to help that country's sorrowful plight), George spent two years out of the limelight. So it was with much anticipation that "LIVING IN THE MATERIAL WORLD" was released to overwhelming commercial success and (slight) critical pans. True, the album does have its flaws, but the sheer beauty of the compositions and the heartfelt sincerity which George sings them wins me over every time (although as a Christian I disagree with the polytheism of the Hindu religion and know that the only way to get forgiveness for all the bad stuff you've done is through Christ Jesus. He's the only God I know who speaks to me). "Give Me Love (Give Me Peace On Earth)" became a monster Number 1 hit single, "Sue Me, Sue You Blues" features a stinging slide guitar riff and a pessimistic account of the court battles he and the other ex-Beatles were going through, "Don't Let Me Wait Too Long" is a lost classic that should have been a follow-up single, the title track neatly incorporates the east-meets-west theme that is prevelant in all of Harrison's work, and the ballads are majestic and beautiful. The only bad spot is the Phil Spector produced travesty "Try Some Buy Some". But despite that, "MATERIAL WORLD" is a fine successor to the lofty, elegant "ALL THINGS MUST PASS". HIGHEST POP ALBUM CHART POSITION: Number 1.
	George Harrison - Dark Horse
	"DARK HORSE (APPLE RECORDS/1974)"	2005-04-24
Harrison had been on a major winning streak as a solo artist with two blockbuster albums (the epic "ALL THINGS MUST PASS" and "LIVING IN THE MATERIAL WORLD" LP's), and the magnanimous "CONCERT FOR BANGLA DESH" extravaganza. So in 1974 when he planned an extensive tour and signed a deal with A & M records to form his own Dark Horse label, it seemed as if it was going to be another groundbreaking year for the so-called "Quiet Beatle". Unfortunately, both ventures would prove disappointing: as the "DARK HORSE" tour and subsequent release met with scathing revues mainly because Harrison had lost his voice prior to commecing both projects (hence the joking referneces to the LP as "DARK HOARSE"), and his label contract with A & M would be dissolved a couple of years later after they sued George (who was recovering from a bout of hepatitis) claiming that he had failed to turn his new album ("33 & 1/3") in on time. The inherent problems with "DARK HORSE" could have been remedied if Harrison had just been patient and waited for his voice to heal while working over the bare bones of the album. But as it stands the record was too rushed and the songs lacked the exquisite production worthy of a Harrison release. The bottom of the barrel is reached with George's scathing desecration of The Everly Brothers' "Bye Bye Love" featuring wife Patti and Eric Clapton on background vocals: both of whom were carrying on an illicit affair (known to George) which ended in the Harrison's divorce and Clapton and Patti's marriage (Clapton wrote the song "Layla" for her). "DARK HORSE" was and is a major disappoinment that, despite several good tracks (the firery instrumental "Hari's On Tour (Express)", "So Sad", the Number 15 smash hit title track, and the trite but melodic "Ding Dong; Ding Dong" which also made it to Number 36 on the charts), runs a dead heart contest with Paul McCartney and Wings' own cut-and-run effort, "WILD LIFE", as one of the worst solo Beatle discs. HIGHEST POP ALBUM CHART POSITION: Number 4.
