Starring: Robin Williams, Kirsten Dunst, Bonnie Hunt Directed by: Joe Johnston Language: English Rating: PG Running Time: 1 hour 44 minutes
After a little over 20 years ago that it was decided that this movie was going to be rebooted. Much like everyone else, I was upset and skeptical whether it was going to turn out well. Granted most of us thought this would be a remake and not a continuation, but in the end, it turned out to be a fun little movie. While this was going on, I figured I look back on one of my favorite childhood movies.
When young Alan Parrish discovers a mysterious board game, he doesn't realize its unimaginable powers until he is magically transported--before his friend Sarah's startled eyes-- into the untamed jungles of Jumanji. He remains there for 26 years when two unsuspecting children free him from the game's spell. Now a grown man, Alan reunites with Sarah, and they and the children try to outwit the game's powerful forces. [Source: IMDb]
Granted this isn't a movie I've watched hundreds of times, I have seen it a few times since its release in 1995. Seeing this movie before and after Jumanji: Welcome to the Jungle gave me some fresh eyes on something so nostalgic. I've always enjoyed this movie and even wanted the board game, but Maja forbade me from ever getting it. She was afraid that destruction might occur while playing, but...it's just a movie. Even to this day, she avoids the movie and still doesn't want me to own the game. I still love this movie. The story was exciting, entertaining, and didn't baby its audience; it also has the late and great Robin Williams.
The pace of the story flowed very well by combining two childhood stories together with Alan and Sarah starting off the game and finishing it off with Peter and Judy. Despite growing up in different time periods, they work together to conquer the various dangers the game produces as well as helping Alan resolve his relationship with his father. I didn't realize until recent viewing that Jonathan Hyde played both Alan's father, Sam Parrish, and major game villain Van Pelt, which is hugely symbolic for Alan's character. The movie does an amazing job balancing these relationships between these four characters and it's easy to become deeply invested in them winning. There's some good humorous moments peppered throughout the movie from not only Williams but also from comedic actor David Alan Grier as Officer Bentley, so you're not terrified or too sad. I honestly forgot that he was in this movie as well as a young Kirsten Dunst.
Are there any negatives in this movie? Hmm...there might be some cheesy or timely jokes in it and some of the CGI doesn't hold up, but for the most part, it still works. I don't think those things will detract any enjoyment for those who haven't seen the movie, whether young or old. Is it necessary to see this movie before watching Jumanji: Welcome to the Jungle? Not really, but you'll miss out on a few Easter eggs. There's a nice little tribute to Alan in the movie and if you haven't seen this movie, it won't mean anything to you. It's kind of a sequel anyway, so I would recommend watching it before jumping into the newer installments of the movie. Besides, it comes on TV pretty often, if you still have cable.
Rating: 3.5/5
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Starring: Johnny Depp, Ricki Lake, Amy Locane Directed by: John Waters Language: English Rating: PG-13 Running Time: 1 hour 25 minutes
When The Jerry Springer Show was a hot thing in the 90s, I was really into the Ricki Lake Show. It was my Maury for that time, along with Jenny Jones. I vaguely remember one evening at home that I saw the unimaginable: one of my favorite talk show hosts with one of my favorite actors in one movie that was a musical. Every time it came on, I tried to catch it from beginning to end. Recently, I simply wanted something light to watch to mix up all the bad horror movies and now I can share the good feelings this movie always leaft me with.
Allison is a "square" good girl who has decided she wants to be bad and falls hard for Cry-Baby Walker, a Greaser (or "Drape" in John Waters parlance). Spoofing Elvis movies and Juvenile Delinquency scare films of the '50s, this movie follows the adventures of Cry-Baby who, though he is sent to juvie, is determined to cross class (and taste) boundaries to get Allison back. [Source: IMDb]
When watching this DVD, it made me wonder if I've actually seen this from beginning to end and I just always caught this somewhere after the beginning or even in the middle. I also didn't realize how many memorable names were part of the cast such as Traci Lords and Iggy Pop. Then again, I didn't know who they were back then either. Cry Baby holds a small, but special place in my heart for somewhat obvious reasons. Watching it today, brings up some interesting and pleasant childhood memories. Pleasant because I miss staying up late to watch The Ricki Lake Show and seeing the crazy guests on there. Interesting because at the time my classmates were infatuated with a silly little movie called Grease. Every Friday night at my school's skating party, the girls would always request songs from the soundtrack and to this day, I still cannot stand Grease. Obviously, this movie is perfect for me as it parodies and kinda mocks it in an almost crass, but fun way a.k.a. the John Waters touch. Of course, back then, I also didn't know much about John Waters as I do now. Clearly, the little film knowledge I had as a child and pre-teen didn't lessen my enjoyment or love for this movie.
Cry Baby is a movie that satires and at the same time follows the tropes of movies that glorified the 50's (and probably movies of the 50's). The biggest comparison I can think of is what I've mentioned previously which is Grease. We have the good girl falling for the bad boy and wanting to do whatever it takes to steal his heart or just spend time with him and we have the bad boy who notices and wants to whisk her away, which I guess is a little different than Sandy and Danny in a way. Nonetheless, we have this preppy, rich lifestyle (the Squares) against this greaser, poor way of life (the Drapes) bumping heads over territory and love. Both groups have their own preconceived notions about the other, except our main characters Allison and Cry-Baby who see beyond the surface. For both of our main characters is another person trying to get their affection. Allison's admirer tries to keep her a good girl and sing clean cut songs for the people in the suburbs, while Cry-Baby's admirer is trying to be a down and dirty girl that's up for anything. Along with our admirers are the people that occupy these opposing worlds of our main characters. They really bring this universe to life and make things a little realistic. Allison's grandmother gives hope of change slowly but surely and the more she understands Allison's attraction and open mindedness, the more she loosens up, which provides some amusing moments. The Drapes provide the real color to the movie with their low class lifestyle, lewd music and dancing, and overall rebellious attitude toward the norm (a.k.a the Squares). They're not afraid to fight for what's right and defend one of their own, but they're also very accepting of Cry-Baby's love for Allison.
Despite Cry Baby not having the most memorable of soundtracks compared to Grease, it's still fairly enjoyable. From Allison singing with the Squares at a country club of sorts to Cry-Baby pleading behind bars to be free, these moments are entertaining and memorable to me and those who joined this movie's little cult following. I also felt like the choreography was full of energy, emotion, and fun. It really fit whatever tone the scene called for. If you're familiar with Grease and the 50's tropes and have a open sense of humor, then you'll understand what Mr. Waters was going for with this movie. It takes what we know and transform it into something we never would have imagine while making us laugh from beginning to end. The pacing is very smooth and the movie makes sure not to linger on one side or the other.
If you're looking for a fun musical with some crass humor that doesn't hold back, then Cry Baby is your movie. For someone who grew up being annoyed by the Grease trend, this made me feel right at home with the colorful and over the top characters. It mocks what I'm familiar with Sandy and Danny's relationship, but doesn't completely bad mouth the genre. It's funny, entertaining, colorful, and has a great cast of characters to keep you company.
