Chasin' Those Cows That Fly

Ah, Stone Temple Pilots - the red-headed stepchild of the grunge era. They put out some great songs despite frontman Scott Weiland's drug problems. That's mostly due to the underrated DeLeo brothers, Robert and Dean. They were more innovative than most grunge bands, each album having a different sound than the last.

If you didn't get "Tiny Music..." you missed out.

Download mp3: Stone Temple Pilots - Seven Caged Tigers.

Seven Caged Tigers

Pass the time kickin' as time rips by
Neither goose nor the gander fly
Buy a minute spend an hour burnin', burnin'
Take a peak as the model earns it, earns it
Walk a mile as it keeps crawlin', crawlin'
Clean the politician, wash with everpure

So the answer gets harder
And the truth's getting farther and farther
And the bottle keeps churnin' and churnin'
Seven caged tigers fly by

Wastin' time chasin' those cows that fly
Churnin' out all of that butterfly sugarboost
Track the blade as it moves downward and onward
Take a pill it'll kill martyrs, martyrs
Passin' time rippin' as time kicks by
Pass the umbilical cord down for fly by
Take a sneak while the model she earns it, earns it
Hike a mile as it keeps crawlin', crawlin'

So the answer gets harder, harder
And the truth's getting farther and farther
And the bottles keep churnin' and churnin'
Seven caged tigers fly by

Yessss! Freedom

I apologize that there isn't a "song of the week" this time around. Things are crazy for me. I'm starting a new job August 1st. Next week is my last week at the place I've been at for nine years. There's a feeling of tremendous elation, intertwined with fear and nervousness. Mostly elation.

Next up

Charlie and the Chocolate Factory review by Tuesday. Hey, maybe Gabe can review this one too, if he has time. Gabe's actually read the book (a childhood fave), so he could offer an experienced viewpoint on this movie.

The Subject will hopefully be done by the end of the week...if not it will be around next weekend or so. We gotta pick music, add the sound, get the credits (there are a lot of people to thank this time around) and get it trimmed down to about 3 minutes for the short cut. (The director's cut won't be a whole lot longer...3:50, tops).

For the ladies

Fatigo - Menso Review

Let’s face it; there really aren’t a whole lot of Arizona bands that distinctively sound like Arizona bands. Recall the most infamous, Jimmy Eat World and I’d bet that most would be prone to believe they hail from just about any other major state in the USA. The same could be said about a great number of other Arizona bands; very few are so distinctively rooted in the local culture. In that sense, Fatigo stands as one of the first bands I’ve been able to distinguish as an Arizona band…sort of.
Now, don’t assume I say that because of the whole Spanish-speaking, Mariachi thing. That isn’t what makes them an Arizona band (although it certainly helps perpetuate the image). No, it is the themes, word pictures and overall attitude that formulate them as an Arizona band.
Their second album (and debut on 727 records), Menso, embodies everything about Arizona that makes it a unique place to live, and yet it also charts everything that makes it uniquely unbearable. Foremost among such things are the heat, which if viewed from this album’s perspective, might lean us towards the "Arizona is unbearable" argument. “Dormido” (which translates as “slept” from Spanish to English), narrates a favorable pastime during the summer-months – an all day sleeping binge. That’s not exactly as direct as the rest of the album; many other songs outright lament the wicked cruelty of the summer months. It is in this sense that Fatigo defines itself as an Arizona band. (No, they are not an Arizona band in the tacky cactus tea gulping “Arizona” sense)
And in all actuality, Fatigo has a much stronger reach because of such themes. With songs that cover everything from an aversion to heat, ill advised magic shows, outright hatred and delusional apocalyptic imagery, Menso doesn’t deserve to be pegged as the ultimate Arizona album, it earns the right to be the ultimate summer album. And for those of us who live in eternal summer, that's good entertainment to have.
But that’s only one side of the coin: Along with such gems as "Menso" and "Television", the album carries with it the epic of White Bear, a grumpy Artic bear who longs for the icy galciers of his homeland, but sadly remains marroned in the desert.
Goofy? A little, yet it adds a kind of running premise to the entire set. Actually, while there are plenty of great songs on the entire album, the White Bear songs are probably my favorites out of the whole collection. These songs most distinctively define Fatigo.
The very imagery of a polar bear roaming among the Southwest desert invokes thoughts of isolation and remoteness.
The most refreshing thing about the album however, is the band's cornball antics: Instead of letting their commentary about life and longing sit nakedly out in the open, Fatigo takes precious time to craft humorous musical shells to hide away what others would treat as “weepy”. That makes Menso all the more endearing.
The same could be said for Fatigo, who never plays themselves up as a pretentious group of remorseful, twenty-something “poets”. They’re really just goofballs at heart. This playfulness helps them to be quite accessible to just about any listener. True, some will latch onto this style of music more readily then others, but just about everyone will be able to agree that songs like “Mother Nature’s Son” and “The Golf Cart Preacher” are extremely catchy.
This is a grand accomplishment for a second LP, and for a band that really has no visible public history. Usually, it takes several albums and EP’s before a band can sound this polished. Impressively, Fatigo nails it right off the bat.
By the time the opening track kicks the whole ordeal off, the album manages to play itself out really well. A very possible gripe is that there simply aren’t enough songs like “White Bear III”, which benefits greatly from its somberness. Nevertheless, Menso remains a grand accomplishment. And after more then one listen, Menso might be stronger then an amusing ride from start to finish…it might be definitive.

