Bruce Hornsby – Daytona Beach, FL (03/24/87)

Bruce Hornsby & the Range
March 24, 1987
Daytona Beach Bandshell
Daytona Beach, FL

Bruce Hornsby – vocals, piano, accordion
David Mansfield – guitars
George Marinelli – guitars, mandolin, vocals
Joe Puerta – bass, vocals
John Molo – drums, percussion

Intro / Jacob’s Ladder
The Long Race
Mandolin Rain
Every Little Kiss
The Red Plains >
I Know You Rider
Piano Intro
The Way It Is

King Biscuit Flower Hour
CDR silver > eac > Flac

Broadcast Week: January 17, 1994 to January 23, 1994

The Hand That Rocks the Cradle (1992)

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While reading reviews of Subservience, I noticed quite a few people referencing The Hand That Rocks the Cradle as a clear influence. I couldn’t remember if I had watched that one before so I queued it Saturday morning.

It is a movie I distinctly remember knowing about when it came out. I remember the trailers and people talking about it. It was a part of a slew of films that came out in the early 1990s that were like big-budgeted, R-rated Lifetime movies. They usually featured Rockwell-esque domestic life being shattered by some pretty, young woman.

Directed by Curtis Hanson, this film is better than most of those films. It sometimes subverts the genre in interesting ways, but even when it plays it straight, Hanson is a good enough director to make it rise above.

Claire Bartell (Annabella Sciorra) is a happy housewife. She has a loving husband, Michael (Matt McCoy), a young daughter Emma (Madeline Zima – who played the mother in Subservience which is a nice bit of casting), and a baby on the way.

When she is sexually assaulted by her obstetrician (in a scene that foreshadows its creepiness so much that my wife left the room before anything untoward actually happened) she comes forward. Other women come forward after that and the Doctor decides to kill himself before he can be arrested. The doctor’s wife, Peyton (Rebecca DeMornay) miscarriages when she learns the news.

Flash forward a few months. The baby is born and Claire decides she wants a nanny. Not to go back to some job, mind you, but she volunteers at a nursery and she wants to build a greenhouse in her backyard. So she’ll be close by, but it would be nice to have someone watch the kids, clean up a little, and maybe cook once in a while.

Enter Peyton and her devious ways. What’s interesting about the film is that it doesn’t do what you expect it to. In most films like this Peyton would seduce the husband, then turn him against the wife. But here, despite nearly every other male character saying something about how beautiful Peyton is and how they wish she was their nanny, and despite Peyton actually trying, Michael will not give in to temptation.

Likewise rather than attempting to turn the family against Claire, she turns Claire against everyone close to her. The local handyman (Ernie Hudson) who dotes on Emma, might just be a pervert. The friendly relationship between Michael and her best friend Marlene (Julianne Moore) might have turned into an affair. Peyton manipulates every situation to make Claire feel like she’s going crazy.

The film begins with the handyman riding his bike in a hoodie. He stops by the Bartell house and knocks on the door. Nobody hears the knock or answers the door. He walks around the house and looks through the windows. When Claire sees him she screams and panics. Suburban white woman screams as an unknown black man stands outside her house.

But he was expected. Claire had requested a handyman be sent to her house. The film doesn’t directly comment on her inherent racism in this scene, but it is certainly there. When we see him riding that bike the music is peaceful. When he approaches the house and looks through the windows the film doesn’t make it menacing. So that when she screams and when he is recognized as a kind person, it is surprising. It is just another way the film lightly subverts our expectations of the genre.

It is still a white, suburban family being, um, rocked by a beautiful, young woman, so it doesn’t stray too far from the formula, but I appreciate that it was at least trying to do something different.

The Friday Night Horror Movie: Subservience (2024)

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I don’t pay super close attention to what new movies are coming out and when. I follow enough movie critics on social media that I hear some of the buzz, but I really don’t give it much heed. I don’t spend a lot of time watching new movie trailers or reading reviews, etc. But I have a general idea of what movies people are talking about.

The Substance is a new horror movie starring Demi Moore. It is getting a lot of good buzz and is definitely on my radar. Subservience is a new horror movie starring Megan Fox. It is not getting good buzz, but rather a lot of panning when anyone is talking about it at all.

Because I don’t pay close attention to these things I got these two movies mixed up. I put on Subservience thinking it was getting a good buzz. Within twenty minutes of watching it, I was confused.

People are really liking this movie? Maybe it gets better towards the end.