Rating: 4/5
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Backstreet Boys - Millennium (1999, USA) Rating: 3.5/5 Favorite Tracks: I Want It Way, Show Me the Meaning of Being Lonely, It's Gotta Be You, Don't Want You Back
1999 was a year for millennium themed conspiracies and releases. It was an easy enough concept to put together to lessen the paranoia of Y2K and end of the world babble. Of course, Backstreet Boys clearly took advantage of this year to release their second (or third, depending on the country) album. It was also a time for the group to reclaim their rightful place in teenagers' hearts as the number one pop boy group, since the American debut of rivals N'SYNC. Of course, there was a divide in the market and musical skills that both groups possessed over their competition, but this post isn't about their rivalry...it's a review! As a BSB fan, I could easily throwback to the resurgence of boy bands in America and review their American debut album, Backstreet's Back, but I chose to do their sophomore release for the definitive period of 1999 and the solidification of the group's career. So, let's get right on it!
As I said in my introduction, 1999 was the year of the end of the world conspiracies and futuristic concepts for pop culture. The second single and first track of the album, "Larger Than Life" pretty much reflected that image we had of the year 2000. The video featured robots, space, and plenty of 2000 CGI that Eiffel 65 would be envious of. The song was a great opener to this American sophomore album with its high energy and recognition of the group's quick rising fame. It also showcased a mature look in each member, most notably the youngest Nick Carter as well as their overall style. It was still playful and a bit dark with its Star Wars-esque space fights and leather apparel. Will never forget AJ's ridiculously shrunken shirt.
The first single release and second track of the album, "I Want It That Way", was the real introduction to the Backstreet Men. That shift from "hey, girl, let's hold hands by the lake" to "baby, I want a commitment". It might've been a strange choice to release a slow tempo song as a precursor to a new album, but it ended up being one of BSB's biggest hits from the album. It was also parodied by Blink 182, which is proof of how big it was. The song wasn't a complete ballad either, so it was natural for me to enjoy it. "I Want It That Way" properly showed off the group's vocal chemistry, harmonies, and gave some other members the spotlight like Kevin and Howie. The video was also sleek, mature, and looked very polished with its monochromatic color scheme. Also, including the fans at the end was endearing. Definitely a song that still warms the fangirl's heart with its charming lyrics and sweet melodies.
The third single and track "Show Me the Meaning of Being Lonely" was a track I didn't quite appreciate and enjoy fully until I was a teenager. It was their necessary ballad to tie the two previous tracks together, both audibly and visually. Similar to the previous track, it featured acoustic guitar, line distribution for everyone, and, of course, beautiful vocal chemistry during the chorus. It was a successfully melancholy and heartwrenching song to listen to and experience through music video. Even now as an adult, I can tell I appreciate this song way more than I did when this album was released. The video also gives an effective gloomy and dreary color scheme that matches the tone of the song. Each member is dealing with their own separation issues whether romantic relationships, family, or life in general. It's well acted and has some beautiful imagery, despite some of the weird computer elements used in places. In short, if "I Want It That Way" didn't sell you on how amazing BSB's voices are, this will definitely drive it home in your mind.
"It's Gotta Be You" is all the cheese and fun of pop in this era. It's an energetic song with a catchy chorus, but I can't help but laugh every time Nick does the bridge leading to that catchy chorus. It just sounds so silly and strangely delivered and produced. I think they could've thought of something else, but it's not a terrible song in the least. "I Need You Tonight" is a piano ballad song sung by Nick. It's a song I remember my best friend loving, because Nick was her favorite and a song I always skipped, because it's a boring ballad and I don't care for Nick's voice that much, at least in this song. The song is quite cheesy and to be expected by a boy band, but yeah...there you go. "Don't Want You Back" was a hard hitting break up song that brought me back on board with this album. I really liked AJ's first verse in the song and how it ties back to "Everybody (Backstreet's Boy)". Listening to it now, I wonder if Nick went to the Britney Spears School of Singing. I swear I'm not a Nick hater, but sometimes his vocal choices weren't the best. Anyway, the song is mostly him and AJ with a sprinkle of the other members for the chorus, bridge, and ad-libs. It was a slightly different sound for the pop scene and I enjoy the contrast of the melodic vocals with this hard beat. "Don't Wanna Lose You Now" is another track I remember skipping. The beginning sounds like something N'SYNC would've done. It's another ballad to sandwich between the hard hitting sounds. I want to say that Nick is singing the first verse, which sounds fine. I don't know why he doesn't sound like that all the time. Anyway, it's your typical ballad to make the fangirls cry and say, "I'd never leave you [insert bias' name here]". Young or old, I still don't care for this song too much.
"The One" was their fourth single for the album. Watching this pseudo-music video might be the reason why I dislike live compilation music videos as official music videos. I mean it's nice to see snippets of live shows and backstage shenanigans, but it's not as exciting or a good representation of said song. As for the song, it's pretty standard and has a few sweet lines laced in this semi-catchy beat. This also reminds me of N'SYNC a little...the beat. Anyway, it's an alright song that wakes you up some, if you're not a ballad lover like myself.
Honestly, I'm going to breeze through these last few songs as I vaguely remember not giving them much attention back in the day. "Back to Your Heart" is another ballad with some nice little keyboard work. The chorus is soothing and sweet and I can instantly see all those fangirls crying in the audience as they perform this song on stage. Everyone sounds nice and the lyrics are pretty standard. All the right things to make your heart flutter with some good harmonies. "Spanish Eyes" is a surprising song that showcases Howie's vocals a little more than usual. Deny it all you want, but Brian, Nick, and AJ did the bulk of Backstreet's Back, so (in general) I was happy to hear more Howie and Kevin throughout the album. It's a sweet little song with acoustic guitar and romantic vocal harmonies. "No One Else Comes Close" is another ballad that sounds like some late 80s/early 90s R&B cover, which isn't terrible. I guess it does branch out their vocal abilities a little to show that they can handle R&B elements mixed with a sprinkle of pop. "The Perfect Fan" is like the Spice Girls' "Mama". It's a tear jerking song dedicated to the mothers. It's sweet and hits all the emotional points that need to be hit. The vocal execution is on point and has great potential to take it home with some choral vocals. I know this was definitely one of my mom's favorite tracks. Yes, my mom loved BSB about as much as I do.
Millennium was a mature and perfect progression from their American debut album, Backstreet's Back. It displayed growth and improvements in the group's vocal arrangements as well as some more variations in their music. The album successfully separated the men from the boys and made them stand out from their competition, both minor and major. It was also pretty enjoyable if the world was actually going to end or technology malfunctioned in 2000. For the most part, I was pleased to hear more of Kevin and Howie's vocals throughout the album and letting them show off their abilities in their own verses, not just a line here or there, back up, or group choruses. Listening to it in 2016, it probably sounds dated by the musical arrangement, but it doesn't sound too jarring as boy bands really haven't been a majorly huge thing since then. Yes, I am aware of One Direction, but there was barely any competition for them, even though I do like The Wanted way more. Also, it was nice to flashback to those days of boy band hysteria.
This Throwback Thursday I wanted to do a little something for Black History Month by reflecting on my childhood and high school years. From my perspective, it seemed like the 90's was full of racial diversity compared to now, although it feels like sitcoms are becoming a little more diverse. While reading up some history about black sitcoms, it seems as though I grew up in the rise of black sitcoms, which proves my own personal point that we were truly spoiled in the 90's when it came to entertainment. In this post, I'll comment on some black sitcoms that I used to watch back in the day and even currently.
