Musings from the Back 9: Music Edition XV

A lot has been made about the sophomore slump, but the third album may be the hardest. Look at Coldplay, their debut was good and improved on their style with the follow. By their third album X&Y, they started to sound like just another Coldplay rip-off band that littered the English countryside by the middle of last decade. Luckily for Coldplay they started to evolve with their fourth album. Vampire Weekend recently just released that tricky third album, Modern Vampires of the City. And though their sound has not changed much from the Benetton anthems from that first album, Vampire Weekend had tweaked their sound enough not to fall prey to the same rut Coldplay did (it may also help that Vampire Weekend has yet inspired knock-off band). The best song from the new album is Diane Young which sound like a sound Vampire Weekend did for a Buddy Holly tribute album except it was not originally a Buddy Holly song. Go ahead and add the song to your summer 2013 playlist now.

Modern Vampire of the City gets a on my Terror Alert Scale.


Legacy artists have been doing duet albums with modern artists since Frank Sinatra did it over twenty years ago but last year Lionel Richie added a new twist to the concept: do an entire duets album with artists outside your genre. And though John Fogerty’s Wrote a Song for Everyone is not totally a country duets album, half of the guests are pure country acts like Brad Paisley who may not be the best duet partner lately (*cough*Accidental Racist*cough*); most of the others have country and folk leaning. The best here is the trippy version of Long as I Can See the Light with My Morning Jacket. And though the Jennifer Hudson assisted, Bourbon Street version of Proud Mary with Allen Toussaint and Rebirth Brass Band is another stand out, you cannot help but wonder how it would be better if they could have actually gotten Tina Turner to sing the song one more time. There are two new songs her but neither that memorable. But much like the Ritchie duets album, I am content with just having the original versions on my iPod.

Wrote a Song for Everyone gets a on my Terror Alert Scale.


The debut album from Eisley was extremely catchy and the band could have caught the indie pop wave of the past decade. Instead each successive album they released has gotten more and more melodic. By their fourth album, Currents, it almost sound like they are recording an Explosions In the Sky album with lyrics over them. I actually like the band better when they strip the sound down a little like when they do on songs like Milestone and The Night Comes.

Currents gets a on my Terror Alert Scale.

Some Blindsides Need to Happen Before They Happen to Me

The last and only time Survivor previously aired a Fans vs. Favorites season it became so clear just how outmatched the tribes were because where the Fans are still littered with fodder, the Favorites were some of the smartest and strongest players to have never won the game. The Favorites were so much better that they actually managed to get a Fan to give up his Immunity Necklace and then promptly voted him out.

So how do you make the second installment of Fans vs. Favorites fairer? Well you bring in some of the most incompetent and least liked Survivors of the past ten seasons. You had crazy people Brandon Hantz (who did not even need to be talked into giving up his Immunity Necklace) and Philip Sheppard, turncoat John Cochran and the emotional wreck he turned on Dawn Meehan, the first ever contestant that was voted out of their first season Francesca Hogi, and they even brought back that moron who gave up that Immunity Necklace in the first Fans vs. Favorites Erik Reichenbach.

Which sounded fair on paper except the very first Reward Challenge the Favorites ended up dominating the physical challenge to the point that even Cochran won his heat. Cochran! After losing the first Immunity Challenge, the Favorites then went on to win ever Immunity and Reward Challenges until they forfeited the final Immunity Challenge before they switched up the tribes when they dumped Brandon in the very first elimination that did not happen at Tribal Council.

The swapped tribes did not favors for the Fans as they were outnumbered on both tribes (and thanks to some sleight of hand by Probst when divvying up the new tribes one tribe was loaded with all the physical specimens left) and lost two more Fans before the merge. Luckily for Sherri and Eddie, Favorite after Favorite started overplaying their hands post merge with Corinne Kaplan, Malcolm Fresberg, and Andrea Broehlke, all went home for trying to turn on their alliance before that got rid of all the Fans while Brenda Lowe made the rookie mistake of stupidly winning the Loved Ones Challenge. Phil also when home prematurely when all three members of the Douchebag Alliance held Immunity and drew the short stick. Some people give Malcolm credit for this move, but I am under the belief if you have two Idols in your pocket and are sent home the very next Tribal, that is a massive failure.

Then the finale hits and boom, Erik is out of the season ten minutes into the episode. In a season of firsts, the latest medical evacuation may have been the most shocking. I cannot even remember anyone ever being removed post-merge off the top of my head. It was disappointed that after his removal they did not go to a final two instead opting to giving the winner of the planned Immunity Challenge a clue to the Final Challenge robbing us of one more glance of Andrea at Tribal Council, who at the previous Tribal wore the greatest F-U dress ever worn by a jury member.