	The Exorcist (The Version You've Never Seen)
	"THE EXORCIST (WARNER BROS. PICTURES/1973)"	2005-04-21
So much has been written and parodied about "THE EXORCIST" that (for a while, at least) it had lost some of its initial bite. But when the unreleased director's cut hit the market, the years of jocular pokes and bad exploitation movies fell by the wayside in the face of this remarkable and absolutely terrifying (yet ultimately hopeful) film. So what is the big deal? True, it is based upon a real account of a young boy who was legitimately possessed by a demon according to the Catholic Church which gave permission to perform an exorcism resulting in such similar occurrences of supernatural and blasphemous phenomenon that is so meticulously portrayed in the movie. But in the film (which is taken from screenwriter/producer William Peter Blatty's best-selling novel) the role of the young boy has been switched to a young girl (the sweet and oh so young Linda Blair) who, after playing with a ouija board, develops a friendship with a spirit named "Captain Howdy" who turns out to be none other than the Devil himself. As the girl's behavior starts to change and become more violent and foul-mouthed, her mother (played by the always dependable Ellen Burstyn) becomes more and more desperate to understand what is wrong with her. The horror of little Regan's predicament comes to a head in two key scenes: one of which ends in death and the infamous "crab-walking" clip, and the other where the Devil has full control over Regan's body and uses a crucifix in a way that is still one of the most evil acts ever shown in a public theater. As a last resort to save her daughter, Regan's mother agrees to an exorcism, and (with the blessings of the Holy Church) Father Merrin (Von Sydow) and Father Karras (Jason Miller) are dispatched to do battle with the entity and expel it from the young girl's body. The epic final scenes are unbelievably nerve-jangling: nothing will prepare you for what occurs. But the problem I have (as a Christian) with the movie isn't the unremitting blasphemies of the Devil (he is, after all, the Devil and it is an accurate portrayal despite the in-your-face evil of such a depiction) or the fact that, in the end, the two priests are willing to do their job even at the cost of their own lives. The problem is in the so-called "transference" of the evil entity into the supposedly consecrated body of the priest. Any student of theology should know that this is an impossibility: a priest (even one who has just regained his faith) invoking the power of Christ, blessed by Holy Water, and empowered by the Holy Spirit would never be able to entice a demon to "come into him" or "take him on instead'. Such a proposition (even if it were so) could not be taken up by a demon simply because the priest's consecrated body would burn like electricity to the touch if a demon were to try and gain access. It is the one significant flaw whereby the Holy Water they splash on Regan's body burns yet the demon entering into a priest's consecrated/Holy Spirit-filled body does not. And this only to tack on a more "Hollywood" ending rather than sticking to the true story on which Blatty's novel is based that culminates in the salvation of the little boy and the glory of the priests who walk away triumphant and not dragged through a river of blood, death, and gore. HARSH LANGUAGE: about 58 words and hard-core obscenities, VIOLENCE: about 15 instances, NUDITY/SEXUAL SUGGESTIVENESS: about 2 horrific, blasphemous scenes that are truly monstrous (available in the R Rated and Unrated version/121 Minutes or 132 Minutes).
	The Beatles - Rubber Soul [UK]
	"RUBBER SOUL (CAPITOL RECORDS/1965)"	2005-04-03
With their last three American releases ("BEATLES '65", "BEATLES VI", and "HELP!" which were, in fact, compiled from their British counterparts "HELP!" and "BEATLES FOR SALE") The Beatles made an impressive leap forward in terms of composition, production, and vocal ingenuity. But after a legendary meeting Bob Dylan the Fab Four were inspired to be more creative with their lyrics while Dylan decided to branch out musically by using a wider range of instrumentation besides just voice/guitar/harmonica in presenting his latest batch of poetic ruminations (the Fab Four were also inspired after Dylan initiated them into the joys of pot smoking, but that's a different story altogether). With "RUBBER SOUL" they took the LP format out of the musical dark ages and into a new era of unmitigated expression. Dylan's advise well-heeded, Lennon spins out autobiographical asides ("Norwegian Wood", "In My Life") and pre-hippie anthems ("The Word") while indulging in his own brand of caustic with (the Number 3 smash "Nowhere Man", "Run For Your Life", and the naughty "tit/tit/tit" background chorus on "Girl"). McCartney sings one of his characteristically sweet concoctions ("Michelle"), anticipates the folk/rock movement with "I'm Looking Through You", and contributes the intricately complex "Drive My Car". Harrison chips in with beautiful guitar/sitar work and a couple of great little rockers ("Think For Yourself", "If I Needed Someone") while Ringo's love affair with country music (the Number 81 charting "What Goes On") influences his mates in a big way. All of which leaves the listener with mouth suitably agape in sheer delight. HIGHEST POP ALBUM CHART POSITION: Number 1.