Starring: Nicole Kidman, Christopher Eccleston, Fionnula Flanagan Directed by: Alejandro Amenábar Language: English Rating: PG-13 Running Time: 104 minutes
I vaguely remember renting this movie with my mother from Blockbuster. I remember enjoying it quite a lot back then and being very impressed with the conclusion of the movie as well as my mother. It was a good and different movie for the time. So, does it still hold up in my mind?
A woman named Grace retires with her two children to a mansion on Jersey, towards the end of the Second World War, where she's waiting for her husband to come back from battle. The children have a disease which means they cannot be touched by direct sunlight without being hurt in some way. They will live alone there with oppressive, strange and almost religious rules, until she needs to hire a group of servants for them. Their arrival will accidentally begin to break the rules with unexpected consequences. [source: IMDb]
The Others was another great contribution to ghost stories in cinema. With a fantastic cast, it wasn't hard to be sucked into their world and become part of their daily routine. Nicole Kidman plays the overprotective and traditionally religious mother Grace Stewart and she does an amazing job delivering a great range of emotions and allowing us to care about her children almost as much as she does. The child actors also do just as amazing job making us care about them and pulling the viewer further into the story. Watching these children do their lessons made me feel bad for them and they're barely allowed to be children, since Grace is so strict with them. I understand that they're sensitive to the sunlight, but they deserve a little fun every now and then. The hired help also do a great job as supporting characters. Most of them get minimal screen time, but they play just as big of a part as Kidman's character and the children, especially Mrs. Bertha Mills. Lastly, the set pieces and costumes really pull you into the era of this movie. You can easily feel the despair and fear that lingers in this large household as subtly strange things happen around the mansion.
Since the movie came out before the era of fast pace storylines and jump scares, the newer generation of horror fans may find themselves impatient with this slow pace storytelling, then again those who enjoy movies before that era may feel the same as well. This nearly two hour suspense thriller definitely feels like a two hour suspense thriller. Though the story depends on such atmospheric pacing and intricacies. It has to fill important holes such as the relationship Grace has with her work staff, her children, and her husband to really pull the audience into believing everything that happens in front and around them. While I understand the choice for this speed of storytelling and have the patience for it, I do wish that they would either condense certain detailed explanations or pick up the pace a little bit. Fortunately, the acting and content make up for the slightly poor pacing and offer the audience a very satisfying and perhaps jaw dropping conclusion.
The Others is a great suspense thriller that contributes to the haunted house genre in a very positive way. Not only does Nicole Kidman deliver a solid performance as the overbearing mother Grace, but the children and house servants contribute greatly to the story and successfully pull its audience into the strange happenings of the mansion. The atmosphere is perfectly chilling and sorrowful with a bit of richness. I definitely recommend this movie if you want a change of pace from the usual "Paranormal Activities" and exorcisms of the 2010s. The twist will definitely get you.
Rating: 3.5/5
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Linkin Park - Reanimation (2002, USA) Rating: 4.5/5 Favorite Tracks: Enth E ND, Frgt/10, Ppr:Kut, My Dsmbr
When it comes to remix albums, it's hard for them to live up to the greatness of the original tracks. Being a huge Linkin Park fan after the release of their debut album Hybrid Theory, I was curious what would come of this first remix album. Around the time the album was released, MTV2 did a special MTV:Playback featuring every track on the album. Looking it up now, I have learned that majority of the videos were specially made by MTV2 and only about 4-5 were or became "official". Nonetheless, I was pumped and, back then, I recorded the special on VHS and treasured it along with some other special features by the band.
"Opening" begins with some lovely strings and keyboard melody that gently lures you into this remix album. It's beautiful and soft introduction that eases listeners, while the piano carefully adjusts your ears to the first track. "Pts.Of.Athrty" features Orgy frontman Jay Gordon in an intergalactic robot battle. The song keeps the aggressive intensity in the lyrical delivery, letting Chester's words echo as he screams. Meanwhile, the music has a more electronic rock sound to it, stripping a few elements away from the original. This was the perfect jumpstart for the promotion of this album.
"Enth E Nd" features Kutmasta Kurt and Motion Man in a more hip-hop focused version of Hybrid Theory's "In The End" with Mike Shinoda. The video shows the three of them in the backseat of a car with a monitor and a DJ control panel. It's a very cool, stripped down take of the popular single that shows that the band really does straddle the fence of hip-hop and rock. The chorus maintains its pull for fans to sing along, even though the music quiets as Chester's voice is altered and played with by the DJ's hands.
"Frgt/10" features Alchemist and Charli 2na in an altered melody. "Forgotten" is a track I didn't listen to often from Hybrid Theory, so this new version was something I really enjoyed. It takes snippets of the original and repeats it throughout the verses, then it brings out a more hip-hop sound to the beat while still maintaining a few rock elements in the drums and electronic equipment. I really enjoyed the shared rap verses and the distorted singing chorus almost echoing toward your speakers. It's a very successful and slightly haunting remix compared to its original aggressive sound.
"P5hng Me A*wy" features Taproot's vocalist and guitarist Stephen Richards in an unforgettable (and probably disturbing or disgusting) remix that easily became one of my favorite tracks on the album. Stephen's vocals and the added electronic distortions and effects make it a bit ominous, but has an amazing build up that I always anticipate every time I listen to the song. I really enjoy how distant Chester's voice sounds in the beginning, then becomes more clear along with Mike's voice and the music. The altered and extended lyrics and vocal moments are very passionate and genuinely pleading to the listener's ears that you just want more. It was a pleasant surprise for the track that was an amazing ending to Hybrid Theory turned into an equally amazing remix. Every time the track ends, I feel sad that the journey is over, but excited for what's next on the album. "Plc.4 Mie Hæd" features Amp Live and Zion that leans more toward the band's rock sound. The song starts off with more sound effects than actual music while Mike raps the first verse. It's a track that I listen to more or less than the original. It has a good enough amount of energy from the dual vocals, but the guest rap by Zion can be a bit hit or miss in places (also depending on mood). "X-Ecutioner Style" is a short DJ scratching skills track that features Sean C and Roc Raida of The X-Ecutioners and Black Thought. The track mostly consists of scratches, fundamental hip-hop melodies, Chester's "Shut Up" line from "One Step Closer" that fans love to shout during shows, some musical snippets from "Cure For the Itch" and "One Step Closer", and a little rapping. It's a track I usually skip over. "H! Vltg3" features Evidence, Pharoahe Monch, and DJ Babu and is a track that I don't think I've ever listened to the original (or at least, not completely). Perhaps after writing this review, I'll give it a listen or two. From what I've gathered, this version of the song mostly retains its original form, but pulls back the beat to more outer space hip-hop sound with repetitive keyboard and more rap verses. Both "[Riff Raff]" and later "[Stef]" are simply answering machine/voicemail messages left for the members of the band and they're really not worth talking about. "Wth>You" features Aceyalone and showcases Chairman Hahn's turntable skills as he manipulates the original version. For the most part, it sounds almost exactly the same, but somehow sounds more...epic! Vocals sound more far away than others, Chester's bridge section and chorus sounds a bit more stretched out and more aggressive, and the music has some extra elements sprinkled here and there. Aceyalone's contribution fits in very well with the original lyrical arrangement as well. "Ntr/Mssion" continues a similar piano melody from the "Opening", but mostly bridging the transition from this song to the next, which the album does a lot of.
