Tag Archive: music


Composer of the cosmos

When you think about the library of Kinect games for the Xbox 360 and Xbox One, it’s a rather sad state of affairs. One developer, however, has consistently put their peripheral expertise to good use and taken advantage of what’s otherwise been a disappointing piece of hardware. Of course, I’m speaking about Harmonix.

Dance Central provided the group fun of Rock Band—but without the expensive plastic-toy inputs. Wanting to continue this trend but offer fans a bit of changeup from their bootyshake-prompting staple, they teamed up with Disney to explore the classic combination of animation and music: Fantasia.

Fantasia: Music Evolved is one of those few Kinect games that you can actually play comfortably from your favorite chair, because it only requires your arms. You play as Yen Sid’s—the wizard from Fantasia whose name is conveniently “Disney” spelled backward—newest apprentice, and must prove you’re worthy of wearing his magic hat in the hopes of responsibly conducting the cosmos with your rhythm-infused fingertips. As your mastery improves, new worlds full of music and sound will come alive as you play 33 classical and contemporary songs, along with unique minigames, like beatboxing with talking vegetables or harmonizing with a yeti, to add your own special tracks to each world.

Along the way, you’ll also encounter Yen Sid’s former apprentice, Scout. This is where Music Evolved differs from most other Harmonix titles, since it actually provides a story. Once you’ve grasped the gameplay basics, Scout will come along and accidentally unleash “The Noise,” a cacophony of offbeat, ear-splitting rhythms that you must vanquish from the game’s 10 worlds by playing through the soundtrack and unlocking a pair of remixes for each song. Some remixes, for example, might see a classical piece from Dvorak and give it the old 8-bit treatment or take a contemporary artist like CeeLo Green and give “Forget You” a dubstep drubbing.

This is where I found a bit of fault with Music Evolved, however. With only 33 songs at launch (more coming via DLC, of course) you can blow through the whole thing pretty quickly—and disappointingly, for a $60 title. In order to force a second playthrough, though, you can’t unlock the second remix for each song, and therefore can’t 100-percent the game unless you play each song again after beating the story mode.

While it was still fun, I felt limited by not being able to just unlock each remix and minigame on my first run and hated having to go back and play many songs that I didn’t particularly care for a second or third time seemingly just to push the game from a three-hour experience to a six-hour endeavor.

Also, 33 songs isn’t a lot at all, but I was also disappointed by the fact that a game with the word “Disney”—a company known for its fantastic cinematic music—didn’t use any iconic songs from their films to flesh out the soundtrack. One could argue that the original Fantasia only used classical compositions, and the couple of original pieces that composer Inon Zur (best known for contributing to game soundtracks such as Fallout 3, Dragon Age: Origins, and Soul Calibur V) adds are great, but then why do we have to deal with Lady Gaga and Nicki Minaj? I’d much rather have had any number of songs from The Lion King, Aladdin, Mary Poppins, Cinderella, or The Jungle Book to really hammer home the Disney feel and flesh out what quickly feels like a paltry playlist.

That said—and musical tastes aside—I couldn’t deny how much fun I had during the short time Music Evolved lasted. Each of the game’s worlds is beautifully designed in regards to the cartoonish art style, and being able to interact with each one in weird, wonderful ways filled me with a surprising, childlike glee. The Kinect picked up my motions rather seamlessly, even in my tiny living space, and as I swept my arms around and saw the bright flashes of light and color onscreen, I felt like I was indeed moving the heavens to music like Mickey back in the 1940 film. Unlike Mickey, though, it’s much harder to fail in Music Evolved, and I found myself racking up huge multipliers and nailing at least 80 percent of the moves in every given song. There’s also no option to bump up the difficulty—songs are simply rated on a 1 to 5 scale, with 5 being the hardest.

Beyond the core gameplay, though, the minigames might the brightest star in your orchestral sky. An assortment of different situations actually task you to think a little with pattern recognition and even require hopping about your living room as you charge up musical solar panels or realign the displaced pieces of a voice synthesizer. These elements aren’t limited to outside the songs, either. Five different games called “Composition Spells,” which also play an integral part to Scout’s story, allow you to mix notes while in the middle of playing a song and add a track unique to that particular playthrough.

