ignition domain was triggered too early. This is usually an indicator for some code in the plugin or theme running too early. Translations should be loaded at the init action or later. Please see Debugging in WordPress for more information. (This message was added in version 6.7.0.) in /home4/midwevb1/public_html/wp-includes/functions.php on line 6131The post WandaVision’s Opening Act is a Little Bumpy appeared first on The Midwest Guy.
]]>A-list Hollywood actors in Elizabeth Olsen
and Paul Bettany, put them in a (popular, at the moment) period setting, in a
(also super popular at the moment) story, and hype the ever-loving heck out of it and you have Disney+’s WandaVision.
I promise no real spoilers in the following review.
Normally, I don’t mind a story/show/series taking a moment, a few episodes even, to set itself up, build its world, and show you the path its planning on following. The thing is, when a story does that, it still has to kinda let you know something.
Now two episodes in, and only nine episodes total planned for this series, they still haven’t told me even what I’m watching. And what they have shown me isn’t making a lot of compelling sense.
The above trailer shows you the final, climax scene of the first episode with a trailer-appropriate level of misdirection, the dinner scene. That scene, in which Wanda Maximoff (Olsen) and Vision (Bettany) have Vision’s boss Mr. Hart (veteran character actor Fred Melamed) and his wife (That 70’s Show‘s Debra Jo Rupp) for a folly-filled boss-comes-to-dinner scene worthy of I Love Lucy leaves you wondering…do I want more of this?
It was obvious that writer Jac Schaeffer and director Matt Shakman were trying to create a tense, disturbing, almost horror-quality scene behind the façade of the Lucille-and-Ricky-esque humor that didn’t quite work, but the end result was an episode ending that left me (and my wife, The Midwest Gal) simply confused.
Also, in stark contrast to what the Marvel Cinematic Universe (MCU) has been producing since 2008’s Iron Man, which has been carefully crafted, with every character’s actions making at least some degree of sense (or intentional nonsense), the scene with Wanda making dinner, when she literally possesses the ability to conjure items out of thin air (as the next trailer shows with their wedding rings), simply doesn’t make sense within its own context.
That strikes me as lazy writing.
The second episode was slightly more compelling, but still missing a key element of what is clearly a fish-out-of-water setup…the fish struggling to breathe.
But where the first episode was all about I Love Lucy, this one is all about I Dream of Jeannie. From what I’ve read, this is the theme of WandaVision, paying homage to various classic television shows in each episode.
As the trailer clearly shows, there is a random beekeeper standing in the middle of the road, clock radios trying to talk to Wanda, and some slightly growing concern as to the nature of the situation, I still find myself more confused than the two hero characters, who according to the releases about the show exist in the modern day (the show, despite appearances to the contrary, takes place after the events of 2019’s Avengers: Endgame) finding themselves in 1950s suburban New Jersey.
At least I think it’s New Jersey.
So, the ending of this one at least gives you some sort of a clue that this is an actual MCU-relevant story, but still, leaves a lot of story left to be told and only seven more episodes to tell it.
Going by the trailers, this show will get more interesting. But I shouldn’t have to rely on the trailers to tell me that.
The imagination of this show is top notch. For a time in our storytelling history where re-makes and sequels are all the rage, the originality of this technically-not-100-percent-original story is high. Placing two of Marvel Comics’ most powerful superheroes in period TV show settings to try and tell a series-length story is clever.
And the showrunners have really gone above and beyond to pay attention to the detail in the period settings. They’ve been so successful at it, that a cross-section of comic book geeks and mid-century-modern furniture aficionados started drooling over an (apparently very rare and desirable) 60s-vintage Broyhill Brasilia console spotted in the background of a scene in the trailers in this Reddit thread.
As a guy that does PR for a living, I gotta admit…that’s some top-notch PR work there.