My friends, it did not get better towards the end, or at the end, or after the credits rolled. It is a stupid, stupid movie. It takes a old, dumb trope, and does nothing new with it. I should have realized something was up the moment I saw it was directed by S.K. Dale who also helmed Til Death which was just as dumb.

But it is also kind of fun? It reminded me a little of those dumb erotic thrillers I used to watch in the 1990s.

Nick (Michele Morrone) is a decent dude. He has a good job, a loving wife, a precocious daughter, and a baby boy. He’s living the American Dream. Except for that loving wife, she’s dying. She desperately needs a heart transplant.

Working that good job while taking care of those two kids and trying to be there for his wife is a little more than he can handle. So he does what anyone in that situation would do. He buys a super hot robot to handle the domestic chores.

Her name is Alice (Megan Fox) and she’s programmed to take care of his every need and desire (wink, wink, nudge nudge.) He doesn’t bother to tell his wife, Maggie (Madeline Zima) who is basically a permanent resident at the hospital that the robot he bought looks like Megan Fox. The look on her face when she first sees Alice is precious.

Alice is good with the kids, she’s great at cleaning up, and she’s a pretty good cook (though her lasagna is nothing like mom’s.) She can tell Nick is stressed out and would do anything to help relieve it for him.

You can see where this is going. Alice’s programming gets mucked up causing her to go haywire. If Nick is stressed then she’ll take off her robe and give him a release. If some guy at work is causing problems then she’ll go to his house and shoot him in the face. If Maggie’s health problems are causing trouble then she has to go to.

It is the kind of film where you have to just enjoy the ride. Because if you start thinking about it you’ll start to wonder things like: How can a guy with a relatively low-level construction job afford a big house, what must be enormous medical bills, and what can only be an incredibly expensive robot? Or why is the robot anatomically correct in every way? Are they all programmed to seduce? Or how can a person who just had a heart transplant do all that running and sexing and fighting?

Those aren’t questions the film is prepared to answer. It is better to just enjoy the not-particularly talented Megan Fox give a robotic performance that actually works in her favor for once. Or dig into the nostalgic vibe this thing is giving off. They don’t really make erotic thrillers like this anymore (even if the erotic aspects are fairly tame and it never quite thrills like you want it to.)

Doctor Who: The Chase

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One of the things I’ve been meaning to do with this blog, but I never seem to remember to actually do is to write about movies, TV shows, books, and music that I enjoy, but in smaller ways. Instead of doing full-on reviews, just write a couple of paragraphs about something I found interesting.

For a couple of years, I wrote a little thing for Cinema Sentries called Five Cool Things. Every week I’d write about five things (well, technically six as there was always an “and…”) I enjoyed that week in the way that I’m talking about. I’d just do a couple of three paragraphs about whatever it was I enjoyed and not worry about digging in too deep.

With that in mind, I’m gonna try to do more of that type of thing. First up is the Doctor Who story “The Chase.”

The wife and I have been chronologically working our way through Classic Doctor Who. The Chase was the Eighth and penultimate story of the second season. It stars William Hartnell as The Doctor, and William Russell, Jaqueline Hill, and Maureen O’Brien as his companions, Ian, Barbara, and Vicki.

I am a fan of Hartnell’s version of The Doctor and I do like a great man of his stories, while also admitting that I often find them dull. Classic Doctor Who episodes were 25 minutes in length. A single story might last anywhere from two episodes to eight. The long ones often feel like the writers had to pad things out in order to fulfill the set number of episodes for their stories. Hence my boredom.

“The Chase” gets around this by basically creating a bunch of mini-stories inside the main one. The Daleks have built a ship that can travel through space and time much like the Tardis, and it has a way of following the Tardis anywhere it goes. This leads to a series of adventures as the Tardis crew tries to flee the Daleks, zipping from place to place and all over history.

In one episode they land on the top of the Empire State Building and then on a ship at sea (the Mary Celeste, a famous ship that was discovered completely without a crew, no one ever found out what happened to them). In another episode, they land inside a haunted house where they meet Frankenstein’s monster and Dracula (and Frankenstein’s monster body slams a Dalek!) Then they land on a planet full of giant, monstrous fungi. The Daleks build a robot Doctor and nearly kill Vicky with it.

It is all quite silly. But then again I tend to prefer my classic Doctor Who stories to be silly. When they get too serious they tend to feel ponderous and I tend to get bored.

I quite liked this one.

The Facts of Murder (1959)

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One of the things I love about Boutique Blu-ray companies like Arrow, Criterion, and Radiance is that they fill their discs with lots of cool extras. There will be behind-the-scenes featurettes, interviews, and audio commentaries. I can’t say that I always watch and listen to all of these things, but I love that they exist. If you do dig into them through many films, you can get quite a cinematic education.