"Ppr:Kut" features Cheapshot, Jubacca, Rasco, and Planet Asia in an almost haunting and sped up version of the original "Papercut". I love the original and the remix is just as good. The music is almost exactly the same, but emphasizes the guitar and drum sections of the song. It definitely has a more panic sense about it and the guest rap verses are a great addition to the original lyrical layout by Chester and Mike.
"Rnw@y" features Backyard Bangers and Phoenix Orion in an epic journey of time restraints. The original track was something I would listen to every now and then, but something about this remix gives a feeling of urgency. For the most part, the vocal arrangement and music resemble the original quite a bit, but the lyrics are cut off in the chorus contributing to that urgent feeling along with the quieting and swelling of the music. The music video also emphasizes that feeling. My favorite part is Phoenix Orion's rap verse that gives you that moment to breath, although listening to the content of his words, I'm not completely sure how it relates to Chester's lyrics, but...whatever. "My Dsmbr" features Mickey P. and former Sneaker Pimps frontwoman Kelli Ali in a melancholy electronic rendition of "My December"; a track I've heard after the fact. This version of it is more sped up and has more musical elements than the duet piano and vocal arrangement of its predecessor. I think the pacing of this track makes me enjoy it more than the original as opposed to the order I heard both tracks. I enjoy Chester and Kelli Ali's vocals working together with a hint of support from Mike from time to time. It's a really beautiful track either version you listen to, but if you're like me and are picky about slow tracks, this version is your best bet. When I first listened to the album, I was looking forward to hearing what they were going to do with my favorite Hybrid Theory track, "By Myself". Unfortunately the Josh Abraham collaboration for "By_Myslf" disappointed me in areas. It lacked punch in places and the chorus was altered more than the previous tracks by changing the wording and pace of the delivery. I think the only part of the track that I genuinely enjoyed was the bridge with Mike partially rapping and Chester screaming, but for the most part, I think there was too much yelling and the beat didn't excite me. "Kyur4 th Ich" highlights Chairman Hahn's skills as a DJ and possibly one ups his original, "Cure for the Itch". It's easily an enjoyable track and I think he deserves more solos from time to time.
"1Stp Klosr" features The Humble Brothers and KoRn's vocalist Jonathan Davis in another track that I was looking forward to. Unfortunately, I found this track rather underwhelming and sounded too close to a KoRn song in a lot of areas. It has a nearly 2 minute intro before getting to the actual song that's more monotonous than exciting and it just doesn't live up to the high energy of the Hybrid Theory original. To my surprise, Staind's vocalist Aaron Lewis redeemed the conclusion to this remix album with "Krwlng". While it also contains a long intro before getting to the first verse, it actually has some sort of build up to the music and adds quiet vocal snippets from Chester and Mike. It's a very zen sounding remix that cleverly ties back to the "Opening" track of the album. I love the wondrous electronic sounds of the musical arrangement and even the dual vocals between Chester and Aaron. In short, it's a surprisingly beautiful remix to an anger filled song that kept me hooked to Linkin Park years ago.
Reanimation was a surprising and excellent follow up and remix to an equally excellent debut album. It was an album that truly solidified my support for Linkin Park and embraced my love (or obsession) for the band as my favorite American rock band. The album expertly displays the band's ability to take chances and experiment with their sound as well as elevate majority of their original tracks with the help of collaborations with other artists. It's definitely an album that no Linkin Park fan should skip out on!
Usher - My Way (1994, USA) Rating: 3/5 Favorite Tracks: You Make Me Wanna..., My Way, Nice & Slow
Similar to Aaliyah's One in a Million, I always thought this album was the first for Usher, but he had a self-titled debut in 1994. I've never listened to it and I probably never will...at least for a while. So, why am I reviewing this album instead of Usher? Well, most people probably got into Usher around this time and this was the first album of his that I owned on CD. So, let's move onto the review!
"You Make Me Wanna..." was my introduction to this fine young R&B talent. I think back then I had an instant crush on Usher, but also this video was just different than anything I've seen when I was younger. It was a solo artist with a very easy, but subtly sexy vocal style and amazing dance moves. The technology back then was pretty impressive by making multiple Ushers while he did chair choreography with himself, but also mixed it up with back up dancers. The style and beat had a nice balance of hip-hop and R&B. The visuals were simple and very 90s, but the song is something that's hard to forget. It's a song to make the ladies pay attention to the smoothness of Usher and for the men to learn how to be smooth. He was the perfect young talent to mix it up back then.
"Just Like Me" is a track I don't even remember listening to. It is a smooth R&B track featuring the rap stylings of Queen Bee herself, Lil' Kim. It's a nice song to nod along to. Lil' Kim's contribution is very...her. It doesn't deviant too far from the topic at hand and makes me yearn for the days when rappers didn't stray far from the main subject of a song that they're guesting on.
If I didn't already develop a crush on Usher, then "Nice & Slow" would definitely guarantee to get me drooling. Young me didn't fully grasp the contents of this sexy R&B track, but all I knew was a little something awakened for this man...some sort of appeal. Listening to this song now, I can admit that this is still the most amazing "panty dropper" track ever. From the intro of Usher's whispered phone call in nothing but a towel to the memorable sensual chorus, this song is a dangerous trap of wetness. Forgive me for my lewdness, but this was an effective R&B song to keep fans happy. The video has some odd gangster story or whatever. I don't know. It's kinda random for this sensual song and it's probably laughable on mute, but as a song, it's still very enjoyable to this day and a great follow up. Also, Rain reminded me how dangerous this song is. It really is too sexy for its own good.
I remember going to my cousin's sleepover, listening to this album, and having to power through "Slow Jam". It was a song that her and her friends loved to repeat and I would be in the background rolling my eyes or trying to ignore how boring or perhaps adult it is, meaning that this song really wasn't for young me. Back then and now, I can acknowledge that it is a good duet with Usher and Monica. Their voices compliment each other's very well and I can see this being a great choice for a first dance at a wedding or even one for the older crowd to push the young crowd off the dance floor to show them what real love is. Nonetheless, past me and present me would rather skip this ballad as it really isn't our thing.
"My Way" solidified my love for Usher. While "You Make Me Wanna..." was charming and flirty and "Nice & Slow" was sensual and mature, "My Way" was a humorous but confident track. I remember enjoying the music video a lot. It had an amusing concept featuring R&B singer Tyrese as the rival. Looking at it now, I see that the visuals have taken some influence from Clockwork Orange and I believe Warriors. The song is more upbeat compared to the other two music videos, but it still had this connection of getting the girl's attention. If I had to pick one video from this album that showcases Usher's talent the best, it would be this one. His voice has versatility in tone and delivery, it has a fun beat and visual concept, and the choreography is very entertaining.