Furthermore, the acting so far is on point. The aforementioned Olsen, Bettany, Melamed, and Rupp deserve recognition for their roles so far. Additionally, Kathryn Hahn’s Agnes is a perfect, sitcom-style annoying/nosy neighbor. I don’t like her character, but I’m pretty sure that’s the point. She’s not evil, she’s not a bad guy (at least not yet), but she is the embodiment of every sitcom-neighbor TV trope, and plays that role so well.
However, there’s a real risk in what WandaVision is doing. Specifically, they’re pushing this show hard toward an 18-35-year-old demographic with sitcom callbacks to shows we simply don’t know, and definitely (as a demographic) don’t appreciate or feel much nostalgia for.
Don’t get me wrong, I watched as much Nick-at-Nite as the next early-80s kid, and I still have a deep-seated fondness for Get Smart as a result, but these aren’t my shows. It’s clear from the trailers that the sitcom callbacks progress temporally as each episode goes on, but the newest era I could see in them was the 80s, and while there are plenty of shows I would recognize from that decade, the oldest amongst this demographic feels nostalgia for the 90s, and the youngest amongst that group wasn’t even born then.
But, props to the WandaVision team for taking this risk, even if it doesn’t pay off. I appreciate the taking of creative risks. It challenges me in my own creative endeavors.
As I do with my music reviews, I’ll withhold final judgment on this series until it has a chance to finish telling its story.
But right now, I feel a strange juxtaposition of disappointment (from the episodes so far) and excitement (from the trailers), that I’ll at least finish it off. Let’s hope this story stars moving, and doesn’t wait until it’s out of time.
The post WandaVision’s Opening Act is a Little Bumpy appeared first on The Midwest Guy.
]]>The post The Year 2020 in SciFi Was…Pretty Good, Actually appeared first on The Midwest Guy.
]]>imagine the future, the past, the present, in ways that don’t exist…but maybe could. Star Trek, Star
Westworld, The Expanse, and others are all worlds that,
I watch their various installments, give my own imagination a new fizz, and make me want to work on my own SciFi novel project that I’ve been working on for…ten years? I think it’s been ten years.
But the year 2020, despite being a solid, non-stop dumpster fire, has actually been a perfect 5/7 in terms of SciFi content. Three new seasons of Star Trek, a new season each of The Mandalorian, Westworld, The Expanse, are all shows I’ve been able to keep up on this year (no movies because…well…this year), and there’s more coming. But let’s talk about what has landed this year…
I wanted Westworld‘s third season to work. They brought in Aaron Paul, after all, and I’m a huge fan of his work in Breaking Bad. Instead we ended up with…the only real clunker on this list.
The biggest problem is, Westworld‘s writers appear to have completely misunderstood who the real “star” of the show is. It’s not the increasingly psychotic Delores Abernathy [Evan Rachel Wood], it’s not the patently brilliant Maeve Millay [played by the equally brilliant Thandie Newton], it’s not the programmer-who-discovers-who-he-really-in Bernard Lowe [also played brilliantly, by Jeffrey Wright and his ubiquitous beard].
It’s the park. The world of Westworld is…the Westworld Theme Park, and all its companion experience parks (Futureworld, Shogunworld, Warworld, The Raj, etc.). And guess what is not in Season Three?
This isn’t the first time Westworld has blown everything up in hopes that the writers could pick up the pieces and reassemble them for a new season. But this is their weakest attempt at it.
The positives? Once again, a great cast puts in as great a performance as anyone could expect given the written content. Particular props to America’s favorite Frenchman, Vincent Cassel, in his convincing and sometimes terrifying portrayal of season villain Engerraund Serac.
It’s also a beautiful show. The imagery, scene decisions, and portrayal of near-future Los Angeles continues the series’ reputation for top-notch cinematograhy.
Ultimately, however, the writing and conceptualization are really a let down. But if you’ve run out of other shows to binge, and you’re a completist like I am, you could do worse.
