Monday, June 28, 2010

Quick 'N Dirty Review: She & Him | Volume Two

Before we start, here's a quick look at the rating system that we use here at The Dirtywhirl:

100 - Classic Album; One Of The Best Of All Time
99-90 - Exceptional Work; Rush Out And Get This
89-80 - Very, Very Good; You Should Still Go Out And Get This
79-70 - Not Bad At All; Might Actually Be Worth Your Time
69-60 - Has Its Moments But On The Whole... Meh
59-50 - Won't Make Your Ears Bleed; Won't Make You Dance, Either
49-0 - Don't Waste Your Time; You're Smarter Than This (Probably) 


Now... onto the review:

She & Him | Volume Two

There’s no denying that we’re in a bad spot right now. The BP mess. The economy still lagging. The dog days of summer rearing their ugly heads. In the midst of all of this, a respite to brighten the mood would be welcomed with open arms. Music, for one, can serve that purpose better than most. The term “feel good record” gets thrown out a lot but in many ways that’s exactly what She & Him’s second collection, Volume Two, is. It’s music that brightens the mood as it spins and in the summer of 2010 there’s absolutely nothing wrong with that. The movie career of singer Zooey Deschanel (the She) has been picking up following 2009’s breakout indie hit (500) Days Of Summer so you couldn’t help but wonder if, after their debut record, She & Him might fall by the wayside so it’s an encouraging sign that Volume Two shows up on shelves a scant two years after their debut and at the perfect time to boot. In a lot of ways there isn’t much deviation from Volume One but when the decision to title the record Volume Two is made that’s probably to be expected. With any other band it might be fair worry that they’re repeating themselves because the sound is so similar to their first record but no one really sounds like She & Him right now. A throwback to the Brill Building sound of “Don’t Look Back.” The surf-style guitars and imagery of the cover of NRBQ’s “Ridin’ In My Car.” The honky-tonk of “Lingering Still.” Deschanel and M. Ward (the Him) are classicists who know what they’re doing and they do it well. Ward’s arrangements are exceptional as usual and Deschanel has a uniquely gorgeous voice that’s not given nearly enough credit. It’s a winning combination that worked on Volume One and is employed with great success here as well. “Thieves” makes for a beautifully longing opener as Deschanel laments, “And I know/ And you know too/ That love like ours is terrible news/ But that won’t stop me crying over you,” while their 50’s pop sound envelops the catchy chorus of “Over It Over Again,” the lightness and carefree nature of “Me And You,” and the jaunty first single “In The Sun.” “In The Sun,” perhaps more than any other track that She & Him have put to tape is the perfect example of what this band really is. Breezy and fun, it was a very strong initial statement from Volume Two and it speaks very well to the magic that the Deschanel/Ward combination is capable of. True, the band can sound as precious at times as its name would signify but, again, they’re so enjoyable that it doesn’t matter. Surely it sounds trivial to some to suggest that in the face of a horrific oil spill or bills piling so high that you can hardly breathe that music can play such a significant therapeutic part, but it’s true. It’s a powerful medium and lest anyone doubt that, we’ll let Deschanel have the last word via “Sing”: “Open your arms and sing/ The world’s been waiting, it’s been waiting for years/ And they’ve just gotta hear it/ The kids are waiting, they’ve been shedding tears/ So open your arms and sing/ For us.”

Standout Tracks: "In The Sun;" "Thieves;" "Over It Over Again;" "Don't Look Back;" "Me And You"