On one of the extras to The Facts of Murder, I learned that American Film Noir led to Italian Neorealism, which influenced Italian Crime Dramas which ultimately led to the Giallo. That’s one of those things that makes perfect sense when you think about it but that through line is not something I had previously thought about.

The film is a good one. It is an interesting mix of traditional film noir elements with Neorealism. It reminded me a little of a Maigret adaption with its investigation as slice-of-life feel. You can read my full review here.

Body Double is the Pick of the Week

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Over the last decade, Brian DePalma has become one of my favorite directors. His movies aren’t always great, some of them aren’t even good, but they are always interesting. In the 1980s he made a string of films that paid homage to Alfred Hitchcock, while also updating them to modern times and adding a thick layer of sleaze.

Body Double takes large doses of Rear Window and Vertigo, throws them in a blender, adds in lots of sex, nudity, pornography, and violence, and comes up with something utterly original, and absolutely fascinating.

For its 40th anniversary, it is getting a lovely looking 2-disc Steelbook in 4K UHD with loads of extras including multiple featurettes on the making of the film and lots of interviews.

Also out this week that looks interesting:

Longlegs 4K UHD: Pretty good horror film about a police officer investigating a series of murders. Nic Cage gives one of his most odd and unhinged performances. You can read my full review here.

Happiness: Todd Solandz’s sad, dark, disturbing film takes a look into the lives of some lonely, sad, sometimes disturbing people and makes you empathize with them. It can be a difficult watch, but also a rewarding one. Criterion has the release.

A Man On His Knees: Italian drama about a car thief who attempts to change his life for the better after doing a short stint in prison, but finds himself entangled in some mob drama. My review can be read here.

Bad Boys: Ride or Die: I really can’t remember if I’ve seen any of these or not. I wanna say I watched the first one when it first came out on home video but didn’t love it. Hot Fuzz, a movie I love and have seen often, references Bad Boys 2 several times and it always makes me wanna watch it. Now there is a new one because everything with any kind of fan base that is more than ten years old gets a reboot/sequel thing.

Friday the 13th. The original Friday the 13th was nothing more than a cheap knock-off of Halloween. But it was successful so they made a sequel, then another one, and another one. Jason, the hockey mask-wearing psycho became a horror icon. They took him to Manhattan and to space and fought him against Freddy Kreuger. In 2009 they rebooted the franchise with this film that’s now getting a 4K release from Arrow Video. Honestly, I don’t think any of the films are very good, but I kind of love them just the same.

Gregg Araki’s Teen Apocalypse Trilogy: Gregg Araki took the typical teen movie formula and infused it with Gen X sensibilities while amping up the sex and violence. Criterion is releasing three of his films – Totally F***ed Up, The Doom Generation, and Nowhere in a nice-looking boxed set.

Tattooed Life: Radiance Films is releasing this Seijun Suzuki drama about a hitman forced to run for his life while his brother tags along.

The Threat: Kinji Fukasaku’s drama about two escaped criminals who kidnap a baby and then make a decent family man collect the ransom, gets the Arrow Video treatment.

Allman Brothers Band – Savannah, GA (06/30/90)

Allman Brothers Band
6/30/90
Johnny Mercer Theater
Savannah Civic Center
Savannah GA

Soundboard; 3rd Gen Cassette [XLII]

Trade Cassettes Transferred Via Denon DR-M12HR >Tascam DR100mkII (24bit/48kHz)
WAV >Audacity (Balance Channel Levels, Amplify, Track Splits, Down Sample To 16bit/44.1kHz, Minor Edits [Tape Flips] & Fades) >FLAC (Level 8) + Tags Via xACT 2.53 [Sept 2024]

Transferred, Audacity Post Production, FLAC, Tags, & Front Cover Artwork By OldNeumanntapr

    Disc 1:

  1. Intro Jam
  2. Don’t Want You No More >
  3. Ain’t My Cross To Bear
  4. Statesboro Blues
  5. Blue Sky
  6. Low Down Dirty Mean
  7. Seven Turns
  8. Midnight Rider
  9. Loaded Dice (tape flip)
  10. Good Clean Fun
  11. It Ain’t Over Yet
  12. In Memory of Elizabeth Reed
  13. band intros

    Disc 2:

  1. One Way Out
  2. Blues Ain’t Nothin’ (tape flip)
  3. Gambler’s Roll
  4. Shine It On
  5. Dreams
  6. Ramblin’ Man

    Disc 3:

  1. True Gravity (tape flip)
        Encore:
  2. Jessica
  3. Whipping Post

band line up:
Gregg Allman – keyboards, vocals
Dickey Betts – lead guitar, vocals
Warren Haynes – guitar
Johnny Neel – piano
Allan Woody – bass
Butch Trucks – drums
Jai Jonny Johnson – drums

OldNeumanntapr Notes;
This was one of the last cassette trades that I did in the early 90s before I made the switch to DAT. This show, and the Allman Brothers Band soundboard from 11/25/75 Civic Center Providence, RI, both came from a gentleman in the south, I believe in Georgia.
The XLII cassettes sat in my cassette collection for 30 years or so before I pulled them out for transfer. I don’t think I ever did anything with these tapes and I certainly never shared them until now. Once I switched to DAT I kind of forgot about my cassette collection. Thanks to Dave for the use of the Denon cassette deck so I could do the transfers.

Do NOT Convert To MP3.
Enjoy! Share freely, don’t sell, play nice, don’t run with scissors, etc. 😉

A Man On His Knees (1979)

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I don’t read the trades or anything so I have no idea how many DVDs/Blu-rays/4K UHD disks are sold monthly. I don’t know how those decisions are made or what the margins are. I imagine there are still loads of homes that don’t stream. Whether it is a rural area without access, or older people who don’t understand how to connect, or people who simply can’t afford it. Or whatever. Lots of folks don’t stream movies and TV to their home. Some of those folks likely do buy the occasional disk. Lots of nerds like me collect physical media.

I’m fascinated by the rise of Boutique Blu-ray companies. Arrow, Criterion, Severin, Kino Lorber, and others are regularly putting out nice editions of all sorts of movies. Many of them are quite obscure and cultish. Yet here they are getting HD releases, often given new transfers and loaded with extras. I can’t imagine there are huge profit margins for these things. They seem to be put out by people who truly love movies and I’m all for it.

Radiance Films is relatively new to the market and they’ve been doing a phenomenal job. They seem to specialize in cult foreign language, genre films. But unlike Arrow Video and others, they seem to stray away from trashy films and b-movies. Their focus seems to be more on more artistic, meaningful cinema. They seem a lot like Criterion except they are choosing much lesser-known films.

I’m using the word “seem” a lot while discussing them. That’s because I don’t really know them that well. I’ve only reviewed a few of their films, and haven’t spent a huge amount of time digging through their stacks. So I could be wrong. I’m sure they sell some less-than-award-winning films as well.

My real point is that the films I’ve seen by them have been excellent. And now we’ll finally get to the film at hand. A Man On His Knees is an Italian crime film about a former bank robber just trying to get by. But when a mob lawyer’s wife is kidnapped and kept for days in secret in a building next door to his drink stand, our hero gets mixed up in trouble.

That sounds like a thriller, but in the hands of Damiano Damiani it becomes more art-house than grind-house and it is all the better for it. You can read my full review here.

Greedy People (2024)

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There is a lot of the Coen Brother’s filmography, especially Fargo, nesting inside of Greedy People. What with the violence in a small town, quirky characters, dark humor, inept burglars, and folksy musical choices. But the film can’t quite pull off that perfect Coen mix to make it more than just mild entertainment.

The script is full of characters with odd-ball quirks, but it rarely seems to know what to do with them, or how to make them actual fleshed-out people. In a similar manner the story is full of interesting incidents – some violent, some funny – but it never merges into a cohesive whole. Still, it is quite entertaining and very enjoyable to watch.

Will Shelley (Himesh Patel) has just graduated from the police academy and has moved his very pregnant wife Paige (Lily James) to a small, island community off the coast of South Carolina. A place he hopes will be a peaceful place to raise a family.

His smart, and gentle boss Captain Murphy (Uzo Aduba) assigns Officer Terry Brogan (Joseph Gordon-Levitt), affable, abrasive, and redneck to the core, to show Shelley the ropes. Brogan has a few rules every cop should live by. The first of which is “Don’t kill anybody unless you have to.” Because it gets “messy.” Also, you should get a hobby because this is a small town and the job is boring.

Mostly Brogan shows Shelley where to get free coffee and doughnuts. Then he decides to stop by his married girlfriend’s house for some afternoon delight, leaving Shelley to wait in the cruiser. When a call comes in for what Shelley believes is an in-progress burglary he honks the horn at Brogan and then heads to the scene without him.