In the end, one of the biggest fans ever to play the game became the second player ever to get a unanimous vote with Cochran joining Earl from Survivor: Fiji. There was still one more first at the Live Reunion show with Brenda being the first player not to show up, but apparently she was too big to go flying (how did someone who did not even show up until the final two episodes almost win Player of the Season?). Another first happened when the non-jury members were resigned to audience and completely ignored by Probst instead giving away their time to Boston Rob (please go away) and Rudy (please come back for another season, even at 85, I bet you could still outlast most twenty-somethings). I wonder if this will happen in future seasons or was just a way to keep Brandon from attacking Philip live on television.

But enough with Caramoan, next season is Blood vs. Water which looks like it will be the much rumored Family Edition with returning players on one tribe and a family member of theirs on another, so Family vs. Favorites would be a more appropriate title (unless it is a tribe entirely made up of family (please God, not the Hantz's) going against a tribe of strangers). If true, this is the worst idea the show ever had, even worse than Redemption Island. It just comes off like a cheap Big Brother stunt and Survivor is usually above silly stunts like this. Instead of bringing back contestant every season (if my hunch is right, that would make it six of the last eight seasons with at least two former players) they need to find casting agents that can actually find actual interesting people instead of the current casting agents who just bring in past contests and fill the rest of the cast with models from the Abercrombie catalogue. With that said, if one of the teams turns out to be Kat from One World and her bulldog cousin, I will be fully on board Blood vs. Water. Actually just thinking of that possibility is making me excited. Excuse me while I go cyber stalk Kat to see if she disappears from the internet for the next thirty-nine days.

Survivor: Caramoan gets a on my Terror Alert Scale. You can stream recent episodes over at CBS.com. You can also download Survivor: Caramoan on iTunes.

Musings from the Back 9: Music Edition XIV

I have never been much of a fan of traditional country music, but I do have a soft spot for the angry white chick sub-genre that popped up in the middle of the last decade. One of the best songs of the genre was Pistol Annies Hell on Heels (lead Annie Miranda Lambert may be the angriest of the angry white chicks), I do not even care if it was an ode to maneating. Their follow up album Annie Up starts off promising; you know just by the title alone you know I Feel a Sin Comin’ On is going to be good. And though it is not in the angry white girl vein, the laid back, front porch sing-a-long does not disappoint. The rest of Annie Up does disappoint, filled with songs that would not be good enough to appear on their first album. I was hoping the alleged marital strife between Lambert and husbandBlake Shelton, even if was unfounded, would produce better music.

Annie Up gets a on my Terror Alert Scale.


The Dixie Chicks pretty much swept the 2007 Grammy Awards taking three of the top four awards (naturally they were ineligible for Best New Artist) and promptly took an extended brake. The two sisters in the group released an album under the moniker Court Yard Hounds in 2010 as they waited for lead singer Natalie Maines got the writing itch again. Seven years after releasing Taking the Long Way, Maines may not be ready to write with the Chicks just yet (though supposable something is “in the works”), but she is ready to record some music, as she just released a cover album Mother with songs from Eddie Vedder, Jeff Buckley, and Semisonic. There is one Dixie Chick song, Come Cryin’ to Me which was from the Taking the Long Way sessions which sounds about as good as a song that did not make that album would be. But the best of the set is the haunting title track version of the Pink Floyd classic and the new Ben Harper penned Trained where Natalie duets with the songwriter on a barn burner of a song. Though it is hard not to listen to the album and hope a proper Dixie Chicks album will not be far behind.

Mother gets a on my Terror Alert Scale.


It is really apropos that She & Him named their third album Volume 3 (the first two naturally were entitled Volume One and Volume Two; do not ask me why they spelled out the numbers on the earlier albums but opted for the numerical styling now) because their most recent outing sounds exactly like its predecessor to the point I was suspicious that it was just the same songs with different titles just to throw people off. Except it could not have been a complete rehash because there is nothing as catchy as In the Sun on the new album. It does not help that I went to look how much longer the album was the first time I listened to it and was shocked that I was not even half way through the forty minute album yet. Really the only song that stands out in this set is Together which features Zooey Deschanel singing in French (I think, I did not do very well in the subject back in high school).

Volume 3 gets a on my Terror Alert Scale.

It's a Trap!

Even before it aired I was ready to love The Americans. It was the first show Graham Yost created after Justified, the best show on television. Then you add in Keri Russell as a Russian spy which sounded like it would be Homeland: The Reagan Years but seem from the opposition. Sure we know how the story turns out (SPOILER ALERT: the Russians lose) but Yost is a master storyteller and with the premiere set against Reagan’s election, they are still eight years away from the fall of the Berlin Wall and a full decade away from the dissolution of USSR. Not that I would mind if The Americans lasted long enough to see The Jennings adjust to the end of The Cold War.