Dirty Rating: 89/100

Thursday, June 24, 2010

The Dirtywhirl Tips Its Cap To... Breaking Bad

I watch a lot of television (some would possibly replace the words "a lot" with "an obscene amount" and they wouldn't be wrong) so it's no small measure of praise for me to say that Breaking Bad just finished one of the all-time great seasons that a television show has ever had. AMC's original drama slate right now consists of Mad Men and Breaking Bad (with a few more in the pipeline) and while Mad Men deservedly gets an immense amount of critical acclaim and Emmy love for being artfully executed, Breaking Bad just crushed any season of Mad Men hands down with its own third season. A series that once seemed very closed in due to its premise of a high school chemistry teacher who turns to cooking meth in order to provide a nest egg for his family after he's diagnosed with terminal lung cancer has opened up into an even darker examination of the toll that the drug trade takes on a man's choices, soul, and psyche. Each of its three seasons has topped the previous one with season three being far and beyond anything the series has done to date. There are no less than four or five jaw-dropping moments throughout the course of its 13 episodes, one moment in particular that had me just saying, "Wow!" over and over to Mrs. Dirtywhirl over the course of a five to ten minute span. We're keeping this as spoiler-free as possible for the uninitiated because the shocks are part of the enjoyment of watching Breaking Bad (along with the expertise of its acting and writing) but believe me when I say that there is no wasted member of its ensemble cast. Bryan Cranston is every bit deserving of his two (and soon to be three) Emmys for his portrayal of Walter White, a man becoming addicted to the power provided by a world that he had no intentions of living in, but this season saw both Aaron Paul (as White's partner and former chemistry student Jesse Pinkman) and Dean Norris (as White's DEA agent brother-in-law who's unaware that the elusive "Heisenberg" drug dealer that he's been tracking is actually family) step up to the plate and absolutely nail the material they were given. Come December, I'd be very, very surprised if any show has a stronger season than this. It really isn't often that a year like this one comes along for a single series so if you're a fan of quality television at all, you owe it to yourself to check Breaking Bad out.

Wednesday, June 23, 2010

Quick 'N Dirty Review: Johnny Cash | American VI: Ain't No Grave

Before we start, here's a quick look at the rating system that we use here at The Dirtywhirl:

100 - Classic Album; One Of The Best Of All Time
99-90 - Exceptional Work; Rush Out And Get This
89-80 - Very, Very Good; You Should Still Go Out And Get This
79-70 - Not Bad At All; Might Actually Be Worth Your Time
69-60 - Has Its Moments But On The Whole... Meh
59-50 - Won't Make Your Ears Bleed; Won't Make You Dance, Either
49-0 - Don't Waste Your Time; You're Smarter Than This (Probably) 


Now... onto the review:

Johnny Cash | American VI: Ain't No Grave

As a music fan, it feels somewhat blasphemous to bash a Johnny Cash record but I think that’s what I’m about to do. The first (and hopefully last) posthumous Cash release, American VI: Ain’t No Grave, is the sixth (and hopefully last – I’m stressing this, in case it wasn’t already painfully obvious) volume in his series for Rick Rubin’s American Recordings label and the blame for this record’s existence rests squarely on Rubin’s beard… er, shoulders. Seemingly trying to turn the Man In Black into country’s answer to Tupac is offensive on many levels as American VI: Ain’t No Grave has the stink of cash grab all over it. Since the majority of the record was recorded during the American V sessions it quickly becomes clear why they weren’t included on that set: they’re just not that good. Sure, there are moments when you remember that you’re listening to Johnny Cash for all that entails. Take “Ain’t No Grave” for example. The track may be one of the only songs on the record that deserved to see the light of day. Pairing Cash’s ragged voice with Rubin’s production that employs a dragging chain sound effect creates the feeling that Cash is a specter singing from beyond the grave, “When I hear that trumpet sound/ I’m gonna rise right out of the ground/ Ain’t no grave/ Can hold my body down.” This is a bleak, death obsessed record as “Redemption Day” and “Can’t Help But Wonder Where I’m Bound” flirt with poignancy but there are just too many songs here that feel unfinished which seems to justify the theory that this is work that should not have been released. In some ways, it feels like you’re peering in on a part of Cash’s life that’s off limits and that you’ve been sullied because of it. And, honestly, the way that Rubin structures the album (good track/bad track/good track/bad track) implies that HE knows the record isn’t that good either. The American Recordings series has been a powerful final chapter of Cash’s legendary discography, but American VI: Ain’t No Grave was unnecessary. Cash is an icon – no question – which is why it’s sad that this record could end up as the postscript to an otherwise brilliant career.

