Daveportivo's Cultural Evaluation Facility

Music, Politics, Flim, Books and TV all shall be reviewed within.

20. Debaser - The Pixies

(4AD 1989, Gil Norton)

"Slicing Up Eyeballs, Ah Ha Ha Oh" oh yes it's Debaser time, signature tunes don't come any better than this. Of course as the title would suggest this track has a killer bassline but it's all about the craziness and the contrast. It's a soaring surf rock anthem mixed with the mental ravings of Frank Black, it's utter genius.



19. Dancing In The Dark - Bruce Springsteen
(Columbia 1984, Jon Landau)

It's a tribute to the power of Springsteen that after all these years his biggest hit still doesn't great. It's a joyous mix of fun pop chords and earth honest songwritting and it contains one of my all time favourite lyrics "Check myself in the mirror, I wanna change my clothes, my hair, my face" but hell every lyric in this track is one of my favourites.



18. This Monkeys Gone To Heaven - The Pixies
(4AD 1989, Gil Norton)

"If Man is 5, if Man is 5, if man is 5, and the devil is 6, and the devil is 6, and the devil is six, then God is 7!!!", one of the funest vocals to scream along to live and a song so far beyond classic it serves little point describing it's transcendant awesomeness.



17. Burning Down The House/Once In A Life Time - Talking Heads
(Sire 1983, Talking Heads)

Okay so for the second time I just couldn't decide. Okay I promise for my subsequent poles I won't do this again, but honestly who cares, there is no argument on earth that could convince me to leave either of these stone cold classic out of the count down. So on one hand you have the heads most fun single and on the other hand we have there greatest ever song.





16. Head Like A Hole - Nine Inch Nails
(TVT 1989, Trent Reznor)

Remember how great it was when you could genuinely dance to Nails records, before they weren't all uber gloom rock, back before Trent released a new record ever other week and you actually had to wait. In my opinion Head Like A Hole will always be my favourite Nails track, its just too much fun. I hope you enjoy this performance as much as I did.



15. Like A Prayer - Madonna
(Sire 1989, Madonna)

Oh yes I'm sure there wull be more than a few unhappy campers to see the queen of camp pop one spot above the king of gloom rock, but to be honest, when it comes to singles did Trent really stand a chance. As much as I dislike Madonna, Like A Prayer is a pop single of incomparible quality and it's more than worthy of a top 15 finish. It remains her best ever work. Why she fucks around with this track live I don't know.



14. Beat It - Michael Jackson
(Epic 1983, Quincy Jones)

Well it's official the King of Pop has pip the Queen to the post but lets face it Madonna never stood a chance. There's no need to spruse this track, everything is perfect, the incredibly guitar riff, Jackson perfect vocal performance, the feel good lyrics, the dance routine that everyone knows whether they care to admit it or not and of course that sick end solo. All in all Beat It is the perfect pop song, but it's not your number one. Listening to this track makes me really sad that I'll never get to see him live, I truly envy those who did.



13. Welcome To The Jungle - Guns 'n' Roses
(Geffen 1987, Mike Clink)

So you know a song is fantastic when the B side made the list in its own right. Well while Michael Jackson decides to Beat It, G'n'R stick around for the fight with Axl epic screech "You've In The Jungle Baby, You're Gonna Die". This song is just total devastation, death by awesomeness.



12. White Wedding - Billy Idol
(Chyrsallis 1982, Keith Forsay)

So we've had the king and queen of pop, the ultimate gods of hair metal and now it's time for the undisputed king of sleeze. White Wedding is just one of those delicious singles that could have only been released in the eighties, and it still sounds as awesome today as it did back then.



11. Heaven Knows I'm Miserable Now - The Smiths
(Rough Trade 1984, John Porter)

Now you know a track is damn good when it's your mum's favourite song, well my mum's pretty cool, and this is her favourite Smiths track. I think the reason this track is so loved other than Morrissey wonderfully witty forked tongue is the sheer relateability of this song. Honestly has ever a true word been penned than "I was happy in the haze of a drunken hour, but Heaven knows I'm miserale". An endlessly quotable track but I think my favourite line has to be "Oh why do I give valuable time, to people who I'd much rather kick in the eye".