24 minutes of dissolves and wipes

I feel like I've created an uneditable film. Josh has been kind enough to help me edit The Subject, but even with his mad editing skills, it hasn't been easy. I don't feel especially bright when I look at some of the footage we shot...I guess I decided it would cut together just fine back when I was filming this thing. But it'll work out, if not because of the film then because of Josh's help. Anyway, this post is an outright appreciation of his efforts.

-Brock

Lame On!

Before I begin this review, I’d like to dispel any previous assumptions you might have had about me. First and foremost, I do enjoy artistic and experimental films. A good film, like a good book, has the power to make one think, to arouse deeply set emotions, and to bring important social dilemmas into the limelight. And since film is the opiate of the masses, it has a far stronger impact these days then a book. In that sense, film has an extraordinary power.
However, I also enjoy fun, entertaining films. Every now and then, like anyone else, I enjoy watching films that might have no apparent thematic or social relevance. Oftentimes, it is these films that have the tightest structure or the most linear character development. And it goes without saying that they offer the greatest suspension of disbelief. That being said, when a film like The Fantastic Four comes along, it can be extremely entertaining and cathartic. And I’d be wrong if I didn’t admit that the Fantastic Four has its fun moments.
Actually, all of the basics are in place for a great superhero flick; a powerful villain with a personal connection to the hero(s), a team with a wide spectrum of conflicting personalities and quarks, and a somewhat linear discovery of powers and abilities. Indeed, the Fantastic Four does exactly what a film of its nature should do; have fun. The problem is that there are several other films in the same genera that do the exact same thing…several times better.
First and foremost, consider the heroes’ discovery of their powers. For some characters like the Invisible Woman (who must take her clothes off to be truly invisible) and the Thing (who is now a sheer monstrosity to loved ones), this discovery is painful and awkward. For others, like the Human Torch, it is exhilarating. In performance and direction this is all portrayed appropriately, but I could name several films to come out in the last few years that accomplish this same thing on a much stronger level. Consider Spider-Man. After Peter Parker’s geeky introduction, we truly shared in his jubilation at the discovery of his powers. It was liberating. On the other hand, the character development in Fantastic Four can’t hold a candle to films like Spider-Man.
How about the villain? Doctor Doom is considered one of the most infamous comic book villains of all time, but herein, he’s actually kind of pedestrian. I did admit to enjoying him after I saw the movie. But after comparing him to previous cinematic villains, I found several things to be rather dull about his interpretation. For a comparison, consider Ian McKellen as Magneto in the X-Men films. Probably the main reason why that character worked so well is because he had a strong motivation. Heck, even someone who only saw bits and pieces of an X-Men film can name Magneto’s motivation: he wants mutants to be the dominant race over humans. Doom has no such motivation.
Yes, the story does try desperately to pin a motivation on him at the beginning of the film: First, it gives us his connection to Sue Storm, which half-handedly forms a kind of love triangle to Reed Richards, Doom’s rival. But it abandons that concept when it throws a gang of displeased investors into the mix, giving Doom something entirely new to worry about (a blatant rip-off of Norman Osborn’s motivation in Spider-Man). Then, when these two motivations fall flat, Doom spends the rest of the film using his powers here and there to remind the audience that there is still a threat that the heroes will eventually have to take down. Sadly, no amount of motivation, stolen or poorly conceived, manages to stick. In the end we’re left with a villain that isn’t really a villain at all, but a collection of motivations taken from better villains.
When watching The Fantastic Four, you do get little snippets of ideas that seem to be genuine attempts at an original flick. There are sparks of originality. Like, instead of being feared and hunted down ala the X-Men or Spider-Man, The Fantastic Four is revered and hounded like modern-day celebrities. The Thing’s self depreciation, instead of being dark and gothic, is colored by his “Brooklyn” accent. Even the cartoony effects, showy compositions and obnoxious colors throwback to the visuals of a comic book. Those are nice touches.
Unfortunately, there just isn’t enough originality in the film to separate it from the pack. If asked on cue, I could recall a specific tone and feeling about Spider-Man, Batman or The Hulk. But if asked about the Fantastic Four, I would only be able to recall it as a dim reflection of everything that made those other superhero films great. In that sense, The Fantastic Four truly feels like a cookie-cutter experience. Instead of slaving over the story and characters like Sam Rami or Bryan Singer, director Tim Story compiles a “sampler platter” of everything they did and just assumes it’ll make itself into a meal.