As great as the premise, the season relied on too many television tropes. Of course the guy who just moved across the street is the newest counter-intelligence agent in the CIA who routinely is investigation The Jennings activities but never actually crosses paths with them except in the finale but did not get a good look at them in their disguises. The biggest disappointment of the first season was how uninteresting Margo Martindale. Yost brought her in after she deservedly won an Emmy for her role of Mags Bennett on Justified but her character just did not add anything as the Jennings’ handler except the time she bruised Elizabeth’s fists with her face.

But these complaints really are due to unfair comparisons to Justified and Homeland, two of my favorite shows. On its own, The Americans was still an edge of your seat cat and mouse game between the Jennings and Stan as they join each other for cookouts on their time off from spying. And where I thought from the beginning that The Jennings would eventually get turned and become double agents for the CIA at some point in the series (I always go back to the offer the turncoat KGB agent they captured offered them), the most fascinating part of the finale was when Nina’s boss made it a top priority that she try and turn Stan. Now going forward it may be a question of who turns both. Of course if this were Homeland, they probably would both turn on their country and be shocked when they run into each other at a CIA or KGB meeting.


Still, it was hard not to be disappointed by the finale. In the end nothing changed. The Jennings did not get caught and Stan and the rest of the CIA are no closer to catching than they were at the beginning of the season. I thought for sure Nina would not make it out of the season alive, or at the very least be resigned to a life in Siberia, but she is still around as a double agent, her alliances just switch back. Maybe I was just conditioned by Homeland to expect one mind blowing game changer per week (for better or worse) I was expecting The Americans would have at least one in a season. With the last scene, I thought,, okay, at least the daughter will learn of her parents double lives, but even that just ended on a cliffhanger. Did she find her parent's stash? Does it even matter? Is the son more worthless and Bobby Draper and Chris Brody combined? I guess we have to wait until next season for the answers.

The Americans 1.x gets a on my Terror Alert Scale. You can download The Americans on iTunes.

Musings from the Back 9: Music Edition XIII

If it were not for Limp Bizkit’s fifth attempt at being relevant again, Fall Out Boy may have been the most unwanted comeback of the past year. Even worse is they called their album Save Rock and Roll (so when you look at the album, you will see Fall Our Boy Save Rock n Roll) even though they along with their whiney contemporaries destroyed the genre (good riddance My Chemical Romance, the world will not be anticipating your inevitable reunion at Coachella 2020). Apparently the band did not watch the Grammy’s this year which featured Mumford & Sons, The Black Keys, Jack White, and Fun., four critically and commercially successful rock albums, all fight for Best Album.

But I am not a Fall Out Boy hater, a couple of their songs made my Best of the Year lists. Despite the first single My Songs Know What You Did in the Dark (Light em Up) and its pretentious long title the band is known for, Save Rock n Roll is the band’s grown up album. Besides Light em Up, the rest of the album has “normal” titles and less tongue in cheek lyrics (Courtney Love spoken word diatribe on Rat a Tat notwithstanding). This album reminds me a lot of Blink-182’s “grown up” albums, they may have been musically better, but their songs where they would make prank phone calls about sodomy were more entertaining. Same for Save Rock n Roll where the album may sound better, but the most entertaining song is the one that sound most like their older work.

Save Rock n Roll gets a on my Terror Alert Scale.


Taylor Swift set up the template for country cross-over success. Hook in that country crowd then slowly creep closer and closer to pop music with every subsequent album until you are making crappy dubstep songs with Max Martin. It look like The Band Perry is copying that blueprint to a T. Much like Taylor did with Teardrops on My Guitar, Kimberly and her brother released a “Pop Remix” of If I Die Young to pop and adult contemporary stations. And that turn to the mass center continues on their sophomore album Pioneer which dips one toe into the country pool and the other in the pop world. The album starts off with their best song to date, the banjo infused Better Dig Two which is as much pop-rock as it is country. They continue to go back and forth and combine the two for the rest of the album, but none of it is very memorable. Maybe the true key to Taylor Swift's successes is dating and writing about douchebags when they inevitably break her heart.

Pioneer gets a on my Terror Alert Scale.


Last year I became obsessed with who the record companies would try to pass off as the “Next Adele.” First out the box was internet lightning rod Lana del Ray who was maybe the most prepackaged “indie” act ever with her devil may care attitude, thin voice, pretentious lyrics that wanted you to think they were much more important than they are, and music that borrows as much from retro sounds as it does modern day hip-hop. Though we never did get a Next Adele (at least until Emili Sandi manages to break out here stateside) you could call Jessie Ware the Next Lana Del Rey but Jessie comes off much less pretentious, less annoying and has a slightly better singing voice. The music is still draped in as many rap references while it borrows from music from the sixties (Wildest Moments is the best here which will grow on you with every new listen) but most songs come off as a little too sleepy and boring. But that is what makes her debut Devotion a great bedtime album, whether that is a good or bad thing may depend on how much Ambient you take on a monthly basis.

