Well, I went to the movies last weekend, and saw a really great movie, which I decided to review for this here site, amazingly enough. So here goes.
Righteously Killer
Obviously, I saw the new movie Righteous Kill this weekend, as part of a double feature with Burn After Reading (Which was fun, but quite as good). And I have to say, I really liked it. A lot. If it hadn't come out in a year filled with other amazing performances *COUGH* HEATH LEDGER *COUGH*, I would put it in for a best actor nomination. Maybe not a win, but a nomination.
Righteous Kill is the latest take on the tried and true "Big Actor Team Up Cop Murder Mystery" forumla. That particular formula has had some good results in the past, like the dark, though- and nightmare- provoking Seven with Brad Pitt and Morgan Freeman, and, more recently, the acclaimed The Departed with Matt Damon and Leonardo DiCaprio. Personally, I think this movie is as good as either of those. This time, it's the can't miss duo of Al Pacino and Robert DeNiro playing off each other as a pair of veteran detectives in the homicide department investigating the case of a serial killer who kills the low-life scum the cops grab but can't pin a case to, which obviously leads them to suspect a cop as the killer.
This is were reviewing the movie gets tough. You're totally blindsided by the resolution of the case, but the movie does such a good job of weaving clues, hints, and subtleties thoughout, that I really can't go any more in depth than that without giving away something and ruining the movie. It's pushing it to say that I enjoyed how the movie had reasons for me to be suspictious throughout, but managed to allay those suspictions so well, I never saw the end coming. Suffice to say that the movie borrows a lot, structurally, at least, from Fight Club, of all things, although the sociology here is totally different. And like Fight Club, it will defintely bear multiple views, and as such, I can't wait to get it on DVD, so I can catch all the subtleties.
This movie does ask some intriguing questions, though they may not be as deep as other film's social and moral conundrums. Essentially, it brings up the question of vigilante justice (ironic that this movie asks that, but a Batman movie comign out the same year asks much deeper things). Is a crime like murder less bad if committed against someone who the justice system would ideally have put away for a long time, but didn't? If the victim was causing society harm and pain, is killing them righteous or evil? In the end, it's up to the viewers to decide, which is part of the art here. Not to mention the great acting from the leading duo, which in itself comes close to art.
Final Verdict: 3 1/2 Stars. one of my top five films of the year so far, the acting is great, the plot is amazing, and it's message still manages to not wither too badly in compairison with Dark Knight. Highly recomended.
Wednesday, September 17, 2008
Tuesday, September 16, 2008
A Tribute
This is not one of my regular posts, obviously. It's just a tribute to things gone past.
________________________________________________________
I’m going to be totally honest. I do not remember the first time I heard Pink Floyd’s Dark Side of the Moon. That’s not because it didn’t make an impact. It’s because it did.
I don’t know the exact date, but I know the where and how. My earliest exposure to rock music outside The Beatles, to stuff like Radiohead, the Rolling Stones, or Led Zepplin, was always, always, ALWAYS in the car, our old blue mini-van with my dad and my brother. Technically, we were running errands, but there was more to it than that. Dave, my brother, went because it was a chance for him and Dad to have another of their epic discussions on music, epic discussions that would eventually lead to a train trip across the country, a visit to family in Oregon, and an in-depth assessment of the best 100 albums of all time, at least for them. I went, frankly, because I was a young kid, six-seven-eight, sharing a room with his brother, who I was sure was a perfect being, and who wanted to spend as much time with his brother and father as possible.
Dad worked from home in those days. He was always the one waiting for us as we got home from school, the one waking us up in the morning, the singing us lullabies at night. Dave has always been into music, and always will be. He’s the ultimate source for anything involving a beat and harmony. He still has encyclopedias of music stacked in his room by the window, but now-a-days they’re covered in dust and un-used. He just simply knows everything they have to say. He and Dad always got along perfectly well, at least as far as my eyes saw. And my eyes saw them best running errands in our blue van, heading to Kinko’s with a side trip to the adjacent Blockbuster.