Standout Track: "Ain't No Grave"

Monday, June 21, 2010

Quick 'N Dirty Review: Surfer Blood | Astro Coast

Before we start, here's a quick look at the rating system that we use here at The Dirtywhirl:

100 - Classic Album; One Of The Best Of All Time
99-90 - Exceptional Work; Rush Out And Get This
89-80 - Very, Very Good; You Should Still Go Out And Get This
79-70 - Not Bad At All; Might Actually Be Worth Your Time
69-60 - Has Its Moments But On The Whole... Meh
59-50 - Won't Make Your Ears Bleed; Won't Make You Dance, Either
49-0 - Don't Waste Your Time; You're Smarter Than This (Probably) 


Now... onto the review:

Surfer Blood | Astro Coast

Silly band name aside (although one that does befit their beach-ready sound), West Palm Beach, Florida’s Surfer Blood has delivered one of the year’s best debuts thus far with Astro Coast. Innovative? No. Deep? No. Astro Coast is nothing more than a strong example of no frills, workmanlike indie rock that makes for a very enjoyable listen. As many successful debut albums do, Astro Coast serves as a blueprint of sorts for where Surfer Blood could guide their career after some honing and polishing of their sound, a sound that draws from a variety of influences. As a part of the current Afropop fad (see Vampire Weekend and Local Natives), they’re probably the rawest of those acts but one that incorporates the Afropop influences with the most success, particularly on the bouncy “Take It Easy.” They also pull liberally from 90s indie (particularly Pavement) on “Anchorage” and on the album’s best track, “Floating Vibes,” which could be the jam of the summer in some parallel universe where good music actually ruled that part of the calendar. It’s easy to picture “Floating Vibes” pouring out of a car with the windows down in June thanks to its beachcomber guitar vibe and singer John Paul Pitts singing, “When you told me you were leaving/ I wasn’t thirsty for revenge/ No, I wasn’t disappointed much at all/ ‘Cause you’ll be back again.” There’s also a hint of EVOL-era Sonic Youth crossed with The Police on another standout, the dark “Harmonix.” Will some other band put out a stronger first effort than Surfer Blood by the time December rolls around? Possibly, but that would do nothing to diminish the promise displayed by the band on Astro Coast.

Standout Tracks: "Floating Vibes;" "Harmonix;" "Slow Jabroni;" "Swim"

Dirty Rating: 83/100

Thursday, June 17, 2010

Record We Love Right Now: Band Of Horses | Infinite Arms

We’ve heard the “Bland Of Horses” tag online and you know what? Shove it. Band Of Horses is one of the best acts to surface in the past five years. If gorgeous pastoral rock isn’t your thing, we get it. You’re missing out, but we get it. Doesn’t make this band any less talented. We’re kind of taken aback that their third record, Infinite Arms, has gotten such middling reviews because, from where we sit, it represents an expansion of their heretofore well-received sound. Admittedly, it’s a little dad-rockish at times but that doesn’t detract from Band Of Horses taking the winning combo of singer/guitarist Ben Bridwell’s golden voice plus waves of reverb (that resulted in no small measure of critical praise on both of their previous records) and opening it up even more so than in the past. Alternately relaxing and adrenaline pumping, Infinite Arms stands toe to toe with the band’s best work. Haters gonna hate, but this is one of 2010’s best records halfway through the year.

Tuesday, June 15, 2010

Quick 'N Dirty Review: Yeasayer | Odd Blood

100 - Classic Album; One Of The Best Of All Time
99-90 - Exceptional Work; Rush Out And Get This
89-80 - Very, Very Good; You Should Still Go Out And Get This
79-70 - Not Bad At All; Might Actually Be Worth Your Time
69-60 - Has Its Moments But On The Whole... Meh
59-50 - Won't Make Your Ears Bleed; Won't Make You Dance, Either
49-0 - Don't Waste Your Time; You're Smarter Than This (Probably) 


Now... onto the review:

Yeasayer | Odd Blood

Statements. They often come when you least expect them. Yeasayer was on our radar somewhat after their 2007 debut, All Hour Cymbals, was released but it wasn’t until their brilliant “Tightrope” was included on last year’s Dark Was The Night benefit album that they demanded our attention. Owning perhaps the standout track on that compilation (amongst such luminaries including Iron & Wine, Spoon, Bon Iver, Arcade Fire, Grizzly Bear, and The National) but was no easy feat but “Tightrope” was just that – THE standout. Logically the news that they were at work on a new full-length was welcomed with open arms and high expectations. The resulting record, Odd Blood, delivers immeasurably. It is infectious in a way that no other album this year has been. Imagine a more accessible Animal Collective with a dash of the day-glo sound of Oracular Spectacular-era MGMT and you’ll have a pretty close approximation of how Odd Blood plays. After the anachronistic and Animal Collective-recalling “The Children” opens the record, Yeasayer unleashes a sequence of tracks that rivals the exemplary opening quartet from Beach House’s extraordinary Teen Dream. “Ambling Alp,” the record’s teaser single, was released in late 2009 with its accompanying very NSFW video (available in censored form here), is the first song in the run, and is one of the band’s strongest tracks to date. In the hands of a lesser act the lyrics like, “And if anyone should cheat you, take advantage of, or beat you/ Raise your hands and wear your wounds with pride” over top of bottoming-out synthesizers could feel too sticky and messagey, but it never does here which is a testament to Yeasayer’s talent. Co-vocalist/guitarist Anand Wilder’s “Madder Red” is next and accomplishes Wilder’s goal of creating a John Lennon “Jealous Guy” vibe as his confession, “Never gave much thought to an honorable living/ Always had sense enough to lie/ It’s getting harder to keep pretending/ I’m worth your time” accompanied by a wordless hook that takes up residence in your head and refuses to leave. The closest thing to a love song that Yeasayer will probably ever attempt, “I Remember,” follows and has already been described facetiously by Keating as “the four and a half minute long mixtape love ballad of 2010.” If any track is going to cross over to a mainstream audience, this is it. Like “Ambling Alp,” the beautiful “I Remember” is another track that could have gotten lost in its own sentiment in less talented hands. Closing out the stretch is the bombastic “O.N.E.,” which sees Wilder leading a track that’s closest in tone to MGMT and holy shit – if I could or was inclined to dance, this track would do it. It’s contagious like some kind of fun virus (if fun viruses actually existed) with its underground 80s feel, topped off by Keating’s coda, “If you please stop feeling, tranquilize/ I know the separation kills the soul/ But I won’t stop falling like raindrops/ Because I like it when you lose control.” All four of these tracks have top-20 of the year potential and represent an astonishing leap forward for Yeasayer. The back end of the album is not without its charm (“Mondegreen” and “Grizelda” in particular), but this is without question a front-loaded record, which isn’t at all a bad thing when the first half is this good. Yeasayer in many ways feels like a band who’s finding their way and beginning to hit their stride and when they hit… damn do they ever HIT.

Standout Tracks: "O.N.E.;" "I Remember;" "Ambling Alp;" "Madder Red"

Dirty Rating: 95/100

Sunday, June 13, 2010

Weekend News Dump


It's the Weekend News Dump. Because it's the weekend. And we're dumping news. The Weekend News Dump.
  • The deluxe reissue of The Cure's Disintegration (AKA The Greatest Album Of All Time) was released this past Tuesday and is an incredible package for anyone who has even a passing interest in great music. The set consists of a remastered version of the album itself, a disc of home/studio demos and rarities, and a third disc of the album performed in its entirety at Wembley Stadium in 1989. The rarities disc is the hidden gem as it's fascinating to hear tracks like "Pictures Of You" and "Prayers For Rain" go from Robert Smith solo instrumental home demos to instrumental studio tracks by the whole band to rough drafts with vocals and then finally to the classic versions on the record itself. Apparently, Pitchfork agrees. Seriously -- go buy this right now.
  • Friday Night Lights has long been one of the most underappreciated series on television. Sure, it has a small but rabidly loyal following but the series itself has never been recognized by the industry during awards season. Its fans are trying to rectify that injustice by starting a grassroots movement to get Zach Gilford, who plays mild-mannered Matt Saracen on the series, an Emmy nomination for his work on last week's episode, "The Son" where Saracen deals with the death of his father who's killed in combat in the Middle East. Gilford has always been great in the series but he took it to another level in "The Son" as his performance was one of the most powerfully human and affecting that we've seen in years. It's not possible for us to love Friday Night Lights more than we already do and it's performances like Gilford's that are the reason. See for yourself. Watch the episode on Hulu. We promise you that you won't be disappointed.
  • AMC is without question doing some incredible work right now. Their original series slate consists of two-time Emmy winner for Best Drama, Mad Men, and what's been quite frankly the best thing on TV in 2010, Breaking Bad (and more on that later this week) so we're granting a ton of rope to their two new series, Rubicon and Walking Dead. Rubicon is a conspiracy thriller that's getting a special airing after tonight's Breaking Bad finale before settling into its Sundays at 8 slot on August 1. It stars James Badge Dale (fresh from his impressive stint on HBO's excellent miniseries, The Pacific) as a think tank analyst who believes he's uncovered a worldwide conspiracy perpetrated by his employers. The trailer is here. Walking Dead is an adaptation of the Image Comics series about a zombie apocalypse that's being helmed by Frank Darabont (The Shawshank Redemption, The Green Mile). Production photos have started leaking and, damn... this could be good.
  • Despite the fact that our Philadelphia Flyers came up short against the Chicago Blackhawks in the 2010 Stanley Cup Finals this year's edition was the most watched NHL final round in 13 years and Wednesday night's clincher was the most watched single game in 36 years, drawing 8.3 million viewers. Hey, Gary Bettman... now that we've proven that we can draw an audience can we get some of that Pittsburgh Penguins special treatment, please? Thanks.