	The Beatles - Revolver [UK]
	"REVOLVER (CAPITOL RECORDS/1966)"	2005-03-30
With "RUBBER SOUL" The Beatles were nonchalantly altering the face of pop music, but when "REVOLVER" hit the shelves they didn't just alter it: they blew its face off. Never has a single LP so devastated the entire recording industry. "REVOLVER" is a faultless work of perfection, and (arguably) the greatest album The Beatles ever released. To say any more is pointless blathering. Although the Number 2 hit "Yellow Submarine" and its Number 11 charting B-side "Eleanor Rigby" were the most popular tracks, all of it is extraordinary and a must for those who appreciate the exaltation of genius. Paul McCartney perfects his disarmingly simple songcraft with "Here, There And Everywhere", "Good Day Sunshine", "For No One", and "Got To Get You Into My Life". Lennon goes for sheer sonic overkill with the acid-drenched "She Said She Said", "And Your Bird Can Sing", and the eerie, slightly unsettling "Tomorrow Never Knows". But the best moments on "REVOLVER" belong solely to George Harrison: here the quiet Beatle proves to be just as great a songwriter as Lennon/McCartney with the eastern raga-rock of "Love You To", the dissonant, alternative-sounding "I Want To Tell You" (my favorite track), and the blistering drive of "Taxman" which is hands-down one of the heaviest rockers ever to grace a Beatle record. The cover art collage by bassist (and long-time friend) Klaus Voorman make for another classic, groundbreaking sleeve. HIGHEST POP ALBUM CHART POSITION: Number 1.
	The Beatles - Sgt. Pepper's Lonely Hearts Club Band
	"SGT. PEPPER'S LONELY HEARTS CLUB BAND (CAPITOL RECORDS/1967)"	2005-03-23
The astounding launching pad of "REVOLVER" enabled The Beatles to record their most revolutionary "concept" album (with producer George Martin's help, of course). "SGT. PEPPER" was conceived by Paul McCartney as a perfect vehical for their newly found studio freedom, and from the lavish photo spread to the technicolor kaleidoscope of the music, it is The Beatles' crowning jewel. McCartney hits home with a slew of perfectly constructed winners ("Getting Better" and its companion piece "Fixing A Hole", "She's Leaving Home", "When I'm 64", the title track). Lennon seeks inspiration in a series of found objects (a picture that his son Julian drew called "Lucy In The Sky With Diamonds", an old circus poster that advertises a show "Being For The Benefit Of Mr. Kite!", and a cornflake commercial which provided the impetus for "Good Morning, Good Morning"). Ringo is given the sweet "With A Little Help From My Friends" to croon while George Harrison contributes the darkly melodic "Within You, Without You". The climatic "A Day In The Life" is an apocalyptic epic woven together from two separate pieces of music written by Lennon and McCartney which resulted in a staggering tapestry of sound that enhanced the surreal despair of the lyrics. Apart from the history, "SGT. PEPPER" can now be seen for what it truly is: a richly detailed feast for the eyes and ears. HIGHEST POP ALBUM CHART POSITION: Number 1.