So I'm finally on the verge of the top ten and I have to say I'm excited, I'm still rejigging the order because each of the songs in the top ten could easily claim pole position in its own right, but you'll have to wait and see who I choose. Anyway I'm off to V Festival to propose to Lily Allen (just joking...well maybe...we'll see).

30. Every Breathe You Take - The Police

(A&M 1983, The Police)

Ah a cool smooth bass driven classic. The ultimate stalker anthem, thanks to twitter and facebook those of us inclined towards Stalker really don't have to put half the effort into our persuits that Sting used to back in the day. That said the beautiful line "I lie in bed, and I can only see your face" still rings ever so true.



29. Straight Outta Compton - N.W.A
(Priority 1988, DJ Yella & Dr. Dre)

While it didn't have the immediacy of Fuck Da Police it certainly had double the swagger and huge hit potential. From the second Ice Cube burst onto the mic with the epic opening line "Coming Straight Outta Compton, A Crazy Nigga Named Ice Cube". Set to a back drop of gang wars in L.A. hip hop tracks don't come bigger than this.



28. Boys Don't Cry - The Cure
(Fiction 1986, Robert Smith)

Guitar hooks don't come any sweeter, and lyrical performances are rarely more telling or tender than on Robert Smith's ultimate anthem. The Cure were the kinds of the spacious atomspheric albums but conversely the gorgeous throwway pop single, and this will always be their finest.



27. Hey - The Pixies
(4AD 1989, Gil Norton)

"There's Whores At The Door, And Whores In My Head", ah the wonderful world of Francis Black, beautifully, visceral and utterly bonkers, but most of all utterly brilliant, a true anthem. Beautiful guitar, a killer baseline, and those eternally quoteable lyrics "It's the noise the mother makes, when the baby breaks" all I can say is fuck yeah!



26. Purple Rain - Prince
(Warner Bros. 1984, Prince)

Ah as big and ridiculous as they come, I just wrote three paragraphs about the album in the best album list so I'll keep this short. A gospel funk classic of monsterous proportions.



25. Orange Crush - R.E.M.
(Warner Bros. 1988, Scott Litt)

Ah yes from the Purple Rain to the Orange Crush and absolute monster track courtesy of Michael Stipe and co. A glorious anti-war stomper, undoubtably there most thrilling sing along single.



24. The Number Of The Beast - Iron Maiden
(EMI 1982, Steve Harris)

Oh yes it's that time when we start pulling out the mamoth Maiden epics and they certainly don't come much bigger that The Number Of The Beast. It's classic Maiden need I really say more.



23. Raining In Blood - Slayer
(Def Jam 1986, Rick Rubin)

"Rain Blood From An Ulser In The Sky!!!" if that doesn't tell you everything you need to know about Slayer and this track then nothing will. With a riff the knocks your socks off, this is a non stop pummelling, you will be bloodied, you will be battered and you will be thoroughly defeaten.



22. Here Comes Your Man - The Pixies
(4AD 1989, Gil Norton)

So after that ungodly pummelling its time to chill out, with a glorious summer festival anthem courtesy of the Pixies, often characterised by the Quiet-Loud demographic, Here Comes Your Man is a perfect example of the Pixies incredible versitility. Kim Deal's vocal on this track is just devine.



21. Run To The Hills - Iron Maiden
(EMI 1982, Steve Harris)

I have to admit seeing Iron Maiden live was one of the biggest dissapointments of my life, don't get me wrong they were absolutely awesome, but they only played tracks of the first four albums so we were robbed of classics like Fear Of The Dark. Luckily the awesomeness fo Run To The Hills can never fail.



10. The Stone Roses - The Stone Roses
(Silvertone 1989, John Leckie)

The eighties had been one of the most incredible decades for British pop music, manchester had turned into the world centre for great singles. The Smiths seemed to release a new best record ever, every other week for seven years straight, but then they began to break up and Morrissey went solo, so suddenly Manchester wasn't looking so hot. However out of seemingly nowhere The Stone Roses arrived fully formed with one of the most remarkable, and joyous debut albums in music history. Considered by many to be the greatest British album of all time, I think that's a bit of a stretch, but I'd certainly have it in my top five Greatest British pop records of all time. While I'm most certainly not a fan of Ian Brown, and have never really been that into the Roses, to deny the power of their polished and powerful pop music would be infantile. The Stone Roses is a charming album, that begs to be loved, quite literally, the opening track and signature track I Wanna Be Adored bares it's soul to the world. This would be the template for the Roses success, big honest pop songs, that everyone from Aberdeen to Brighton could relate to, this was music for the people at it's finest.

