threespires
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Apparently if you're into fly fishing the book this spawned is actually a good read!
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The Album Review Club - End of Round #9 Break (page 1904)
- Thread starter RobMCFC
- Start date
Apparently if you're into fly fishing the book this spawned is actually a good read!
southamptonblue
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Cool....was thinking of something you'd like Bob.....looks like I've nailed it ;)Great! looking forward to Bros.
Saddleworth2
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This one.
He doesn’t fly fish in that. Merely enquires about a fly fishing book. :-)
mancity2012_eamo
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I know. A very poor adaptation of the book, in my book.He doesn’t fly fish in that. Merely enquires about a fly fishing book. :-)
threespires
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Arguably the maddest pick so far.
A compelling narrative accompanied by an enjoyably dotty variety of music for TV adverts.
Eve of destruction - here's a horrible sense of foreboding but also here's the new Ford Capri motoring down an open road with the sunset behind it.
Track 2 - the start of something truly terrible but also here's the latest oriental fragrance from Fabergé. Guaranteed to drive your partner wild. For a short while when the heat ray first unfolds its terror there's an attempt at some form of alignment to the story but then you find yourself asking why the funk have Nile Rodgers and Isaac Hayes pitched up on Horsell Common to accompany proceedings.
And so it continues, a concise and eerily deadpan retelling of the story accompanied by utterly random small screen music that exists in the same time and space as the narrative but a lot of the time that's just about where their relationship ends.It's like an audiobook being played simultaneously with a composer pitching to get the commission for the incidental music to a made for TV movie written with Peter Wyngarde in mind for the lead.
It's completely bizarre but the most bizarre thing is how battily endearing it is.
When it came out I was determined (based on which school mates were raving about it) to condemn it as absolute claptrap. But it's like the strange looking dog in the rescue shelter. Licking its own bollocks and ugly as f**k but then he gives you the daftest of looks and before you know it he's the one you're taking home while all the normal looking dogs are thinking how the hell did that happen?
There's no point going on about the continued misalignments between the words and the music, they are legion. But it doesn't seem to matter. Forever Autumn was the kind of song I hated at the time so if you add in the absolute disconnect with the narrators predicament then we must be in basement scoring territory? Except here I am singing "you always loved this time of year..."
In fairness bits of it are quite prescient, the first half of Thunder Child is basically a Pokémon theme decades ahead of it's time.
It's bafflingly enjoyable, maybe it's simply the commitment of all involved, who knows? The entire venture should collapse under the weight of its own ludicrousness but it doesn't. Maybe Burton is the glue that somehow holds it together? Either way the whole is definitely greater than the sum of the parts.
As the Parson might have said "Forget about taste and good judgement, they're gone."
7.5/10
A compelling narrative accompanied by an enjoyably dotty variety of music for TV adverts.
Eve of destruction - here's a horrible sense of foreboding but also here's the new Ford Capri motoring down an open road with the sunset behind it.
Track 2 - the start of something truly terrible but also here's the latest oriental fragrance from Fabergé. Guaranteed to drive your partner wild. For a short while when the heat ray first unfolds its terror there's an attempt at some form of alignment to the story but then you find yourself asking why the funk have Nile Rodgers and Isaac Hayes pitched up on Horsell Common to accompany proceedings.
And so it continues, a concise and eerily deadpan retelling of the story accompanied by utterly random small screen music that exists in the same time and space as the narrative but a lot of the time that's just about where their relationship ends.It's like an audiobook being played simultaneously with a composer pitching to get the commission for the incidental music to a made for TV movie written with Peter Wyngarde in mind for the lead.
It's completely bizarre but the most bizarre thing is how battily endearing it is.
When it came out I was determined (based on which school mates were raving about it) to condemn it as absolute claptrap. But it's like the strange looking dog in the rescue shelter. Licking its own bollocks and ugly as f**k but then he gives you the daftest of looks and before you know it he's the one you're taking home while all the normal looking dogs are thinking how the hell did that happen?
