Sunday, June 28, 2009

Roger Wilco


Wilco (the album)
Nonesuch Records
Available Tuesday in Stores
Four Scoops of Bosco


Something of a wolf in sheep's clothing, Jeff Tweedy's new album flirts with electro in the process of playing the soft rock straight card. His poetry has never sounded so noir and paranoid – "I can't calm down, I can't think" he frets on the epic "Black Nova", which sounds like it ends drenched in cold sweat.

The contrast is supplied immediately with the sweetly strummed "You And I", and that, as ever with Wilco records, is the charm, the gentle diversity that can take you from chilling out to something that genuinely chills. 'You Never Know" bounces along like an Elton John piano pounder from the Seventies, with George Harrison on slide guitar, coloured with Tweedy's resigned refrain "I don't care any more".

Nels Cline embellishes with clever guitar motifs, from steel work imitating Hawaiian birdsong to chunky pub rock chords on "Sonny Feeling". "Deeper Down" is where Tweedy's storytelling is best heard, studded with the detail of a Chandler or Leonard, populated by punchdrunk worthies struggling to stay on their feet.

Melodies? Well, "One Wing" takes a bit of beating, the guitar hook soaring defiantly to a groaning climax. Then the closing "Everlasting Everything" demonstrates that devastating ability to do the simple thing brilliantly as Tweedy has done so often in the past.

Not his best album, but maybe five of his best songs.

Reviewed by Colin Somerville, Scotsman.com

Saturday, June 27, 2009

Probing The Anatomy of A Relationship


Away We Go
Directed by Sam Mendes
Focus Features
Four Scoops of Bosco


For the second time in the past six months, director Sam Mendes has come out with a film probing the anatomy of a relationship.

But Away We Go, starring Saturday Night Live alum Maya Rudolph and The Office regular John Krasinski as an expectant young couple grappling with where to put down roots, shares little else in common with Revolutionary Road.

The former has a much airier, freer vibe in contrast to the studied claustrophobia of the latter.

Despite the lightness of tone and lively turns by the likes of Allison Janney, Maggie Gyllenhaal and Catherine O'Hara, the soul-searching trip taken by its leads is not without the occasional overly purposeful bump in the road.

Even as summer counterprogramming, the Focus Features release could find it tricky luring its targeted female demographic away from such higher-profile movies as My Life in Ruins and, potentially, The Hangover.

A first-time feature collaboration between novelists Dave Eggers and Vendela Vida, Away We Go traces the geographical/spiritual journey undertaken by the introspective, six-months-pregnant Verona (Rudolph) and goofy Burt (Krasinski), who are trying to determine the best place to call home after his folks (O'Hara and Jeff Daniels) have announced they're leaving Colorado for Belgium.

Included among the stops on the itinerary is Phoenix, home to Verona's former business colleague, the wildly inappropriate Lily (a wildly appropriate Janney); then it's off to Tucson to visit her sister, Grace (Carmen Ejogo), uncertain as to where her own relationship is headed.

Next comes Wisconsin, where Burt's close family friend Ellen (the always-welcome Gyllenhaal) has become the totally Zen "LN" after hooking up with the smug Roderick (Josh Hamilton); and a stopover in Montreal, where Verona's former classmates Tom (Chris Messina) and Munch (Melanie Lynskey) preside over a seemingly joyful household of adopted children.

Obviously each destination offers a snapshot of the various challenges inherent in carving out the family unit one would like to create as opposed to the family into which one was born.

But though it's nice to see Mendes take a looser, not quite so studied approach to his filmmaking, some stops along the way -- like a detour to visit Burt's suddenly single brother (Paul Schneider) -- feel dramatically off-course.

Production values have a nice, grassroots texture, including Ellen Kuras' cinematography and John Dunn's costume design, though musically the film could have packed a bit lighter where the extensive and occasionally intrusive acoustic song selection is concerned.