It's perhaps fitting that five years later two brothers from Manchester owning a huge debt to Stone Roses would once again reinvent, honest, relateable, excapist pop music for the mases. Unfortunately they weren't half as interesting or half as creative as the Roses. What makes the Roses really special is how tight the band is, particularly the rhythm section. Alot is made of John Squire and his deftly layered guitar but the driving force behind the band was always Mani's bass lines and Reni subte drum work. The Stone Roses records always had the best grooves, unfortunately, fellow Manchester wanksters The Happy Mondays would butcher this approach and create the regretable "madchester" era, no wonder Morrissey left the country. Alot is made of the artistic merits of the album closers This Is The One and I Am The Resurrection but I always feel that people that harp on about these tracks are missing the point. I Am The Ressurrection maybe the epic, but when it comes to the Roses it's all about irresistable pop gems, just whack on Made Of Stone and drift away.

9. Purple Rain - Prince
(Warner Bros. 1984, Prince And The Revolution)

Now I originally had the ridiculously sublime Purple Rain slated for a top four finish, but I thought hard about it and I had to take it down a few notches. Now this may seem a little harsh because this album is complete and utter balls to the wall insane genius from the first moment but it has one detracting factor: It's soooo eighties, it's too eighties. Prince is an absolute transcending genius and he is arguably the eighties greatest superstar and certainly its most unique, but there is something about his music that sounds dated in 2009. Now don't get me wrong a Prince record never sounds bad, and Purple Rain never feels anything less than crazy, sexy, beautiful but it is distinctly defined within in its era and for that reason it finds itself in nineth and not fourth.

Anyway enough banter lets get down to the music, and as I hope you should know this album absolutely rocks. Prince obviously got bored just being a pop and R'n'B god and decided it was time to get the guitar out and on Let's Go Crazy he absolutely blows the roof of the record with his end solo. It's the perfect album opener, over the top of some strained synths, Prince raves like a crazy preacher/door to door sales men and he promises us the "after world" and he duly takes us there. This is pure escapism, life is tough, life is drab, so fuck it lets go crazy. That after all is what Purple Rain and Prince down is all about. It's immediately followed by two ludicriously perfect ballads in the form of Take Me With U and the ridiculous The Beautiful Ones, this is music to make women go weak at the knees. It's amazing that even at his most smultzy, even while wearing a purple jacket, tight trousers and a blouse, Prince effortless maintains his cool, the way he drops in subtle lines "If we get married....would that be cool?".

How could I conclude this little retrospective on Purple Rain without mention those two tracks. Come on you know the ones, and if you don't, you best head to youtube and itunes right now. Yes it's those two monsterous world conquering tracks. First the perfect slice of georgeous sexy odd pop When Doves Cry. A killer key board hook, and a quirky rhythmic arrangement, sets the base while Prince goes to town with his best lyrical performance;

"How could you just leave me standing,
Alone in a world so cold,
Maybe I'm just too demanding, maybe I'm just like my father too bold,
Maybe your just like my mother,
She's never satisfied,
Why do we scream at each other,
this is what it's like when Doves Cry".

And as if I needed to tell you the other track that you need to own, and I simply couldn't omit is the title track, Purple Rain itself. A track so overblown, so pompous, so ridiculous it couldn't help but be one of the greatest most emotive tracks of all time. It will always be one of the greatest visuals I've ever seen when at the superbowl Prince made it litterly made it rain purple rain. Okay so this is a hell of a long entry for our number nine album, but by all rights this album should be in the top three. It will always be hard for some to drop their preconceptions about Prince and about pop music in general but this is one of the those glorious sequined delights that at one time or another everyone should enjoy.

