Will Smith, Alice Braga and Charlie Tahan in the Francis Lawrence movie ‘I Am Legend’

Loosely based on the 1954 Richard Matheson novel I Am Legend, the science fiction horror movie I Am Legend (2007) as directed by Francis Lawrence captures our look today. Writing credits for the 2007 movie rest with Mark Protosevich and Akiva Goldsman. The movie, set in New York City, New York, sees a measles-based virus built to cure cancer go post-apocalyptically wrong. A single man finds himself isolated in Manhattan to develop a cure while fighting virus-infected mutants bent on infecting anyone still healthy.

(From left, Will Smith as Robert Neville, Willow Smith as Marley Neville and Salli Richardson-Whitfield as Zoe Neville in the Francis Lawrence movie I Am Legend).

Set in 2012, three-years after an intended cancer cure has turned lethal, Will Smith portrayed United States Army virologist Robert Neville in I Am Legend. Neville follows a daily routine of seeking food and supplies, experimenting on rats to counteract the lethal disease, and waiting for infected survivors at the South Street Seaport, where a recurring recorded message directs people. We learn of a sad backstory for Neville’s wife and daughter, Zoe and Marley as portrayed by Salli Richardson-Whitfield and Willow Smith, through flashbacks of the evacuation of Manhattan before the current day of the film. That backstory adds depth to Neville’s attempts in the current day, along with his dog Samantha (Sam) as portrayed by Abbey and Kona, to cope with loneliness.

(From left, Will Smith as Robert Neville and Abbey as Samantha (Sam) in the Francis Lawrence movie I Am Legend).

The substance of the action for the movie begins when Robert and Sam pursue a deer into a darkened building, encountering infected people harmed by daylight called Darkseekers. Using a snare trap, Neville captures an infected female bonded to an infected male to take to Neville’s Washington Square Park home for experimentation, seemingly without success.

(From top, Will Smith as Robert Neville and Kona as Samantha (Sam) in the Francis Lawrence movie I Am Legend).

The next day, Robert is snared outside Grand Central Station and, waking near sunset to have an excruciating turn occur when he and Sam defend themselves against a pack of dogs. Neville acts out in grief, with Anna and a young boy named Ethan from Maryland, having come to South Street Seaport owing to Robert’s broadcast. The veracity of Anna and Ethan’s stories of travel through Maryland, Bethel, Vermont, and São Paulo, Brazil worries Robert Neville. At least two separate movie endings exist, with the alternate ending rather than the ending shown in movie theatres reportedly considered canonical for the sake of a movie slated to serve as a sequel to I Am Legend reportedly in production. Alice Braga and Charlie Tahan portrayed Anna and Ethan, respectively.

(From left, Alice Braga as Anna, Charlie Tahan as Ethan and Will Smith as Robert Neville in the Francis Lawrence move I Am Legend).

Other movies made based on the 1954 book I Am Legend have included The Last Man on Earth (1964) and The Omega Man (1971). I grant I Am Legend as directed by Francis Lawrence 3.5-stars on a scale of 1-to-5.

Matt – Saturday, May 11, 2024

Quincy Jones and the album ‘Body Heat’

Originally released May 8th, 1974, the Quincy Jones album Body Heat was shared with the world. The album features Jones on trumpet and vocals with Rhythm and Blues (R&B), Soul, Quiet Storm and Smooth Soul musicality. While including many jazz musicians on this album, the setting aside of jazz expectations for this album led to commercial success for this album that Jones never experienced with his own albums before or since.

(The cover art for the Quincy Jones album Body Heat).