Devotion gets a on my Terror Alert Scale.

Woke up on the Wrong Side of Rock Bottom

Noel Gallagher, who wrote all the songs for Oasis, once said the first line of every song is the most important and what he spent the most time working on. By that philosophy, the fist line in the first song off your first album must be the most important in a singer’s career (maybe not so much for Gallagher who started with “I live my life in the city, there’s no easy way out”). Kacey Musgraves came up a line to start off her major label debut album Same Trailer Different Park that really sets the tone for the next forty minutes when she sings on the opening track Silver Lining, “Woke up on the wrong side of rock bottom.” Do you even need to ask after that if this is a country album?

The next couple songs start out with a couple dozies of their own: “Who needs a house up on a hill when you can have one on four wheels?” (My House) and “If you ain’t got two kids by 21 you’re probably gonna die alone.” (Merry Go Round) But she does not stop with writing a good first line, Merry Go Round can be taken as either a biting commentary about small time life or a lament of it depending on which side of the Mason-Dixon Line you live with a chorus that goes, “Momma’s hooked on Mary Kay, bother’s hooked on Mary Jane” and if you guessed that “daddy’s hooked on Mary two doors down” get yourself a cookie.

But the best written song on the album is Follow Your Arrow which also starts off with a very memorable opening line, “If you save yourself from marriage you’re a bore, if you don’t save yourself for marriage you’re a (w)horrible person.” The be who you are anthem (“kiss lots of boys, or kiss lots of girls if that is something you’re in to”) is much catchier and a lot less annoyingly pretentious than the annoying pop songs with the same message of recent years by Lady Gaga or Ke$ha.

Musically, Musgraves comes across like a early female Ryan Adams with more traditional country influences and a much better sense of humor than someone who would stop a concert cold because someone request he play Summer of 69. But where Adams excelled at what he would call “sad bastard” songs (It Is What It Is is the best of these songs on Same Trailer Different Park), Kacey is much more adept at barn burners like on Stupid and Blowin’ Smoke both which could be one of the better songs if they found their way into Miranda Lambert’s catalogue (Musgraves wrote Lambert’s current hit Mama's Broken Heart).

Though Same Trailer Different Park sticks mostly to traditional country, the sleepy Back of the Map is one of the few times Kacey goes for the adult contemporary track that many pop-country acts shoot for these days, and turns out to be one of the best songs on the album. When it comes down to it, Same Trailer Different Park may be the best country album I have listened to since the last American album Johnny Cash released when he was alive.

Song to Download – Stupid

Same Trailer Different Park gets a on my Terror Alert Scale.

In Time the Rockies will Crumble, Gibraltar will Tumble, They’re Only Made of Clay

At age sixty-seven, Eric Clapton has recorded twenty-eight studio albums, twenty as a solo artist, so are we really supposed to expect much from the twenty-ninth? For a guy once regarded as “God” sure. Really the most notable aspect of Old Sock (do not ask) is that it is the very first released not on a major label but on his own record label Bushbranch (again, do not ask). Like most of his albums from this millennium, Old Sock relies heavy on covers, there are two covers, and features a bevy of guest stars that you probably will not know are there unless you are reading along with the liner notes.

The album starts up with a reggae version of Further on Down the Road by Taj Mahal (who contributes harmonica and banjo to the album) and also dips back into the island sound on Peter Tosh’s Till Your Well Runs Dry. Clapton’s old buddy, and sometime recording partner, J.J. Cale contributes vocals and guitars to the softly sung Angel. Another Clapton contributor, Steve Winwood from the Blind Faith days, plays the organ on Still Got the Blues. While Chaka Khan sings back up on the rare original track Gotta Get Over which stands as one of the best on the album, a funky song and one of the rare tracks where Clapton lets loose on his guitar.

Clapton also spends some time dipping into the old standards much like Paul McCartney did on his latest album, and the Beatles shows up on All of Me (most famously done by Billie Holiday) playing the bass and providing backing vocals. He also breaks out the old Leadbelly old timey classic Goodnight Irene and even closes the album with Love Is Here to Stay written by the Gershwin Brothers. Eric Clapton has clearly mellowed as he has gotten older, I just wished he would unleash one more guitar god album before putting on another pair of old socks.

Song to Download – Gotta Get Over

Old Sock gets a on my Terror Alert Scale.