8. It Takes A Nation Of Millions To Hold Us Back - Public Enemy
(Def Jam 1988, The Bomb Squad)

So the award for the greatest album title of all time goes to...okay well that might be a bit too bold a statement, but when it comes to a statement of intent they don't come bigger than It Takes A Nation Of Billions To Hold Us Back. This was a group of angry young men, scratching the shit out of their records, while one of the greatest MCs of all time laid down some sick rhymes while one of hip hops great enigmas jumped around stage and erh...shoued "yeah boys". Well maybe Flavour Flav wasn't so great but Chuck D was a bonified legend. A man filled to brim with visercal social outrage and a message to spread. It's testiment to their genius that the insane bounce of along fun of the scychofrenic Bring The Noize could be so fun and yet carry such a high level of outrage and bile. Chuck D was bringing the race war to the people, he was uniting his brothers and sisters and bringing his brand of authentic hip hop to the mainstream. He was slamming everyone from "Radio stations I question there blackness, they call themselves Black we'll see if they play this" to the more familar targets of the heavy handed police force. Best of all he draws out the inequality in perception between Rock and Rap stars, Chuck was fed up of rappers having to commercialize their sound to be accepted and he was prepared to let everyone know "Roll with Rock Stars, we still never get accepted as".

This was rap that had a message, had a cause and best of all had some attitude. This is rap that was heavy, heavier than the heaviest metal. Listening today to Jay Z's Death On Auto-Tune and his calls for a rap revolution for "niggas" to stop singing cause their "T-Paining too much". This is exactly what he's talking about, when he tells "niggas to get violent" this is what he means, he wants raw primal aggresion, people who are making music for a reason not just to make bland interchangible hits. She Watch Channel Zero? is the albums clear highlight, as Chuck D and Flav rave over a monsterous Kerry King riff, and they are exploding with energy especially Flavour who delivers his best performance as he gloats about having a black quarter black in the superbowl. Before he slams bland consumerist culture as he decries those who sit at home watching garbage, as TV presents its image of "perfect women", and he demands you "go read a book or something". It's utterly thrilling and just as essential today as it was all those years ago. As celebrity culture, and women's magazines have us drifting away into a cultural abyss a track like She Watch Channel Zero? could not be more releveant. It Takes A Nation... is quite simply the most important hip hop record of all time.

7. Closer - Joy Division
(Factory 1980, Martin Hannett)

It's a pretty bold statement but I'm gonna say it, Closer is Joy Division masterpeice. Now I'm sure there's a lot of people wearing unknown pleasures t-shirts whose face will be boiling over with anger upon reading those words, but it's true. Is it the better album? That's debateable, but this is Joy Division Magnum Opus, this is the real Joy Division, at their dark and brooding best. This was the final endnote to one of the most astonsishingly tragic stories in music history. The album is gloomy, sombre and sparse, yet it's fragile and beautiful and best of all it's highly danceable. Every once in a while you can tell everything you need to know about an album from it's opener, and this is certainly the case on Closer. The album opens with the staggering Atrocity Exhibition it's starts with a gorgeous rumbling drum line that hooks you instantly, before the guitars scratch away like unholy axe grinders against your cranium, until finally the solumn and soulful voice of Ian Curtis takes hold you and carries you through the sea of music abbrasiveness. It's a amazing arrangement, and as abbrasive as they come, Curtis warns you this record will be torture "For entertainment they watch his body twist, behind his eye's he says I still exist" before Curtis like some ghostly gatekeeper beckons you in "This is the way, step inside". It's a staggering opening gambit, come inside if you dare.

For those bold enough to step beyond the six minute opening slab of gloom rock, endless pleasure await. While no one will ever be putting Joy Division top of a technical musician's poll, the arrangements on Closer are staggering and challenging. Passover chugs like a car that can't quite click into gear, while Curtis croons georgeously and before an unsettling but beautiful guitar line kicks in. Every track has an intriguing flourish. The John Carpenter's sub sonic squelch of Hooky's creeping bassline on Colony, the killer keys on Isolation, or the suicidal Blondie guitar hook of Twenty Four Hours. The latter is a staggering track that kicks like a mule while Curtis voice booms as though he'd suddenly been turned up to eleven. Means To An End sticks out like sore thumb with it's death disco bublby baseline, it's positively thriling. However the albums ultimate highlight is The Eternal which sees Joy Division at their gloomiest, their scariest and their most beautiful, it's a huanting emotive epic and stands along side Atomsphere as a beautiful epic that makes the hairs on the back of your neck stand up. Sad, heartbreaking, frequently beautiful and occasionally fun, Closer is quite simply one of the greatest works ever created.