Star Trek: Picard is, without a doubt, the weakest entry in this year’s list of Star Trek content…and it’s still pretty decent. And by that I mean, yeah, I’d watch it again.
The biggest weakness of Picard is that its start is way too slow. Without giving too much away, the show starts off creating two examples of the thing Captain (now retired Admiral) Jean-Luc Picard [Sir Patrick Stewart] is best at: Extreme moral dilemmas. The first involves Romulans, the second involves synthetic life (more commonly referred to in Star Trek lore as “androids,” ala Lt. Commander Data [Brent Spiner], who is a central figure in this story, but in this series referred to universally as “synths”).
While the moral dilemma around how synthetic life is treated in the Star Trek universe is nothing new (The Next Generation episode “The Drumhead” is not only the best example, but may be one of the greatest episodes of television ever created), the dilemma as presented in Picard is genuinely new, and a decent plot device.
The problem is, each of these moral dilemmas could have easily been their own story, and yet, they’re smashed together here to a weakening effect. It’s such a gigantic story they’re trying to tell in such a (relatively) short amount of screen time that things really don’t come together and start moving solidly (and effectively) forward until…about episode six or seven. That’s a serious problem when the total season is only ten episodes long. At least when it does get moving, it’s good stuff.
The other good stuff? The fan service.
Star Trek (and Star Wars…looking at you The Force Awakens) has had some serious duds when it comes to fan service, especially nostalgia. The feature film Star Trek: Generations was ho-hum, the re-rebirth of the mad, augmented despot Khan Noonien Singh (as played by one of the whitest actors ever to grace the screen, Benedict Cumberbatch…love you Ben, but this wasn’t a good role for you) in the feature Star Trek: Into Darkness was a clunker too. And don’t get me started on what is easily the worst episode of Star Trek ever made, the series finale of Enterprise where a clearly 20-years-older Commander William T. Riker [Jonathan Frakes] tries to play his 20-year-younger self.
I should do an entire article on that one, that was terrible.
But in Picard, all the character call-backs (Data, Riker, Counselor Deanna Troi [Marina Sirtis], Seven of Nine/Annika Hansen [Jeri Ryan], and even memorable one-offs like Hugh [Jonathan Del Arco], and Icheb [Manu Intiraymi]) come off…very well.
My usual problem with attempts at nostalgic fan service like these is they usually feel forced, feel shoe-horned in for attention, with little or no reason for them to exist within the confines of the story itself. But in Picard? They all feel natural. They feel like they are the right ones to play their part in the story.
Sure, Seven of Nine seemed a little…little bit forced. But her part played well, and she got to cure her past ills she experienced with her original character on Star Trek: Voyager, where she was literally sown into a skin-tight suit that served no other purpose than to accentuate her…personal attributes. But here? Leather jackets, regular jeans, normal shirt…Seven of Nine is an actual person to be appreciated as such.
So, in the end, if you’re a die hard Star Trek fan like I am, this is worth watching (assuming you already haven’t). If you’re not all that up in Star Trek, it’s still worth a try to see if it clicks with you, but no guarantees.
Star Trek: Discovery started off in 2017 as a very experimental prequel in the Star Trek universe, and has become a very very experimental sequel.
Originally starting off (timeline-wise) ten years before the events of the very original Star Trek (yes, the 1960s version with Kirk, Spock, and the gang aboard the original U.S.S. Enterprise), the premise of Season Three puts the U.S.S. Discovery 930 (930!!!) years in the future of where they were. That’s approximately the year 3185. The (previously) furthest in the future a Trek series had been placed was, oddly enough, Picard, which is set around the year 2399…786 years prior.
In this future of what had previously been one of the most optimistic depictions of the distant future in all of SciFi, the United Federation of Planets is all but dead, everyone hates what’s left of it (including one particularly surprising planet), almost all the dilithium (the fictional crystalline catalyst that makes warp speed possible) has exploded, and most of what’s left appears to be controlled by the now very powerful, and always mafia-like, Orion Syndicate.