Reviewed By Michael Rechtshaffen, Hollywood Reporter

Sunday, June 21, 2009

Pete Yorn Gets Happy


Pete Yorn
Back and Fourth
Four Scoops of Bosco


Pete Yorn has never shied from comparisons with his inevitably more famous south Jersey compatriot; in fact, he boldly claims a deep love of all things Bruce, and his distinct but subdued guitar work, along with his rough, almost pained vocals, owes a deep debt to Mr. Springsteen. What does not seem so clearly marked is the fact that Yorn is also a storyteller in his own right. Painting a more fractured and less literal sense of place and time than the classic songs of cars and girls, Yorn’s first three studio albums lived up to their titles as fully as Darkness on the Edge of Town and Born to Run ever did.

Every song on Musicforthemorningafter reflects back on all the strangeness ("Murray") and faithlessness ("On Your Side") and maybe or maybe not love ("Just Another") from the night before, but with the clarity of the next day’s light. Day I Forgot is the flipside, a collection of ideas that disturb, the dismissive ("Long Way Down"), sad ("Crystal Village") and sometimes silly ("Burrito"), that seem to show up in our memories, unbidden but inescapable. Even Nightcrawler, a less well received and more difficult album, brings the titled nocturnal dreams and experimentation through clearly, contemplative ("For Us"), at times insistent ("Maybe I’m Right"), and reminiscent (the brilliant cover of "Splendid Isolation").

Now Pete is back, but he seems to be heading in a very different direction. The title Back and Fourth is vague but playful in an obvious way, but it seems like a simple content label rather than a touchstone to any musical story within. As you begin to listen to the opening tracks, it takes no time at all to hear the distinctly different tone this album has compared to any previous work. Gone are the power pop chords and more aggressive, half-slurred singing, replaced by a clear emphasis on enunciation, some minimalist but intricate guitar and softer, more intimate lyrics.

In some ways, everything is lighter, mellower and generally upbeat. As most writers will tell you, though, it’s hard to create anything powerful and captivating out of a hazy sense of happiness. Opening track "Don’t Wanna Cry" is a simple, country-tinged, adult contemporary tune, and the follow-up, "Paradise Cove," wouldn’t be out of place sung by a band poolside at a beach resort of the same name. He sounds much more like himself on "Close," though lyrically he stays with tried and true clichés like "Learn to live this life / Learn to get along."

As you move through the songs, the clear divergence from his earlier work becomes clear in two distinct ways. First, there is no clear story: no time or place or drama manifests itself at any point. He takes a stab at it with the stilted and syrupy "Social Development" and its attempt to honor a relationship faded and lost, but lines like "I tried to find out what happened to you / I Googled you in quotes" are utter clunkers. Almost every other song falls into the realm of "Baby / Give me a sign / I miss you" as it is so clearly stated on "Shotgun." A good story must have a theme, but a theme of earnest pleasantness on its own does not a story make.

The second piece of his new direction is at the heart of what, in the end, doesn’t work so well on Back and Fourth. While all of his early songs worked through the classics of love, loss, estrangement, and anger, Yorn captured them from a certain, unsentimental distance that allowed him to create a unique soundscape, rich, powerful and rocking, while lyrically eclectic, offbeat and never obvious. All of Back and Fourth is drenched in sentiment, and this results in an often mundane, bland production that lacks any real edge for the listener to grasp on to. There is no heart-thumping belting of "’Cause it already is!" or tragically painted figure of "the old man in the kitchen" to pull the listener in. The music of Back and Fourth just washes past and leaves you untouched.

If Yorn is trying to make a conscious break from his original trilogy, then he has certainly accomplished that. Unfortunately, this is not an engaging or effective break. While certainly pleasant enough, old fans will likely be disappointed in the new sound, and nothing on Back and Fourth is going to cause potential new ones to take notice.

Reviewed By Neil Carver, Bullz-eye.com

Saturday, June 20, 2009

The Diagnosis For Nurse Jackie Is Good


Nurse Jackie
Showtime
Monday Night
Four Scoops of Bosco


Whether she's snorting ground-up Percocet tablets or flushing a man's 
 severed ear down a toilet, Edie Falco brings a genial forcefulness to Nurse Jackie. It's the latest bit of cutting-edginess from Showtime, a new series that could have come off as jaded or self-satisfied were Falco not anchoring it with such firm authority.