With the ability to record game clips, you can also upload your best or most original performances to the Music Evolved YouTube channel, providing an interesting social wrinkle to what, by nature, is probably one of the least social of Harmonix’s games to date. There’s a local multiplayer component to Music Evolved, but it’s only for two people, and it can be a bit hard to track whose cues are whose when various swipes, punches, and traces start filling the screen.

Fantasia: Music Evolved may not be the deepest game, but it’s definitely a memorable one. It blends Harmonix’s ability to utilize music in interesting, dynamic ways with Disney’s uncanny knack to make most anyone feel like a kid provides a fun—albeit short—romp that once again provides that rare good Kinect experience.

Developer: Harmonix • Publisher: Disney Interactive Studios • ESRB: E10+ – Everyone 10 and up • Release Date: 10.21.14
7.5
Waving your arms in front of your TV like you’re conducting some kind of cosmic orchestra is a surprising amount of fun, but the lack of content leaves the experience feeling a bit bare.
The Good Simple, fun gameplay; looking around Yen Sid’s workshop; Inon Zur’s original compositions.
The Bad Lack of songs on disc, repeat playthroughs required to unlock all songs/remixes.
The Ugly Harmonix is still the only developer who knows how to make a fun Kinect game.
Fantasia: Music Evolved is available on Xbox One and Xbox 360. Primary version reviewed was for Xbox One. Review code was provided by Harmonix for the benefit of this review.

Back in December I had the chance to attend the 2010 SpikeTV VGAs and work the red carpet. It was here that I got a chance to chat with the man behind the music for all of the God of War games, Gerard K. Marino.

Originally Published: November 13, 2010, on ClassicGameRoom.com

As a part of CGR Undertow, Derek Buck and I reviewed Guitar Hero: Smash Hits for the Nintendo Wii.

Kinect Launch: Dance Central Party

Originally Published: November 9, 2010, on Youtube.com/Rcars4885

I had the chance to attend the Kinect Launch party in Times Square and this is my footage from the massive Dance Central party that happened to help demonstrate the Kinect’s interactivity. Ne-yo, who lipsynched horribly, and Lady Soverign were on hand to help with the festivities since they have tracks featured on the game. Video edited by Taylor Tallscott.

Originally Published: August 21, 2010, on PlayerAffinity.com, Original-Gamer.com, NationalLampoon.com, SportsRev.TV, and Lundberg.me

I had a chance to catch up with our old friend John Drake from Harmonix to talk about Rock Band 3 and Kinect launch title Dance Central.

A Rock Band Breakdown

Originally Published: June 13, 2010, on PlayerAffinity.com

They are one of the most popular bands in the world and have been speaking to the youth of a generation for about 20 years now. Their music has even inspired a Broadway play. So it’s no wonder that the folks at Harmonix and MTV Games felt that Green Day deserved their own Rock Band video game. Unfortunately, all this latest edition into the Rock Band library shows is how soft Green Day has become over the years.

Starting off with the hit album Dookie that launched Green Day into the limelight, Green Day Rock Band features 47 songs that touches upon most of the group’s best hits as well as the near entireties of American Idiot and 21st Century Breakdown. The problem is that by putting on so many newer, and in my opinion, inferior songs, they left out almost the entirety of Insomniac, all of Shenanigans, and nearly all of Warning and Nimrod, all of which were far superior to the red-headed bastard child that was 21st Century Breakdown.

And you can tell the difference in the gameplay. I have the entire set of instruments for Rock Band and made sure to try my hand at them all as I moved through my paltry three-venue career mode. I slammed down on drums and ripped away at guitar and bass and finally screamed till my lungs bled on the microphone. That is until I hit the 21st Century Breakdown section of the game and realized just how much Green Day had sold out when none of the singles were in the game off that album, (they needed to be bought separately on top of $60 you’re already dropping) and how slow and monotonous the music was that I was playing compared to the Dookie days.

I will say that the diehards of the band will enjoy the unlockable videos and rare still shots for three and five-starring songs and challenges as you get to see Billie Joe, Tre, and Mike back in their traveling bookmobile days as they moved from venue to venue. Aside from this though there really isn’t a lot to keep you coming back for more unless you are a Green Day addict. Include the fact that 47 songs is costing you $60, and most of the songs you probably want aren’t even on the disc, and that means this is a reach in terms of a purchase.

