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Thursday 15 May 2014

"Fly Away Home" on BLU RAY – A Review Of The Beautiful 1996 Carroll Ballard Movie


Here is a link to AMAZON UK to get this beautiful film on BLU RAY at the best price:


"…Rocks May Melt…Seas May Burn…" – Fly Away Home on BLU RAY

It begins in New Zealand with windscreen wipers washing away rain. A mother in her mid thirties is driving her 13-year old daughter home at night to Pukekohe. Amy Alden (Anna Paquin) is listening to music on her headphones - smiling lovingly at her cool mum who looks over at her spirited girl with pride. But as a beautiful and inspirational piano theme plays ("10,000 Miles" by Mary Chapin Carpenter – a Robbie Burns poem put to music) – a truck approaches just when Mummy is taking an ill-timed mobile phonecall. She swerves fast to avoid the oncoming juggernaut but flips the car in doing so. It rolls to a shattered stand still – paramedics pull only the injured Amy from the wreckage. Her father Thomas then comes all the way from Ontario to bring his traumatized daughter home (they parted when she was three).

Thomas Alden (Jeff Daniels) is an upbeat force – a self-made man – a Canadian dreamer, sculptor and madcap inventor – obsessed with flight, hang gliders and ultralight trikes (he’s even built an exact replica of the Moon Lander in his barn because the Earth no longer has one). And where Dad lives is beautiful – rural woodland and rolling hills surrounds his farmstead. But developers covet the land and one-day after bulldozers have illegally knocked down trees and natural habitat – Amy is out surveying the carnage. She spots a batch of goose eggs thrown by the dozers that haven’t hatched yet. Gathering all 16 in a pouch – she carefully places them in a disused cabinet in the hay barn – using straw as a bed and her mother’s old clothes as wraps. To keep them warm in the closed wooden drawer - she steals one of Dad’s old mobile lamps (when he’s not looking) and then hops the yellow bus to school. Busy sculpting a commission of a bronze Dragon – Dad hasn’t noticed the deep bond that’s going on in the barn. But then they hatch into goslings and soon the little fuzzballs are all over the kitchen table squawking, eating, pooping and following Amy wherever she goes.

As they grow – Dad realizes he’s at sea with those gorgeous but needy creatures – so he seeks advise. A local sheriff who knows something of their habits comes calling and explains. 'Imprinting' means that Canadian Wild Geese will follow anything and anyone they see after their born and presume them to be their mother. They migrate South each year come late Fall to the wetlands for warmth and abundant food (as they’ve done for millennium). Their mother will show them the way and they’ll return in the spring to the exact same spot. Unfortunately as per the law – domestic birds must have their wings clipped so they don’t fly away. But when Glen tries to engage in the act of 'pining' as per Ordinance 9314 – Amy goes berserk and hits him with a frying pan.

Dad, his lovely girlfriend Susan (Dana Delany), the recently arrived brainbox Uncle Dave (Terry Kinney) and local mechanical help Barry (Holter Graham) all now collude. Inventor Thomas realizes that as the geese fly at 31 miles per hour and view Amy as their mother – they could theoretically follow her in a specially modified ultralight. So the building of small planes and the imprint training of the geese begin in earnest for the arduous marathon ahead. Soon the Canadian media and even the military at Niagara Air Force Base become involved as the now 14-year old Amy engages in her epic 5000-mile flight home with Igor (one who has difficulty flying), chaperone Dad in a second ultralight trailing behind and the other 15 birds flying alongside "Mama Goose". They become a cause celebre and Amy an environmental hero…

It’s hardly surprising that Caleb Deschanel won the Oscar for cinematography – because "Fly Away Home" is a looker to say the least. As you can imagine the up close and personal shots of hatching chicks and fluffy mites would melt a heart of stone. Fully extended wingspans of gracious birds landing in slow motion on spring ponds, glorious Canadian dawns as Dad tries out his latest whacko flying machine, aerial shots that look down on Amy’s imitation goose ultralight with Autumn coloured terrain below as her trusting flock accompany her home – gorgeous stuff. Even a memory of Mum pushing Amy on the swing in the barn is beautifully rendered.