She plays Jackie Peyton, a veteran ER nurse who's deeply cynical about the doctors she works with and openheartedly kind to the patients in her care. ''Doctors don't heal, they diagnose — we heal,'' she says of nurses in the second episode. From anyone else, that might seem like hubris; from the woman who embodied Carmela Soprano, it just seems like common sense.

As Jackie, Falco sports a daringly unattractive short haircut that makes sense for her line of work. But an unfashionable 'do doesn't prevent her from removing her wedding ring before she enters the hospital and conducting a sweaty affair with the hospital pharmacist (Paul Schulze — Carmela's priest from The Sopranos). She has a bad back due to the long hours she works, which I suppose is meant to explain her addiction to painkillers, but Jackie seems to get off on the thrill of deceit nearly as much as on the pills' agony-numbing high.

Nurse Jackie is brought to you by some of the people responsible for Lisa Kudrow's great, short-lived The Comeback, as well as executive producer Caryn Mandabach, who's worked on everything from The Cosby Show to 3rd Rock From the Sun. This mixture of comedy styles combined with Nurse Jackie's half-hour format gives it the feel of a bleak sitcom that regularly veers into dramedy. Sometimes the show is too broad: I could have done without the scene in which the grumpy hospital administrator played by Anna Deavere Smith (The West Wing) accidentally ingests some of Jackie's Percocet and gets giggly-loopy.

But many other aspects of the series are handled with admirable deftness. Jackie may be a ballbusting rebel at work, but you also believe that, unfaithful or not, she really loves her husband (cuddly Dominic Fumusa) and two little daughters.

And Nurse Jackie really works as a revenge fantasy. Who among us has not wanted to see arrogant doctors cut down to size, or to have someone in our corner when we're at our most vulnerable — checking into a hospital with an extreme ailment? With Falco front and center, you don't really care if Nurse Jackie gets silly, as with the patient whose cat attacked his scrotum (er, eek). You just want to keep on watching Jackie snort and snicker her way through another day and make it home with a tired smile.

Reviewed by Ken Tucker, ET

Sunday, June 7, 2009

Ten Days of Peace, Love and Baseball


By Allen Bacon
Editor
The Daily Bosco


I couldn't let this week go by without commenting on the upcoming NCAA College Baseball World Series in Omaha, Nebraska which starts this coming weekend.

For those of us that have been to Omaha in June, we know it's like the equivalent of Woodstock for Baseball. 14 days of Peace, Love, and Baseball.

If you have a list of stuff that you want to do before you die, uh, your "Bucket List" and you are a baseball fan, you must go to Omaha for the College World Series. I went two years ago and it was something I will never forget.

The first thing that strikes you around Rosenblatt Stadium (on game day especially) is the aroma of meat cooking on the open grill. The fans are out in the parking lot cooking it up on their 'cues and proudly displaying their school colors. A lot of them are not afraid to share their bounty especially if you bring the beer.

My team, Cal State Fullerton, (who is on their way back to Omaha after beating Louisville yesterday) always rents a place across from the stadium and it's a great place to hang out with the team and the fans. For the week, the house is known as "The Titan House".

I met Bob in Omaha my first day there. I was looking for a place to pick up the shuttle by my hotel and combining a morning walk when I came across a guy out for his walk too. He gave me some pointers and asked where I was staying. Turns out Bob was staying in the room right above me. He offered to give me a ride to the games. Turns out Bob was a standout player for Stanford in the 50's...a team that was one pitch away from making it to Omaha. Bob still reels from the prospect that he was so close, yet so far away.

Bob is from San Diego and he faithfully goes every year to Omaha whether his Stanford Cardinal are in the World Series or not. He must have had a great time last year...Stanford was back in the CWS. Anyway, it's great to have a buddy like Bob at the Word Series. Bob knew Gil who owned a "parking lot",uh, ok, it was a front lawn where he parked cars and we got a reduced rate on parking.