The audio is great, as you would expect since it is a music game, and the songs sound like they’re supposed to. Although I have to say that it is hard to keep a beat when all of the swears have been edited out to keep this a T-rated game and none of the character of the band can come through because of this censorship. If anyone has even seen Green Day live, they know that Billie Joe, Mike, and Tre aren’t exactly angels in terms of their language and on-stage antics. The game may look like Green Day and the game may even sort of sound like them, but this game is everything that Green Day used to sing about rebelling against.

Obviously, there is no plot to shred apart because it’s all about playing the music. There is a lackluster career mode that takes you through three venues and three distinctive looks of Green Day over the years as you try to unlock all 47 songs, but aside from this, the game is a glorified track pack. Even with the inclusion of some Tre Cool drum challenges this game is not worth a $60 purchase.

With that said, I would still recommend this as a rental if you are a Green Day fan and especially if you have friends who are fans so this way you can rock out together (at least on Dookie). Otherwise, this is just a reminder of how much these once anti-establishment icons have sold out.

Originally Published: November 12, 2009, on Lundberg.me, Collider.com, and 1050ESPN.com (now ESPNNewYork.com)

It was an unusually warm day in November when I got word that there would be an advanced screening of Focus Features’ newest picture, Pirate Radio. In addition to the screening, I would get the chance to talk with Tom Sturridge, a bit of an acting newcomer who would serve as the film’s lynchpin, and the writer/director of the film, Richard Curtis.

Well, I grabbed The Who’s Greatest Hits album, aptly titled after one of their greatest singles, My Generation, jumped in my Chevy (would have been more fitting if it was a Mini Cooper, I know, but I drive what I drive) and sped away towards midtown Manhattan.

Being a bit of a Richard Curtis fan for his work as a writer on one of Britain’s most celebrated sitcoms ever, Black Adder, and for his directorial debut with Love, Actually, to say I was amped up would probably be an understatement. I had also wanted to desperately see this movie since I had heard of it because I usually enjoy time-period pieces about one of my favorite subjects, the history of TV and radio.

All I can say is that my anticipation did not turn to disappointment. Pirate Radio is a wonderfully done coming-of-age story about a young English boy named Carl (Tom Sturridge) whose mother has sent him to one of England’s notoriously famous pirate radio stations where his godfather (Bill Nighy) happens to be the man in charge.

Once aboard the floating piece of history, Carl becomes fast friends with many of the DJs who operate out of the waters surrounding England including an American man simply known as “The Count” (Phillip Seymour Hoffman) and another known as Dr. (he’s not a real doctor) Dave (Nick Frost). While there, Carl struggles with the many problems faced by a teenaged lad of the time from drugs, to women, to making friends, and all the while finding out who he is to the greatest rock soundtrack possibly ever put together.

The music is the true driving and uniting force of this movie. When I asked Tom how he got into the character of Carl he replied: “The thing that was really useful was just listening to the music. I think the easiest way to learn about what it’s like to be young in the 60s is to listen to its most eloquent, youthful poets sing about it. So, Rich, gave me an iPod before the film that had every piece of music from 1961-66 on it and I would just constantly listen to the music.” To hear more from Tom on Pirate Radio, you can
CLICK HERE
!

The music would also serve as the catalyst for much of the action in the movie as back on the shores of merry ol’ England, while Carl is busy finding himself, several members of the Parliament, spearheaded by Sir Alistair Dormandy (Kenneth Branagh) are trying whole heartedly to shut down the pirate radio stations and this would lead to the movie’s exciting climax that I refuse to spoil here.

When all is said and done, Pirate Radio is a fun to watch romp on the high-seas with a tremendous, star-studded cast, who all deliver fantastic performances. When I asked Richard Curtis how it was trying to direct all this talent at once he said, “I think you just have to tell people the truth at the beginning. All of them knew this was going to be a communal film. We shot it in a particular style with cameras on the cameramen’s shoulders so every scene anybody could be being shot at any moment. So it wasn’t one of those films where you said ‘well this is Phil’s half hour, and this is Nick’s half hour’, the camera just roamed around as we did the scene again and again and I think that meant that everybody joined up in the agreement that it was a democracy, a chaotic democracy.” To hear more from Richard on Pirate Radio, you can
CLICK HERE
!