Words Are Only in My Mouth

Kate Nash rode the wave of neo-pop music coming out of England late last decade following in the footsteps Lily Allen and Amy Winehouse. Her first two albums were filled with fun throwbacks sounding songs filled with enough snark satisfy any jaded music listener. But something happened after that as she dyed her hair darker and started sounding more like a Riot Grrrl than her poppier sound when she released her Death Proof EP where her trademark snark gives way to pure anger.

Her third full length album Girl Talk tends to bridge the gap between her earlier retro-pop style and Death Proof’s angry nineties white girl style. The new album does feature two songs from Death Proof, the title track from the EP and Fri-end which comes after the album opener Part Heart. They are followed by songs like Sister, where she gets screamier the more the song drags on, and fits in very well with her bass guitar heavy darker sound.

But I like it much better when she reverts back to her original sound like on songs like OMYGOD! Cheesy stylization aside, this is where she goes back to her one woman girl group sound. The best is on 3AM which would not sound out of place on those first two album but more danceable. Girl Talk ends with a duo of surprisingly sparse songs (even more surprising than Rap for Rejection where Nash, well, raps). First up is the acoustic sing along You’re So Cool, I’m So Freaky which is followed by Lullaby for Insomniacs which for the most part drops even the acoustic guitar. It ended up being a better turn than the angrier start to the album.

Song to Download – 3AM

Girl Talk gets a on my Terror Alert Scale.

A Very Spoilery Review of Looper

Over the weekend I watch the movie Looper starring Joseph Gordon-Levett where he plays the younger version of Bruce Willis (even though he clearly looked like he was a younger version Ed Norton to the point that I wondered if Norton was replaced at the last minute and Gordon-Levett just said, “screw it, I spent months perfecting my Ed Norton, I am just going to go with it) who has to kill his future self when his future crime boss sent Willis back from the future to be killed off by current day looper, thus closing the loop. As the title suggests, this review is going to be very spoilery, so if you have not seen the film, stop reading, go watch the movie and come back here. It is definitely worth watching and discussing which is what I am about to do.

Last chance, because I am about to spoil the ending.

There are eventually three theories when it comes to time travel, 1) time is a linear unit so if you went back in time you will not be able to change anything because it already happened and you were already there, like on Lost. 2) If you time travel you are creating an alternative timeline so you can change the future in the current timeline, just the timeline you just created, like on Terra Nova (or so I assumed, I never watched the show). 3) If you go back in time, be careful because you may alter history, like when Marty McFly almost ceased to exist when he made up with his future mom. Looper follows the third theory of time travel.

Before, and during the movie I have always subscribed to the philosophy that you do not kill Hitler if given the chance via time travel. Who knows, Hitler may have been suppressing someone ever worse that would rise in his void. You may even cease to exist because you grandfather may have met, and fallen in love with someone who would have died at the hands of the Nazis instead of your grandmother meaning your father is never conceived, and neither are you. But there was a point where I figured that Bruce Willis has changed enough; he might as well kill the Rainmaker.

This is why I was a bit disappointed with the ending. At the end, starring at Willis starring at Emily Blunt, shielding the future Rainmaker, Gordon-Levitt had three options: 1) kill Willis and help Emily raise the Rainmaker and make sure he harnesses his powers for good. 2) Help Willis hunt down the future Rainmaker to make sure his reign of terror never starts. But Joseph picked the third and what I thought was the worst of the three options he had: killing himself (and in turn taking Bruce with him to the afterlife) leaving the world to fend for itself against the Rainmaker.

That is not to say I did not enjoy Looper, it was my favorite sci-fi movie since Inception, but the more I think about the ending, the more I dislike keeping it from being as good as Inception along with some of the lesser quibbles I have (how does Blunt know about Looper? I was disappointed that Jeff Daniels did not play a bigger part in the whole of the movie; I thought he would turn out to be the Rainmaker’s father or possibly the older version of his inept employee that kept shooting his own foot). But the movie did make me think and I wish there were many more movies released these days that make you think and debate as much as I have spent debating the ending with myself alone.

Looper gets a on my Terror Alert Scale.

I Won’t Treat You Like You’re oh so Typical

When you hear the name Tegan and Sara you probably conjure up adjectives like folky, moody, and / or lesbian. But like indie queen Liz Phair before them, being indie darlings does not do a very good job at paying the bills. Despite six well received albums, the sisters never managed to have a hit songs on the charts here stateside and were not even able to get one until their last album in their Canadian homeland. They look to change that with the release of the decisively more poppy seventh album Heartthrob.