"Come Back" is a track...I really don't remember listening to. Honestly, I want to say that I stopped listening to the album after "My Way" or just skipped ahead to the final track. Anyway, it features producer Jermaine Dupri opening the song with a not so great rap. The song is...okay? It's definitely not the best track compared to the first half of the album. The beat kinda overpowers Usher's young developing vocals and the content is a little silly.
"I Will" is a pseudo-R&B ballad...well, it would be a pseudo-R&B ballad by today's standards. It's another mature track that focuses on "you" the listener. It's a sensual song to make the fangirls squeal, but it pales in comparison to the effortless "Nice & Slow". It does offer a nice beat and the vocals are good, but it's not very memorable to me.
Just looking at the title "Bedtime" doesn't even sound like a promising song and...it really isn't. It's another slow R&B track that's a little more romantic than sexual compared to "Nice & Slow". The vocal arrangement is pretty impressive and beautiful, but not really a track that I would listen to often.
"One Day You'll Be Mine" kinda rounds off this slight narrative throughout this album. It's a slightly more upbeat song compared to the previous three tracks and samples a familiar beat by the iconic Isley Brothers. Ah, we meet again gentlemen. Of course, I think most people my age would think of Ice Cube's "Today is a Good Day" before they think of The Isley Brother's "Footsteps in the Dark", which honestly I had the help of Wikipedia for that. Listening to it now, I think I'm more distracted by the beat to even pay attention to the lyrics, which is not a good thing, but it is cohesive to the album.
The album concludes with an extended version of "You Make Me Wanna..." which has this weird sound distortion at the beginning and a longer intro. I have no idea why this track exists in the first place, since the original does a pretty effective job with the length it is.
My Way was a successful gateway for myself and I'm sure many others around my age to appreciate and drool over the new talent that is Usher Raymond. Jermaine Dupri did a great job polishing him up and getting more people to notice him because he's had a great career. Sure, he's had some questionable moments with his music career, but there is no doubt that he has been an amazing influence for future R&B talents worldwide.
Aaliyah - One In a Million (1996, USA) Rating: 4/5 Favorite Tracks: One In a Million, 4 Page Letter, If Your Girl Only Knew, Never Givin' Up
For the longest time, I always thought that One in a Million was Aaliyah's debut album, but there was another album before it. Unfortunately, I've never actually heard her first album, which probably makes me a bad Aaliyah fan or something. Nonetheless, I wanted to review an album that most Aaliyah fans recognized as well as my first introduction to her music that expanded her music video discography on TV. I remember first borrowing this album or listening to it from my cousin, who is a big Aaliyah fan. It definitely cemented my love and admiration for this young talented lady.
"Beats 4 Da Streets (Intro)" is a simple introduction featuring, at the time, Missy "Misdemeanor" Elliott. It's a short track with a slight hip-hop beat and some deep, airy vocals from Aaliyah. It gives just enough of a sample of what this album would deliver to its listeners.
"Hot Like Fire" continues a similar beat from the introduction with Missy as the hype woman in the song. The beat is pretty laid back with a bit of bass in the background to hit those back row speakers of your car. Aaliyah's vocals remain a bit deep, but light to float out at the end of lines and during the bridge. The music video features a remix version provided by one of the most popular producers at that time Timbaland. It still maintains that laid back tone, but bumps the beat up to make it more of a club track. It features some simple choreography with a block party atmosphere on a music set.
As mentioned in my first entry of Miko's Music Connection, "One in a Million" was my introduction to Aaliyah's world and probably for a lot of people who watched BET. It's a slightly slower song than "Hot Like Fire" and presents more of a sensual tone. The song reaches out to a lover that Aaliyah is smitten with. The lyrics are very simple to understand and really touches on many points in a relationship. The music video features R&B singer Ginufine Ginuwine as Aaliyah's love interest. There's some great intimate choreography as well that mixes it up between beauty shots of her on a car and interacting with Ginuwine. "Girl Like You" is the essence of 90s R&B and hip-hop. The song starts off with guest rapper from Naughty by Nature, Treach. It's not a track I listened to that often, not because it's bad or anything, but I guess Treach's style of rapping sounded like he was yelling from across the hallway or something. At first, the song seems a bit unbalanced with Treach's voice almost taking over the song and Aaliyah's soft vocals. But it is an enjoyable track.
"If Your Girl Only Knew" brought back the sound that I think fits Aaliyah's vocal talent best. It goes back to a simple R&B sound. The vocals feature a few layers of either back-up singers or echos. I remember jamming out to this song and felt that strong attitude in Aaliyah's voice throughout this song. I could see her telling this guy off to his face, maybe a little side eye, and a cocky smile while she walked away. I don't think I've ever seen the music video until now, but it seems like one of the most risque music videos I've seen by her...in a good way. It's sexual, but not too sexual. Aaliyah's style mixes tomboy and sex appeal. She and the other actresses deliver attitude and dominance over these cheating men in simple scenarios such as a private room and an elevator. Of course, it features some artist cameos like "Hot Like Fire" such as R&B trio 702 and rapper Lil' Kim. "Choosey Lover (Old School/New School)" is part cover, part remix. I remember listening to this track with my dad in the car and he had a flashback of the original by The Isley Brothers. I was happy he approved of this meeting of old school and new school when we listened to this track. Aaliyah's voice is absolutely flawless and the first half keeps that mood of "quiet storm soul". By the end of the cover portion, a strong hip-hop bass beat fuses in while Aaliyah's vocals smoothly transition to the change in beats.
"Got to Give It Up" is another cover track originally sung by the legendary Marvin Gaye. According to Wikipedia, it samples Michael Jackson's "Billie Jean" and features rapper Slick Rick. It's an upbeat track that Aaliayh does well. With her light voice, it doesn't quite pack the same punch as the original, but gives a personal flair to the cover that still conveys the same essence of Marvin Gaye's original. Slick Rick's contribution isn't as overpowering as Treach's and simply elevates the mood of the track toward the end.