The best part of this movie is that as absurd as it is at times, it is based off a time when England really did have radio stations based out at sea and that alone brings a smile to my face. I thought Tom Sturridge wasn’t the most likable of main characters, he seemed a bit too stiff and serious at times, but if you like British humor wrapped up in zany situations, then this should be a sure fire winner for you. Now crank up Baba O’ Riley and be sure to see Pirate Radio as it comes out nationwide Friday, November 13th, 2009.

I give Pirate Radio 4.5 out of 5.

Ray Carsillo

Originally Published: November 9, 2009, on Lundberg.me and 1050ESPN.com (now ESPNNewYork.com)

Since the video game revolution really started plowing forward back in the mid 80s, one of the most underrated aspects of the aspects has been the music. The 8 and 16-bit processors that the Nintendo, Super Nintendo, and Sega Genesis systems could produce were not much more than melodic beeps and pings made to sound like a catchy tune.

Of course, times have changed. Now, many of the best and brightest games have scores composed by full orchestras or big time, main-stream bands, but those original compositions still bring back childhood memories of simpler times to go along with our simpler games. The themes from Super Mario Bros., The Legend of Zelda, Mega Man, Sonic the Hedgehog, and Castlevania, are still lovingly talked about alongside the newcomers from Metal Gear Solid, Halo, and Kingdom Hearts.

The music from these games and the feelings of nostalgia they conjure up are only now starting to get the respect they deserve on a scale worthy of the sales of these monolithic franchises. In that vein, I present to you Video Games Live.

Video Games Live was founded back in 2002 by celebrated game composers Jack Wall and Tommy Tallarico and has been a tour de force ever since. With a full orchestra and choir in tow, Wall and Tallarico have put together a show that needs to be seen to be believed. Fortunately, I saw it about two weeks ago. With musical selections from over 20 video games played, and 40 more waiting in the wings ensuring that an audience will never see the same show twice, Wall and Tallarico mix in geek-based humor with a light show, scenes from the greatest games ever created, and musical acumen that rivals the best and brightest out there.

The show I went to at the Beacon Theatre was the most fun I’ve had in a long time. You had a costume contest for people dressed as video game characters, a Guitar Hero competition, and a random drawing for a Nintendo DSi. You had special messages from Hideo Kojima, the creator of the Metal Gear series, as he gave a special recorded greeting before the playing of the Metal Gear music, and Koji Kondo, the composer of the Mario Bros. and Legend of Zelda themes, give a special message as well.

There was a live Q & A with Ralph Baer, the man credited with inventing video games (he is also credited with inventing the light gun, the first video game system peripheral, and the popular kids’ game Simon in the 70s), over Skype and it was impressive to see this legendary inventor at the ripe age of 87 still smiling at how his invention has changed and influenced the lives of so many people across the world.

You had YouTube sensations, pianist Martin Leung and Laura “Flute Link” Intravia, come on and do what made them famous on the stage. Martin is best known for playing the Mario theme on piano blindfolded and Laura plays a stunning rendition of the Ocarina of Time music on flute, in full green tunic like the Hero of Time. Both would accompany the orchestra on several songs over the course of the night, usually to standing ovations (I nearly leapt out of my seat when Martin started playing the Super Mario World theme).

There was a request portion (where I nearly lost my voice screaming for the Mega Man theme and starting a Mega Man chant in my section of the Beacon Theatre; I was pleasantly surprised to find it was incorporated later into the show) where everything many fans called for was played and many were pleasantly surprised when Martin broke into the original Tetris theme, just because.

There were classics played from Mega Man and Chrono Trigger to more recent games like Halo and Shadow of the Colossus, but no matter if you were young or old, newbie or wily old veteran, there was something to make every geek and video game fan smile and laugh.

Video Games Live is now on their fourth world tour, and much like the game music they play, are just beginning to receive the respect and recognition they deserve. Playing to sold-out shows all over the world and constantly adding new and beloved video game music all the time (including the one I went to at the Beacon Theatre), Video Games Live is an ever-evolving entity much like the games off of which they are based. It is with the utmost praise that I recommend that every video game fan should see this show when they come to your town.

-Ray Carsillo

Breaking Down the Breakdown

Originally Published: June 1, 2009, on 1050ESPN.com (now ESPNNewYork.com)

I don’t cover a lot of music what with all the comics, video games, and movies that are constantly drawing my attention. But when Green Day releases their highly anticipated 8th studio album, 21st Century Breakdown, you have to give it the focus it’s due. Owning all seven of their previous studio albums, I also readily admit I have been a Green Day fan for a long time.