Set The Alarm To Self Destruct

I didn't even know what Kill Haole Day was until now. Anyway, the Dambuilders were a great band. Josh probably has all their stuff, since they were from Boston and all. They did the indie rock w/violin thing the best.

This week's song is from their first of three albums.

Download mp3: Dambuilders - Kill Haole Day.

Kill Haole Day

this is not my scene
and i'm not sure what they mean
just wish i skipped
no way to worm out of your grip
my moke i'm choked up to let you bend my head
my crime is trust
white trashes to ashes dust to dust
are we pau?
can i ride? decide?
maybe there's no place left to hide
i thrive on rage
dare you to kick my rib-cage in
all lights go dim
happy to be your insect pinned
i guess i'm stuck
set the alarm to self-destruct
do it...pow
starless kalihi side haole boy must die
would you crush the life out of me
nice to know you're thinking of me
check this out
my doubt is that your afraid to take me out
my crime is lip
am i on the suicide tip
disinfect my head
check to see that i'm not dead
i guess i'm stuck
set the alarm to self-destruct
are we pau?
starless kalihi-cide haole boy good-bye
would you crush the life out of me
nice to know you're thinking of me
do i sense you really love me
auwe
good-bye

Back from telecine

The Subject has arrived. Now the editing begins.

Come Sit On My Wall

By request per Brock. Damien got quite popular since he did some songs on the movie Closer. I'm not a fan of the whole album, just about five songs.

The lyrics I found say "story of O." The album's entitled "O" but I'm not sure that's what he says. I thought it was "old." I'm probably missing something, though.

Download mp3: Damien Rice - Amie.

Amie

Nothing unusual, nothing strange
Close to nothing at all
The same old scenario, the same old rain
And there's no explosions here
Then something unusual, something strange
Comes from nothing at all
I saw a spaceship fly by your window
Did you see it disappear?