Musicians supporting the Body Heat album include Chuck Rainey on bass, Max Bennett on bass, Melvin Dunlap on bass, Bernard ‘Pretty’ Purdie on drums, Dave Grusin on drums, electric piano and synthesizer, Grady Tate on drums, James Gadson on drums, Paul Humphrey on drums, Bob James on electric piano, Richard Tee on electric piano, Arthur Adams on guitar, David T. Walker on guitar, Dennis Coffey on guitar, Eric Gale on guitar, Phil Upchurch on guitar, Wah Wah Watson on guitar, Tommy Morgan on harmonica, Chuck Findley on horn, Clifford Solomon on horn, Frank Rosolino on horn, Hubert Laws on horn, Jerome Richardson on horn, Pete Christlieb on horn, Billy Preston on organ, Bobbye Hall on percussion, Herbie Hancock on piano, electric piano and synthesizer, Malcolm Cecil on synthesizer, Mike Melvoin on synthesizer, Robert Margouleff on synthesizer, Al Jarreau on vocals, Benard Ighner on vocals, Bruce Fisher on vocals, Carolyn Willis on vocals, Jesse Kirkland on vocals, Jim Gilstrap on vocals, Joseph Greene on vocals, Leon Ware on vocals, Minnie Riperton on vocals, Myrna Matthews on vocals and Tom Bahler on vocals.

Body Heat opens the album of Body Heat as the title track. Invoking a sensual night of physical intimacy, physical passion for two is on Quincy Jones mind.

Soul Saga (Song of the Buffalo Soldier) of course alludes to buffalo soldiers, African American cavalry regiments of the United States Army who served in the western United States from 1867 to 1896. I sense a hint of spirituals in this soulful, musically forceful testament to a past properly elevated to the level of saga, defined as “a long and complicated story with many details.” The song dignifies a past heroism and sacrifice too often lost to history, with uplifting sentiments of remembering.

Everything Must Change presents a smoother, mellow meditation on the inevitability of change. The male lead vocals backed with chorus with the medley of organ, piano and synthesizer instrumentation create beautiful movements of change, especially when the composition then changes to a horn based section coupled with drums and additional singing. The sentiment that accompanies plays alongside the music hits an uplifting note.

(Quincy Jones at his home studio in October 1974, five months after the release of the album Body Heat).

Boogie Joe the Grinder strikes me as a more sensual song with a musical feeling reminiscent of the song Body Heat. While the song’s messaging can and perhaps does speak more to the dance floor than the bedroom, the ability to see hints of intimacy are deliberate and well received.

Everything Must Change (Reprise) adds slightly more than a minute of a dreamlike feeling offered with the preceding Everything Must Change song.

The sensuality of One Track Mind both musically and lyrically is unmistakable. I find the reversal of having the female desire for intimacy taking a prominent expression, despite being expressed through the perspective of a male, interesting. The compositional and production value of the music of this song again breaks new ground when looked at from the overall album’s point-of-view.

(Quincy Jones in the year 2014, some forty years after the release of the album Body Heat).

The opening, yet mellow guitar opening and play throughout Just a Man hits me as strongly as the lyrical messaging of the song. The sensibility of a man’s dignity in being no fool in this world while not having advantages afforded others offers dignity and spiritual uplift for the soul.

The strictly instrumental Along Came Betty offers distinctiveness among other music on the Body Heat album. The force of the composition sustains the absence of lyrics, which compositionally aren’t needed given the appeal of the music.

If I Ever Lose This Heaven pairs well with the song Along Came Betty that precedes it owing to the ability of the music alone to stand on its own feet. That the song invokes the concept of heaven for the dreamy emotional state advances beyond the abstraction others convey with the emotional sanctity of, well, clouds. The desire to maintain the high, sensual or otherwise, leaves a feeling of warmth for the song and the album by being presented last.

Matt – Wednesday, May 8, 2024

Robert Donat, Madeleine Carroll and Lucie Mannheim in the Alfred Hitchcock movie ‘The 39 Steps’

The mystery, thriller movie The 39 Steps (1935) is an Alfred Hitchcock film loosely based on the 1915 novel The Thiry-Nine Steps by John Buchan. Charles Bennett and Ian Hay garner screenwriting credit for this movie taking place in England and largely in Scotland.

(From left, Robert Donat as Richard Hannay and Lucie Mannheim as Annabella Smith in the Alfred Hitchcock movie The 39 Steps).