"4 Page Letter" is by far one of my favorite Aaliyah songs and my favorite track on this album. Not only did this song really cement my admiration for her, but it's just a very good track. It reverts back to being a love song like "One in a Million" and takes it up several notches in quality. The beat is less overpowering and really lets Aaliyah's voice shine, whether she's doing runs or delivering a verse. Every layer of this song is perfection; it really makes you want to turn it up like the beginning requested. Also, the bridge really solidifies this as a great love song. It displays a bit of shyness, but determination in tone. Lastly, I think this is one of her best music videos on this album as well. I'm not going to say too much about it and just let the video speak for itself. "Everything's Gonna Be Alright" is another track I didn't listen to that much...well, not many of the songs after "4 Page Letter" I listened to when I was younger...and kinda now. None of these songs are bad in the least, just less played. This track brings back the upbeat hip-hop elements incorporated in Aaliyah's sound. It's a fun little track that exudes tons of confidence in content and delivery. It really makes me feel that everything will be alright. "Giving You More" scales back some of that hip-hop sound, but doesn't completely disappear. It simply balances out with Aaliyah's R&B roots, although the beat almost takes over her beautiful delivery in the bass section. "I Gotaha' Back" stays consistent in the balance of sound, but gives her vocals a little more opportunity to break through and reach the listener's ears. "Never Givin' Up" is a track that features Tavarius Polk with some very strong vocals and took me until high school to truly appreciate. I'm very picky with ballads, but R&B has a higher chance of me enjoying, although a lot of them around this time period sounded similar. Nonetheless, it's a really, really solid track that I could see on rainy day scenarios in movies when a character's lover goes away or a wedding song. Definitely check this song out for a real throwback sound. Listening to it now, I still think that Boyz II Men were part of this song and occasionally Tavarius' voice sounds a bit nasally in places, but it's still a beautiful song. "Heartbroken" shares a similar sound to "Hot Like Fire", but toned down and mixed a little more interestingly. It's a song with some vulnerabilities in the vocals, but a subtle strength beneath it. "Never Comin' Back" continues the narrative of heartbreak, but encourages moving on and not dwelling on the past. Things were good, but there are better things coming in the future as well without you. It kinda has a bit of a R&B lounge sound with Timbaland's flair on minimalistic sound. "Ladies In Da House" features Timbaland and Missy and an upbeat R&B sound with a hint of hip-hop. Whether you see it as an independent track or a continuation of the narrative from the last 2-3 tracks, it works as a confidence track for all the ladies. I can see this song being featured in the club, back in the day, and all the ladies enjoying themselves on the floor without any men involved. "Just me and the girls~"
"The One I Gave My Heart To" is a power ballad that ends all the full length tracks on the album. With the cohesion of heartbreak above, I probably would've moved this track up and let "Ladies In Da House" close off the album. Nonetheless, this song features some really strong and powerful vocals by Aaliyah as well as some genuine vulnerability. According to Wikipedia, Aaliyah ad-libbed the last verse of the song, which is quite impressive. The music video features her alone with no cameos or special guests to accompany or comfort her. It really fits the tone of the song and shows Aaliyah in the classic "singing in the rain" shot that a lot of pop and R&B male artists used. "Came to Give Love (Outro)" closes out the album with some feature vocals by producer Timbaland. It's a simple hip-hop/R&B beat that I actually like a lot more than the intro. It probably would've been a cool full track too.
One In a Million was definitely a step up from "Age Ain't Nothin' But a Number" (the song, not the album). Aaliyah's voice is a gentle power that eases new listeners in and comforts those familiar to 90s R&B. Timbaland and Missy's beats deliver a great balance of hip-hop and R&B and lets that balance shift in all the right tracks. While there are a couple tracks where the beats overpower Aaliyah's soft vocals, majority of them let her voice float effortlessly through the listener's ears and sometimes resonant with vulnerability and genuine passion. One In a Million is a solid sophomore album that displays growth in Aaliyah's vocal talents and versatility as well as what great producers can do with a great talent.
Crazy Town - The Gift of Game (1999, USA) Rating: 3.5/5 Favorite Tracks: Darkside, Butterfly, Hollywood Babylon, Lollypop Porn
I wasn't always super into rock music like I am now. It took years of cultivation and indulging for me to get to this point. I believe somewhere around 7th or 8th grade, I became more interested in the rock genre. Sure, I casually liked a few rock songs from various rock bands, but I want to give credit to Linkin Park for keeping me there. I'll probably bring this up again (more than once) in better detail, but the reason I'm bringing this up is because Crazy Town came into the scene around this time with a well known single by the name of "Butterfly". Most people just know them for that one song and nothing else, so I want to give them some spotlight in this Throwback Thursday post and review their debut album, The Gift of Game.
"Intro" is an odd introduction to the album with some people talking in a studio, but it's a fairly short track. "Toxic" is an interesting choice of a first track to start the album, but it's not a bad song at all. It's kind of a dark sounding song with some warped guitar playing that sounds like it's coming from an underwater tunnel. The chorus is very loud, aggressive, and full of energy which balances out the verses that are a little calmer and have a more conversive delivery. The extra vocals are a little distracting, but I like the back and forth of singing and rapping between Epic and Shifty Shellshock. "Think Fast" starts off pretty hard with some in your face guitar playing. The lyrical delivery kinda goes along with the title of the song, going by quickly along with the drums. It's a song that I either casually listen to or skip completely. "Darkside" mixes rock and electronics in all the right places. It's like a more aggressive rock version of Orgy from high school. It has a cocky delivery in the verses, then lets loose in the chorus, yelling out against whoever the song is for and has a fun more synth sound to it. I like the slightly opposing sounds between the verse and chorus and the transitions of vocal styles in each section. "Black Cloud" slows things down and gives the listener a break from the aggressive sounds of the previous tracks. I really like hearing this vulnerability and diversity in the band, especially Epic and Shifty's vocals. I really like listening to the lyrics of the song as they're pretty clever, especially when they mention various types of superstitions.
Now for the song that everyone knows about, "Butterfly"! Released in 2001, it was #1 on the Billboard Hot 100 charts and for a very good reason. Of course, around that time, there were many rock bands fusing hip-hop and rock, but some of them seemed a little off and met with very little success. Sure, you could probably lump this band as one of those little success stories, but I think there was more to them than a lot of the bands back then. The video was pretty cheap looking, mostly in the wardrobe department, but the visuals were a fantastical drug induced dream that fit perfectly for Crazy Town. It was simple and the song had a good sound with a guitar melody that sticks with you forever. It had a good balance of rap, but stuck more to a modest flirtation of rock. It was a good introduction to what the band was about, giving a little taste of their overall sound and lyrical content if listeners delved into their album. "Only When I'm Drunk" continues this lighter rock sound, having fun with a basic rock sound that everyone is familiar with. The lyrics are humorous and even makes a reference to an older song. Maybe you'll catch it. It's a silly song, but what do you expect from a song about getting drunk. "Hollywood Babylon" is a song I remember jamming to quite often on my portable CD player. It returns to that harder rock sound that you could lightly headbang to or just nod along. It just sounds like a fun audience participation type song that just gets you hyped along with them. "Face the Music" almost has the same melody as "Hollywood Babylon", but the lyrical delivery is a little lacking...even the content is meh. Sure, it has that same high energy, but misses that punch that the previous track has. "Lollypop Porn" was another song I remember listening to a few times as well. It breaks up the monotony of the last two tracks. It has a similar vibe to it, but mixes the mood of "Butterfly" and "Darkside". Bringing in light electronic and hip-hop sounds with rock while contemplating sex, partying, and just the whole good and evil game. It's a reoccuring theme in this album of demons and angels, but it's not heavy handed. It's a pretty smooth song and it's hard to resist not nodding along with this track.