Amie come sit on my wall
And read me the story of O
And tell it like you still believe
That the end of the century
Brings a change for you and me
Nothing unusual, nothing's changed
Just a little older that's all
You know when you've found it,
There's something I've learned
'Cause you feel it when they take it away

Something unusual, something strange
Comes from nothing at all
But I'm not a miracle
And you're not a saint
Just another soldier
On the road to nowhere

Amie come sit on my wall
And read me the story of O
And tell it like you still believe
That the end of the century
Brings a change for you and me

And Amie come sit on my wall
And read me the story of O
And tell it like you still believe
That the end of the century
Brings a change for you and me

Scattershot

Ah, 4th of July weekend. Nothing like a Holiday Weekend to help me make some headway on my script. Pounding out some crucial scenes for the second half of Act II in my script, I spent any free time I could muster yesterday and today writing out 10 pages of material. The scenes I ended up getting down were some of the more difficult I’ve had to write, including one very intense confrontation scene.
I should add that I’m positive once I go back and rewrite my material I’ll find plenty of mistakes to cramp up over, but for the moment I’m reasonably satisfied enough to push forward at least 10 more pages by tomorrow. Act II is running long…I’ll cut it down in the final draft.

So I called FotoKem and the processing on The Subject is done. All that’s left is the telecine. After the film gets back to me I’ll begin the arduous process of editing. Actually, I’m really looking forward to the editing for this film, as I have a million ideas I want to try and accomplish. One of the things I wanted to make important in this film was the Foley and overall sound. That’s never really been a heavy focus in the past, but I want to get creative with it this time around. I can picture setting an entire mood with some particular sounds. I know that I’ve always ended up just laying down music to my films, in essence making them music videos, but this time I really want to focus on the sound effects.

I added the Criterion Collection and The City on Film Daily to our collection of links on the right hand side of the page. Why? Well, Criterion made it to the list because we’ve been talking very heavily about movies lately, independent, artistic and foreign films in particular, and I’ve realized over time that they have one of the finest collections of cinematically important films. They also publish a number of interesting film articles. The City on Film got a link because, well, that’s a very frequently updated blog. And since I wanted to make sure we keep updating our site with new material, I decided to add that. I should get his new CD and review it.

Speaking of reviews, my next major one:

Going by the trailers and commercials, it isn't going to be anything like I thought it would be, but I've read some surprisingly good reviews. I'll still give it a shot.

5 Good Spielberg Films

I may not have particularly enjoyed War of the Worlds, but Spielberg has had his fair share of good movies. More recently he delved into less accessible subject matter. While this may have turned much of his audience off, I found some of these newer films to be among his most enjoyable. And of course, he still has a hefty back-catalogue of remarkable films that continue to inspire filmmakers worldwide. Everyone has the capacity to make something truly astounding. Just to let you know that I have no real bent against this guy’s work, here are five of my personal favorite Spielberg films.

Catch Me If You Can: Spielberg’s definitive capper movie. Based off the real life story of con artist Frank Abagnale Jr., this film tracks the manhunt for Abagnale from two opposing points of view: Abagnale’s own and that of his hell-bent pursuer, Carl Hanratty. With a sharp sense of humor and a clipped pace, “Catch Me If You Can” is not particularly stunning or epic, but it doesn’t have to be. It’s merely an exercise in both tone and pace.

Jaws: Spielberg did manage to deliver a film that was told through the eyes of intriguing and engaging characters. His finest hour at this form of storytelling was Jaws. Known as the film that revolutionized his career, Jaws works on so many levels. But what remains most impressive about it is its strong cast of characters. We’ve got the smarmy marine biologist, the guilt-ridden police chief and a crusty old seaman. These three characters, strongly opposed in background, morality and personality, pushed the film forward towards a remarkable climax. Even if Spielberg could have gotten the mechanical shark to work, it wouldn’t have given this film the same brilliance.

Indiana Jones and the Raiders of the Lost Ark: George Lucas may have initially conceptualized this story, but the actual direction of the piece owes its significance to Spielberg. Much like a Lucas film, Raiders of the Lost Ark places its focus on the cornball theatrics of pulp comic heroes and adventurous escapes of daring do. The film’s hero Indiana Jones finally gave Spielberg an outlet to discard all his ideas he had in homage of James Bond. What’s more, it gave him his own franchise of films to successfully capitalize off of.