The thing I really loved was that one night after my Cal State Fullerton Titans lost I found myself at a restaurant admidst North Carolina Tarheel fans...the team that beat us that night. Didn't matter. You see, baseball is the language here and it transcends team loyalties. We stayed late talking about the game and about baseball. It was very cool.

And one more thing after the series was over...it was a bonus of sorts...I went to the downtown area. Turns out Omaha is a great place to spend an evening. It's revitalized and has a great deal of upscale shops and restaurants. I like what Warren Buffet and his friends have done with the place.

Saturday, June 6, 2009

Crow and Lang On Prairie Home Companion


This week's edition of the Prairie Home Companion Radio Show comes to you this week from the Greek Theater in Los Angeles, California.

It's a live broadcast performance With this week's special guests, a West coast triple threat, Sheryl Crow, k.d. lang, and Martin Sheen. Also, the Royal Academy of Radio Actors; Tim Russell, Sue Scott, and Fred Newman, singer Heather Masse, the Guy's All-Star Shoe Band, and The News from Lake Wobegon.

Listen live through your favorite public radio station or link via Bosco Radio: Nostalgia and Entertainment beginning at 3 PM PST/6 PM EST Saturday. The link is in the sidebar. Link to a replay of the show on Sunday at 12 Noon PST.

Tuesday, June 2, 2009

Here's Conan


In late night, the name of the show matters less than the name of the host.

Still, when it comes to names, NBC's The Tonight Show is the most storied in the business — the one associated with the longest tradition, the most expectations and the biggest ratings. Still, the show itself has always bent to the whims and skills of the host, from Steve Allen to Jack Paar to Johnny Carson to Jay Leno.

Which is why, if you thought Conan O'Brien's Tonight debut Monday felt a lot like an earlier, more richly produced, slightly overstuffed version of his Late Night, well, of course it did. He's been hosting a late night show for 16 years; by now, he does what he does.

Granted, it was a bit more frantic than the O'Brien norm, which is what you'd expect from a high-profile debut. Even so, if you like what he does — and I do — odds are you'll be happy for the chance to see him do it an hour earlier.

You can't say NBC stinted on the new studio or the set, a kind of bigger, bluer, shinier reinterpretation of Carson's old Tonight set, with Andy Richter off on a side at a podium and the audience once again seated as in a theater rather than in Leno's comedy club configuration. And by moving Conan to Los Angeles, the network not only gave him greater access to movie and TV stars, it gave him a night-long joke target that will no doubt recur.

The first star for his first show? Will Ferrell, brought in on a sedan chair by four muscle men in ancient Egyptian outfits.

Overall, the show wasn't O'Brien at his funniest, but it was funny enough to get by. After a brief monologue that was more centered on his move than on current events, he ran a number of pre-taped bits: running all the way to LA, leading a Universal Tour, and driving girls crazy with an old car. They were silly and goofy — and more amusing than Ferrell. Not to mention the clip from Land of the Lost.

And even if you didn't like the comedy, there was always Pearl Jam, which is a fairly good get as a TV musical guest.

All in all, O'Brien got his Tonight off to a decent start, though you still got the sense you were watching an introduction more than a settled production. But that's fine: The goal right now is just to put O'Brien's name on the show.

He'll eventually put his stamp on the show as well, but that will take more time than tonight.

Robert Bianco, USA Today

Monday, June 1, 2009

Return Of The Corn Flake Girl


Tori Amos
Abnormally Attracted To Sin
Universal Republic
Four Scoops of Bosco


After the high conceptualism that lorded over 2005's The Beekeeper and 2007's American Doll Posse, singer and songwriter Tori Amos has decided to return to the relatively simple songs-as-songs approach on Abnormally Attracted to Sin.

Those recordings, fine though they may have been, stretched the artist's reputation and the patience of her fans to the breaking point; based on her record sales, she whittled them down to simply the Tori cult (not a derogatory term, since many of her fans are proud to refer to themselves that way). The scope of this set in comparison with the previous two offerings seems more like a retrenchment than anything else. Not that there's anything at all wrong with that. There are songs on Abnormally Attracted to Sin that are as strong as anything she's written.