This story of The 39 Steps is one of the wrong man, Canadian Richard Hannay as portrayed by Robert Donat, suspected of murder getting mixed up with an attractive blonde, Pamela as portrayed by Madeleine Carroll, while hoping to clear his name. The death in play is that of one Annabella Smith, as portrayed by Lucie Mannheim, who turns to Hannay for help before coming to her end after implicating him; Smith introduces to Hannay the notion of an abstract and unexplained phrase The 39 Steps.

(From left, Madeleine Carroll as Pamela and Robert Donat as Richard Hannay in the Alfred Hitchcock movie The 39 Steps).

The opening confusion with Annabella Smith begins in London at a music hall event featuring Mr. Memory; Wylie Watson portrayed Mr. Memory. It’s while Smith fleeing to Hannay’s bedroom and getting murdered that Hannay retrieves a map of the Scottish Highlands held by Smith; that map leads Hannay to a building labeled Alt-na-Shellach in the village of Killin, Scotland. Hannay first meets Pamela aboard the Flying Scotsman, learning at Waverly Station in Edinburgh, Scotland of his being suspected of murdering Smith. Hannay escapes police custody at the Forth Bridge when Pamela aims to support his capture.

(From left, Robert Donat as Richard Hannay, Peggy Ashcroft as Margaret and John Laurie as John in the Alfred Hitchcock movie The 39 Steps).

The police ultimately follow Hannay to the the croft of John and Margaret, where the couple has granted Hannay an evening of respite. Margaret, as portrayed by Peggy Ashcroft, gives Richard the coat of her husband John, as portrayed by John Laurie, to assist Hannay in making an escape. The notion of an extended police chase in cinema gains an expression multiple ways through The 39 Steps, leading for now to Alt-na-Shellach.

(Godfrey Tearle as Professor Jordan in the Alfred Hitchcock movie The 39 Steps).

It is at the home there that Hannay encounters Professor Johnson and his wife; Professor Johnson and Mrs. Louisa Johnson were portrayed by Godfrey Tearle and Helen Haye, respectively. A bullet meant for Hannay at the home of the Johnson’s misses its mark when a hymnal in the coat jacket of John, as presented to him by Margaret, saves Robert Hannay’s life. Pamela, intending to reveal Robert Hannay to police again, leads the pair on a trip with police impersonators aiming to take the pair to Inverary, Scotland.

(Wiley Watson as Mr. Memory in the Alfred Hitchcock movie The 39 Steps).

Cleverness by Hannay helps Robert and Pamela, handcuffed together, escape their captors once again. The pair make their way to the London Palladium, where the movie comes to a satisfying conclusion. The film’s ongoing chase sequences resolve provided an interesting mix of humor and directorial winking. Owing to the overall enjoyment that was experienced, I grant The 39 Steps as directed by Alfred Hitchcock 3.75-stars on a scale of 1-to-5.

Matt – Saturday, May 4, 2024

Søren Kierkegaard and the book ‘Fear and Trembling’

The subject of this review is the philosophical treatise Fear and Trembling by Danish philosopher, theologian, and religious author Søren Kierkegaard. Kierkegaard uses the Binding of Isaac, in chapter 22 of the Old Testament Book of Genesis in the Bible, to share his personal view of religion and human psychology by using God‘s command that Abraham prepare to sacrifice his son Isaac.

(An image of Søren Kierkegaard, the writer of Fear and Trembling).

At it’s core, the argument presented by Kierkegaard uses the test of faith presented in the Binding of Isaac story to define faith, first, as an emotion-driven rather than reason-driven thing; that is, faith cannot be experienced or explained through reason or rationality alone. Secondly, the goal seems to be one of offering readers a path to recognizing, and respecting, the personal struggle required to attain religious faith. That a result of these points is the point that the scientific method cannot help you to feel religious faith is an inevitable consequence of the at least the first point. The choosing of respect or disrespect of disobeying the scientific method to achieve religious faith is not a requirement, nor am argument raised by Kierkegaard, for this final point.

(An image of Regine Olsen, the one-time fiancée to Søren Kierkegaard).