6. Remain In Light - Talking Heads
(Sire 1980, Brian Eno)

For some bizarre reason the Talking Heads seem to fly under the radar, they have fame and critical credibility, but there one of those bands that young people just don't listen to. It's strange as their so creative and influencial and their spirit of independence and creative that fits right in line with modern indie rock stars like Bloc Party, Passion Pit and Friendly Fires. So if we're to start our rock re-education it has to begin with the mind blowing Remain In Light. Listening back to it today your struck by just how different the Talking Heads were. There sound is so varied and distinct, they could fit effortless into any decade or scene, and in David Byrne they have one of the most unique and brilliant front men in rock and roll history. Remain In Light is an album that grabs your attentions suddenly, as David Byrne screams and coos to start the album before dropping into a frantic nerdy version of Nick Cave as he demands that you "Take A Look At These Hands". It's a captivating and different start, it's frantic and primal but its sung over a cleverly layered jaunty, rhymtic arrangement. The track Born Under Punches (The Heat Goes On) burbles, and squelches, it reaches out but it never loses the core groove, and from a mad rant, Bryne cools and it the track reduces to a hypnotic chant as "the beat goes on". It's an amazing how contemporary this track feels, and it's one of the most intriguing album openers I've ever heard.

Remain In Light will forever be remembered as the record that brought us the devine Once In A Life Time with it's aquatic feel, goregously lyricism and THAT video. Yes the sheer on screen presences of David Byrne has him competing with world renouned movie directors in best video polls. Remain In Light can best be described as a controlled frenzy, every second of the album, buzzes, skips and squeeks, it feels like a band just barely in control of their instruments, they feel like they could slip out of rhythem at any time, but instead they hold together to forge these glorious grooves. And it is the grooves that make this album great, while Bryne is throwing out superb lyrical jabs, and he warps your mind on Once In A Life Time, this is a record that demands you dance. It's about beautiful women and georgeous beats. Fast forward thirties years and NME would be proclaiming regular old indie bands genius for attempting such a fete. But back in 1980, Remain In Light captured the zietgiest, Franz Ferdinand, Bloc Party, Justice and dare I say even Radiohead, would go back to this record and mine it's bottomless delights. Remain In Light is one of the most important records of all time, and it's about time people started to treat the Talking Heads with the respect they deserve.


Okay so lets hit this in order. I have to admit I'm a little out of date on TNA lately, five horendous PPV each more terrible than the last has put me off watching iMPACT! So it's about time I caught up and lets start with this past Sunday's Hard Justice PPV. Before I begin I have to point out that the graphics for this PPV are absolutely horrible.


1. Daniels defeats Suicide, D'Angelo, Chris Sabin, Alex Shelley & Amazing Red in a Steel Asylum Match to become Number One Contender to the X Division Title.

So after the X Division was unceremoniously dropped from last months Victory Road PPV they decide to bring back the usual multiman spotfest to start the show. Seriously I'm tired of this crap. I'm totally fed up of having to write the same critique I've been writting for the last four years. This match was a total spotfest, no psychology, just a bunch of moves. Some moves were more interesting and creative than others, but it was mostly bland and forgettable. Nobody gets over from this match, no characters or personalities are developed, it's just a bunch of spots thrown out there serving absolutely no purpose. The Steel Asylum gimmick is horrible, it's effectively watching the monkeys swing from the bars while the morose seals in the TNA audience clap along.

Imagine how much better this show would be if this match was broken up and instead we got three singles matches between the respective competitors. With proper backstories and character development and a month long drawn out feud with actual winners and actual losers. Not just this garbage where the morons chant "This is Awesome" and no one gets over, and nothing ever changes. On a positive note at least they gave Daniels a promo after the match to set up next months PPV, shame Daniels promos are utterly horrible.

All in all, a fine dose of athleticism to start the show, as forgettable and interchangeable as any TNA PPV opener of the last five years. (**1/4)

2. Abyss defeats Jethro Holiday (w/Stevie Richards).

Well there were certainly postives and negatives to this match. On the postive side of things Abyss stayed away from the bag of tricks, and didn't use, blood, thumb tacks and glass. Maybe he's realized if you save that for a well built fued it means twice as much as when you do it each and every PPV, or more likely they were saving the blood for the Main Eventers. On the negative side of things this was a pretty horrible Abyss-Holiday snorefest. You have to wonder why exactly this match needs to be on PPV? Is Jethro Holiday really going to sell a single PPV buy?