Monday, June 7, 2010

Quick 'N Dirty Review: Free Energy | Stuck On Nothing

Before we start, here's a quick look at the rating system that we use here at The Dirtywhirl:

100 - Classic Album; One Of The Best Of All Time
99-90 - Exceptional Work; Rush Out And Get This
89-80 - Very, Very Good; You Should Still Go Out And Get This
79-70 - Not Bad At All; Might Actually Be Worth Your Time
69-60 - Has Its Moments But On The Whole... Meh
59-50 - Won't Make Your Ears Bleed; Won't Make You Dance, Either
49-0 - Don't Waste Your Time; You're Smarter Than This (Probably)
 

Now... onto the review:

Free Energy | Stuck On Nothing

There’s a fine line between revival and mimicry. Fall on the wrong side of that line and you can end up sounding like… Jet (shudder). Fortunately, Free Energy (from Philly – represent) seems to stay on the right side of that line with their debut long player, Stuck On Nothing. Stuck On Nothing is the type of record that’s completely made for summer 2010, or even summer 1981. If people still drove Trans Ams and pimped them out with killer hi-fi systems, this record is what would be blaring from the speakers. It’s one of the more anachronistic records of the year (sounding like it’s permanently fixated in the late ‘70’s/early ‘80’s) but it wears that era well. It’s because of this love of the past that it becomes readily apparent that Free Energy likes to wear their favorite bands on their sleeves in fairly obvious fashion as the record plays like a pastiche of disparate influences, ranging from Cheap Trick (“Free Energy”) to T. Rex (the guitar intro and teenage anthemics of “Dream City”) to Rush (the intro to “All I Know”) to Thin Lizzy (“Bad Stuff”) to Bruce Springsteen (“Young Hearts”), but maybe that isn’t too surprising considering that Free Energy is signed to DFA Records and Stuck On Nothing was produced by noted record geek James Murphy (LCD Soundsystem). Their namesake track kicks off the record and announces the band’s classic rock bonafides right away, while “Bang Pop” is the clear choice for a breakout single (if there is to be one) with its stupidly catchy chorus, “Bang bang pop pop/ When does the searchin’ stop/ Bang bang pop pop/ When the mind goes.” Vocalist Paul Sprangers has a slight Billy Corgan circa-“1979”-era Smashing Pumpkins quality to his voice but the rest of the band is not without its chops. “Light Love” features some interesting guitar work as it leads into the more than capable midtempo rocker, “Hope Child.” At times, like many young bands, Free Energy tends to overextend themselves. Stuck On Nothing does tail off noticeably in its second half and the overreaching is apparent, particularly on “Dark Trance,” a very average track that’s too reliant on its memorable hook, or on “Bad Stuff” which is too overt in its love for “The Boys Are Back In Town” before devolving into a mess of a spoken word outro. Still, if Free Energy can somehow build on solid tracks like “Free Energy,” “Bang Pop,” and “Hope Child” they could have a chance to stick around for a while because there are really few bands today that are rocking this kind of sound. If not, they could end up in the novelty bin fairly quickly.