	Beatles - Magical Mystery Tour
	"MAGICAL MYSTERY TOUR (CAPITOL RECORDS/1967)"	2005-03-21
After two box office blockbusters in a row, The Beatles decided to try their own hand at film making. The resulting project was dubbed a "MAGICAL MYSTERY TOUR" and broadcasted in England as a BBC television special. Although promising an extravaganza of sorts, the film only manages to show that the once liberating aspects of their psychedelic excursions had come to an ideological and creative dead-end, and with the exception of the music videos shot to accompany the six songs featured in the soundtrack (released in Britian as a special souvenir, double EP set) the rest was pretentious and quite, quite boring. Even worse: several of those tracks (the instrumental "Flying", Harrison's "Blue Jay Way", etc.) pale in the shadow of "REVOLVER" and "SGT. PEPPER'S" more consistent songwriting. That's not to say the album doesn't have its moments (i.e. "The Fool On The Hill" and the Number 56 charting "I Am The Walrus"), but they do seem to be repeating themselves (the celebrated oomph! of "Mystery Tour" is nothing more than a spruced-up version of "Sgt. Pepper" himself while the McCartney vaudeville of "Your Mother Should Know" makes for a very second-rate "When I'm 64"). The American version adds the Number 1 hit singles "Penny Lane", "All You Need Is Love", and "Hello Goodbye", the highly superior Number 8 smash "Strawberry Fields Forever", and the Number 34 favorite "Baby, You're A Rich Man" which makes for a much improved listening experience and beefs the rating up to the five star level. HIGHEST POP ALBUM CHART POSITION: Number 1.
	The Beatles - The Beatles (The White Album)
	"THE BEATLES (APPLE RECORDS/1968)"	2005-03-17
The most notable thing about this bewildering, thirty song extravaganza is how splintered apart The Beatles had become as a group and that the end of the road was near: the individual identities are that strong. John Lennon and Paul McCartney were a songwriting team in name only. No one could ever mistake McCartney for writing the stark rock of "Yer Blues" or the bizarre sound collage "Revolution 9". Likewise, who would think of John Lennon penning an ode to a sheepdog ("Martha My Dear")? "THE BEATLES" not only defines and re-defines the entire landscape of popular music (which they helped create), but also defines the musical characteristics of each member of the band. George Harrison's contributions are some of the most extraordinary: the majestic blues of "While My Guitar Gently Weeps" (with Eric Clapton on lead), the sadistic music hall of "Piggies", the hilarious soul number "Savoy Truffle" (dedicated to Clapton's sweet tooth), and the gentle religious psalm "Long, Long, Long" chronicles a newfound level of maturity in his songwriting that is breathtaking to behold. Ringo clocks in with his first ever self-penned composition (the country-ish "Don't Pass Me By") and is given the "Good Night" finale (written by Lennon) to warble. The entire effect of "THE WHITE ALBUM" is almost impossible to gage. It is a masterpiece, no doubt, and a staggering work of art, but it's a disjointed work of art: an abstract painting, if you will, that seems all wrong yet works perfectly. HIGHEST POP ALBUM CHART POSITION: Number 1.
	The Beatles - Abbey Road
	"ABBEY ROAD (APPLE RECORDS/1969)"	2005-03-15
Most consider "ABBEY ROAD" to be The Beatles' true and proper swan song (although "LET IT BE" would follow), and a last ditch effort by all four members to actually play as a real group. Side one contains two gritty, metallic Lennon numbers (the obscurely orgiastic Number 1 hit "Come Together" and the apocalyptic lovesick blues "I Want You"), and Beatle George's first chart topper ("Something"). After the lovely side two openers (Harrison's "Here Comes The Sun" and Lennon/McCartney's "Because") producer Martin and McCartney wanted to fashion a suite of unrelated songs which would revel in pure, unadulterated melodicism. As a result of their (and the group's) willingness to break some new ground (if only for the last time), the remaining eight tunes that flesh out the side comprise the most accomplished music ever recorded by any artist. The electric guitar duel between Paul, George, and John (in that order) at the climax of "Carry That Weight" would go on to influence the entire guitar rock era of the seventies, and the heart-stopping coda "The End" caps the album off perfectly (though perhaps a little TOO perfectly). As if sensing this, The Beatles end "ABBEY ROAD" on a whimsical joke as the silence of "The End" is broken by the sweet McCartney ditty "Her Majesty". "ABBEY ROAD" is a devastating, profoundly funny work, and a milestone of pure record making. HIGHEST POP ALBUM CHART POSITION: Number 1.