The argumentation by Kierkegaard uses the ethical system of German philosopher Georg Wilhelm Friedrich Hegel, the aesthetic stories of Agnes and the Merman as found in Danish and Norwegian folklore, the Greek tragic play Iphigenia at Aulis by Euripedes, among others, to help the reader understand distinctions between the outer world of ethics and aesthetics on the one hand, and the inner world of the spirit, on the other. Another line of thought considers Fear and Trembling to be autobiographical for Kierkegaard, with the author working himself through the loss of his fiancée Regine Olsen; this interpretation would have Abraham standing in for Kierkegaard while Isaac stands in for Olsen.

I give Fear and Trembling as written by Søren Kierkegaard 4.25-stars on a scale of 1-to-5.

Matt – Wednesday, May 1, 2024

Chuck Mangione and the album ‘The Feeling’s Back’

Originally released April 27th, 1999, it’s been 25-years since the Chuck Mangione album The Feeling’s Back was shared with the world. The album features Mangione’s signature easy listening, crossover jazz, instrumental pop, jazz-pop sound aided by the support of musicians Annette Sanders on vocals, Clifford Korman on keyboards and piano, David Finck on acoustic and electric bass, Gerry Niewood on flute and alto flute, Jackie Presti on vocals, Jay Azzolina on guitar, Kid Reid on electric bass, Maúcha Adnet on vocals, Paulinho Braga on drums and Sarah Carter on cello.

(Shown here is the cover art for the 1999 Chuck Mangione album The Feeling’s Back).

Mountain Flight opens The Feeling’s Back album with Mangione on flugelhorn, front and center. The composition for the piece is upbeat with bass and drum elements in accompaniment. The result is easy on the ears while warming the spirit; the song is nicely performed and enchanting.

Consuelo’s Love Theme is a track originally part of the 1978 album Children of Sanchez. The song boasts a beautiful composition and production value with delicately delivered instrumental accompaniment that lends credit to the instrumental style. The subtle intermingling of vocals adds to the quality of the experience.

Leonardo’s Lady follows the love theme with a further invocation of love originally from the 1984 album Disguise. Showing that the composition comes first, I love how Chuck Mangione on the flugelhorn first appears about 15% of the way into the song. The song complements the larger Mangione catalog well.

The second brand new song of The Feeling’s Back album, Fotografia renders to notion of photographs to ask us to picture a joyful noise of good feeling. The upfront accompaniment from vocalists is distinguished and distinctive among the other songs in the album’s songs thus far.

(Chuck Mangione as seen in the year 1999, the same year as the album The Feeling’s Back was released).

Quase speeds up the tempo for the third new song for this 1999 Chuck Mangione album. Deliberately upbeat, the invitation to dance is not one to miss or disregard. The playfulness of instruments seemingly responding to one another adds a layer to the overall album experience that I cannot help but commend.

Aldovio returns to a flugelhorn initiated opening with drums following soon thereafter. The intermingling of cello into this performance has really beautiful results that draw me to repeated listens of this song.

Once Upon a Love Time delivers a mellow, easier sound. As a composition, the song delivers sweet affirmation suitable to speaking of romantic love.

Manhã de Carnaval, or Carnival Morning, opens sedately, almost meditatively. Unlike the song Manhã de Carnaval by Luiz Bonfá, a Latin rhythm in the Mangione song until more than six-minutes in. The path of this composition interests and intrigues me; the performance is top notch as well.

Maracangalha opens with a 15-second drum solo that is then joined by flugelhorn. The adding of vocals roughly a minute later enhances a dance number that feels like a laid back interpretation of the song Maracangalha by Dorival Caymmi.

La Vie en Rose, or life in pink, superficially reminds me of the trumpet infused, lyrics included Louis Armstrong song of the same title, namely La Vie en Rose. The songs themselves are strikingly different, with both incorporating a strong piano accompaniment. The Mangione song focuses on what feels like love, which is an emphasis of the Armstrong song as well. I find that I sincerely love the strong flugelhorn closing of the The Feeling’s Back album through this song.