There was always music playing. Who’s Next, The Wall, OK Computer, McCartney. That was the sound track to my childhood. As I sat in the back seat, looking out the window at the old, familiar sights along the highway, I would let the music wash over me in waves, never really comprehending the subtleties, the themes, the things my brother and father saw in them, but I loved it anyway. It was happiness. It was that old blue van, listening to endless debates over the merits of whatever musical phase my brother was going through. It was all that was right with the world.
That world is gone now, and yet, not. No more watching old Godzilla movies endlessly with my brother. No more squirt guns with Dad in the yard. My dad still works from home, he’s re-married and living out in Worchester. My brother is going to college, and he’s cracking into the musical journalism industry. He and my dad had a falling out when he hit high school and was never around anymore. The only thing they seem to agree on anymore is music. Me, I lost the musical thread for a while. I could no longer let it wash over me, but at the same time, I still couldn’t quite get the little nuances they always got. Then I got it. I just got it. It all came to me, and Pink Floyd and Led Zepplin and Paul McCartney started flowing back onto my iPod, kicking out the Weird Al and the show tunes I had turned to for simplicity. That’s where I am now. Where my brother was at age 10. I’m not jealous, though. To each his own.
This morning I woke up, and as I got dressed, something just kinda told me it would be a good day to wear my Pink Floyd shirt. Then, later, I read the news as I was checking my email. Richard Wright died today. The keyboardist for Pink Floyd. Had you asked me who he was a year ago, I wouldn’t have known. But now I do. Now I realize that you may not be able to go back in time, and capture the feeling of the past, that each day may only make us “shorter of breath/ and one day closer to death,” but that’s part of the beauty of it all, and we can’t let the passage of time, the constant of the present, ruin our past, and our future.
________________________________________________________
I’m going to be totally honest. I do not remember the first time I heard Pink Floyd’s Dark Side of the Moon. That’s not because it didn’t make an impact. It’s because it did.
I don’t know the exact date, but I know the where and how. My earliest exposure to rock music outside The Beatles, to stuff like Radiohead, the Rolling Stones, or Led Zepplin, was always, always, ALWAYS in the car, our old blue mini-van with my dad and my brother. Technically, we were running errands, but there was more to it than that. Dave, my brother, went because it was a chance for him and Dad to have another of their epic discussions on music, epic discussions that would eventually lead to a train trip across the country, a visit to family in Oregon, and an in-depth assessment of the best 100 albums of all time, at least for them. I went, frankly, because I was a young kid, six-seven-eight, sharing a room with his brother, who I was sure was a perfect being, and who wanted to spend as much time with his brother and father as possible.
Dad worked from home in those days. He was always the one waiting for us as we got home from school, the one waking us up in the morning, the singing us lullabies at night. Dave has always been into music, and always will be. He’s the ultimate source for anything involving a beat and harmony. He still has encyclopedias of music stacked in his room by the window, but now-a-days they’re covered in dust and un-used. He just simply knows everything they have to say. He and Dad always got along perfectly well, at least as far as my eyes saw. And my eyes saw them best running errands in our blue van, heading to Kinko’s with a side trip to the adjacent Blockbuster.
There was always music playing. Who’s Next, The Wall, OK Computer, McCartney. That was the sound track to my childhood. As I sat in the back seat, looking out the window at the old, familiar sights along the highway, I would let the music wash over me in waves, never really comprehending the subtleties, the themes, the things my brother and father saw in them, but I loved it anyway. It was happiness. It was that old blue van, listening to endless debates over the merits of whatever musical phase my brother was going through. It was all that was right with the world.