Close Encounters of the Third Kind: Brilliantly understated in its execution, Close Encounters of the Third Kind succeeded in giving us an alien film that hinged on the miraculous wonder of Spielberg’s very active imagination. Told in part by the frantic performance of Richard Dreyfus, and the oddly detached narrative of the U.S. Military, Close Encounters used a drawling pace to gradually reveal the alien beings to us. To this day it remains timely and tasteful.

Minority Report: Minority Report was a film that was lifted off a story by Philip K. Dick and retold in film noir perspective. Featuring Tom Cruise and Colin Farrell in what may be his only tongue-in-cheek performance; Minority Report toyed with the idea of what it would mean to give up your privacy in return for a guaranteed kind of safety. Although Spielberg may not have pushed this concept as strongly as he could have, the film still features a tight narrative plus several interesting plot devices. Its vision of the future is also delightfully dark; abound with dancing cereal boxes, convicts stored away in tombstone like chambers, and police nightsticks that induce vomiting.

War of the Uninspired

On the day of October 30th, 1938, men, women and children fled their homes in terror because the nation was being attacked by the greatest threat humanity had ever faced: an enthused imagination.

The stimulant? A fictional a radio broadcast.

Spielberg on set

Yes, these people, caught up in a fit of sheer terror, had no intergalactic invaders to blame for their loss of control, just Orson Welles. The legendary auteur (at that time a member of the famous Mercury Theater) caused real pandemonium with his now infamous broadcast of “War of the Worlds” all because of a little acting ability and plenty of imagination. Ingeniously weaving his adaptation of the famous novel through a series of mock news reports, Welles managed to capture a personal level of terror that is often felt by each and every one of us whenever malevolence strikes.
Now, Steven Spielberg has attempted to capture that same feeling with his own adaptation of War of the Worlds, and it’s safe to say that while he may have created an entertaining film, he’s failed in the same arena Welles excelled in.
I honestly don’t think it’s unfair to criticize Spielberg in this regard; he tries several times throughout the film to capture that same sense of human terror, but he never quite succeeds. Instead of giving us 5-star generals and a hard-boiled war president as the film's leads, he builds the story up from the human point of view by introducing us to a shattered family in the form of Ray Ferrier, his daughter Rachel and his son Robbie. But despite this fundamental effort to capture terror where it is most strongly felt, Spielberg can’t help but fall back on his old tricks.
Yes, Spielberg may filter the story through a torn family but he also giddily shows us the aliens as soon as opportunity arises. (These aliens, by the way, are so formulaic in design that I’d just as soon see one walking down the street than be terrified of it.)
Herein Spielberg drops more cash on fancy computer effects for the alien war machines then Welles probably spent on all of his films combined. These alien war machines, or tripods as the film insists we call them, are truly terrifying when shadowed away by smoke and haze. But more often then not, Spielberg ruins the illusion by giving us plenty of crisp snapshots of the blasted things. He tries to be coy, but he just can’t do it. There’s one point in the film where Cruise’s character meets up with a gang of greedy, story-driven reporters who show him footage of the tripods attacking. M. Night Shyamalan tried this “secondary source” technique with great results when he showed us an alien captured by a video camera in Signs. In reality, that shot was probably just a guy in a rubber suit captured by an actual off the shelf video camera. Yet that’s why it was so chilling! Spielberg’s “footage" looks more like an ILM test model for the tripods.
Elsewhere in the film, Tom Cruise busies himself as usual by acting proficiently enough to carry the story along, unhindered by his recent media shenanigans; I honestly had no problems simply letting him fall into his roll. Along with Cruise we have Dakota Fanning, the prodigy child-actress who does a fantastic job of acting terrified (and since that’s really the only emotion she can effectively convey, this story is a perfect showcase of her abilities), Justin Chatwin who pulls off a sufficient performance if nothing else, and Tim Robbins who gives us something mildly besotted considering how little he had to work with. But, for a film that was touted to be built on a foundation of standout characters, there are no real standouts in the entire piece. True, the first half does a fantastic job of giving us the human characters we desperately need...then the second half throws them completely out the window.
The final flaw is a tone that is far too blatantly “dark!!!” to be effectively enjoyable. Instead of letting the atmosphere of the situation set the tone of the film, we’re given graphic moments of people vaporizing into dust or getting their blood sprayed across the land. Sure, it’s dark as heck, but not terribly inspired.
Spielberg should be praised for his visual accomplishments; that goes without question. And the visual effects beheld in the film are crafted most exquisitely. But these kinds of films simply aren’t Spielberg’s territory anymore. He used to own the blockbuster. Now, with a new generation of filmmakers leaving their imprint, it feels like he’s riding on the coattails of younger visionaries. We expect Shyamalan to swipe tricks from Spielberg, not vice versa.