The American 2009 BLU RAY (Barcode 0433962955346) is REGION ABC (Region Free) so no compatibility issues for any buyers. The picture is fabulous and combined with Mark Isham’s sweeping score – the effect is magical in a truly cinematic way. It’s defaulted to 1.85:1 - Full Screen Aspect Ratio  - giving you the full visual whack. The Audio offers English, French and Spanish Dolby TrueHD 5.1 while the Extras include pieces on the autobiography of Bill Lishman (who actually did fly with geese in his tiny biplane), interviews with the principal actors and Californian Director Carroll Ballard discussing how he worked with Robert Rodat and Vince McKewin on the adapted screenplay. It’s pleasingly indepth and newly informative – even after you’ve watched the film.

But this would all amount to naught if the movie didn’t work on a deeply parental level – and "Fly Away Home" does. I saw this at the cinema and there were mums and dads clutching their kids and bawling like big girl’s blouses. By the time Mary Chapin Carpenter’s stunning musical rendition of “10,000 Miles” returns (it’s on her 1998 hits CD "Party Doll And Other Favorites") as Amy nears her destination with thousands waiting anxiously for her to appear on the horizon – resistance is utterly futile (lyrics from it title this review). I’ve seen family films get to the parents before - "Wall-E", "Despicable Me" and even Disney's remake of "The Parent Trap" – but never quite like this.

"You've been a friend to me…" Mary Chapin Carpenter sings - with words that reach into your soul.

Buy this gorgeous family movie on BLU RAY (where it deserves to be) and find out why it’s lovely story of redemption has touched the hearts of millions…


Amazon UK reference is B001QMCJ1Y

"Listen…/I'll Keep You Satisfied/Little Children/Trains And Boats And Planes by BILLY J. KRAMER and THE DAKOTAS (May 2014 Beat Goes On Reissue - 4LPs onto 2CDs - Andrew Thompson Remasters) - A Review by Mark Barry...



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1960s and 1970s MUSIC ON CD - Volume 3 of 3
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As well as 1960s and 1970s Rock and Pop - It Also Focuses On
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"…Dance With Me…"

This cool-looking British 2CD reissue has good and bad points that need explaining - so let's get to the details right away. UK released 19 May 2014 - Beat Goes On BGOCD 1146 (Barcode 5017261211460) breaks down as follows...

Disc 1 (62:38 minutes):
Tracks 1 to 14 are their debut LP "Listen..." - released November 1963 in the UK on Parlophone PMC 1209 (Mono) and PCS 1209 (Stereo)

Tracks 15 to 26 are the US album version of it called "I'll Keep You Satisfied/From A Window" - released early 1964 on Imperial LP-9273 (Mono) and LP-12273 (Stereo)

Disc 2 (58:30 minutes):
Tracks 1 to 12 are the US album "Little Children" - released May 1964 on Imperial LP-9267 (Mono) and LP-12267 (Stereo)

Tracks 13 to 24 are the US album "Trains And Boats And Planes" - released early 1965 on Imperial LP-9291 (Mono) and LP-12291 (Stereo)

Fans will know that the 14-track debut album "Listen..." came out in both MONO and STEREO in the UK and was produced by the fifth Beatle George Martin. But of the 12 cuts on the American version (called "I'll Keep You Satisfied/From A Window") seven were duplicated - with the other five being new. Beat Goes On have therefore chosen to present the UK album in STEREO and the USA version in MONO to avoid needless duplication (they don't try to hide this - its stated as such on the outer box and in the liner notes). Disappointingly though - five of the Mono studio tracks on albums 2, 3 and 4 are presented here by 'live' versions (presumably because the tapes for the studio versions are lost?) They are "Sugar Babe", "Pride", "I'll Keep You Satisfied", "Tennessee Waltz" and "Irresistible You". Also on my copy of the CD - Track 5 on Disc 2 (a cover of The Platters "Twilight Time") is in the wrong place. It should be lined up as track 16 - the 3rd song on the "Trains And Boats And Planes" album. That's the bad news - let's get to the good.

The generic card wraps that Beat Goes On uses now on their reissues are lovely - classy looking too. The 16-page booklet inside features liner notes by BOB SOLLY and pictures gorgeous EPs in colour on the last page with the original liner notes for the albums as well as a potted history of the British Invasion group. For Beatles fiends there's some snaps of Billy with Brian Epstein and of course those exclusive Lennon/McCartney songs on the American debut. But the real shocker is the sound...