That world is gone now, and yet, not. No more watching old Godzilla movies endlessly with my brother. No more squirt guns with Dad in the yard. My dad still works from home, he’s re-married and living out in Worchester. My brother is going to college, and he’s cracking into the musical journalism industry. He and my dad had a falling out when he hit high school and was never around anymore. The only thing they seem to agree on anymore is music. Me, I lost the musical thread for a while. I could no longer let it wash over me, but at the same time, I still couldn’t quite get the little nuances they always got. Then I got it. I just got it. It all came to me, and Pink Floyd and Led Zepplin and Paul McCartney started flowing back onto my iPod, kicking out the Weird Al and the show tunes I had turned to for simplicity. That’s where I am now. Where my brother was at age 10. I’m not jealous, though. To each his own.
This morning I woke up, and as I got dressed, something just kinda told me it would be a good day to wear my Pink Floyd shirt. Then, later, I read the news as I was checking my email. Richard Wright died today. The keyboardist for Pink Floyd. Had you asked me who he was a year ago, I wouldn’t have known. But now I do. Now I realize that you may not be able to go back in time, and capture the feeling of the past, that each day may only make us “shorter of breath/ and one day closer to death,” but that’s part of the beauty of it all, and we can’t let the passage of time, the constant of the present, ruin our past, and our future.
Sunday, September 14, 2008
Must Have Music Playlists III
This week, my must-have playlist does not so much follow a theme as a common structure: Epic-ness. These are some of my favorite songs around or above (usually way above) 6 minutes. These eleven songs are alomst as long as both of my previous playlists put together. So get comfy, because here it goes:
EPICS FOR THE AGES:
1. Bohemian Rhapsody by Queen
2. Jailbreak [Live] by AC/DC
3. One More Time/Aerodynamic by Daft Punk (off of Live At Coachella 2006)
4. Land of Hopes and Dreams [Live] by Bruce Springsteen
5. My Generation by The Who (off of Live At Leeds)
6. Money by Pink Floyd
7. Won't Get Fooled Again by The Who
8. Funeral For a Friend/Love Lies Bleeding by Elton John
9. Lily, Rosemary, and The Jack of Hearts by Bob Dylan
10. I Want You (She's So Heavy) by The Beatles
11. Stairway to Heaven by Led Zepplin
There they are, in all their 6+ minute glory. Some of the live cuts may be a bit hard to come across, but I highly recoomend them, as they are some of the most fun songs here.
EPICS FOR THE AGES:
1. Bohemian Rhapsody by Queen
2. Jailbreak [Live] by AC/DC
3. One More Time/Aerodynamic by Daft Punk (off of Live At Coachella 2006)
4. Land of Hopes and Dreams [Live] by Bruce Springsteen
5. My Generation by The Who (off of Live At Leeds)
6. Money by Pink Floyd
7. Won't Get Fooled Again by The Who
8. Funeral For a Friend/Love Lies Bleeding by Elton John
9. Lily, Rosemary, and The Jack of Hearts by Bob Dylan
10. I Want You (She's So Heavy) by The Beatles
11. Stairway to Heaven by Led Zepplin
There they are, in all their 6+ minute glory. Some of the live cuts may be a bit hard to come across, but I highly recoomend them, as they are some of the most fun songs here.
Friday, September 12, 2008
Desert Island Games III
This week, on desert Island Games, I'm tackling:
HORROR/SURVIVAL GAMES
As I said in my review of Dawn of the Dead, I'm not normally abig horror fan. Mostly, this is in movies, but some of the worse horror games also put me off my stomach. Not so with today's game. It combines non-stop action with mile-a-minute thrills, and pull sit off beautifully. It's easily one of the best-reviewed games of all time. Thats right, I'm talking about Resident Evil 4!