After all the computer generated trickery, high paid actors and media scandals, Welles still owns the legacy for this story, all because he had a little acting prowess, some ingenuity, and of course, plenty of imagination. Let me know when Spielberg gets his back.

Report

Sorry it's been quiet around these parts lately. I haven't felt terribly interested in posting. Kudos to Gabe for all his MP3 posts. I look forward to them every week. They've kept this place alive.
Not much to report...finished a new short screenplay entitled His Big Night (maybe I'll put it up soon)...might have a part in it for Gabe, possibly Mr. Summers and a few others (if they're interested)...dunno yet. It's actually act II of a three act film. Gotta see how the planning stages turn out before I plan on filming it. I'm also gearing up to revise Wildlifeless for the 35mm contest. Unless someone wants to pair up with me to write something for that thing, I'll submit my revised edition.
The shoot for The Straight Man was great by the way. Easily one of our best films. It also has some of Josh's finest cinematography, and I truly feel that the rest of us helping on the film made the whole thing go smoothly. I won't say much about it though because it's under wraps right now. Anyway, keep your eye out for that.

Cya,

-Brock

Letting the pineapple turn

Sunday night after the jam session at Joshua’s house, Marco, Josh and Angie, and myself sat down and watched Wong Kar Wai’s seminal hitman piece “Fallen Angels” (or as it is known in the East, “Duoluo tianshi”). This was the first time I saw the piece and I have to say that I was quite impressed.
According to Josh, this film is a direct follow-up to Kar Wai’s own Chunking Express, and as there are numerous similarities between the two, the connection is palpable. For instance, a main character in this film, He Zhiwu, claims to have lost his voice after eating an expired tin of pineapple. If you’ve seen Chunking Express, you will recall that one of the film’s characters, He Zhiwu, collected and ate tins of expired pineapples. While there is no direct connection between the two characters in either film’s narration, it’s still a curious reference.
Anyhow, I was most impressed by this film because of several reasons:

One of the finer performances.

1. It’s structure. It’s clear that Kar Wai’s films have a unique structure all their own. Most often this is achieved through his improv shooting, which often leads to him piecing a story together (literally) in the editing room. He followed through on this style in Chunking Express, but I have to say that I felt like his attempt here was considerably more effective. The story really had a unique structure and style of editing. Whereas it was unique and workable in Chunking Express, here it was the defining drive behind the film.

2. The spine. This story really had a strong spine that followed through from beginning to end. Although much of it was probably improv, toyed around with and left unsure until the moment of editing, there was an unmistakable sense of direction to this film. It established a strong beginning and delivered with a strong end. And each character had a line of development that they followed throughout the film, sometimes to heartbreaking results. This was well done.

The film's token conflicted hottie.
3. The atmosphere. If this film succeeds especially well in one particular area, it succeeds in creating a suffocating, vivid, strung-out atmosphere. With every scene set entirely at night, this film never lets up for a moment on the enclosed, overwhelming harshness of the city. Everyone is either crammed away in a dingy little apartment, an ice cream truck or a restaurant that barely has enough room to stand up in, let alone sit down. (Most of the time, this seems to be achieved with a telephoto lens, which never lets up on the actors) Someone commented on IMDB that this establishes a proficient commentary on the backlash of modern life, also known as “The Walkman Syndrome”. A key sequence in the film, showing a main character spacing out while a terrible fight breaks out behind her, underscores this theory perfectly.