	Beatles - Let It Be
	"LET IT BE (APPLE RECORDS/1970)"	2005-03-14
The last official Beatle album suffers from a slight case of schizophrenia. On the one hand it is supposed to re-assert the band's credibility as musicians by documenting them live and in the studio performing a large body of new material with a basic rock sound and no overdubs. Yet, as great as these tracks are Phil Spector couldn't resist embellishing the slower ballads with studio choirs, echoey strings, and other such atmospherics that adds a certain loveliness to the demo, but fails to adhere to the original idea behind the whole concept. If Spector had used Lennon's original version of "Across The Universe", the solo piano track of McCartney's "The Long And Winding Road", and a less ornate "Let It Be" then the project could have been one of their finest recordings (or, at the very least, their most intriguing). As it stands, "LET IT BE" is still a great piece of songwriting genius: "Two Of Us", Harrison's "For You Blue", and the Number 1 hits "Get Back", "Let It Be", and "The Long And Winding Road" are compositions that other artists would kill to have written. At the end of the live rooftop rendition of "Get Back" John Lennon touchingly (and with tongue-in-cheek) hopes that that band will "pass the audition". With such a beautiful concoction like "Across The Universe" they not only passed the audition, but were playing and writing on a whole different level that had not previously existed in popular music. HIGHEST POP ALBUM CHART POSITION: Number 1.
	Deathtrap
	"DEATHTRAP (WARNER BROS. PICTURES/1982)"	2005-03-06
If you're in the mood for a convoluted thriller where the plot twists come as hard and fast as the tongue-in-cheek humor then get ready for a real treat as director Sidney Lumet embroils the viewer in a fiendishly clever "DEATHTRAP". In the film Michael Caine plays Sydney Bruhl, a once great playwright who is desperate for a hit yet whose mastery of suspense and characterization has sadly fallen by the wayside. After suffering another opening night stiff he falls into a deep depression, gets drunk, and finally wanders back home to his sympathetic yet ingenuous wife, Myra (a sweetly quirky Dyan Cannon). She tries to cheer him up, but the man is livid: on top of all his recent bad luck he has just received a copy of a new play by a first time writer (a student of his nontheless) named Clifford Anderson (Christopher Reeve in one of his finest performances) who has put together a whopper of a murder mystery that Sydney knows would be an instant smash. So he decides to invite Mr. Anderson to his home, offer him a drink, make conversation, give a few pointers and suggestions about his work, then murder him, bury his body in the back yard, steal the play, and use it as his own comeback production (and no, I haven't given away any of the movie's deliciously wicked surprises). "DEATHTRAP" is a terrific piece of work. The stagey atmosphere of Ira Levin's Broadway hit has been alleviated by director Lumet who seems to specialize in film settings that are seemingly impossible to bring to life (i.e. the Calais Coach cars where the "MURDER ON THE ORIENT EXPRESS" takes place) yet which he is able to fashion with a masterful touch that never seems intrusive or obtrusive to the average film goer. "DEATHTRAP" is equally effective and guaranteed to satisfy even the most demanding of mystery buffs. ULTIMATE LAUGH-OUT-LOUD MOMENT: not to give too much away, but I wonder how hard it was for Caine and Reeve to keep a straight face in several of their "close up" scenes together! HARSH LANGUAGE: about 45 words, VIOLENCE: about 4 scenes, NUDITY/SEXUAL SUGGESTIVENESS: about 3 mildly shocking/yet hilarious scenes (RATED PG/116 minutes).