The Resident Evil series is a long and storied franchise, with a lot of proven history behind it. The games weren't ussauly super-star games, they had more a niche market, but they were usually good and had a cult following. It even spawned a passable-to-good series of zombie movies. They zombies themselves were usually the stadard, slow moving brain-eaters, created by the dastardly Umbrella Corporation for nefarious purposes. But not so with this game. This game is the I Am Legend to the rest of the series' Romero's Living Dead trilogy. No shambling undead, evil corporations, or dank, enclosed industrial setting here. No, instead you have gentically mutated villagers in an expansive medival Spanish hamlet, being controlled by a fanatical religious orginzation. And as much of a departure from the tried and true this is, it works. Well.
First off, the pure mechanics of the game are top-notch. The item system is well thought out and logical, and constantly has you juggling weapons, ammo, health boosts, and key items, in such a way as you never seem to have enough of anything, which adds to the tension. The aiming system is orignal and well-developed, and is just tough enough to make making every bullet count a full time job. The AI is great, each unique type of enemy reacts intellgently to you, their companions, and their surrondings, and your partner character is just dim enough for her personality in-game, but not too frustratingly idiotic. The puzzles are challenging, fun, and often terifying, and really cause you to stop and think. And then there's the amazing graphics. For the time, they were amazing, and they're still good today, as the game really isn't that old. The level design and boss battles are amazing, and even the cutscenes are inter-active. If you don't keep your hand on the controller, following frantic button prompts, you die. End of story.
Speaking of the story, what a story there is here. It's clever, as original as the genre will allow, and terribly frightnening, with a good mix of surprise and straigt up creepiness. You constantly have this feeling that you just barely don't know what's going on, and each new enemy is a terrfiying surprise, no matter how familiar the type of enemy (not to mention that several types of enemies disguise themselvles as easier enemyies before popping out after you think you've killed them). Around every corner is a jolting surprise, each time an enemy rushes you, you feel paniced, and the boss battles are genuinely, wet-your-pants frightnening. The tension is masterfully maintained, and you always want to go forward, just to find out what new challenge awaits you. It's agame thats hard to put down, even at 11:30 at night with no lights on in a dark basement. Put simply, you've never had as much fun being scared out of your wits than you will here.
Runner-Up
This week's runner-up is the very definition of a classic, a game that does not cease to entertain, decades after its release. The original Doom, the scariest 16 bits has ever been, and one of the games that got parents worried about just what kind of things their children were playing with here with these new-fangled video games. The game is not happered by its crude format, but instead takes advantage of it, so you never really know what that next pixilated blob will turn out to be until you're WAY to close for comfort. This is a game thats not for the feint of heart, despite its age, and I heartily recommend it.
HORROR/SURVIVAL GAMES
As I said in my review of Dawn of the Dead, I'm not normally abig horror fan. Mostly, this is in movies, but some of the worse horror games also put me off my stomach. Not so with today's game. It combines non-stop action with mile-a-minute thrills, and pull sit off beautifully. It's easily one of the best-reviewed games of all time. Thats right, I'm talking about Resident Evil 4!
The Resident Evil series is a long and storied franchise, with a lot of proven history behind it. The games weren't ussauly super-star games, they had more a niche market, but they were usually good and had a cult following. It even spawned a passable-to-good series of zombie movies. They zombies themselves were usually the stadard, slow moving brain-eaters, created by the dastardly Umbrella Corporation for nefarious purposes. But not so with this game. This game is the I Am Legend to the rest of the series' Romero's Living Dead trilogy. No shambling undead, evil corporations, or dank, enclosed industrial setting here. No, instead you have gentically mutated villagers in an expansive medival Spanish hamlet, being controlled by a fanatical religious orginzation. And as much of a departure from the tried and true this is, it works. Well.
First off, the pure mechanics of the game are top-notch. The item system is well thought out and logical, and constantly has you juggling weapons, ammo, health boosts, and key items, in such a way as you never seem to have enough of anything, which adds to the tension. The aiming system is orignal and well-developed, and is just tough enough to make making every bullet count a full time job. The AI is great, each unique type of enemy reacts intellgently to you, their companions, and their surrondings, and your partner character is just dim enough for her personality in-game, but not too frustratingly idiotic. The puzzles are challenging, fun, and often terifying, and really cause you to stop and think. And then there's the amazing graphics. For the time, they were amazing, and they're still good today, as the game really isn't that old. The level design and boss battles are amazing, and even the cutscenes are inter-active. If you don't keep your hand on the controller, following frantic button prompts, you die. End of story.