And you thought 2020 was rough!
But hey, life still exists, so the entire mission of the U.S.S. Discovery, as it closed out in Season Two, is successful. I guess.
Here’s what I like about Discovery Season Three: It allowed the writers of this season to reset their imaginations, and create wholly new things and ideas, without having to worry so much about “canon,” and not create an entirely separate timeline like the 2009 feature film reboot did (though, the 2009 Star Trek movie is definitely solid).
On top of that, though I know not all Star Trek fans will agree, Season Three has started to return to the Roddenberry roots of the franchise, returning to a focus on exploration (though in a new context), social parable (some of the reasons the Federation fell apart would sound familiar to anyone alive the past couple years), and minority representation.
That last part goes beyond series leader Commander Michael Burnham [Sonequa Martin-Green], both the first black woman, first adoptee/orphan, and first non-captain to be the focus of a Star Trek series. In this season, the reveal of the trill-joined human Adira Tal [Blu del Barrio – who is genuinely non-binary] as the first non-binary character in the franchise, and the immediate acceptance of their gender-neutral they/their pronouns, was another advanced first for Star Trek, going beyond engineer/chief mycologist Paul Stamets [Anthony Rapp] and Dr. Hugh Culber [Wilson Cruz] as the first committed same-sex couple in Star Trek.
The bumps? Sometimes the visual effects are too good, almost distracting from the story as it unfolds before you. While the characters already mentioned are well developed, a good chunk of the Discovery’s bridge crew, normally the “core” of any Star Trek cast, are almost entirely anonymous. At one point they seemed to try and get helmswoman Lt. Keyla Detmer [Emily Coutts] a PTSD angle that…seems to have kinda fizzled out. Some of the “future” elements incorporated into this season (like the Discovery’s newly detachable warp nacells) just…don’t make sense. And the “spore drive,” the Discovery’s instant-travel party piece, still annoys me, though at least there’s an element of usefulness to it this season.
While this season won’t complete until this coming January, so far, it’s been a solid story, told well, with well-made visuals, and great use of the former Empress of the Terran Empire, Phillippa Georgiou [Michelle Yeoh].
Aboard the most-unmemorably-named U.S.S. Cerritos, the camera crew takes the turbolift down from the bridge, into the bowels of the Federation starship that takes responsibility for second contact with newly-discovered alien species. You know, the ones who go in, fill out the reams of bureaucratic paperwork, sees if they have any diseases that could spread to extant Federation species, cleans up any diplomatic messes the first contact ship may have made.
Fun stuff, right?
But focused on good-hearted, intentional underachiever Beckett Mariner [Tawny Newsome], her anal-retentive, brown-nose bunkmate Brad Boimler [Jack Quaid], starry-eyed ship newcomer D’Vana Tendi [Noël Wells], and engineering-genius-seeking-confidence Sam Rutherford [Eugene Cordero], the dysfunctional friend group style of show hasn’t been this funny (to me, at least) since Seinfeld.
One of the best, most anti-Star Trek episodes, was the fourth episode, “Moist Vessel.” The premise? Captain Carol Freeman [Dawnn Lewis] decides her best strategy of getting Ensign Mariner to request a transfer off the Cerritos is…to promote her, which gives her responsibilities that Mariner really wants nothing to do with. She’s a coaster, man.
However, the relationship between Mariner and Freeman (without spoiling anything) reveals the other strength of Lower Decks: its heart. The character building, the relationship building, the chemistry between the show’s voice actors, and the ways they are portrayed in animation, make this a series worth watching more than once.
Also, the cameos are top notch. Whether they’re well known actors from outside Star Trek like Haley Joel Osment and Jack McBrayer, or long time Star Trek favorites like J.G. Hertzler and John de Lancie, everything is done well with an eye toward both the story and genuine silliness.
One warning, though. Wait until the kids are in bed before turning this one on. The humor, while copious in quantity and presented in kid-friendly-looking animation, tends to veer into the adult realm.