I enjoyed Chunking Express, but Fallen Angels is a film that I would watch again and again. It may even be a film I wouldn’t mind adding to my own collection.

The Blood That We're Made Of

A little Mates of State for you. This band simply consists of a couple. The lady plays organ and the man plays drums. I love the organ in this song.
Download mp3: Mates of State - Ha Ha.

Ha Ha

I can't tell what kind of life I've led today
All that's known is what's debatable again

Oh, I can't see where you are
Where is the problem?
Squared-off, all bother
We're not to blame

And I can't see the darker wood
Squared-off, all bother
Where is the problem?
We're not to blame

I can't tell what kind of life I've led today
All that's known is what's debatable again

And I imagine I will see you there
You will have long flowers in your hair
I imagine I will see you there

This is the blood that we're made of
So tell it like a chronicle

Who's dancing all around?
Let's give it to me, give it to me now

And I imagine I will see you there
You will have long flowers in your hair
The telegram said: are you gonna call our way home?

I imagine I will see you there
Can't you hear the laughter in the air?
The telegram said: are you gonna call our way home?

And I imagine I will see you there
I know it's stout but it's shallow
I'm not aware
The telegram said: who rejuvenated your eyes, boy?

This is the blood that we're made of
Go tell it like a chronicle

We're dancing all around
Let's give it to me, give it to me now

This is the blood that we're made of
Go tell it like a chronicle

Step to the Left, Baby

Get down, a la funky. This week's song you can dance to. Do it.
It's OK, nobody's watching.
Download mp3: Tony! Toni! Tone! - Tell Me Mama.

Couldn't find lyrics for this one and I'm not about to type them up. They're pretty discernible, though, so enjoy.

Wanted: Mid-90's alt rockers

Is he crazy or something?

I Feel Them Drown My Name

This week's song is late, because Cox is lame. I had to put it somewhere else.
Know the amazing vocal range that is Jeff Buckley.
Download mp3: Jeff Buckley - Grace

Grace
There's the moon asking to stay
Long enough for the clouds to fly me away
Well it's my time coming, i'm not afraid to die
My fading voice sings of love,
But she cries to the clicking of time
Of time

Wait in the fire...

And she weeps on my arm
Walking to the bright lights in sorrow
Oh drink a bit of wine we both might go tomorrow
Oh my love
And the rain is falling and i believe
My time has come
It reminds me of the pain
I might leave
Leave behind

Wait in the fire...

And I feel them drown my name
So easy to know and forget with this kiss
I'm not afraid to go but it goes so slow

Year 2

Since we talked it up at the party last night...here's some teasers.

Rehearsing Disasters

This week's song comes to you from the Owls. It's the same members that made up the influential Cap'n Jazz, minus Davey, who went from Promise Ring to Maritime.

Everyone Is My Friend
i know what i have to do and do it. i know what i have to do and do it. but don't know what it is until it's done. i know it must be rough, you're so much smarter than your friends. come clean in jokes. integrity in tennis shoes. waiting thinking how'd i like to be call waiting. territory mutinies horizon. disease teaches immunity. a promise implied can't be broken. and even now in the sunlight with grapefruit juice and coffee bound and bountied to winter without end would you two like each other or are you too alike? i know what i have to do and do it. i know what i have to do and do it. but don't know what it is until it's done. i've been inventing you and continue inventing you. may we all make it home safely. i know it must be rough, you're so much smarter than your friends. rehearsing disasters and forecasting all your needs. i dance early then got shy and had to go home early. the mirage will fade as it unfolded. the plot's defamed it's own voltage. a promise at the time can't be beat. and even now as the snow is opening it's whole in pieces and wets each grieving hold of last year's trash it's not impossible to think of you thinking of me. may we all make it home safely.