Speaking of the story, what a story there is here. It's clever, as original as the genre will allow, and terribly frightnening, with a good mix of surprise and straigt up creepiness. You constantly have this feeling that you just barely don't know what's going on, and each new enemy is a terrfiying surprise, no matter how familiar the type of enemy (not to mention that several types of enemies disguise themselvles as easier enemyies before popping out after you think you've killed them). Around every corner is a jolting surprise, each time an enemy rushes you, you feel paniced, and the boss battles are genuinely, wet-your-pants frightnening. The tension is masterfully maintained, and you always want to go forward, just to find out what new challenge awaits you. It's agame thats hard to put down, even at 11:30 at night with no lights on in a dark basement. Put simply, you've never had as much fun being scared out of your wits than you will here.
Runner-Up
This week's runner-up is the very definition of a classic, a game that does not cease to entertain, decades after its release. The original Doom, the scariest 16 bits has ever been, and one of the games that got parents worried about just what kind of things their children were playing with here with these new-fangled video games. The game is not happered by its crude format, but instead takes advantage of it, so you never really know what that next pixilated blob will turn out to be until you're WAY to close for comfort. This is a game thats not for the feint of heart, despite its age, and I heartily recommend it.
Wednesday, September 10, 2008
Schedule update and Pov's Movie Point of View II
Sorry that this review is off schedule, but my schedule has changed in real life, and so I'm going to have to change the Pov's POV schedule to adapt to it. So, as of now, Movie Point of Views are moved to Wednesday, Desert Island Games are moved to Friday, and Must Have Music Play-lists are moved to the weekend.
So, business is out of the way, lets get down to it. This week I'm going to review a classic: George A. Romero's original Dawn of the Dead.
Brainy Brain-eaters
I'm normally not a fan of horror movies. I don't really like being scared out of my wits by a monster or watch people torture themselves to survive. But I have one weakness in this genre, namely zombie movies, in partciular the work of visonary director George A. Romero. His work began with Night of the Living Dead in the 1960's, which was followed up by today's subject, Dawn of the Dead. First off, like all of Romero's original work, the movie was made on a surprisngly low budget. It took less than a $3/4 million to make this movie. Even adjusted for inflation, thats dirt cheap. But just because its low budget doesn't mean it's low quality.
The plot of this movie is in no way original: survivors of a zombie pandemic hole up to survive in a chaotic world where the government is rapidly falling apart. None of Romero's work has a very surprising plot. The genius of this film is the symbolism and imagery. It sounds weird, refering to a low-budget horror movie like that, but it really is there. Dawn of the Dead continues it's predecessor's overarching theme: that in a hostile enviornment, it's not the dangers of the world that will destroy a group, it's people themselves. This time, instead of the group imploding due to internal disagreement, which was the case of the first movie, the original group resolves their interpersonal issues quickly and effectively. They manage to create for themselves a little Utopia inside their shopping mall/hideout, and dispite a bit of cabin fever, things seem to be generally going well. Then other people show up. In what I see as a metaphor for war and agression, a deadly, heavily armed gang of biker-pirates attack our heroes, breaking in, and in the process, destroying the paradise the survivors had created for themselves by letting in the zombies. In the end, the conflict destroys the predators as well, not simply the prey.
But the explosive finale is not the only metaphor in the film. Laced throughout the film is a stirring and disturbing motif of the zombies shambling about the mall, brainlessly attempting to live out the lives they had before death. This conjures up a disconcerting image of today's modern shoppers, and the whole film feels like a silent protest of American consumerism, that it is slowly deading us from the inside, as illustrated by the zombies' decomposing exterior. This is an uncomfortable but very valid protest, and it really show's Romero's genius.