Much like when I first heard Phair’s no longer being exiled in guyville pop turn with Why Can’t I, my first thought when I heard Closer, the first single off of Heartthrob, was, this is catchy, but I feel a little dirty considering the source. But where Phair when full mainstream on those album with songs of the chick rock pop of the early 00’s, Tegan and Sara travel back to the syth-pop mainstream of the 80’s (and carried on today by bands like Metric).

To get this sound they brought in producer Greg Kurstin of The Bird and the Bee who gave a similar sound to It's Not Me, It's You - Lily Allen’s sophomore album. The problem though is the album sounds too homogeneous and even at just over a half an hour it starts to drag on eventually with the lack of diversity. Heartthrob manages to draw the line very well where they are poised to pick up more pop minded fans without alienating their core fan base, but I’ll probably continue to walk with the ghost instead.

Song to Download – Closer

Heartthrob gets a on my Terror Alert Scale.

You’re the Smartest and the Dumbest (Expletive Deleted) Person I Have Ever Known

The first season of Homeland was quality entertainment. And the crazier that Carrie got, the more entertaining the show got. Then the episode where Carrie went off her meds was one of the most entertaining hours of television ever. But here is the thing about the first season, as crazy as Carrie was, and even though Saturday Night Live made a sketch where Fake Saul said “When has Carrie ever let me down except for every time?” she was right every time. Brody was turned; he was going to blow up the Vice President and the Director of the CIA.

Then in the second season, Carrie stayed on her meds and was relatively sane the whole season aside from the weird smile she had after kicking a Syrian in the man region and disobeying orders to storm Brody’s room to call him a disgrace to his country. She was also very wrong every time this season. And maybe it was because she was a different kind of crazy this season: crazy in love. C’mon, she gleefully arrests the guy early in the season and is quick to believe a known terrorist who killed the president (and already tried to kill Estes once already) when he said he had nothing to do with his car exploding.

And it is really hard to believe Brody. How does he not realize that forty pounds of C4 were in his back seat? Who, if not Brody put it there? And who moved his car? Galvez? It is about as believable as cold hearted assassin Quinn deciding to defy his orders (and why did Estes just give up, if I were him, I would just hire another black ops guy to kill Quinn then get rid of Brody). Unless Quinn and F. Murray Abraham wanted something happen to press their own agenda. And you know there has to be something more to Abraham than some dude who eats breakfast at the same place every day for decades.

Of course season two is just a small part of the entire season and the writers have proven to be smarter than us before. Remember everyone scoffing when Chris Brody was watching the Wizards beating the Heat as the most unbelievable storyline among a sea of unbelievable storylines. And do know what happened in real life weeks later: Wizards 105-Heat 101. But I have to say I am less excited for season three than I was for season two.

Homeland 2.x gets a on my Terror Alert Scale.

Anybody Else Want to Reveal That They Have an Idol?

I really hate when Survivor brings back two or three returning players. It gives the players a huge advantage because they have already played the game and it is an extreme advantage to keep around the guy (kind of sexist that it is always guys) who knows how to make a fire, camp and the ins and outs of the game. Of all the players they have brought back all but two has made it to the merge. And one of them was Russell Hantz so of course they got rid of the snake as soon as they could and even sabotaged their own tribe to get him out.

With that said I did not mind who they brought back for Survivor: Philippines. In fact when they first announced Redemption Island I thought the people they should have brought back were those that had to be removed from the game medically. If anyone deserved redemption it would be those players. Why exactly did Russell and Boston Rob need redemption? Michael Skupin, needed some redemption after falling into the fire. And finally after a decade, he gets some. And we got to see that him falling into the fire was not a freak accident, the guy is a legitimate klutz.

Also brought back was Jonathan Penner who had to leave the game the second time he played (his claim to fame from the first time was when he stupidly Mutinied and was promptly voted off). Then there was the other Russell from Samoa who’s near death experience was one of the many freak occurrences that allowed Hantz to take control of the game, and for that I will never forgive him for almost dying. Russell did not have much luck this time around because he was put with maybe the most inept ever (the hillbilly smoker, the paranoid chick, the airhead pageant queen)

But maybe it was not Russell that was cursed because right after getting voted out, his tribemate Denise got shipped off to another tribe who then lost two straight challenges (and a third went home due to, of course, medical reasons; see you in ten years Dana). Amazingly Denise survived both tribes, made it the merge, went to every tribal council (the first time ever) and still ended up winning by a landslide. It may take time to digest the season as a whole, but eventually she is in the discussion of greatest Survivor ever.