	Yoko Ono - Feeling the Space
	"FEELING THE SPACE (APPLE RECORDS/1973)"	2005-03-06
At first I was tempted to downgrade Ono's fourth solo album because it seemed to pale in the shadow of her previous offering (the staggering, double record set "APPROXIMATELY INFINITE UNIVERSE"), but the breezy, open air quality of these immaculately crafted tunes are in many ways superior to even the best moments on that LP. And no: I won't listen to another criticism about her voice. Yes, there are certainly better singers, but I can think of no other performer who has written more daringly original music than Yoko. Even if you aren't up to the wild vocalese experiments of the "PLASTIC ONO BAND" and "FLY" albums (or her tepid audio collaborations with husband John Lennon) that's no excuse to ignore her mainstream pop/rock releases. There isn't another singer alive capable of putting across the climatic build-up and execution on "Woman Of Salem" or who could belt out the anthemic "Woman Power". Her performance is extraordinary, and the instrumentation moves easily from country ("If Only") and ballads ("Growing Pain") to rock ("Coffin Car") without skipping a beat. Although her militant feminism can be hard to swallow (i.e. "Angry Young Woman", a frightening tableau about a wife who sneaks out of the house one night and leaves behind her husband and children in order to start a new life for herself), the music certainly isn't. A fact which makes "FEELING THE SPACE" a masterful piece of work. HIGHEST POP ALBUM CHART POSITION: None.
	Paul McCartney - Tug Of War
	"TUG OF WAR (COLUMBIA RECORDS/1982)"	2005-03-04
McCartney seems to have come full circle with this album. After eight years of leading his own group (Wings) and producing one undisputed masterpiece ("BAND ON THE RUN") and several high quality albums, Paul released "McCARTNEY II" which was another homemade recording that featured only himself on bass, drums, keyboards, and guitar. Obviously the liberating effect of doing-your-own-thing sans the burdening effort of keeping a group together emboldened the former ex-Beatle, and so he decided to reunite with his old producer George Martin (who was responsible for helping to shape The Beatles' song ideas and experiments into a viable studio product that would change the shape of pop music forever) and bring aboard a veritable truck load of celebrity guests including Ringo Starr, Carl Perkins, faithful ex-Wings member Denny Laine, and (most notably of all) Stevie Wonder who co-wrote the funky bop "What's That You're Doing?" and sings and plays on the Number 1 smash "Ebony And Ivory". The entire effort stands as a classic (with the Number 10 hit "Take It Away" coming off as the album's most accomplished moment). That's not to say the rest is second rate: "Ballroom Dancing", "Wanderlust", "Get It", the John Lennon eulogy "Here Today", the title track (which also charted at Number 53), and the McCartney obscurities "Somebody Who Cares", "The Pound Is Sinking", and "Dress Me Up As A Robber" are all triumphant examples of pure pop euphoria! HIGHEST POP ALBUM CHART POSITION: Number 1.
	Paul McCartney - McCartney II
	"McCARTNEY II (COLUMBIA RECORDS/1980)"	2005-03-03
After his fiasco in Japan (Paulie was arrested for possessing a half a pound of pot and incarcerated for ten days before being given the boot), McCartney decided to settle down for a bit at his Sussex home, Waterfalls. Whilst ensconced he rented a Studer 16 track tape machine and began to noodle around with a few melodic ideas which developed into songs which developed into this, his second homemade album. "McCARTNEY II" is a worthy successor to his first proper solo album, and has a considerable edge over the two preceeding Wings releases insomuch that it represents Paul doing exactly what he does so well: creating simple, carefully crafted tunes with memorable hooks and pleasing little quirks that is his signature trademark. Almost all of it works too: the bass-popping thumpers ("Coming Up", "Nobody Knows"), some lovely, oddball instrumentals ("Front Parlour", "Frozen Jap"), a dash of blues ("On The Way"), and a couple of gorgeous ballads ("Waterfalls", "One Of These Days") that remain two of the best songs he has ever written. The rest is okay with "Temporary Secretary" coming off as the nadir of the group. Though pushed as a single, it was actually the live version of "Coming Up" (with Wings) which made it to the top of the charts. HIGHEST POP ALBUM CHART POSITION: Number 3.