Disney+ picks up their blockbuster storyline of a lone, fanatic bounty hunter tasked with returning a 50-year-old child to a group of “enemy sorcerers” known as the Jedi to great aplomb.
You’ve likely already heard in some form or another how great this show is. It’s true. I may not say “all of it,” but by and large, all the good reviews you’ve already heard about The Mandalorian are on point. But here’s my take anyway.
First, hats (helmets?) off to Pedro Pascal, the actor behind Din Djarin’s helmet. His ability to effectively emote while having every inch of his body, head to toe, covered in armor for all but about five minutes (so far) of this season is worthy of the highest praise.
Second, the writing. Yes, storm troopers continue in their inability to hit the broad side of a barn. Yes, Moff Gideon [Giancarlo Esposito] is willfully evil to almost the point of campiness. Yes, the return of notorious bounty hunter and fellow follower of Mandalore Boba Fett [Temuera Morrison], and the live-action debut of the formerly animated Jedi Ashoka Tano [Rosario Dawson] is obvious fan service
But I’ll be damned if it doesn’t all work.
The characters are written intelligently, the situations they find themselves in make sense, the humor is at just the right level, and never once do you find yourself slapping your forehead.
The season finale is coming up soon after this gets published, so I guess there’s still a chance for that to change, but the quality of this show, especially coming from Disney, who has already screwed up the sequel trilogy of the movies (though they did knock Rogue One out of the park), is genuinely surprising.
I’m glad this show is being made, and I’m glad I’ve been able to make the time to watch it.
My only mark against it, is eight episodes is nowhere near enough.
For those not familiar with The Expanse, since it isn’t as big a name as either of the Stars (Trek or Wars), it really is a fascinating vision of the future.
The skinny (not to insult any Belters who may be reading this) is, in a world set in roughly the same time frame as Star Trek: The Next Generation, man hasn’t figured out how to travel faster than light, hasn’t met any sentient alien species, but has colonized our own solar system in a very realistic way that you could very much see happening from today’s vantage point.
Mars was colonized and broke off from Earth (governed by the United Nations) and became the military and technology powerhouse of the solar system, and both Earth and Mars have colonized various planetoids, moons, and asteroids in and beyond the Asteroid Belt, extracting minerals, and treating the people who live there very poorly.
And everyone hates each other.
This fifth season, however, sees our heroic crew of the Rocinante split up (only the first three episodes have been released as of this writing) to explore some personal development.
The advent of the ring gates, which is allowing humanity to visit (and colonize…and extract from) extra-solar planets for the first time ever is wreaking havoc on Mars as its population bails out for free air, water, and proper gravity, and officially disgraced Martian Marine Bobbie Draper [Frankie Adams] and native Martian and Rocinante pilot Alex Kamal [played by the now real world disgraced Cas Anvar] are trying to track down all the high-tech military surplus that is leaving almost as fast as the people.
On the moon (now known as Luna), former UN Secretary General Crisjen Avasarala [played by the absolutely captivating personality of Shohreh Aghdashloo] is busy having her warnings of extreme terrorist attacks ignored, while both her and Belter leader-turned-“pirate” Camina Drummer [Cara Gee] are working to hunt down the perpetrator, Belter extremist Marco Inaros [Keon Alexander] who’s son, Filip [Jasai Chase Owens], is being hunted down by his estranged mother, Rocinante XO and Chief Engineer Naomi Nagata [Dominique Tipper] who wants to save him.
breathes exhaustively
Got all that? Oh, let’s not forget Rocinante Captain Jim Holden’s [Steven Strait] continued crusade to rid the solar system of any last trace of the apparently alien Protomolecule that has both killed hundreds of thousands of people and self-formed the main ring gate.
So let’s just sum this up this way: If you haven’t seen any of The Expanse yet, make sure you’re stocked up on popcorn and your calendar is clear before you do. The casting is great, the writing is great, the acting is great, and the concept behind everything is fascinating.