Matt – Saturday, April 27, 2024

Brad Davis, Irene Miracle and Bo Hopkins in the Alan Parker movie ‘Midnight Express’

The brutal telling of life in prison far from home, the Alan Parker directed movie Midnight Express (1978) captures our attention today. Based on the 1977 book Midnight Express as written by Billy Hayes with William Hoffer, the screenplay was adapted for the movies by Oliver Stone. This movie review looks at a biopic of part of the life of Billy Hayes, with Hayes portrayed by Brad Davis.

(Brad Davis as Billy Hayes in the Alan Hopkins movie Midnight Express).

The Billy Hayes story, as presented in Midnight Express, offers the story’s protagonist attempting to board an airplane at the Istanbul, Turkey airport with his girlfriend Susan at his side and several pounds of hashish strapped to his chest. After a strip search and the supposed support of a translator nicknamed ‘Tex’ by Hayes, Billy identifies the taxi driver he bought the drugs from and is subsequently arrested by Tex at gunpoint after trying to escape. Irene Miracle and Bo Hopkins portrayed Susan and Tex, respectively.

(Bo Hopkins as ‘Tex’ in the Alan Hopkins movie Midnight Express).

The portrayal of life in a series of Turkish prisons proves brutal, cruel and difficult. Hayes suffers a severe beating by chief guard Hamidou following the ‘crime’ of stealing a blanket to keep warm in a cold prison, for example. Paul L. Smith portrayed Hamidou.

(From left, Irene Miracle as Susan and Brad Davis as Billy Hayes in the Alan Hopkins movie Midnight Express).

Hayes learns that foreign prisoners like himself tend to have a hard time in prison after finding himself transferred to a separate prison. Hayes gains some measure of friendship and advice from Jimmy Booth, Max and Erich, as portrayed by Randy Quaid, John Hurt and Norbert Weisser, while in this new prison.

(From left, Randy Quaid as Jimmy Booth, John Hurt as Max and Brad Davis as Billy Hayes in the Alan Hopkins movie Midnight Express).

A series of escalating cruelty follows for Booth, Max and Hayes that eventually brings the prisoner Rifki into the picture. Rifki, as portrayed by Paolo Bonacelli, spies on fellow prisoners for favors from the prison staff that bodes poorly for the Hayes and his friends. Billy Hayes begins losing connection with his sense of well-being when Chief Guard Hamidou reemerges to grant Billy Hayes his prisonbreak opportunity.

(Paolo Bonacelli as Rifki in the Alan Hopkins movie Midnight Express).

The effort, and dare I say audience manipulation, draws the character of Billy Hayes sympathetically, despite fighting off a man’s rape attempt with lethal force. Movies of the style and substance of Midnight Express are not likely to be filmed nowadays, at least as I see industry trends. I grant Midnight Express as directed by Alan Parker 4.25-stars on a scale of 1-to-5.

Matt – Wednesday, April 24, 2024

Johnny Depp, Winona Ryder and Dianne Wiest in the Tim Burton movie ‘Edward Scissorhands’

At its core, the Tim Burton directed and co-written movie Edward Scissorhands (1990) is a romantic love story. So much more comes into play in moving this film into the fantastic and the dramatic that the story of love can be lost, however, my perspective is that we should not lose hold of the movie’s core. That we deal in an incompletely built artificially intelligent man amongst a quirky landscape of people behaving badly gives this film charm.

(From left, Dianne Wiest as Peg Boggs and Johnny Depp as Edward Scissorhands in the Tim Burton movie Edward Scissorhands).

The movie Edward Scissorhands opens with an elderly grandmother telling her granddaughter the tale of a man, Edward as portrayed by Johnny Depp, with the blades of scissors for hands. The film then settles back into the current day with Peg Boggs as portrayed by Dianne Wiest discovering the young man in a crumbling Gothic mansion while selling Avon cosmetics door-to-door.