I honestly don't remember ever seeing the video to "Revolving Door" until now. It's not as appealing as "Butterfly", but I suppose it goes along with the whole revolving door of women. It's a cheesy song and concept and tries to imitate similar effects from "Butterfly", like Shifty's tattoos flying out the window. Visually, I would've left this to a "real" rapper to deliver, then fade off like many rappers of that time. Listening to it was never a song I listened to that much. Honestly, I skipped this track. The lyrical content and music isn't bad in the least, like the video. It's actually a nice change to have such a chill melody for bragging about how many women these guys get. It's almost bittersweet in places, but not everything is bad. "Players (Only Love You When They're Playing)" continues that revolving door concept. Y'know...getting all the ladies, but in this track, it really does brag about sexing all the ladies. I do like this song a little more. It has more of hip-hop vibe than a rock one, which is interesting. I like the fun vibe of the music and the cockiness definitely runs through and through in the vocal delivery. Surprisingly, I'm not bothered by the female vocals in the song...except for the additional moans toward the end of the chorus. I get it...sex sex sex, but ugh! It's awkward to listen to out loud and in your headphones. Nonetheless, it's a decent song. "B-Boy 2000" announces that this is the last track...which it is. As I write this review and listen to the track, I honestly don't even remember this song at all. Strange. It's a very rock song. It's not all that aggressive like the beginning of the album or anything. It's more like 2000s rock sound I guess...it's hard to explain. The track features the legendary KRS-ONE, which is pretty cool. It's a fun track and a great one to end the album on, for sure. If you don't listening to any other track on this album, including "Butterfly" because everyone loves that one, you should definitely give this one a listen. There is a strange "Outro" track to close off the album. It's more electronic sounds more than anything else. Also, if you skip to track 32, there's a hidden track in there, but it's really nothing worth taking the time to listen to.
The Gift of Game was a pretty good album for its time. It showed off the aggressive, the cocky, and the vulnerable sides of Crazy Town. Although there were other bands out there around that time that used the rap/rock "gimmick" like Linkin Park, Limp Bizkit, and I'm sure others, they still had their own style that made them stand out from the lower pack (those bands I can't remember the names of). Back then, I really played the hell out of this CD and when I found out they released a second album, Darkhorse, I started to lean more towards their rock sound. This album is still enjoyable to this day and the tracks that I liked back then, I still like now. They definitely evolved in their second album and I'm not sure if I'll be reviewing it in another Throwback Thursday post, but it is worth checking out, if you're curious what happened to the "Butterfly Boys". According to Wikipedia, the band has reunited and is working on releasing a third album in August 2015. I'm looking forward to what they might put out in this current day and age, since rock (or just music in general) has changed so much since 1999/2000.
Starring: Aaliyah, Stuart Townsend, Marguerite Moreau Directed by: Michael Rymer Language: English Rating: R Running Time: 101 minutes
In my music video series, Miko's Music Connection, I focused on the life and career of R&B singer Aaliyah and briefly mentioned a little movie called Queen of the Damned. I mentioned some of my opinion on the movie, but mainly focused on the connection it had to Aaliyah, one of the stars of the movie. Now that I'm doing Throwback Thursday posts on Muddy Cult, I decided to revisit the movie and review it here for you guys.
Legendary vampire Lestat de Lioncourt has been in hibernation for several years. Once he decides to awaken, Lestat notices how much the world has changed and discovers rock music through a group of people practicing in a garage. Sharing his vocal talents with the members, he becomes part of their band and gains a massive following worldwide. While planning a huge concert in Death Valley, his music catches the attention of Queen Akasha who awakens and searches for Lestat in hopes of making him her king.
Being a fan of Aaliyah, I was looking forward to seeing another movie starring her, even though her part was quite minimal. I also was curious how they finished the movie after her unfortunate accident as well, but I was aware they used CGI for her appearance and later learned that her brother helped with the dubbing of voice (or something). Watching this movie again almost feels like the first time as I hadn't watched the movie from beginning to end since its release in theaters. I have seen bits of pieces here and there on TV, but the experience was interesting, especially knowing a few extra information about the movie.
After seeing the movie in theaters, I remember enjoying it and finding Stuart Townsend quite handsome as Lestat. I was unaware that this movie was supposed to based on an Anne Rice novel and that most of the complaints about the movie were due to it being a poor adaptation...also Anne Rice wasn't too fond of the interpretation either. I skimmed through some IMDb comments mentioning that as well and comparing Tom Cruise from Interview With a Vampire to Stuart Townsend. Unfortunately, I can't really join in such a discussion as I've never read an Anne Rice novel nor have I seen Interview With a Vampire completely. Perhaps I will watch the movie at some point. Watching Queen of the Damned now, I can recognize that Townsend was kinda like any other vampire and he did a good job bringing that sexual, intimidating aura that they possess. I still enjoyed the movie, but the story is a tad bit weak and I'm curious what the source material contained.
The main cast is pretty good and I enjoyed their characters, while the supporting characters seemed to range from good to tolerable. I enjoyed watching Lestat's transformation, interactions, and development throughout the film, despite it falling short in certain places. Jesse Reeves was a slightly unconventional love interesting and I thought she was interesting character for Lestat to encounter, but I wished she stood out more. As much as I love Aaliyah, her portrayal as Queen Akasha was a little awkward to watch in certain places, but I thought she did a good job with the material she was giving. The effects are a bit dated, but they're pretty good for that time. One thing a lot of audiences agreed on is that the soundtrack is pretty cool. It's unfortunate that during the performance scenes with Lestat, his singing voice is dubbed by Jonathan Davis of KoRn. I love KoRn, but the vocals are kinda distracting as they don't match Townsend whatsoever. I would've either used his own vocals or chose someone else to do his singing voice that would fit his speaking voice (and perhaps his appearance).
Back then and now, I never thought this was an amazing, award-winning movie or anything, but I enjoy it just as much as when I first saw it in theaters. Of course, it has its flaws, but nonetheless it is an entertaining movie. It's unique from some vampire movies and the characters are enjoyable enough to watch. The soundtrack is fantastic and matches the tone and theme of the film; it's also nice to listen to as just a compilation album. I suppose if you can forget the that this movie is supposed to be an adaptation of an Anne Rice novel, then this film can be quite enjoyable for the casual moviegoer.
Rating: 3/5
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Spice Girls - Spice (1996, USA) Rating: 4/5 Favorite Tracks: Wannabe, Say You'll Be There, Naked, If U Can't Dance
For our first musical Throwback Thursday, I wanted to review the very first CD I owed and still have. Yes, back in the day I was a big Spice Girls fan. I absolutely enjoyed their music, had the dolls, and even seen and owned the movie on VHS. I knew a bit of their choreography since my friends and I thought we really were the Spice Girls and I surprisingly still remember some of it. Of course, lyrics have never left my mind, so I can still effortlessly sing a good portion of the songs in their discography. Let's shake it to the right with Spice Girls' debut album, Spice.
"Wannabe", the first track of the album, is where it all started for most fans and people who knew about the Spice Girls. It was their debut single and music video and it was the perfect track to show us who they are and the perfect way to start an album. "Wannabe" is a simple, upbeat pop tune with a catchy bridge and chorus that everyone couldn't resist but to sing along. It stuck in your head whether you wanted it there or not. I remember people always struggled and fumbled with Mel B's rap or that third verse that her and Geri split. They never knew what the heck she was saying and tended to fail singing along to that part. It was a bit of a nonsense song, but it was full of nothing but fun and energy in not only the video, but the lyrics as well.
I bet some people wondered how the girls were going to top such an addicting song like "Wannabe". Well, their second track "Say You'll Be There" kept that fun playfulness, but added a little more musical substance. While "Wannabe" had some nonsensical moments in their lyrics, "Say You'll Be There" had more comprehensive content about a relationship that's easier to point out than their first song. The video also showed off the members' individual personalities that matched their nicknames and gave each girl a chance to sing. Each member has a very distinct vocal duty and you could clearly tell who's singing which part. The music video was fairly simple and gave each member camera time as they sung their parts, while still having fun with basic choreography and visual effects.