If you’ve already caught the first four seasons, just go on in to this season. So far at least, there’s not a disappointing minute.
If any of these reviews made you want to sign up for any of these streaming video providers, please do so through the links (if available) and they’ll toss me a couple bucks, which is nice.
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]]>The post I’m Getting the Feeling Jack White is Getting Bored – Boarding House Reach [Track by Track] appeared first on The Midwest Guy.
]]>this way…I love Jack White. I love his virtuosity on guitar. I love that he takes risks. I love that he loves music. And I love that he doesn’t entirely seem to care what other people think about what he’s creating.
I love that last part right now because his latest solo project, Boarding House Reach…is a bit of a reach. And it’s starting to make me wonder if Jack’s, you know, okay, man.
This seems to be a bit of a trend for him since going solo, and breaking off from The White Stripes…The Dead Weather…The Raconteurs…am I missing any? His first solo album, Blunderbuss, was a tour de force if you ask me. Solid beginning to end, with just a couple mediocre tracks mixed in where White gets a little…weird. His next act, Lazaretto, was hot and cold. But the hot tracks (especially the title track) were so good I hardly cared some of the others fell flat.
Boarding House Reach, however…
1. Connected by Love (75 points)
White’s album starts with his first single. He’s crafty like that. I don’t dislike the synth bass and drum machine as much as I normally would. It sounds a lot better when the rest of the band (with piano, hammond organ, real drums, etc) come in. I kinda dig the lyrics as well. They have a good emotion to them.
The track suffers from a lack of White’s signature blazing Airline guitar until about the 3-minute mark, and even then it’s only kinda there. The background singers don’t do much for me. All that said, this is one of the more successful tracks on this album.
2. Why Walk a Dog? (50 points)
Welcome to track two, where it’s all synth, all the time! And not in a pleasant, quirky, Rush-goes-synth kind of way. This dark, brooding track only breaks from the heavy synth for the occasional hyper-distorted, slow-moving solo from White. I guess I don’t get this one, man.
3. Corporation (85 points)
This track works the hardest to win me over. That 70s-funk groove that carries from the opening bassline, to the cheesy (in a good way) distorted organ, to the congas rappa-ta-tapping in the back, this one bobs my head. About the 2-minute mark, White plugs in his Res-O-Glass and grabs a pick, and turns the song up to eleven. The lyrics are complete nonsense, and that’s just fine.
I’m thinkin’ about startin’ a corporation!
Who’s with me?
Most of the vocals are just…sounds. And when there are real words, it’s just White having a spazz attack…and it’s fun! If only the rest of the album sounded like this.
4. Abulia and Akrasia (45 points)
A-who-lia? This is like an intermission track. With C.W. Stoneking reciting a poem over a track that would sound at home in a Westworld episode, it just misses the mark. And here’s why: Whoever recorded and produced Stoneking’s voice screwed up. I don’t know who Stoneking is, and I don’t know what his voice sounds like outside this track, but his voice has no bottom end on it. Neither does the music. There’s not much here that provides balance in a bass clef kind of way. At least it’s short.
5. Hypermisophoniac (70 points)
So, this one starts out with some 80s-style electronica on top of a shaking Krylon can. It then mixes in a jazz piano, a rapping hi-hat, and Jack White’s voice through a real aggressive flanger. Every now and then White’s guitar joins the cacophony successfully.
Here’s the thing with this one: As I’m giving it a second listen-through while writing this, I’m liking it more than the first time. It’s a little goofy, and I don’t exactly mind goofy. And as I give it more time, my ears start to find, and appreciate, the groove of this song more. I think with a few more play-throughs, I may well even dig it.