(From left, Winona Ryder as Kim Boggs, Robert Oliveri as Kevin Boggs, Dianne Wiest as Peg Boggs and Alan Arkin as Bill Boggs in the Tim Burton movie Edward Scissorhands).

Edward is an artificially created man built by an inventor, portrayed by Vincent Price, who had died before giving his creation, the artificially intelligent Edward, hands. Pegs brings the harmless being home to meet her family, including Pegs husband Bill, teenage daughter Kim and young son Kevin as portrayed, respectively, by Alan Arkin, Winona Ryder and Robert Oliveri. Edward comes to love Kim romantically quickly after meeting her.

(From left, Anthony Michael Hall as Jim and Winona Ryder as Kim Boggs in the Tim Burton movie Edward Scissorhands).

The Boggs family hosts a barbecue to introduce Edward to the neighborhood. While Edward is generally befriended by the neighborhood, religious fanatic Esmeralda and Kim’s boyfriend Jim, as portrayed by O-Lan Jones and Anthony Michael Hall prove themselves two notable exceptions. Finding himself unique among his neighbors, Scissorhands sets upon an increasingly ingratiating path of using the blades attached to his forearms to perform yardwork, animal grooming and hairstyling for women of the neighborhood.

(O-Lan Jones as Esmeralda in the Tim Burton movie Edward Scissorhands).

Joyce Monroe, as portrayed by Kathy Baker, toes the line between friend and enemy when at first she attempts to help Edward open a hair salon. Efforts included attempts to find a loan, locate a physical place for the establishment, and finally an unsuccessful attempt to seduce Scissorhands in exchange for her generosity. Monroe lies about Edward’s actions in the aftermath of the third point, lessening trust in Scissorhands and enabling drama the both discourages the future potential for the movie’s protagonist while also enabling those who actively dislike Edward to pursue their ends. It is in this space that the movie’s drama and romantic aspirations become fully realized in a particularly sweet manner for the grandmother sharing a story with her granddaughter from earlier in the movie.

(From back, Johnny Depp as Edward Scissorhands and Kathy Baker as Joyce Monroe in the Tim Burton movie Edward Scissorhands).

Beyond Tim Burton‘s writing contribution, additional screenwriting credit for Edward Scissorhands rests with Caroline Thompson. Having particularly been taken with romantic sensibility and sweetness for how the character of Edward Scissorhands is remembered within the movie, I grant Edward Scissorhands as directed by Tim Burton 4.0-stars on a scale of 1-to-5.

Matt – Saturday, April 20, 2024

Richard Wright and the book ‘Native Son’

Set in the racially segregated America of the 1930s, the Richard Wright novel Native Son was published in 1940. A large message of the work, at least to me as a white American in 2024, is that white American society should confront its responsibility for repressing black Americans.

(Richard Wright, pictured here, wrote the book Native Son).

The book is told in three primary sections with 20-year-old Bigger Thomas from a poor section of the south side of Chicago, Illinois the central protagonist in each. The first section highlights fear and powerlessness for Bigger, his family and his friends within the working world, cheap and sensual movie reels, robbery plans that are vacated due to anxiety shown through violence, and a work environment in the home of the extravagantly wealthy and white Dalton family. The home and social environments go wildly wrong for Bigger Thomas, Mary Dalton and Jan Erione. Wildly varied world experiences contribute to the opening major tragedy, Mary’s death at Bigger’s hands, that drive the story. The desperate acts to cover up guilt are frighteningly unsympathetic yet drawn to show mitigation.

(Alternative book covers for the Richard Wright novel Native Son).

The second section works through getting to the truth of the tragedy, which pushes Bigger’s anxiety and inclination to act impulsively when challenged on that anxiety are challenged when Henry Dalton, Mary’s father, hires a private detective to cope with the tragedy. Henry’s wife, physically blind and never named by first name, metaphorically highlights the racial blindness underpinning what Bigger’s lady friend Bessie recognizing as a difficulty Bigger experiences. The instinct to flea following a ransom demand turned sour sees Bigger escalate to the rape and deliberate murder of Bessie.