There's no point going on about the continued misalignments between the words and the music, they are legion. But it doesn't seem to matter. Forever Autumn was the kind of song I hated at the time so if you add in the absolute disconnect with the narrators predicament then we must be in basement scoring territory? Except here I am singing "you always loved this time of year..."
In fairness bits of it are quite prescient, the first half of Thunder Child is basically a Pokémon theme decades ahead of it's time.
It's bafflingly enjoyable, maybe it's simply the commitment of all involved, who knows? The entire venture should collapse under the weight of its own ludicrousness but it doesn't. Maybe Burton is the glue that somehow holds it together? Either way the whole is definitely greater than the sum of the parts.
As the Parson might have said "Forget about taste and good judgement, they're gone."
7.5/10
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mrbelfry
Well-Known Member
A thousand likes for you!Arguably the maddest pick so far.
A compelling narrative accompanied by an enjoyably dotty variety of music for TV adverts.
Eve of destruction - here's a horrible sense of foreboding but also here's the new Ford Capri motoring down an open road with the sunset behind it.
Track 2 - the start of something truly terrible but also here's the latest oriental fragrance from Fabergé. Guaranteed to drive your partner wild. For a short while when the heat ray first unfolds its terror there's an attempt at some form of alignment to the story but then you find yourself asking why the funk have Nile Rodgers and Isaac Hayes pitched up on Horsell Common to accompany proceedings.
And so it continues, a concise and erily deadpan retelling of the story accompanied by utterly random small screen music that exists in the same time and space as the narrative but a lot of the time that's just about where their relationship ends.It's like an audiobook being played simultaneously with a composer pitching to get the commission for the incidental music to a made for TV movie written with Peter Wyngarde in mind for the lead.
It's completely bizarre but the most bizarre thing is how battily endearing it is.
When it came out I was determined (based on which school mates were raving about it) to condemn it as absolutely claptrap. But it's like the strange looking dog in the rescue shelter. Licking its own bollocks and ugly as f**k but then he gives you the daftest of looks and before you know it he's the one you're taking home while all the normal looking dogs are thinking how the hell did that happen?
There's no point going on about the continued misalignment between the words and the music, they are legion. But it doesn't seem to matter. Forever Autumn was the kind of song I hated at the time so if you add in the absolute disconnect with the narrators predicament then we must be in basement scoring territory? Except here I am singing "you always loved this time of year..."
In fairness bits of it are quite prescient, the first half of Thunder Child is basically a Pokémon theme decades ahead of it's time.
It's bafflingly enjoyable, maybe it's simply the commitment of all involved, who knows? The entire venture should collapse under the weight of its own ludicrousness but it doesn't. Maybe Burton is the glue that somehow holds it together? Either way the whole is definitely greater than the sum of the parts.
As the Parson might have said "Forget about taste and good judgement, they're gone."
7.5/10
Rob raised an interesting point. One of its strengths is its inherent limit. It isn't by default an album you would re-play or often return to, or pick songs from to play at patries, add to playlists or listen to in isolation. Unless you are making your own soundtrack. You most likely listen to it in one go, it either hits the mood spot or it doesn't. And that's that. It avoids the scrutiny of repetition, longevity, genre etc, you put all that aside.
You judge it on its first impression, and maybe a return visit. I still remember that though, and it can still do it. But had it not been nominated, who knows if or when I would have gone back to it.
You judge it on its first impression, and maybe a return visit. I still remember that though, and it can still do it. But had it not been nominated, who knows if or when I would have gone back to it.
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BlueHammer85
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A compelling narrative accompanied by an enjoyably dotty variety of music for TV adverts.
Funnily enough i heard the 'Invasion' sample from the latest EE advert this morning.
threespires
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Funnily enough i heard the 'Invasion' sample from the latest EE advert this morning.
Yes, where the kids "invade" the house at the end of the school day. Much as I think Kevin Bacon is ok, I'm pretty sure they made the right choice in using Liam Neeson to revive the Burton role!
threespires
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A thousand likes for you!
In my head you said that in the voice of Michael Gambon awarding house points :-)