Standout Tracks: "Bang Pop;" "Free Energy;" "Hope Child"

Dirty Rating: 76/100


Friday, June 4, 2010

Friday News Dump



It's the Friday News Dump. Because we're dumping news. And it's Friday. The Friday News Dump.

Wednesday, June 2, 2010

Quick 'N Dirty Review: Drive-By Truckers | The Big To-Do

Before we start, here's a quick look at the rating system that we use here at The Dirtywhirl:

100 - Classic Album; One Of The Best Of All Time
99-90 - Exceptional Work; Rush Out And Get This
89-80 - Very, Very Good; You Should Still Go Out And Get This
79-70 - Not Bad At All; Might Actually Be Worth Your Time
69-60 - Has Its Moments But On The Whole... Meh
59-50 - Won't Make Your Ears Bleed; Won't Make You Dance, Either
49-0 - Don't Waste Your Time; You're Smarter Than This (Probably)
 

Now... onto the review:

Drive-By Truckers | The Big To-Do

Something strikes me as I listen to the Drive-By Truckers' latest, The Big To-Do. Everyone likes to focus on how the Athens, GA-based DBTs are the standard bearers for Southern rock, carrying the lighter for bands like Lynyrd Skynyrd and The Allman Brothers Band. While this is true to a point, in their latest incarnation they have much more in common with a less obvious band. When you really look at them, they're like a Dixie New Pornographers. Stay with me here. Patterson Hood is the AC Newman of the band - the de facto leader of the group who's also its most prevalent voice. Mike Cooley is the Dan Bejar - the one that the critics fawn over for some inexplicable reason who is actually, well, shit. And Shonna Tucker (who nabbed vocal and songwriting duties following the departure in 2007 of her ex-husband, Jason Isbell) is the Neko Case - the world-wearied yet strong female voice amongst the boys. Comparison aside, The Big To-Do is a welcome return to form after the overstuffed and overhyped Brighter Than Creation's Dark but that being said is really no more than journeyman Southern rock, much like the New Pornographer's brand of journeyman indie rock. Nothing more, nothing less. As with any band that employs multiple vocalists you generally tend to prefer one voice over the others. Personally, Patterson Hood's songs are always much stronger to me and, at least early on, the ratio seems to be tilted in his favor. The hard rocking opener, "Daddy Learned To Fly" leads into "The Fourth Night Of My Drinking," which is like "The Twelve Days Of Christmas" except with booze and lament replacing leaping lords and golden rings. In fact, Hood gets five of the first seven tracks, ceding ground only to Cooley's maudlin "Birthday Boy" and Tucker's sublimely moving "You Got Another," which (in hearkening back to the New Pornographers parallel) would have fit seamlessly on Case's Middle Cyclone last year. In fact, "You Got Another" and "It's Gonna Be (I Told You So)," Tucker's two contributions to the album, serve as notice that Tucker is growing into her own as a songwriter and that the DBTs would be wise to grant her more real estate on future records. The Big To-Do is also home to the usual Drive-By Trucker character studies of regretful drinkers ("The Fourth Night Of My Drinking"), world-weary strippers ("Birthday Boy"), kidnappers ("The Wig He Made Her Wear"), and fed up populists ("This Fucking Job"), but is done in a much leaner and economical fashion than on previous records. In a lot of ways, The Big To-Do really is a New Pornographers record in DBT clothing - one where the highlights are present, but where the multiple vocalist approach does lead to more than a few missteps (albeit one that's also a small step in the right direction).

Standout Tracks: "You Got Another;" "Daddy Learned To Fly;" "It's Gonna Be (I Told You So);" "This Fucking Job"

Dirty Rating: 67/100

Tuesday, June 1, 2010

Upfronts Analysis | Sunday Nights

For true TV nerds, upfront week (the week that the major television networks present their fall schedules to advertisers) is one of the best weeks of the year because we get a look at all of the presents that are going to be under our proverbial TV trees come September. Here, then, we continue a night-by-night analysis of new offerings as well as of old favorites being shifted into new slots.