(Additional cover art for the book Native Son by Richard Wright, including the book cover associated with the novel’s original 1940 release).

The third section brings Bigger’s story to the aftermath of his capture and jailing. Jan Erione brings in a Communist lawyer named Boris Max to defend Bigger. Pitted against the systemic railroading of and sham of a trial to determine the fate of Bigger Thomas in the Cook County court system. It is through conversations between Boris and Bigger that the clearest voice of the injury done to Bigger Thomas comes through. The Boris Max speech around the justifiable penalty for Bigger Thomas feels like to speech to white American society both then and now. I suspect that Richard Wright‘s message to black American society was spoken through Bigger’s turning to violence rather than submitting to the suppression of blacks by white society.

(Additional picture of Richard Wright, the writer of Native Son).

It is in this 1992 article from The New Yorker magazine that I learned about some sexually explicit content for Native Son had been edited out of the novel due to external pressure. While I get such impulses since this novel was so groundbreaking in approach and content for its time, looking back with the awareness of what that content was makes me regret that editorial pressure; that content, at worst, gives more depth to Bigger Thomas. Overall, and judging my rating on what I did read, I grant Native Son as written by Richard Wright 4.5-stars on a scale of 1-to-5.

Matt – Wednesday, April 17, 2024

James Gang and the album ‘Thirds’

Turning our attention to an April 1971 album offering, Thirds by James Gang reflects the third studio release for the band. Reaching Gold status in 1972, the album features album rock, hard rock and rock & roll musical stylings.

(Shown here is the cover art for the album Thirds by James Gang. Thirds was first released in April 1971).

Performing on the album includes Joe Walsh on guitars, vocals, acoustic and electric piano, pedal steel guitar, sounds effects and train wreck, Dale Peters on bass guitar, vocals and upright bass and Jim Fox on drums, vocals, percussion, piano, organ and vibraphone. Guest musicians performing on the album included Bob Webb on backing vocals, Tom Baker on horns, Mary Sterpka on backing vocals and the band named The Sweet Inspirations on backing vocals.

Walk Away opens Thirds as a rock, funk and soul fusion song about ending a romantic love relationship. The guitar effect at the end of the song reflects the train wreck instrumentation credit referenced above for Joe Walsh. The slightly more than three-and-a-half minutes of music here entertains.

(The first single for Thirds by James Gang, Walk Away, incorporates hard rock, funk and soul elements into the ending a romantic relationship).

The instrumental Yadig? follows Walk Away with a mellow, experimental sound that gives brings in guitar roughly 1-minute and 45-seconds into the tune that runs for roughly two-and-a-half minutes. The change of pace is interesting, though the composition doesn’t stand out as a favorite for me.

Running for almost four-and-one-third minutes, Things I Could Be begins with a catchy riff. The song speaks of waking the morning after a rough night of partying and/or the road. That the song lyrically cruises to an optimistic landing makes for a nice pay off.

(From left, Joe Walsh, Dale Peters and Jim Fox of James Gang).

Dreamin’ in the Country accomplishes another musical shift to a sound reminiscent of a country tune from a year maybe a decade or more preceding the album release; this isn’t to say the song feels dated. The reverie of country living is completely fits the sound with a change a pace that resonates well.

It’s All the Same brings an opening mix of piano and acoustic guitar that, much like the lyrical theme, speaks to a fleeting feeling. The bringing in of horns and the larger scale musical progression impressed me for its production value. That the message is one of romantic love, albeit a love that feels transitory and not meant to last.

Midnight Man opens the second side of the album with an impressive reverb effect. This song itself reflects a clandestine affair of the singer Joe Walsh‘s physical intimacy satisfying the Mary Sterpka‘s needs, along with an expression for the safety of the Joe when departing. The sweetness of the affect of this country-rock song really works.

(Cover art for the song Midnight Man by James Gang).

Again acoustically begins with a romantic and upbeat sentiment. The connection found with love swings into horns and guitar interplaying in a way that musically takes control in that fashion from the lyrical meaning of the song. An intriguing impact overall sweetly hits me with Again.