Certainly the opener "Give," with its trip-hop rhythmic landscape and shifting backing vocals, slippery synth bass, and acoustic piano is beautifully constructed with a melody line that glides along a minor-key slant with a Middle Eastern tinge, and its lyric is both poignant and provocative. But then there is the single, "Welcome to England," whose 4/4 loop, drifting piano, and blend of guitars (electric and acoustic), strings, and ambient sounds is rudimentary Amos at best, and boring at worst. The refrain creates a bit of a hook, at least enough to catch the ear, but that's all. "Strong Black Vine," with its echoes of Led Zeppelin's "Kashmir" in the intro, tosses Amos back into her Jerry Lee Lewis dilemma: she loves and hates religious faith, and is both ensnared by it and saved by it. It's a rocker as far as her songs go, and works beautifully.

"Maybe California" is a simple, straightforward modern pop ballad. It's beautifully composed and delivered. The track listing goes on, and on, and on, and on. And if there is a problem with Abnormally Attracted to Sin, this is it: it's 73 minutes long. At the dawn of the CD era, it made sense on some level to be this "generous" with listeners. But for any artist to sustain the kind of consistency necessary to keep a listener's attention for this length of time is extraordinary.

By the album's second half, one has to play and replay certain tracks because they seem to go by in a blur. And to be honest, this set would have fared better for some real pruning. Whereas cuts like "Fire to Your Plain," with its country overtones and in-the-gut melody fare quite well here, another country-ish experiment, "Not Dyin' Today," could have been deleted because it feels like a tossed off idea more than a fully realized one.

The title track is an eerie abstract exercise in ambience and atmospherics and its fragmented (and provocative) lyric is the perfect strategy to anchor it without losing its dreaminess. "500 Miles" (not the Proclaimers song) has a beautiful lyric, but musically it feels lifeless and lazy. The faux cabaret of "That Guy" feels like it updates Brecht and Weill in the 21st century, just as the jazzy intimacy of "Mary Jane" does the Parisian Saravah jazz scene of the late 50s and early '60s.

What it all boils down to is, well, boiling it down. Amos doesn't record as much as most artists, and it must be tempting to give fans everything she can, but in this case, it's hurt her a bit. Still there, are many tracks here worth adding to one's Amos shelf.

Reviewed by Thom Jurek, All Music Guide

Is One Story Really Worse Than Another?


By Doug Vehle, For The Daily Bosco

You might think a recession is a journalists dream: Write the story, then go find someone to interview experiencing the actual horrors you've already written about to make it his story. Listening to the little boy on the CBS radio news tonight, I could predict his story is occurring most any day, in any city, at any time in this country. Yet suddenly it's newsworthy, and the journalists are scrambling to present his story, and go home.

You almost don't even need to be told the story. Single mother loses her job, moves with son into motel in bad part of town. The family car is gone, and the unemployment checks soon will be. And the hope is going, too, after several sound bytes that include "We're running out of food. I'm trying to save food. . . ." by not eating, the story concludes with the sound of the little boy crying. We all know this formula well, it's used regularly. And right now, I'm sure numerous would be 'Rescuers' in the Salinas area are searching frantically for the boy and his mother, in their run down motel room.

And as some journalist gets ready to sleep soundly after witnessing this episode first hand, I have to wonder; Is this story really necessary? And do you really think it's somehow more urgent that we hear about this and less urgent we learn about how this has been made unavoidable? If this reporter had foreknowledge of how you might die a horrible death on a certain day, would he report on ways to prevent it, or mark his calendar to be there to cover it?

The post office came in my neighborhood a short time ago for the annual food drive. I really don't know if they hit the whole country on the same day or if they rotate about neighborhoods throughout the year, but on that Saturday I had $100 in cans for them. On Sunday there was a pair oblivious to their timing jumping in front of people walking up to the grocery store to repeat the same emotional rhetoric about woe at each one as they force a bag into the victims' hands. We had them outnumbered, and maybe the look on my face convinced them the other person they could choose at that moment was better prey, but I walked past while they were both up in someone's face with their 'Reporting' of the current need, and I was thinking that not only is the Post Office a more reputable conduit, but I'm always leery when there's such an act to go with it. And I'm not one who believes that 'Give more, more, MORE!' is the answer. I believe it's the problem.