Much like their previous album, American Idiot, a rock opera in how it depicts the story of a fictional character dubbed “St. Jimmy”, 21st Century Breakdown does much of the same following the story of two star-crossed teens, Christian and Gloria. Whereas American Idiot was one continuous story with several marathon-like songs broken into multiple parts, this album is plainly broken down into three acts, each with a different theme that progresses the story of Christian and Gloria.

The fact that Green Day has evolved into this story-telling, rock opera producing machine has them drawing comparisons to legendary bands like The Who and has some misguided people thinking we’ll see a Green Day inspired play on Broadway soon.

I’m not here to argue that Green Day has solidified their place in the heart of American music, they did that long ago, I’m here to say that 21st Century Breakdown isn’t as good as people are making it out to be. It’s a good album, but if you didn’t tell me this was Green Day, I don’t know if I would have recognized them.

Some would say that they are simply evolving and that is the mark of a truly great band. I would argue that they already went through this metamorphosis with their last album, American Idiot. 21st Century Breakdown sounds forced and like a continuation of the same teen angst and social disorder themes that they bottled in American Idiot, but following different characters. If anything, there is devolution here for producing an inferior product to American Idiot.

Many are calling this their greatest album ever. From speaking with many other Green Day fans recently, when the conversation turned to a debate of Green Day’s greatest album, 21st Century Breakdown is nowhere in the picture. The debate has always and is still only between Dookie, Nimrod, and American Idiot.

The main reason for this has been that things are usually judged on your initial reaction. The initial reaction for many of us has been that 21st Century Breakdown was okay. Only after repeatedly listening to the album did it grow on us to even be considered amongst Green Day’s better albums, never mind the best of the best.

Even the singles off the album so far, 21 Guns and Know Your Enemy, although solid, are nowhere near as powerful as the first singles off previous albums. And you know Green Day has missed the mark when the singles are being used as beds for “Sportscenter Top 10” highlight reels. I don’t think Know Your Enemy is talking about the Yankees and Red Sox.

It’s great to finally see a new Green Day album, and I’m sure most people’s initial reaction has been so positive simply because Green Day fans have waited so long for a follow up to American Idiot. Unfortunately, when you really analyze the product, it isn’t anything new or special and shouldn’t be put at the same level as Dookie, Nimrod, or American Idiot; those are albums that marked true evolutions in the band while providing unforgettable hits. 21st Century Breakdown is a solid album that grows on you the more you listen to it, but in the end is nowhere near the level we’ve come to expect from Green Day.

A great test for an album is if you would give someone who has never heard of the band before that album to give them a solid representation of the band, their music, and what they are all about. 21st Century Breakdown is not one of those albums and should only be bought by true Green Day fans who can forgive the band for a sub-par product.

-Ray Carsillo

Musical Checkmate

Originally Published: December 4, 2008, on Collider.com and 1050ESPN.com (now ESPNNewYork.com)

Cadillac Records chronicles the rise of Chess Records and its recording artists. It’s a feverish tale of race, sex, violence, and rock ‘n’ roll in Chicago of the 1950s and 60s as it follows the exciting, but turbulent, lives of some of America’s great musical legends.

The story centers around how the blues became popular and would pave the way for what would be rock ‘n’ roll and opens up on Chicago of 1947 where an ambitious young Polish immigrant bar owner, Leonard Chess (Academy Award Winner, Adrian Brody), hires a talented, but undisciplined, blues combo led by guitarist Muddy Waters (Jeffrey Wright) and harmonica player Little Walter (Columbus Short).

Chess arranges a recording session for Waters and when his early recordings start rocketing up the R and B charts, Chess Records is born.
As time goes on, Chess treats his musicians like family, buying each one a brand new Cadillac when they record their first hit (hence the name of the movie), but the line between professional and personal matters becomes blurred on many an occasion.

Finally, in 1955, one of Chess’s artists crosses over into mainstream America, a skinny guy from St. Louis with a funny “duck walk” named Chuck Berry (Mos Def). Berry’s catchy, country-tinged tunes mark the birth of rock ‘n’ roll. When Berry is arrested at the height of his career, however, Chess has to find someone else to bridge the cross over gap.