Passable TV match but a lumbering waste of PPV time, competent but complete devoid of any drama or suspense. (3/4*)

3. Hernandez defeats Rob Terry to win back his title shot in five seconds.

This has to be the smartest bit of booking TNA has done in a long time. Hernandez is something special, his style is incredibly high impact, his matches are exciting, he's a Latino that earns him double marketing points, and he proved that he can cut a decent promo. The Absolute correct booking decision. (N/A)

4. The British Invasion defeats Beer Money Inc. to retain the IWGP Tag Titles.

I have to say I enjoyed this match. It was no great shakes, but there was some solid tag team action and some creative spots, especially the 69 crotching spot. The wrestling was nothing particularly special but they got their characters across and got the crowd into the match. Major kudos has to go to Eric Young who was fantastic on commentary. Young got his heel character over brilliantly, he came across as a jerk but he had a logic that made him seem like a realistic rounded character rather than a goofy pro wrestling heel. I wasn't wild on the interference finish but Young is doing a great job as a heel and if this actually gets some heat on Young then I'm all for it.

Good solid dose of PPV tag team wrestling, with a good mix of solid action and a reasonable developed feud. A perfectly acceptable undercard offering. (**)

5. ODB & Cody Deaner defeat the Beautiful People, as a result ODB wins the Knock Out's title.

Remeber when the TNA Knockout's division was the hotest division in all of Pro Wrestling? It seems liks a long long time ago doesn't it. Well Gail Kim is gone and we stuck with this quasi comedy garbage. Can I even call this comedy? Wait yes, if people are stupid enough to find Adam Sandler funny then someone somewhere is probably laughing at this. Of course this being TNA their obsession with Man on Woman violence continues, I really don't know what their problem is but someone backstage really has some issues. Anyway for the one person who cares Cody got the pin and ran away with the title as if he was the Knockout's champion. Just what we needed because God knows Santina was sooooo funny....*sigh*.

Forgettable, can we have Kong and Tara now please. (DUD)

6. Samoa Joe defeats Homicide to win the X Division Title.

While it's completely unfair on the two workers you can't help but compare this Joe-Homicide match to their classics in ROH, and it's a sad state of affairs. Joe is really banged up, he seems to have lost a whole step of pace in the ring, not the mention that all of his heat has dried up. Of course this is a different time and a different place, these guys aren't going to get half an hour to tear down the house and that's fine but a bit more than nine minutes would be nice. There was some really good action in this match but it just felt limp, Homicide was trying but Joe is clearly warn down and his intensity and effort have completely gone. It's a shame, I'd love them to have a fifteen minute rematch and prove that they can still steal the show. The finish was particulary dissapointing as it felt rushed, and we were denied the five minutes that could have taken this match from passable to above average.

Perfectly acceptable, but you can't help but feel dissapointed. These two really need to be rebuilt from the ground up. This new Joe has got to go. (*3/4)

7. Scott Stiener & Booker T draw with Team 3D in a Tag Team Title Match.

To clarify they went with a double pin finish in a falls count anywhere match. The finish was pathetic, especially on a PPV, and served no purpose whatsoever. At this stage of their careers do they seriously think they have to protect these four? Seriously does anyone care any less about Brother Ray if he gets pinned by Booker T? Well whatever.

Aside from the enfuriating finish this was you standard dose of Team 3D on PPV. Scott is still trying, Booker is still phoning it in, and Team 3D are still using the same old bag of tricks. Remind me, why is this on my TV in 2009? (*1/4)

8. Kevin Nash defeats Mick Foley to retain the Legends Title.

They did the best they could in this one. I'm glad they were smart enough to save the blade jobs for this match, and it worked. It doubled the impact and crowd heat and for once they dwelled on it post match. The finish completely undermined all the good work done up until that point though. Tracy's inclusion was just convoluted and pointless. It's good to see Abyss put with Foley. He can carry the work rate for Foley and hopely Foley can give Abyss some rub, and get him away from the low level garbage wrestling he's been stuck with. Should these two be wrestling on PPV in 2009? Let alone against each other? Well probably not, especially with so many other past their prime fossils on the show.