Years back, after the success of the 'Live Aid' concert/telethon in raising over $50 million to deal with hunger in Africa, Willie Nelson staged 'Farm Aid' to stem the foreclosure of the American farms. After it raised $12 million you would expect the farmers to be grateful, but instead came the howls and finger pointing because it wasn't $50 million. In fact somehow they justified an indictment of Willie Nelson for promoting support for solutions that wouldn't require money, alleged as an act of evil that distracted from the 'Give money, give MORE money' mantra that was supposed to work on the heels of 'Live Aid.' And where do they think people will GET more money?

That I want to tell this CBS reporter with the interview of the child, "We know, we knew long before YOU did," doesn't begin to cover it. I want to tell him that he SHOULD be telling us things we don't already know. Instead of going to a cheap motel to confirm the story he knew he could report, he should go to Sacramento and find out WHY Arnold Schwartznegger thought that, at a time like this, he could first take another $1,000 per person every year from us in new taxes and then put a series of initiatives on the ballot asking us to PLEASE give a second $1,000 a year each voluntarily. There is a story I think needs to be reported.

And when you finish with that, could you track down the architects of the George W. Bush tax subsidy to help American manufacturers lay off American workers and export the jobs to China and get them to explain WHY they kept saying 'America will benefit from this?' They never actually told us WHY it was a good thing, and we'd all like to know, now that it sure seems like a BAD thing.

And perhaps this reporter could think he's clever when he says "To know what it's like to be a child in this recession, you have to walk a mile in his size 7 shoes." That's such an incredibly foolish remark, because WE ALREADY KNOW. We never needed his performance art news report to know anything about what's happening to this or any child in a bad spot. We've seen it all before. What we need to know is, why are we doomed to repeat a past we have never forgotten?

We know 'Economic Stimulation' destroys the economy. We know 'Offshoring' destroys the economy. And we know raising taxes destroys the economy. What we don't know is why the politicians are so determined to inflict more hair of the dog that bit us when it's long proven this will only make things worse. I always thought the journalists were supposed to find that out for us.

So why don't the journalists report news? Did the reporter interview this child in 1989? 1969? It was the same story each of those decades, you probably could even find people with the same names. Yes, we know a third of the country is in trouble. Yes, we know it's getting worse. That's not news. Why do journalists think we need them to repeat themselves? If the reporter wins the award he's telling himself he should, will it be dated 1929?

If the knee jerk reaction crowd in Salinas find the mother and son to rain their rescue upon, I would expect they'll find a little different circumstance than what they were looking for. The little boy and his mother I'm sure have received food from the local foodbank, I actually wonder how much effort the reporter had to put into coaching the kid to give him the tearjerker starvation angle. That whole emotionally overwrought scene worked to death by the reporter probably isn't so desperate on any one day as he'd have us believe. And they'll be getting more now that the Post Office has collected it. No, food banks aren't the answer, but they take the bleeding edge off a crisis. It won't find them a better place to stay than that motel, or even keep them there when the unemployment check runs out. Nor will his being interviewed for CBS radio. The reporter sure didn't do anything to make his life better.

I have no idea what people trying to collect food the very next day will do with it, but the real foodbanks already knew there was a Post Office campaign that weekend. But please, no more reporting on phony charities, we've heard that before too. For once, it's time to do something that means something.

What we need to hear about is when is the leadership going to stop meeting Einstein's definition of insanity by making the same mistakes over and over again, promising us a different result this time. So instead of proving to us that Salinas really does have the same problems that we have on our own block, when will the socalled reporters of the news finally start showing us that the leadership just doesn't want to fix anything?

Or can they not figure out how to tell a story if it hasn't been told a thousand times before?