Enter Etta James (Beyonce Knowles), an emotionally scarred young woman whose vulnerability tempts Chess’s loyalty and concern in unexpected ways.

As rock ‘n’ roll grows more popular, the Chess artists find that booze, women, and the high life have taken their toll and as tragedy looms, Leonard Chess leaves the music business finally in the late 60s. The blues and rock ‘n’ roll would live on though, having forever changed the landscape of American music.

Now that you know what you’ll be getting yourself into for 1 hour and 48 minutes, let me tell you why you should see this movie.

This story accurately chronicles the roots of one of the strongest aspects of our culture: the music. It tells a story that has needed telling for a long time, since most people do not know the details about the origin of our modern music and the suffering that many people went through to refine some of these great sounds.

This movie gives you the highs and the lows that you would expect from any good drama and they’re woven beautifully in-between some classic songs that will have your foot tapping in the theatre.

Along with great music, you get great acting from this movie. Nearly all songs played in the movie were played by the actors themselves, there was no lip synching going on here. And since most characters were forced onto an emotional roller coaster, you really got to see the range of many of these actors.

“It was daunting. You wanted to have the fresh, green Walter to going to where he went really dark. That’s why it was a challenge, but that’s why I wanted to do it. It was going to challenge me and Hollywood’s perception of me,” said Columbus Short at the NYC premiere when asked why he took the role considering the range of Walter’s life he was portraying in the film.

The struggles for many of these artists was not just making a living through music, but also trying to be accepted in the segregated America of the 1950s and 60s and the trials that came with that. Not only trying to find acceptance within their own communities, but with white America was a struggle on many different levels.

“When you see him singing, you see him alive and well and the performance side is who these man really are, but you have to survive and you’re surviving segregation and heavy racism and it was a poor time. The blues is what helped them get through it. If they weren’t singing, they’d be in the fields picking cotton in the hot baking sun. That was their everyday life. And that’s what this film does on multiple layers. It gives you the music, the time, the good feeling you get from that music because sometimes they would be drinking and it would come out as happy music and sometimes it would be deeply painful and you would hear the pain in it. This music influenced Elvis Presley, the Beatles, the Who, and in the end these men have to come back and pay homage and half the riffs you hear in this film, you do a double take and go ‘oh my god, that is where that came from?’ and some of them didn’t even try to hide it when they took it, they just took it,” commented Eamonn Walker, who plays Howlin’ Wolf in the film, on the struggles the Chess Records artists went through.

There was a lot of stir around this movie as well not only for the touchy subject matter this movie deals with, but also because Hollywood loves making a stink whenever someone gains or loses weight for a role. Beyonce had to put on 20 pounds to play the legendary Etta James and I promise you she still looks amazing in the movie and, of course, she had no problem pulling off the singing. The real question would come with having to play such a troubled character on screen. I can tell you, she made it seem like it was second nature.

“I had to think about things that really meant something to me. I had to think of things that were painful and emotional and it was difficult because I would go home with swollen eyes and a big attitude every night, but it definitely paid off,” said Beyonce about her inspiration.

The only problem with this movie I had was that there were so many different characters that I felt you never followed one long enough to really develop the relationship you need to have as a viewer to care about the characters. Most of these people wore their hearts on their sleeves, but you never really see where they get the shirt from.

Now, in the movie’s defense, to chronicle the 20 year history of one of the most influential music companies in history, you would expect to see a lot of different characters and shifting personalities. To remedy the lack of being able to develop the characters then, they should have stressed the greatest character of all, the company itself. To have some of the most influential musicians of the 20th century all congregate at one point or another under this one roof is remarkable and not nearly emphasized enough in this movie for my liking and because there never is a single character fleshed out to the point that you feel strongly for them, the movie leaves a little something more to be desired when all is said and done.

However, when the credits are rolling, this is a solid movie. It portrays everyone involved with the dignity and class they deserve while still remaining true to the story that was Chess Records and the birth of rock ‘n’ roll during one of the ugliest times in American history. Everyone involved gives amazing performances and the music makes you want to run out and buy the soundtrack immediately. Anyone who has heard any rock ‘n’ roll from the past 40 years should see this movie, especially if they do not know where it all started. Look for Cadillac Records in theatres nationwide on Friday, December 5th. Cadillac Records gets: 4 out of 5.

-Ray Carsillo