The season was also notable for have two “celebrities” on it. Celebrities in that that had a certain amount of fame, but Blair Warner pretty much has not been heard from since leaving The Facts of Life while Jeff Kent played baseball in a time when a whole generation decided not to watch. The guy played last decade and only one person recognized him (or at least told the cameras). Surprisingly the former teen star outlasted the baseball all-star. But the star of the season was the volatile Brazilian Abi-Maria who had to be the center of attention so much that after Malcolm announced he had an Immunity Idol and Probst asked if anyone else wanted to reveal theirs, she went ahead and whipped hers out in the single most memorable Tribal Council ever. I really how some wise television producers recruits Abi and Camilla from The Challenge for some sort of hot headed Brazilian reality show. I know I would watch.

Survivor: Philippines gets a on my Terror Alert Scale. You can stream recent episodes over at CBS.com. You can also download Survivor: Philippines on iTunes.

Never Had Much Faith in Love or Miracles

Bruno Mars is perfectly mediocre. You are not going to actually buy his music, but you are also not going to switch the channel when he comes on the radio. It is probably why his music is so popular on karaoke shows, his songs are inoffensive and his voice is mediocre enough that you will not embarrass yourself singing one his songs like the morons who think they can match notes on an Adele song. But some would argue it is better to be horrible than mediocre because you can get more attention being horrible. I believe scientists call this The Rebecca Black Phenomenon which was recently perfected by the Gangnam Style dude. And even though Mars is much better than Psy, I do find myself thinking about Psy more often. Sure it is a fiery cauldron of hate, but like they say, it is better when people talk about you then do not talk about you (i.e. The Kardashian Paradigm).

Then Bruno Mars came out with Locked Out of Heaven much dirtier than anything on his debut with some annoying chopped up yeah’s (but hey, annoying is more memorable than mediocre), and was a changed note away from getting sued by The Police for ripping off Message in a Bottle. Even the album art is a bit offensive with a close up of a woman’s chest with a plunging neckline.

But for the rest of Unorthodox Jukebox, Bruno Mars is back to just nine other hard to hate songs. There is not a bad song on here and most certainly be the soundtrack of many of Middle School dances and Vegas is currently taking bets one weather someone on The Voice or American Idol will be the first to have a contestant sing Young Girls. There really is not unorthodox about these jukebox of songs, it is exactly what you expect from a Bruno Mars album, overwrought lyrics, danceable music for your bar mitzvah, be it awkward grooving or even more awkward arms length slow dancing with the cute chick whose braces are supposed to come off in the next week.

The “jukebox” instead sounds like Mars checking off his influences. The New Wave of Locked Out of Heaven, the eighties soft rock of Moonshine (when Mars sings moonshine, I swear I can hear Don Johnson singing Heartbeat, I do not think that is particularly a good thing), the Elton John balladeering of When I Was Your Man, the watered down reggae of Show Me, and the Motown of If I Knew. The only unorthodox is when Bruno goes disco for Treasure. And in true Bruno Mars tradition, he is not completely horrible even when he goes Full Travolta. You might find Unorthodox Jukebox to be mediocre, I am sure the album would be something to give your mother for Christmas. Moms love mediocre music. Why do think Michael Bublé still has a career.

Song to Download – Locked Out of Heaven

Unorthodox Jukebox gets a on my Terror Alert Scale.

I Don’t Want Your Sympathy, I Don’t Want Your Honesty, I Just Want to Get Some Piece of Mind

In these musical times, it is not enough to be good (with the exception of Adele), you have to have a gimmick. Which Is probably why Green Day planned to release three albums, ¡Uno!, ¡Dos!, ¡Tré!, about seven weeks apart. But shortly after ¡Uno! was released (see my review: Tonight My Heart’s on the Loose), lead singer Billy Joe Armstrong went on an anti-Bieber rant and landed himself in rehab and has not been heard from since. With the lead singer in hibernation, ¡Dos! was released with little fanfare last month aside from a creepy, but entertaining heartless music video. Apparently their record company is cutting their losses and just released ¡Tré! this week instead of the original mid-January release, less than a month after ¡Dos!. Well they were either cutting their losses or decided it get it released before the world ended.

During my review of the previously mentioned review of ¡Uno! I mentioned that the final song, Oh Love, was sonically different than the previous eleven songs, possibly hinting at what ¡Dos! may have to offer. As it turns out, I was wrong because ¡Dos! turned out to be more of the power pop that most of ¡Uno! was. The band did not change much up until late in the album with the slick Nightlife featuring an almost half rap from Monica Painter which is the first time I can remember anyone besides Billy Joe singing lead vocals on a Green Day song. That album ends with the sparse sixties inspired Amy, which I dare to say again may hint at what was to come on ¡Tré!?