The Andrew Thompson remasters are amazing - full of power and clarity that leaps out of your speakers - especially the STEREO versions like the sappy ballad "The Twelfth Of Never" and Kramer's Roy Orbison take on the Stephen Foster traditional "Beautiful Dreamer" where he gives his best Liverpool accent on the word 'hair' (becomes 'her').

Other goodies on the American Mono version of "I'll Keep You Satisfied/From A Window" are three exclusive Lennon/McCartney compositions (a major coup at the time) - "I'll Keep You Satisfied", "I'll Be On My Own" and "From A Window" - very cool indeed. This is 1963 and 1964 - and the entre world is enveloped in the musical atomic bomb of The Beatles. There's a wonderful optimism in all of it - like the opener cover of The Drifters "Dance With Me" and the Fab Four feel to the lovely "I Know". The Beatles covers continue with versions of "Do You Want To Know A Secret" and "Bad To Me". There's a great vibe to "Take Her Place" and "Sneaking Around" In fact the whole "Trains And Boats And Planes" album is a bit of an unsung Sixties hero - and the sound on tracks like "I Live To Love You" is fabulous.

Downsides - the five 'live' versions are poor substitutes for the studio tracks (docked a star for that) and will disappoint fans a great deal - and the misplacing of "Twilight Time" on Disc 2 is an easy mistake to make but a tad sloppy really. Having said that - overall the rest of it is really great stuff.

In 2014 Liverpool's William Howard Ashton (Billy J Kramer) is largely forgotten - but on the evidence of this - our clean-cut hero and his boys in The Dakotas more than deserve your mop-top attention again...

Tuesday 13 May 2014

"As Good As It Gets" on BLU RAY – A Review Of The 1997 James L. Brook’s Movie Now Reissued Onto BLU RAY In 2013...



"…A Better Person…" – As Good As It Gets on BLU RAY

Melvin is a bit of a boor. And that’s not even taking into account that he’s full of crap too. Ensconced in his plush 5th Avenue apartment  – famous and wealthy author Melvin Udall (Jack Nicholson) sits in front of his beautifully lit computer. Speaking softly and eloquently to himself as he composes the revelatory ending of his 62nd book - he types warm words about love and deep relationships. The only problem is that in the real world Melvin sucks at both with the ferocity of a gummy budgie on several uppers.

Then there’s the compulsive behaviour he indulges in privately and publicly because he’s a bank account that afford it – foil-wrapped bars of soap he uses only once (tapping the cabinet mirror each time he opens a new one) and leather gloves he bins after one outing. Mountains of expensive LPs all lined up in perfect alphabetical order - luxurious foot platters in the fridge in shrinkwrap that he won’t eat. In fact compulsion dominates his every action – locks on his door that have to be turned back and forth five times followed by the light switches. He can’t cross cracks in paving stones when he’s out on the New York streets and can’t abide anyone touching him ("get a life" one pedestrian cries). He carries plastic knives and forks with him in sealed bags because eating off immaculate silverware is a "judgement call". But these rituals are small beer to his motor mouth - that more often than not - would make an open drain seem fragrant.

"I've got Jews on my table!" Melvin protests when a man and a woman are found sitting where he always sits (early roles for Peter Jacobson and Lisa Edelstein – Dr. Taub and Dr. Cuddy in Hugh Laurie's "House"). He calls gay men "fudge-packers" while a coloured Art Agent has an "accent thick with molasses…" "Sell crazy some place else!" he tells the cleaning lady who wishes him God in his life. He calls an overweight waitress "elephant girl" and screams "Now!" at her to get his food - finally getting himself barred for life from his favourite eating hole to the applause of every single patron. But worse than his uncontrollable verbal diarrhoea is his persistent obnoxious behaviour – acts so unfeeling – they’d make The Hitler Youth tremble with pride.

There’s his gay neighbour Simon Bishop (Greg Kinnear) – an idealistic painter who obsessively worships his small fluffy dog Verdell – so Melvin chucks the tiny Brussels Griffin down the garbage chute for urinating on the hall radiator ("wizzed for the last time you dirty dog!"). On a visit to his publisher a worshiping secretary foolishly asks, "How do you write women so well?" Unable to resist Melvin replies, "I think of a man – and take away all reason and accountability…" Even the warm-hearted waitress Carol Connolly (Helen Hunt) who works at CAFÉ (the only restaurant he’ll use in Manhattan) - the one person in the whole wide world who will put up with his God awful mannerisms and impatience - is having a hard time not poking his eyes with a red hot poker after a staggeringly offhand and cold remark about her sick Asthmatic son.