Bloody, Brutal but it never threatened to be epic. Well above expectation, but well below the show saver it needed to be. If you want a better example of a bloody brawl go back and watch the brilliant Triple H vs. Ric Flair cage match from Taboo Tuesday. All in all, not bad, but not particularly good either. (**)

9. Kurt Angle defeats Sting & Matt Morgan to retain the TNA World Title.

Another month another multi-man main event full of wrestlers who are not over, and don't deserved title shots. Don't get me wrong, if you can ignore all his personal problems Kurt Angle is a fine choice for champion, but are Sting and Matt Morgan really the best opponents they could come up with? TNA has burnt out any drawing power left in Sting and well I don't think there's a person walking the face of the eath who'd buy a PPV to see Matt Morgan main event. It's a symptomatic flaw in TNA's booking, no one is over on this show.

The fans aren't into the matches or the feud. They cheer Team 3D and Sting because they were over in WWE/WCW and they remember their shtick, but no one is willing to buy a PPV to see these guys. The X Division gets a great live reaction but the characters have been booked into such a meaningless repetitive hole that no one is willing to purchase a PPV to see them wrestle either. TNA constantly throws out multi man gimmick matches for no reason with no real heat. They should have learnt from the excellent Gail Kim-Awesome Kong feud and the equally good Team 3D-Beery Money feud, that a well book singles fued is more effective than a confusing half baked multi man scenario. Remember how good Angle-AJ and Angle-Joe were? Of course you do because these were clearly defined feuds where the workers were able to go out and tear the house down, doing what they do best.

That said, they played the Matt Morgan story relatively well, unfortunately because they do this kind of swerve story telling so much you know the finish is going to be one of two alternates before the match even starts. To make matters worse it's Matt Frigin' Morgan. What exactly has he done to earn this position? Match wise this was pretty solid but totally forgetable, just like any other TNA main event since the Lockdown 2008 (the last great TNA main event).

Solid wrestling, with a decent storyline running throughout, but on a PPV of okayish action, the main event needed to be more than decent. (**1/4)

Overall Thoughts: This was a bad show. I was going to call it okay, but it's only acceptable in comparison to how bad TNA's other recent efforts were. It is not reasonable to expect people to pay thirty quid to watch a three hour show without a single match above **1/4. Seriously, you could have saved your money and watched two episodes of Smackdown, or even iMPACT! and got the same level of action for free. Hard Justice 2009, just inspires apathy, and in many ways that's just sad. TNA needs to change direction and it needs to do it now. Jeff is gone, Dutch is gone, Kurt Angle is implodding it's time to let go of the past and do something new, and something bold. If it were up to me I have Hernandez destroy Kurt Angle or Sting at Bound For Glory to win the TNA title, and set him up against fresh challengers and not the Mafia. I mean Homicide, Joe, AJ Styles and even the British Invasion. As a sadly departed wrestling legend used to say "Enough is Enough, And It's Time For A Change". (3.0/10)

(If Your Wondering If I Want You To) I Want You To - Weezer

Okay where to start with this record? Okay let's start with a refresher course. Weezer made a welcome return last year with the Red Album, depending on where you sit on these matters it was either a glorious return to form or just a decent pop record. Either way, it was great to have Rivers and Co back making music that was half way credibly and as deliciously ironic as ever. So fast forward to this week and we are greated with (If Your Wondering If I Want To) I Want You To the first single from the album of the same name. Well first things first, that's a horrible title whichever way you look at it. Trackwise, it's starts rather dubiously, it feels like the unholy offspring of George Michael's Faith and Hey Mickie! its light fun and bouncy, but all rather passe. The hook is pretty darn infectious, its a classic retrospective Rivers harmony. Speaking of Rivers his songwritting is as sharp and harmonious, but while it's a perfect example of sweety hitmaking 101 it lacks the decilous tongue in cheek wink and a nod that made Troublemaker and Greatest Man Whoever Lived so much thrilling. All in all (If Your Wondering If I Want You To) I Want You To is a a perfect little pop record, punchy, catchy, fun, but scratch beneath the surface and there's no great depth. This one will be fun while it lasts but I doubt that in ten years time we'll be reminiscing about this track with the same fondness reversed for Say It Ain't So, My Name Is Jonas or Undone (Sweater Song). Ultimately ...I Want You To is cute, but a little too cute for it's own good.



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This is your one stop shop of pop culture reviews I most specialize in Music, Politics & Film. I occasionally delve into TV reviews. I've got a Politics MA and a War Studies BA, I'm taking a year out before starting a Phd so when it comes to History and Politics I'm pretty well versed but I tend to keep this blog fun rather than serious.

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