¡Tré! actually does start up with another sixties garage rock song Brutal Love which kind of sounds like Green Day trying to record a U2 song when they are trying to record a mellow song. But after that, it is back to more power pop. Of the thirty-seven tracks among the trilogy, thirty-one are in that fast paced rock that the band was known for in the nineties, but with an elder twist to them. It makes it a bit repetitive if you listen to all three albums for the two hour plus runtime, but who listens to albums straight through anymore? If you like classic Green Day, grab all three albums and enjoy them when they come up while randomly listening to your music library on random.

Song to Download – Brutal Love

¡Uno!, ¡Dos!, and ¡Tré! all receive a on my Terror Alert Scale.

Find Your Peace of Mind with Some Indie Record Much Cooler Than Mind

Over her first three albums, Taylor Swift has made country pop that moved closer and closer to the latter genre. But earlier this year she recorded a song for The Hunger Games Soundtrack with The Civil Wars. Safe and Sound was dark and moody and the second best song in her career (I still contend that Our Song is the second finest pop song written over the past decade). The song really got me excited for her next album as I was hoping Safe and Sound was the direction she was heading in her career. Then she released We Are Never Ever Getting Back Together, a song so sugary it makes Call Me Maybe sound like Radiohead in comparison. Ugg.

The song was the latest ear candy from the teen pop svengali Max Martin who produced three songs on Red. The other notable song Martin contributed to is the “dub-step” I Knew You Were Trouble that really does not drop the bass like the DJ’s that make the subgenre famous and just comes off across a watered down version of dub-step. It really is just a novelty for Swift because is you listen to the acoustic version of the song it is much better. The other Martin enhance song is the forgettable 22 where Swift makes fun of hipsters, echoing her slam of indie records during We Are Never Ever Getting Back Together.

Aside from Max Martin, Taylor brings in a few more collaborators for the new album. Dan Wilson, who co-wrote Someone Like You, co-wrote Treacherous with Swift but just does not hit the heights of the Adele monster hit or even his work on the last Dixie Chicks record. The Last Time features Gary Lightbody and comes across more like a Snow Patrol castoff than a Taylor Swift song. She alaso duets with Ed Sheeran on Everything Has Changed and the acoustic ballad sound more like something you would find on his album. Of court that may be the point of these duets because Safe and Sound sounded much more like a song by The Civil Wars.

But Red is at its best when Swift goes back to writing by herself. The best song on the album is actually stuck at the end. Begin Again is a sweet ballad where Swift is ready to move on with a James Taylor fan. As the second single it is a great yin to We Are Never Ever Getting Back Together’s yang. Really Swift should stick to writing by herself or work just with The Civil Wars and T-Bone Burnett for now on.

Song to Download – Begin Again

Red gets a on my Terror Alert Scale.

Don’t Be Mad, It’s a Brand New Kind of Me

For a decade, Alicia Keys was a picture of class making the best RnB that reminds you of the classics but still kept accessible for modern times with four albums that range between good and great. Then in between album she got caught up in a bit of a scandal where she was accused of being a home wrecking. And looking at the evidence, it is probably true. Granted on the scale of scandals, home wrecking ranks near the bottom of most egregious but it is a bit weird listening to her new music with that nuggets in the back of your mind especially when the guy in the equation, Swizz Beats produced a song on the album. It does not help that New Day may be the weakest track on the album.

It is also a bit odd that she named her fifth album Girl On Fire which shares the name of The Hunger Games sequel that is set to be released next summer but does not seem to share anything with the movie series aside from the name. (Let me quickly add a three word review of the movie: severly over-hyped.) It just seems like a shameless attempt to attach herself to the biggest pop culture phenomenon of the year. It also does not help that the title track is probably the second weakest song on the album that is brought down even further by the always annoying Nicki Minaj. It should be noted that the smoother and Minaj-less Bluelight Version (which is not featured on the album) is significantly better than the Minaj enhanced Inferno Version on the album.

Those mediocre songs aside, Girl on Fire is another solid album by Alicia Keys. Thankfully she washes the bad Minaj taste out of your mouth on the next song by singing duet with Maxwell on Fire We Make with guitar by Gary Clark Jr. while both singers get their smooth falsetto on. But some of her strongest tunes were when Keys did some co-writing with British songstress Emeli Sandé (who was supposed to be this year’s Adele but never caught on stateside) on Brand New Me, Not Even the King, and 101.

Keys also brought in uber-nineties writer / producer Babyface for That’s When I Knew which drops Keys traditional piano for a beautiful acoustic guitar based ballad. But it was Bruno Mars and his The Smeezingtons production team (who is best known for The Song Otherwise Known as Forget You) that contributed the best track on the album Tears Always Win. A modern throwback that Mars and his boys are best known for and ranks as one of her best track in her career. It almost makes you forget any past transgressions.

Song to Download - Tears Always Win

Girl on Fire gets a on my Terror Alert Scale.