Harmony of the races underpins White Man / Black Man, a solemn and heartfelt ask to listen for understanding. The Sweet Inspirations offer backing harmonies with messages of love and living together to life the soul.

(From left, Dale Peters, Joe Walsh and Jim Fox of James Gang).

The piano introduction to Live My Life Again, the final song of Thirds, leaves a redemptive smile on my face each time I hear it. The twinge of sadness then optimism for Live My Life Again provides an album parting that invites consolation and uplift. While I wish there were another song or two to this album, the affirmation of the album close warms me with goodbye.

Matt – Saturday, April 13, 2024

Clint Eastwood, Tommy Lee Jones, Donald Sutherland and James Garner in the Clint Eastwood movie ‘Space Cowboys’

Movies based in space have a natural appeal to me, with the Clint Eastwood directed Space Cowboys (2000) being an appreciated representative. Adventure, action and thrills intersperse with a story more than forty-years in the making. Lines blurred at the beginnings of the United States space program’s involvement with the U.S. Air Force and NASA, a story that includes Skylab came into the story set more than twenty-years into the past of the current day.

(From left, Courtney B. Vance as Roger Hines, Tommy Lee Jones as Hawk Hawkins, James Garner as Tank Sullivan, Clint Eastwood as Frank Corvin, Donald Sutherland as Jerry O’Neill and Loren Dean as Ethan Glance in the Clint Eastwood movie Space Cowboys).

The decaying orbit of an old Soviet Union satellite using technology technology designed by Frank Corvin as portrayed by Clint Eastwood and Toby Stephens brings the past into the present day. It is Bob Gerson, as portrayed by James Cromwell and Billie Worley, who seemingly central roles in the distant past and the movie’s present helps introduce the necessary links that initiate the story of getting Frank, who had pined for space flight since the 1950s, into space.

(From left, Marcia Gay Harden as Sara Holland and William Devane as Gene Davis in the Clint Eastwood movie Space Cowboys).

Frank had friends from the beginning storyline who shared similar hopes of becoming astronauts. When the possibility to go to space is introduced to Frank, getting seats on a space shuttle for Hawk Hawkins as portrayed by Tommy Lee Jones and Eli Craig, Jerry O’Neil as portrayed by Donald Sutherland and John Asher, and Tank Sullivan as portrayed by James Garner and Matt McColm becomes job number one.

(From left, James Cromwell as Bob Gerson and Rade Serbedzija as General Vostov in the Clint Eastwood movie Space Cowboys).

The internal workings at NASA, along with the opportunity for publicity, mixes Frank, Hawk, Jerry and Tank into a mission to recover the satellite aboard fictional Space Shuttle Daedalus. Bob Gerson aims to spoil this chance at space for the elder statesmen with a younger set of astronauts poised to learn from Frank and his friends. Ethan Glance and Roger Hines, as portrayed by Loren Dean and Courtney B. Vance, respectively, ride to space with the elder statesmen as part of Team Daedalus.

(From left, Clint Eastwood as Frank Corvin and Barbara Babcock as Barbara Corvin in the Clint Eastwood movie Space Cowboys).

Intrigue is found on the mission in space thanks to intrigue tracing back to the KGB. Powerful ramifications are felt for the men in space as well as for people in ground control. Flight director Gene Davis along with Hawk Hawkins love interest Sara Holland, as portrayed, respectively, by William Devane and Marcia Gay Harden, gain their feet in the second half of the movie; the subterfuge of General Vostove, as portrayed by Rade Serbedzija, is paired with a surprise dance partner that knew full well, along with Ethan, the true stakes in play in space. The departing shot of the movie, accompanied by the music of Frank Sinatra, provides a surprisingly uplifting joyous note to the closing of the movie.

Writing credits for Space Cowboys rest with Ken Kaufman and Howard Klausner. I grant Space Cowboys as directed by Clint Eastwood 3.75-stars on a scale of 1-to-5.

Matt – Wednesday, April 10, 2024