"2 Become 1" was a more mature and sensual track that really displayed each members' vocal talents a little more than "Say You'll Be There". It was a slower track that even younger me enjoyed to some extent, even though I didn't fully grasp the content of the lyrics until I was a little older. It's a very innocent intimate piece that expands on their view of relationships compared to the previous two tracks. The video was more serious and chic, but still held onto the group's personality without being too loud with crazy costumes or a strange concepts. I strangely can imagine that one person wanting this to be their first dance song at a wedding reception or something. Listening to the track now, I can still appreciate how beautiful and emotional this track is and that it shows a different side to the group aside from their crazy, boisterous, and confident side.
"Love Thing" goes back to a more upbeat tempo with a slight funk edge. It's a confident, empowering track about overcoming a rough relationship and moving forward with life. It was a track that stuck with their group concept of girl power. The vocals are consistently strong and the arrangement knew exactly where to put the punches then unify the girls' voices into a catchy hook. "Last Time Lover" is another funk pop track with some lovely bass lines. It's a sensual track that primarily focuses on the deep vocal range of Mel B and Geri. It's a slightly playful track with tons of sass in the verses and a bit in the chorus. It has an easy beat that you could nod your head along to, but it's not a track that'll stick to your head like "Wannabe" or "Say You'll Be There". Nonetheless, it is an empowering track to take hold of a relationship you want to let go while feeling above that ex-lover or whatever.
Back in the 90s, it seemed like the popular thing to do is to make a song dedicated to the mothers. "Mama" is that track. It's a slightly uptempo song with the girls taking turns singing to their mothers. The video features footage and pictures of the members as young girls with their mothers holding pictures of them. The lyrics are pretty simple, but carry enough substance to make you smile and put a small tear in your eye. It's not a track I listened to very often as a kid as I wanted something more upbeat and fun, but back then and now, I never thought this song was a bad one. It's a little cheesy or even pandering, but there is some sincerity and lightness to the track. The girls could've done a more mature ballad piece like Boyz II Men, but decided to keep their fun to appeal to their younger fanbase, light appeal instead which isn't bad.
Similar to "Wannabe", "Who Do You Think You Are" is an extremely fun, upbeat track with a nonsensical music video full of random fun. It's a confident track with a pseudo-disco pop beat and a super catchy chorus. It's definitely a dance track or at least one that's fun to bounce around to like the first track. The video is completely random and fun with the girls playing around their wardrobe, but I honestly wouldn't expect anything else from a song like this. Much like the previous tracks as well as just the whole album, the song exudes tons of confidence, a bit a sexuality, and freshness. It's a good track to listen to pick up your spirits.
"Something Kinda Funny" is a smooth funk track that's pretty easy to listen to. It's really not that memorable compared to some of the other tracks, but the vocals are nice to hear. The melody fits with their voices and somewhat eclectic style. It's not a track I listen to often, but it's not a bad song in the least. Strangely, "Naked" is a track I listened to fairly often when I was younger and still appreciate the track to this day. It's pretty much the slowest track or at least the same tempo as "Mama". It's a pop track with some great guitar melodies and bass. The verses are more spoken word than song which is interesting and ties into the bridge which is sung by, I'm guessing, Emma and Mel B, then smoothly transitions to the chorus. The song has a slight dark, mysterious edge to it. Very vulnerable and raw. It kinda reminds me of Madonna's "Justify My Love" in the rawness. It's an amazing track with a great melody and composition. "If U Can't Dance" is a nice bookend to the album as it is just a fun and nonsensical as "Wannabe". It has a bit of hip-hop mixed with pop and funk elements. It also features that semi-rap delivery in the verses from Geri and Mel B, which I have fun singing along to although I'm sure people would stumble on that first verse. It also features Geri doing a verse completely in Spanish. It's a fun track with mindless lyrics, but it's fairly enjoyable.
Spice was a solid effort from the rising British girl group. From track to track, the sound and concepts are consistent and cohesive. There's a good balance of fun, upbeat songs, slower more intimate songs, and more experimental tracks. The album represented the group in a good light and showcased their personalities and vocal talents. Looking back on this album, I still believe this was a solid effort and deserved the praise and awards that it received. I hope you all enjoyed today's first musical Throwback Thursday and there will definitely be more to come.
Starring: Jim Carrey, Ed Harris, Laura Linney Directed by: Peter Weir Language: English Rating: PG-13 Running Time: 103 minutes
I've been contemplating doing a Throwback Thursday here on Muddy Cult and hopefully this idea works out well. For the Throwback Thursdays, which will not be every Thursday, I will be reaching back into my childhood, review some things I enjoy, and compare the past with the present. First, I'm going to start with a less talked about Jim Carrey gem, The Truman Show.
Truman Burbank is an insurance salesman and adjuster, who lives with his wife in suburbia. His whole life feels like the perfect, ideal old fashion dream that you might see in classic American shows like Leave It to Beaver. Strangely, Truman's life is a television show, but he doesn't know until something seems slightly off to him. Upon finding out, Truman attempts to find the truth and explore outside the world that was created for him.
Little fact about myself, Jim Carrey is one of my favorite comedic actors and there's a very good chance that you'll see my admiration for him in these segments, so I won't go into the back history of how that started. Focusing on the movie, back then and even now, I thought this was a very unique concept. A higher being playing God on someone's life. Of course, there are other movies that execute this concept just as well such as Adaptation. and Stranger Than Fiction. In this movie, Carrey's character Truman has some range for him to play with and show off to audiences who only view him as a comedic actor. Naturally, he's a hilarious guy, but when the script calls for him to delve into dramatic moments of sadness, he nails it like a pro.
There's not much more to say about Carrey's great performance, but the supporting cast deserves credit as well. I always thought the hardest thing to act is playing an actor who is playing a part. It's like actor inception or something. Majority of the cast are simply characters filling in roles of Truman's life like his best friend, wife, parents, and co-workers. Much like television shows, actors whose characters are eliminated can be brought back as other characters. For these actors, I believe they did a fabulous job executing actor inception! Going along with actors playing actors who are playing characters, Truman's first love also does a great job of breaking that imaginary veil of the show and expressing her emotions toward Truman. Lastly, the people of the control room that have set up this life for Truman display a nice variety of personalities about the whole situation. Since they've been doing this before Truman left the womb, they're very used to how the routine goes. Depending on the situation, they can be laid back, proud, and to an extent egotistical about their accomplishment on the show. The most important thing to them is producing an entertaining show that touches people's hearts and you get a few glimpses of that to remind you that this isn't real life, this is a manipulated environment that Truman has been experiencing his whole life.
It's obvious I really enjoy this movie and I just wanted to share this little Jim Carrey gem with you guys. As a film graduate, I think people who are interested in broadcast should check this one out as it shows a bit of the ins and outs of television production. Most think it's very simple to put something like this together, but there is a lot of work involved and people to manage. It's even harder when the show is running 24 hours and commercial free. You have to be dedicated and creative, especially if something doesn't go the direction you had in mind. In short, this is a very entertaining, funny, and warm hearted movie that I think anyone can enjoy.
Rating: 4.5/5
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