To say things go bad would be an understatement. He accidentally discharges his weapon when the homeowner (Traci Lords) surprises him. When she defends herself the ensuing tussle finds her dead, having fallen on a table loging a piece of it into her skull.

Brogan shows up, and they both freak out, but when they find $1 million in cash inside a box, they come up with a plan. Make it look like a robbery gone bad and they can keep the money.

To say things only get worse from there would be yet another understatement.

It is all very Coen-esque. Like the Coens the film is not afraid to get real dark, but it is also quite funny and enjoyable to watch. But unlike the Coen Brothers movies, this doesn’t have a lot of depth to it. It feels too scripted.

For example, Brogan’s hobby is listening to CDs to learn Mandarin Chinese. He, very adeptly, says something in that language and when asked what it means he notes it means “I speak fluent Chinese.” He’s learning the language because his girlfriend is Chinese. A guy as dumb and redneck as Brogan is learning to speak fluent Chinese is funny and quirky, but I’m not sure how realistic it is.

So much of the movie is like this. Characters are given quirks which gives the film character, but it all feels scripted. You can feel the writing in it. The plot is similar. This woman accidentally gets killed on Shelley’s first day. There happens to be a million dollars lazily stashed in a basket. The dead lady’s husband (Tim Blake Nelson) just happened to have hired a hitman to kill his wife on the same day Shelly accidentally did the deed. There are apparently two competing hitmen on this small island and they are easy to contact. Etc. There are a lot of coincidences and oddities that are completely unrealistic.

Still, the performances are good. Gordon-Levitt is excellent at switching from goofball to menacing villain from one minute to the next. Lilly James isn’t given much for her character to do but she makes it her own. Etc.

Call it Coen Brothers-lite. Call it pretty good.

Bring Out the Perverts: Tenebrae (1982)


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While Mario Bava may have invented the Giallo, it was Dario Argento who popularized it in 1970 with The Bird With the Crystal Plumage. Without that film, we wouldn’t be talking about Giallo at all. Then in 1975, he perfected the genre with Deep Red.

While the genre was a very popular one, it had its critics. Many criticized its overt sexualization of violence and its graphic violence towards women. In 1982, just over a decade after making The Bird With the Crystal Plumage and thus creating the Giallo craze, Argento made Tenebrae, a film that can be viewed as the director’s direct response to the criticism of his films. While the genre would continue to be popular throughout the 1980s and Argento would make several more, Tenebrae can also be looked at as a final statement about the genre from the director.

While The Bird With the Crystal Plumage opens with the killer typing something on a typewriter – he is the creator of the art, Tenebrae opens with the killer reading an already-published novel – he is an audience to the art. That novel, also titled Tenebrae, was written by our protagonist Peter Neal (Anthony Franciosa) and it could rightly be considered a Giallo. It is about a killer who attacks women he considers to be perversions to society.

The real killer acts like a copycat to the killer inside the book (inside this film). We see him murder a woman who offers herself up sexually in order to get out of a shoplifting charge, and then later a lesbian couple with an open relationship. Like Travis Bickle in Taxi Driver, the killer believes he has been sent to rid the streets of so-called scum.

Peter Neal is in Rome for a book tour celebrating Tenebrae. His agent Bullmer (John Saxon) keeps booking him interviews in which Peter is constantly being asked about what effects the violence in his book may create in society. That’s Argento getting meta, as he was often asked similar questions about his movies.

When one of the murder victims has pages of his book inserted into her mouth the police begin asking Peter questions. Later the killer will slide quotes from Tenebrae under his door. Peter and his assistant Anne (Daria Nicolodi) start their own investigation.

The film is filled with scenes exactly what you’ve come to expect from an Argento-directed Giallo. There are sly camera angles, extreme close-ups, surprising jump-scares, blood-soaked violence, and a righteous score from Goblin (well, three of the members at least).

While the film does present lots of questions about violence and art – does it create violence in society or is it simply a depiction of the existing violence in society? Argento doesn’t give us any concrete answers. His on-screen surrogate, Peter Neal bats the questions away with pat answers, but the movie seems to indulge the idea both ways. Perhaps his films are a reflection of the real-life violence Argento was surrounded by, or perhaps his films influenced others to violence in society. Maybe a little bit of both occurred. It is clear Argento loved depicting violence in his films. I suspect he was never ever to truly untangle the reasons why. I love his films and abhor real-life violence so I have no pat answers either.

What we are left with is a pretty darn good little film filled with stylish violence and an interesting mystery. That is more than enough for me.