Its not all brain-eating goodness here, however. I do have a few, minor grievances. The most important one is the very, very end, the last 30 seconds or so. I won't ruin the final situation, but suffice to say, the ending is a let down and almost compeletly negates the pessimistic message of the movie. It feels like the producers of the movie pulled to have a happier ending, which just doesn't fit with the rest of the movie's feel and vibe. Other than that though, the film is dated and low budget, but surprsingly good.
Final Verdit: 3 1/2 stars out of 4. Argueably the best zombie movie of all time, let down only by the ending.
So, business is out of the way, lets get down to it. This week I'm going to review a classic: George A. Romero's original Dawn of the Dead.
Brainy Brain-eaters
I'm normally not a fan of horror movies. I don't really like being scared out of my wits by a monster or watch people torture themselves to survive. But I have one weakness in this genre, namely zombie movies, in partciular the work of visonary director George A. Romero. His work began with Night of the Living Dead in the 1960's, which was followed up by today's subject, Dawn of the Dead. First off, like all of Romero's original work, the movie was made on a surprisngly low budget. It took less than a $3/4 million to make this movie. Even adjusted for inflation, thats dirt cheap. But just because its low budget doesn't mean it's low quality.
The plot of this movie is in no way original: survivors of a zombie pandemic hole up to survive in a chaotic world where the government is rapidly falling apart. None of Romero's work has a very surprising plot. The genius of this film is the symbolism and imagery. It sounds weird, refering to a low-budget horror movie like that, but it really is there. Dawn of the Dead continues it's predecessor's overarching theme: that in a hostile enviornment, it's not the dangers of the world that will destroy a group, it's people themselves. This time, instead of the group imploding due to internal disagreement, which was the case of the first movie, the original group resolves their interpersonal issues quickly and effectively. They manage to create for themselves a little Utopia inside their shopping mall/hideout, and dispite a bit of cabin fever, things seem to be generally going well. Then other people show up. In what I see as a metaphor for war and agression, a deadly, heavily armed gang of biker-pirates attack our heroes, breaking in, and in the process, destroying the paradise the survivors had created for themselves by letting in the zombies. In the end, the conflict destroys the predators as well, not simply the prey.
But the explosive finale is not the only metaphor in the film. Laced throughout the film is a stirring and disturbing motif of the zombies shambling about the mall, brainlessly attempting to live out the lives they had before death. This conjures up a disconcerting image of today's modern shoppers, and the whole film feels like a silent protest of American consumerism, that it is slowly deading us from the inside, as illustrated by the zombies' decomposing exterior. This is an uncomfortable but very valid protest, and it really show's Romero's genius.
Its not all brain-eating goodness here, however. I do have a few, minor grievances. The most important one is the very, very end, the last 30 seconds or so. I won't ruin the final situation, but suffice to say, the ending is a let down and almost compeletly negates the pessimistic message of the movie. It feels like the producers of the movie pulled to have a happier ending, which just doesn't fit with the rest of the movie's feel and vibe. Other than that though, the film is dated and low budget, but surprsingly good.
Final Verdit: 3 1/2 stars out of 4. Argueably the best zombie movie of all time, let down only by the ending.
Monday, September 8, 2008
TheNerds Pov 2
Well, TheNerd has kindly provided another submission for member monday, so here it is:
The Open World
I've been around video games for a while, but there is one game mode that I love, no matter what kind of game. From MMORPGs, to shooters, to racing games, I always appreciate a good open world. Runescape had a stranglehold over me for a couple years. Why, all you WoW players will ask. Because it was a fun world to just travel around. I could stop around in various places, play mini-games, woodcut, and fish. Grand Theft Auto: Vice City was probably one of the best games ever made. A lot of people were fainting over the campaign mode. Meanwhile, I was driving around in the nearest crotch rocket, spawning a tank, and pumping up my star level in free play. The Need for Speed series was also great for the open world feel. Personally though, I see the number one best series for free, open play as Tony Hawk. Huge skate park maps, malls, and schools open the doors to hours of fun.October of this year should bring out a game to the PS3 and 360 that I think I might enjoy. Midnight Club: Los Angeles has the free soul feel of GTA, without the mindless (but ever addictive) slaughter. EGM is giving it a great first word, saying that it will be a racing game to remember. Truly an open-world city-based racing game, this is a must buy for any gamer like me.