Both Jack Nicholson and Helen Hunt won the Oscar for 1997’s "As Good As It Gets" – and not without reason. They’re simply fabulous in their roles as polar opposite people – weary souls who long for release from their respective personal prisons. But for my money the writing of Mark Andrus and Director James L. Brooks should have pulled a statue too. The movie has a ballbreakingly funny script that relishes in the attack - but also knows when to turn on the heart. Melvin shouts as a cackle of school kids on the sidewalk - "Children Stop!" - and all do in abject terror. When Dr. Bettes (the wonderful Harold Ramis) tells working-mum Carol that her sick son Spencer will now suffer less from his breathing problems and allergies because Melvin has stumped up $61,000 in medical bills to get her back to work and waiting on him – it’s funny, moving and beautiful. It drew tears in our house.

The CAFÉ scene where Carol tries to explain her gratitude for the miracle of life Melvin has given her son - is tender and awkward and genuinely touching – and his response of "lovely" when he just wants her to stop is so utterly on the money for his character’s inner demons. When they do finally have dinner together on a car trip to Baltimore to raise cash from Simon’s rich parents (he’s broke and needs to keep his apartment) – Melvin pays Carol a real compliment for the first time (dialogue above) and a softer better person emerges.

Even as a seasoned watcher - you forget just how good Jack Nicholson really is. In full flight – he’s an awesome thing to see and his character’s awfulness towards all of humanity is a wonder to behold. And yet you love him – monumental prick that he is – he gives his Melvin a beating heart. Not to be outdone on the robbed-of-an-Oscar front – I’d also state that another statue should have been handed out to Greg Kinnear as sensitive Simon in what has to be a career-best performance from him. Having been beaten to a facial pulp by a model that cased his soft touch place for a robbery (Skeet Ulrich) – the scene where he’s out of hospital and breaks down in front of Nicholson in his apartment is stupendous - and was shown at the Oscar ceremonies. It took real boots to go up against a consummate scene-stealer like JN and our Greg pulled it off convincingly. Look closely too and you’ll catch a few lines by the author of Star Wars: Empire Strikes Back (and the new one too), Raiders Of The Lost Ark and The Big Chill - Lawrence Kasdan - making an appearance as Dr. Green in Melvin’s Fifth Avenue Psychiatric Group.

Defaulted to Aspect Ratio 1.85:1 – the picture fills the entire screen and is gorgeous throughout. Only on a very few occasions do faces go slightly out of focus – mostly it just looks like quality all the way.
I bought the German Region B version (Besser Geht’s Nicht on Barcode 4030521707481) that has the Region ABC Logo on the rear - meaning it’s all regions or region free. A very real let down however is the complete absence of any Extras – not even a Trailer for God’s sake. I say this because I’ve long raved about the commentary that accompanies the whole film on the DVD release where Nicholson gives it some seriously informative and funny raconteur throughout "I'm upstaged by a fucking dog!" What a shame it isn’t on here. Subtitles are extensive too (details available from Amazon).

There are some Directors I will seek out – Terry Gilliam, Wes Anderson, Nadine Labaki, Peter Howitt, John Borman, Peter Chelsom, Mira Nair, Paul Haggis, Alejandro Gonzalez Inarritu, Paul Greengrass, Nadine Lahti and James L. Brooks are among them. They produce movies of depth, wit and hope – and the brill "As Good As It Gets" is right up there.

"You make me want to be a better person…" Melvin says to Carol in a rare moment of genuine breakthrough.


Make your home a sweeter place too by adding this dysfunctional nugget of love to your shopping basket…

Sunday 11 May 2014

"The T.Rex Wax Co. Singles: A's and B's 1972-77" by T.REX (April 2002 UK Edsel 2CD Remasters - Reissued In 2014) - A Review by Mark Barry...



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MORE THAN A FEELING 
1976

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"...Tippy-Toed Vamp A Rider..."

Although it doesn't contain his first four monster hits as T. Rex - "Ride A White Swan" (Oct 1970), "Hot Love" (February 1971), "Get It On" (July 1971) and "Jeepster" (November 1971) - this stunning April 2002 2CD set on Edsel MEDCD 714 (Barcode 740155171421) gives us everything afterwards and is a fantastic listen for it.