Note: Click through the hyperlinks for trailers on YouTube for each new show.

Sundays
Most Promising Newcomer
Bob's Burgers (Fox, 8:30)We’re going totally on spec with this pick because there are literally no clips to be found for Fox’s midseason animated comedy, Bob’s Burgers. All we know is that the voice cast is a veritable alt-comedy dream team with H. Jon Benjamin (Archer) in the title role and Eugene Mirman (Flight Of The Conchords, Aqua Teen Hunger Force) and Kristen Schaal (Flight Of The Conchords) also showing up in regular roles. Fox has also scheduled the show (which again will begin in 2011) between its animated stalwarts The Simpsons and Family Guy. This really could be good -- we'd just really like to see something to justify that belief. Honestly, though, we’re probably most excited for HBO’s Boardwalk Empire. Click on that link back there and you’ll see why.

Strangest Move
CBS moves CSI: Miami into its Sunday death slotWe’ve said in past posts in this series that CBS made by far the boldest moves of any network during upfront week but this one has us scratching our heads. Not that we’re fans of CSI: Miami by any stretch (although we do appreciate the David Caruso Internet cartoon meme) but it was routinely Monday night’s highest rated scripted drama and CBS has now shifted the show (itself a Jerry Bruckheimer produced drama) to the slot where Bruckheimer procedurals go to die (see Without A Trace and Cold Case). Maybe CBS is just trying to competitively program this spot or maybe they’re just getting tired of the CSI franchise (CSI: NY was itself banished to Friday nights). Either way, this is an odd move but one that could pay off if the reboot of Hawaii Five-O is able to become a breakout hit in CSI: Miami’s old Monday home.

Hour By Hour
7:00Football, newsmagazines, and family garbage run this hour. Fox has football overruns and its recap show, The OT while NBC counters with its incredibly overstuffed Football Night In America hybrid recap/preview show. Fox basically concedes the hour post-football season with repeats of The Simpsons and the putrid American Dad. CBS’s institution, 60 Minutes, competes (after football season ends) with its NBC knockoff, Dateline NBC, while ABC offers up crotch shots galore on the eleventy second season of America’s Funniest Home Videos.

8:00We’re watching football here but indulge us in a rant about NBC’s coverage on Sunday Night Football. Despite what anyone tries to tell you, Al Michaels is one of the worst play-by-play men on TV. I swear to God, if I have to hear him describe one more call as “dubious,” or listen to him tell us what college a player went to after they refer to it with some colloquialism, or endure one more dated reference (“Manning went down faster than Elizabeth Taylor on Richard Burton while they were shooting Cleopatra! I’m old.”) I’m going to effing snap. That and the incompetent producers from ABC’s incarnation of Monday Night Football get the opportunity to run this broadcast into the ground with their ham-handed Sprint product placement, reliance on a well-past-her-prime Faith Hill to sing the open, and narcissistic insistence on pimping their own names in the opening … it’s a testament to how much we love football that we put up with this garbage week after week. OK… rant over. The rest of this hour more or less amounts to a choice between Fox’s animation (the actually frequently still decent The Simpsons and the forgettable The Cleveland Show with Bob’s Burgers on the way in 2011) and reality show crap (ABC’s Extreme Makeover: Home Edition, CBS’s The Amazing Race, and NBC’s post-football Minute To Win It).

9:00This night really blows. Yet another worthless hour. ABC has Desperate Housewives which we gave up on during year two, CBS has another faceless reality show called Undercover Boss, NBC still keeps trotting The Apprentice out there (post-football) for some inexplicable reason, and Fox has the overrated Seth MacFarlane hour with Family Guy and American Dad/The Cleveland Show. There are no winners here.

10:00Let’s get this preview over with because Sunday nights really aren’t worth our time. The Apprentice bleeds into this hour for NBC while CBS has inexplicably moved longtime hit CSI: Miami into this slot as we already discussed. ABC’s entry is the now unwatchable Brothers And Sisters. We’re gonna say it – Sunday night, once a final respite before the work week began, has become THE worst night of TV for the week.

What We're Watching/TiVoing
Sunday Night Football
The Simpsons
Bob's Burgers (2011)