------
If you agree, as I do, with TheNerd, about open world games, I recommend checking out the Orginal Mercenaries. Thats a game where you can while away hours finding treasures, jacking choppers, and blowing up NK Jeeps with a tank.
The Open World
I've been around video games for a while, but there is one game mode that I love, no matter what kind of game. From MMORPGs, to shooters, to racing games, I always appreciate a good open world. Runescape had a stranglehold over me for a couple years. Why, all you WoW players will ask. Because it was a fun world to just travel around. I could stop around in various places, play mini-games, woodcut, and fish. Grand Theft Auto: Vice City was probably one of the best games ever made. A lot of people were fainting over the campaign mode. Meanwhile, I was driving around in the nearest crotch rocket, spawning a tank, and pumping up my star level in free play. The Need for Speed series was also great for the open world feel. Personally though, I see the number one best series for free, open play as Tony Hawk. Huge skate park maps, malls, and schools open the doors to hours of fun.October of this year should bring out a game to the PS3 and 360 that I think I might enjoy. Midnight Club: Los Angeles has the free soul feel of GTA, without the mindless (but ever addictive) slaughter. EGM is giving it a great first word, saying that it will be a racing game to remember. Truly an open-world city-based racing game, this is a must buy for any gamer like me.
------
If you agree, as I do, with TheNerd, about open world games, I recommend checking out the Orginal Mercenaries. Thats a game where you can while away hours finding treasures, jacking choppers, and blowing up NK Jeeps with a tank.
Thursday, September 4, 2008
Must Have Music Playlist II
Well, this time, for the Music playlist, I'm following a theme, namely Songs for a Rainy Day. I'll get right to it.
Rainy Day Songs:
1. In the Rain by The Dramatics
2. Magic by Bruce Springsteen
3. Rainy Night In Georgia by Brook Benton
4. Yesterday by The Beatles
5. The River by Bruce Springsteen
6. Honesty by Billy Joel
7. Feeling Yourself Disintergrate by The Flaming Lips
8. Buckets of Rain by Bob Dylan
9. The Long Black Veil by Johnny Cash
10. Junk by Paul McCartney
11. Green, Green Grass of Home by Johnny Cash
12. Rainy Night Lament by The Sidewalk Prophets
13. Here Comes the Sun by The Beatles
I realise that a lot of these songs are fairly ecclectic and many of you will never have heard of some of these bands, but thats just how it works, I guess. I would at least Suggest checking out the Flaming Lips and the Sidewalk Prophets.
Rainy Day Songs:
1. In the Rain by The Dramatics
2. Magic by Bruce Springsteen
3. Rainy Night In Georgia by Brook Benton
4. Yesterday by The Beatles
5. The River by Bruce Springsteen
6. Honesty by Billy Joel
7. Feeling Yourself Disintergrate by The Flaming Lips
8. Buckets of Rain by Bob Dylan
9. The Long Black Veil by Johnny Cash
10. Junk by Paul McCartney
11. Green, Green Grass of Home by Johnny Cash
12. Rainy Night Lament by The Sidewalk Prophets
13. Here Comes the Sun by The Beatles
I realise that a lot of these songs are fairly ecclectic and many of you will never have heard of some of these bands, but thats just how it works, I guess. I would at least Suggest checking out the Flaming Lips and the Sidewalk Prophets.
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