"A's and B's 1972 - 1977" does exactly what it says on the tin – providing you with all those EMI/T.Rex Wax Co Label UK 7" singles we bought in those distinctive T.Rex label bags (it stills gives me a kick to look at them to this day). Here's a detailed breakdown of the Metal Gurus and 20th Century Boys:

Disc 1 (69:56 minutes):
1. Telegram Sam b/w Cadillac and Baby Strange - January 1972, EMI/T.Rex Wax Co. Label T-REX 101

2. Metal Guru b/w Thunderwing and Lady – May 1972, EMI/T.Rex Wax Co. Label MARC 1

3. Children Of The Revolution b/w Jitterbug Love and Sunken Rags – September 1972. EMI/T.Rex Wax Co. Label MARC 2

4. Solid Gold Easy Action b/w Xmas Riff and Born To Boogie – December 1972, EMI/T.Rex Wax Co. Label MARC 3

5.  20th Century Boy b/w Free Angel – March 1973, EMI/T.Rex Wax Co. Label MARC 4

6. The Groover b/w Midnight – June 1973, EMI/T.Rex Wax Co. Label MARC 5

7. Truck On (Tyke) b/w Sitting Here – November 1973, EMI/T.Rex Wax Co. Label MARC 6

8. Teenage Dream b/w Satisfaction Pony – January 1974, EMI/T.Rex Wax Co Label MARC 7

9. Light Of Love b/w Explosive Mouth – July 1974 – EMI/T.Rex Wax Co. Label MARC 8

10. Zip Gun Boogie b/w Space Boss – November 1974 – EMI/T.Rex Wax Co. Label MARC 9

Disc 2 (56:35 minutes):
1. New York City b/w Chrome Sitar – June 1975, EMI/T.Rex Wax Co. Label MARC 10

2. Dreamy Lady b/w Do You Wanna Dance? and Dock Of The Boy – September 1975, EMI/T.Rex Wax Co Label MARC 11

3. London Boys b/w Solid Baby – February 1976, EMI/T.Rex Wax Co. Label MARC 13

4. I Love To Boogie b/w Baby Boomerang – June 1976, EMI. T.Rex Wax Co. Label MARC 14

5. Laser Love b/w Life's An Elevator – September 1976, EMI/T.Rex Wax Co Label MARC 15

6. To Know You Is Love You (To Know Him Is To Love Him) b/w City Port by MARC BOLAN and GLORIA JONES – January 1977, EMI Records EMI 2572

7. The Soul Of My Suit b/w All Alone – March 1977, EMI/T.Rex Wax Co. Label MARC 16

8. Dandy In The Underworld b/w Groove A Little and Tame My Tiger – May 1977, EMI/T.Rex Wax Co. Label MARC 17

9. Celebrate Summer b/w Ride My Wheels – August 1977, EMI/T.Rex Wax Co. Label MARC 17

The fold-out inlay with liner notes by T.Rex/Marc Bolan expert MARK PAYTRESS is jam-packed with details on the all the tracks and pictures those famous labels we bought in Woolworths with the excitement of buying the next Beatles seven.
The remasters are fabulous – full of power and muscle – giving "20th Century Boy" and "I Love To Boogie" huge punch.

It’s not all magic of course – "Dreamy Lady" is terrible dreck and I still recall the feeling of disappointment when "Truck On (Tyke)" came out – it was the end for him by that time. But tracks like "New York City", "Teenage Dream" and "Laser Love" still have that Bolan magic - and how good is to hear all those cracking non-album B-sides - "Thunderwing" (lyrics above), "Sunken Rags", "Free Angel" and "Life's An Elevator" to name but a few. He used album tracks only twice to my knowledge – "Solid Baby" from "Bolan's Zip-Gun" and "Baby Boomerang" from 1972's "The Slider" – but again they're superb inclusions. It's also nice to have that Marc Bolan and Gloria Jones rare 7" on CD too. Speaking of one-off oddities – it's worth mentioning the lone exclusion on this set – "Christmas Bop" which was to be MARC 12 in December 1975 – but was withdrawn.

Sometimes you don't have to pay the earth to get great sound, fab music, nice presentation and a reasonable price for 2CDs. What a blast...and what a loss. I miss him…

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