	Paul McCartney ,Wings - London Town [Bonus Track]
	"LONDON TOWN (CAPITOL RECORDS/1978)"	2005-03-01
A generous hit and miss album, "LONDON TOWN" find Paulie And Company delivering another collection of songs with diverse musical styles ranging from folk ("Children Children" and "Deliver Your Children"), fifties-styled rock ("Name And Address" and "I've Had Enough"), pop ("Girlfriend"), experimental pieces ("Famous Groupies"), and a kind of sluggish-sounding concoction that only McCartney could pull off with any success ("With A Little Luck" and the title track). There are a few dull spots along the way ("Cafe On The Left Bank", "Morse Moose And The Grey Goose", etc.), but overall it's a neat piece of work. "With A Little Luck" (Number 1), "I've Had Enough" (Number 25), and "London Town" (Number 39) were the hits. HIGHEST POP ALBUM CHART POSITION: Number 2.
	Wings - Wings Greatest
	"WINGS GREATEST (CAPITOL RECORDS/1978)"	2005-03-01
This is a crazy quilt of Top Ten/Number 1 hit singles without any real sense or logic behind the selective playing order. The fact that Paul, wife Linda, and permanent co-pilot Denny Laine actually emerge unscathed from such a messy compilation is a testiment to their fresh and creative approach to such post-Beatle pop/rock music. Several of these are crown gems: "Silly Love Songs", "Live And Let Die", "Junior's Farm", "Band On The Run", "Let 'Em In", "Jet", and the worldwide sensation "Mull Of Kintyre". Other tracks like the nasty (but fun) little rocker "Hi Hi Hi" and the odd sounding "With A Little Luck" actually cut deeper. It's a shame that Paul didn't go for a double record presentation, but almost every one of these songs have stood the test of time so who cares... HIGHEST POP ALBUM CHART POSITION: Number 29.
	Wings - Wings Over America
	"WINGS OVER AMERICA (CAPITOL RECORDS/1976)"	2005-02-27
The amazing thing about this three record/two CD set (documenting the American portion of McCartney and Company's world tour) is how solid an entity Wings had become on stage despite a shifting lineup that revolved around Paul, wife Linda, and singer/songwriter/guitarist Denny Laine. Guitarist/vocalist (occasional composer) Jimmy McCulloch and drummer Joe English comprise the most talented incarnation of the group, and their combined energy helps to make "WINGS OVER AMERICA" the best McCartney live album yet released. Because of the extent of the tour he was able to find a perfect version of almost every single track from the show including five Beatle classics ("Lady Madonna", "I've Just Seen A Face", "Blackbird", "Yesterday", "The Long And Winding Road") and three numbers that they've never recorded before (Denny Laine's old Moody Blues chestnut "Go Now", a great cover of Simon And Garfunkel's "Richard Corey", and a rousing encore entitled "Soily"). The song selection is well chosen and eclectic, the programming near perfect, and the instrumental attack never lets up. A fact which makes "WINGS OVER AMERICA" an excellent summation of McCartney's genius. "Maybe I'm Amazed" (an obscure treasure from his first solo album) became a huge Number 10 hit, and the whole shebang sailed all the way to the top of the charts. HIGHEST POP ALBUM CHART POSITION: Number 1.