Music To Sink Your Teeth Into


True Blood Soundtrack
Gary Calamar, Music Director
Elektra Records
Five Scoops of Bosco


True Blood's sexy, swampy, and sometimes campy Louisiana atmosphere plays nearly as big a part in the show as Sookie Stackhouse and her vampire lover, Bill Compton. Fans of the HBO TV series know that music played a huge part in creating that atmosphere -- so much so that all of the episodes of its first season were named after songs that appeared in them.

And while director/producer Alan Ball's previous HBO series, Six Feet Under, also had an expertly crafted soundtrack that often blended indie and alternative rock with classic vocal pop, True Blood's music runs deeper and wider, often spanning artists like Japanther and the Cowboy Junkies in a single episode and still sounding cohesive.

And though the show is steeped in vampire and other kinds of supernatural lore, this collection of songs couldn't be further from stereotypically dark, gothy music: the closest it comes (and it's a stretch) is either the Watson Twins' Mazzy Star-like cover of the Cure's "Just Like Heaven" or the Southern Gothic of Little Big Town's "Bones," which, with its backwoods menace and beautiful harmonies, is a kissin' cousin of Fleetwood Mac's "The Chain."

True Blood moves seamlessly from classic swamp blues and soul to contemporary country to alt-country and rock, and though decades separate some of these songs, common threads run through them. There's a real twang to most of these tracks, most brashly on Jace Everett's "Bad Things," which wraps temptation and longing in roadhouse swagger that makes it one of the most memorable TV theme songs of the late 2000s, especially paired with the show's vividly gritty title sequence.

It's also no surprise that many tracks are about Louisiana or by artists from there, including Emmylou Harris' softly Cajun-tinged "Lake Charles," Allen Toussaint's "From a Whisper to a Scream," and Dr. John's brooding "I Don't Wanna Know." True Blood mixes moods as easily as it does musical styles: C.C. Adcock's "Bleed 2 Feed" and Th' Legendary Shack Shakers' "Swampblood" embody late-night hedonism with snaky blues-rock and wild-eyed psychobilly; the Flying Burrito Brothers' "Christine's Tune" nods to the magical reality lurking around the show's edges with cosmic country-rock; and Lee Dorsey's "Give It Up" is just plain funky and sexy.

True Blood's songs capture the feel of the show rather than focusing just on tracks that scored the series' key moments, and this approach feels more cohesive and listenable (although it has to be said that Slim Harpo's "Strange Love," which soundtracks the first conversation Bill and Sookie have, is a standout). True Blood geeks will nitpick about some omissions, like Lynyrd Skynyrd's "That Smell" or Joan Baez's "Plaisir d'Amour," but the soundtrack is so of the show and so enjoyable that it feels like spending some quality time with the jukebox at Merlotte's Bar and Grill.

Reviewed by Heather Phares, All-Music Guide

Reality Check on Aisle Five Please


By Allen Bacon, Editor, The Daily Bosco

So I'm in the supermarket the other day doing my weekly grocery shopping when I noticed this big promotion that was being run.

My supermarket was having this thing called a "Price Stimulus Reduction Rollback" or something clever like that.

The marketing for this is incredible. All the employees are wearing these colorful tee shirts. There are huge banners. There are colorful price tags on every, I mean every item, showing how much money you are saving. There is a huge ad campaign. I got flyers at home for this event.

Then I realized that this is just a huge shell game. Two weeks earlier when I was doing the shopping I noticed the pricing on many of the items I was buying had increased. A box of cereal, instead of being $2.50, was now $3.50. Other items were marked up 30-50%. Being the savvy shopper I am...I just took my business to other supermarkets that week.

So this whole rollback price reduction just rolled the pricing back to where it was two weeks earlier.

Here's a note to my supermarket. Stop playing games. If they want to do a real rollback... rollback pricing to where it was before they did their price increases. They can also stop spending money on huge advertising campaigns. I know how much all those shirts, price tags, banners, ad spots, and the people that put all that stuff out costs. It's a minor fortune. You could have taken that money and passed the savings on to the consumer.

Using the bad economy as an excuse for a ponzi scheme is crass and sends the wrong message. Is my supermarket PT Barnum and actually think a sucker is born every minute? It smacks of false advertising and my supermarket should be ashamed of themselves.