6. Ice Station Zebra (65 points)
In the first 45 seconds of Ice Station Zebra, White crosses styles from generic rap-rock, to Bel Biv DeVoe, to Jack-White-mashes-on-a-piano, amateur Metallica, to piano-boogie-electronica-fusion, and back. And then Jack White starts rapping. White, normally an impeccable producer, got either sloppy or intentionally weird with his vocal processing, and he’s worse off for it. After White’s first verse we then switch styles again to Jamiroquai. Around the two-minute mark, White shifts gears and now we’re in more of a modern funk sound and…it works! Honestly, if you skip the first half of the song, it’s a pretty good groove. But I didn’t, so here we are.
7. Over and Over and OverBI (85 points)
I want to love this song. This has all the hallmarks of classic Jack White: overprocessed-guitar rocking a great riff, White’s idiosyncratic vocal pacing, lyrics that only make sense if you’re in a manic state, goofy bridge, third act that adds in more depth to the sound (and sounds great), screwball visuals in the video…it’s great!
…Except for those damned backing singers. They ruin it for me. They’re (presumably intentionally) off-key the whole time. Gah!
8. Everything You’ve Ever Learned (75 points)
The first time I listened to this album, I skipped this track. The opening was that annoying. But I made myself listen to this for the review, and I’m glad I did. Thirty seconds of a smarmy, phased voice saying “Hello! Welcome to everything you’ve ever learned! Brought to you by…” over and over eventually leads into an intermission-sized track that reminds me of the meaty bits of Pink Floyd’s One of These Days. Give it a chance.
9. Respect Commander (80 points)
I have a feeling that if White sat in on a session with the band Cake, the end result would sound a lot like Respect Commander. The majorly-overdriven guitar over an assertive, jazzy bass riff, and a rhythmic drum line are the hallmarks of a Cake track. The bizzarroland bits, the blaring blues solo, and the unnecessary electronica are modern Jack White. I dig this one.
10. Ezmerelda Steals the Show (30 points)
Unless you’re into badly-recorded, spoken-word poetry over a three-note pacing guitar, just pass on this one.
11. Get in the Mind Shaft (70 points)
So this one starts off spoken-word again, but then moves into this voice-boxed, Parliament-sounding, slow-paced, electronic funk. This is kind of what I imagine the sound of falling asleep stoned would be like. It grows on you, though.
12. What’s Done is Done (65 points)
And now we shift gears entirely into a Johnny Cash/June Carter-style duet. The only real difference from a real Cash/Carter piece is the hammond organ, and the oddball synth bridge. So if Get in the Mind Shaft is what it sounds like to fall asleep stoned, What’s Done is Done kinda harshes your mellow…all while being mellow itself.
13. Humoresque (80 points)
Humoresque almost has a feeling of an old American Standard. A piano melody that follows the lead of the vocals. Gentle tapping on the hi-hat, with an occasional flourish on the drums (especially toward the end). Pretty words from White, sung almost-not-terribly (let’s face it…White’s not the world’s greatest vocalist). All put together, this is a simply beautiful song…and a good way to send this collection of music out.
Overall Score: (67 points)
I love Jack White. I really do. And maybe that’s why I’m so rough on him with this album. I know he can produce an album sharper than this. I know he can write music more engaging than this. I know he can be more consistent than this.
I don’t begrudge a music artist trying to branch out and try new things (it’s better than falling into an AC/DC rut where you start running out of ways to say “LET’S ROCK AND PARTY!”). But at the end of the day, you have to listen back through that track, and say to yourself, “I dig this…that’s a good one.”
There are several good tracks on Boarding House Reach. But there are enough cruddy ones as well that just mar the whole thing.
Did you find this review worth something?
Well, if you found it to be nice enough to make you want to pick yourself up a copy of Boarding House Reach, maybe get your copy from one of the links below? That way, they’ll toss me a few nickels and I can get myself something from the vending machine.
Get Boarding House Reach from:
The post I’m Getting the Feeling Jack White is Getting Bored – Boarding House Reach [Track by Track] appeared first on The Midwest Guy.
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