	Paul McCartney & Wings - Band on the Run [Remastered & Bonus CD]
	"BAND ON THE RUN (APPLE RECORDS/1973)"	2005-02-27
Arguably this is Paul McCartney's finest studio release. On board is wife Linda and ex-Moody Blues singer/guitarist Denny Laine (former Wings members Denny Seiwell and Henry McCullough abandoned ship), but its still a McCartney one man show: he composed all the tracks (except for "No Words" which he co-wrote with Laine), played virtually all the instruments, sang lead and background vocals, and produced. The songs are lean and purposeful, the lyrics were some of the best he had composed since leaving The Beatles, and the musical ideas bear his own personal stamp without the goofy whimsicality that was detrimental to "WILD LIFE" and "RED ROSE SPEEDWAY". The chart topping "Band On The Run" and "Picasso's Last Words" are the kind of mini-epic suites McCartney whips up so well; the Number 7 hit "Jet", the Number 10 smash "Helen Wheels", and the coda "Nineteen Hundred And Eighty Five" are ferocious rockers; the gentle ballad "Bluebird" revels in jazzy luminescence while "Mrs. Vanderbilt", "Mamunia", and "No Words" are unusual sounding pop tunes which benefited from the fact that they were recorded in Nigeria; and "Let Me Roll It" is an answer-in-song to Lennon's cruel "How Do You Sleep?" (from "IMAGINE") which apes the stripped down, Arthur Janov/primal scream-induced sessions of the "JOHN LENNON/PLASTIC ONO BAND" album. "BAND ON THE RUN" is an A-1 solo Beatle classic. HIGHEST POP ALBUM CHART POSITION: Number 1.
	Interview with the Vampire : Anniversary edition
	"INTERVIEW WITH THE VAMPIRE (ALFRED A. KNOPF BOOKS/1976)"	2005-02-17
Rice's first book is now well established as a contemporary horror/American classic. In it her narrator, Louis, gives an eyewitness account of his own life and how he was initiated into the vampire underworld where the exchange for eternal life is to bring to others eternal death. Louis is compassionate, but self-centered and filled with existential self-loathing that (amazingly) doesn't cause the reader to become repelled by his continually depressing tone even though we follow him through decade after decade of history which spans nearly two hundred years. His vampire maker, Lestat, is more typical of Stoker's "DRACULA" (and the real Vlad The Impaler whom Stoker used as the model for his demonic count): an egotistical, spoiled brat who revels in his own monstrous capabilities and lavish taste, and who doesn't give a damn about losing his soul as long as he can gain the whole world. As a symbol of unabashed evil, he is an amazing creation and a suitable counterbalance to Louis' endless brooding. Their life together climaxes with Louis threatening to leave Lestat, and Lestat turning a little girl into a vampire which forces Louis to stay and take care of her. The life of little Claudia the vampire girl is a story unto itself as she shares Louis' love of books and art as well as Lestat's delight in ruthless killing. What happens to them is captivating, repulsive, and as hallucinatory as a nightmare. Throughout the book Louis seems desperate to find some good in all of this evil, but comes to a complete understanding of just how selfish he is and that there is no light to be found in deeds of darkness. That is why an act of goodness must be done by a person who enacts the good of Christ, and an act of evil can only be done by a person who is willing to enact the the evil of Satan. There are no gray areas of debate when it comes to the heart of the matter. Unfortunately, many teenagers and young kids find solace in Louis' alienation and feelings of being an outcast even to the point of wishing they could be a vampire like him (or worse, as they drift off into the self-absorbed world of the occult where Wicca and black magick and Satanism can turn you into a god of nothing) which is doubly sad and not to be blamed on Anne Rice ("THE CATCHER IN THE RYE" endured similar controversy for its seamy portrayal of a young, troubled soul whose adventures were argued to be a bad influence on the reading public). Louis' epiphany at the end saves the book, and helps to shake off any intimations of immorality or the embracing of such immorality as a viable way of life. As a Christian I find that commendable. BIOGRAPHICAL SIDENOTE: Rice's five-year-old daughter Michele died from leukemia. A fact which spurred the author to write "INTERVIEW" in five weeks even though she denies that her daughter's death and her grief didn't inspire the creation of Claudia, a sickly, six-year-old child who is resurrected into an immortal vampire. HARSH LANGUAGE: about 25 words, VIOLENCE: about 43 scenes, SEXUAL REFERENCES: about 3 instances and an undercurrent of homo-erotic love between Louis and Armand.