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stampemporium (5172)- Feedback left by buyer.
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Good buyer, prompt payment, valued customer, Thank you, StampEmporium
stampemporium (5172)- Feedback left by buyer.
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Good buyer, prompt payment, valued customer, Thank you, StampEmporium
natby_51 (155)- Feedback left by buyer.
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❌️AVOID THIS BUYER: claimed I was fraudulent and applied for a claim with Ebay for a refund, even though all information about the condition of the product was clearly stated in the item description.
enviromedia (230004)- Feedback left by buyer.
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Good buyer, prompt payment, valued customer, highly recommended. -EnviroMedia
homeshopa (77519)- Feedback left by buyer.
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Good buyer, prompt payment, valued customer. Thank you from Homeshopa.
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Second-Hand Ltd. :-) Great communication :-) Second-Hand Ltd.
Reviews (14)
04 August 2008
Less "instant karma" and more "karma coma".
1 of 1 found this helpful My Name is Earl - series 1 - exploded onto British TV screens with a welcome mix of originality, excellent humour and great acting from all.
Series 2 - not so great. Yes, it's still funny and the cast (which, thankfully, remains unchanged) are still as good as ever. Further amusing karma-catastrophes and hilarious situations abound.
But there's something missing. like with many US TV shows, they suffer from "corporate" disease - sequels often come out worse, I suspect greedy TV companies forcing writers to write at the speed their shareholders want, rather than at a speed they are comfortable with. I guess that's why so many TV shows limp on to such tragically awful ends as well - if they were cows I reckon you'd say they'd been milked to death.
Whilst My Name is Earl series 2 is not quite that bad - yet - it still seems formulaic and the same as the first. The problem there is that season 1 was fresh and new, whereas, by virtue of being a sequel, season two is not. It needs something new, vibrant, exciting to keep it alive and, quite frankly, adding a bit more of a continuing "story" is not the answer.
I have yet to watch series 3 but, if it carries on in this vein, I suspect it'll be the last I watch sadly.
On the other hand, if you are a true MNIE fan and disagree with my review, then you will be happy with the box set. Similar to the series 1 box set, the layout is similar, with plenty of added extras and commentary, although sadly nothing to rival the series one "lost episode".
All in all it's ok, not bad - hardly glowing, but then neither is series 2.
21 June 2010
Elastica try snapping back... but lack the spring.
1 of 1 found this helpful Elastica - a true tragedy of Britpop history. I won't bore you with the Suede-Blur-Elastica triangle, suffice to say that it contributed to the downfall of Elastica, so evident in this second album.
No-one can deny that their Britpunk debut was a stunning album. I loved it since I bought it - the day it was released, yet never knew of The Menace. Researching it years later I was overjoyed at first and bought it straight away. Sadly, the album was little more than the artistic equivalent of bored doodling.
Perhaps Elastica only ever had one album in them, or perhaps they suffered a true pop tragedy and imploded for various reasons - to be honest, does it matter? The album is weak.
There are 5 years between this and their eponymous debut and the changing music scene seems to have left them behind. Drugs and internal pressures caused both Donna Matthews and Annie Holland to leave and, when you listen to The Menace, you miss them. True, Holland did return but her contribution seems minimal.
Mad Dog God Dam is the only saving grace and it's hardly brilliant. Their only other contribution to music in this period was the excellent pure-punk-thrash single The Bitch Don't Work - which doesn't even make the album!
The album was re-mixed in four weeks and, to be honest, you can tell. Reviews were varied and I am not so arrogant to think that people may disagree and thoroughly enjoy it - for real Elastica fans some Elastica is better than none at all. But, for me, a massive let down. The album peaked at 24 in the UK and, frankly, I'm stunned it even got that high.
Caveat Emptor - let the buyer beware!
11 April 2007
Less a soundtrack and more the "lost" Aimee Mann album
2 of 2 found this helpful As with many soundtracks, rarely do you buy them unless you've seen the film and enjoyed it. Why? Well, as any good soundtrack should, it needs to be evocative and well placed within a film. As with Reservoir Dogs, (in my humble opinion Tarantino's only film of any depth, and even then it looks more like a stage scipt adapted to the big screen), the soundtrack fits. As in dogs, not only is there a selection of eclectic and "off the beaten track" songs, but they gel well with the particular piece of celluloid they accompany in the movie. Face it, Steeler's Wheel's "Stuck in the Middle" may have been a good song, but it's use at that particular moment, to that particular event, made it great.
So too does Magnolia achieve what so many soundtracks miss. It is not enough to have good songs almost arbitrarily in the background. Music is second only to smell as a memory and emotion trigger... the music must fit, indeed lead, some parts of the film, and this soundtrack does that well. Aimee Mann's cover of "One" (originally by Three Dog Night) is beautifully placed in the film and manages to grab the viewer (and listener) and make them soar far above and through the film sequence, an amazing oxymoron as, at that point, the film is almost literally dragging you the wreckage and lonliness of the film's protagonists.
So why am I harping on about the film? You're wondering whether to buy a soundtrack, not a movie. Well, I hope the above explains. On it's own the music is good, but with the knowledge of the film, it becomes great. This is not to say don't buy it until you've seen the film, just to say that the film will enhance it.
So back to the album. As I said, it's more an Aimee Mann album, with some nine songs from her as a solo artist (she used to be in a band called 'til Tuesday) and they are truly beautiful. Her range and emotion is stirring and such depth from an artist who, for lack of a better pigeon-hole, must fit in the twin, ugly boxes of pop/folk (folk! yuck!) the music is just sublime. But hark! A warning! Just because it is beautiful it doesn't make it nice. Especially with the film in the background. No, this album is a big no-no if you're feeling down - only The Smiths can be more beautiful and more depressing at the same time. However, if you want bubble gum pop, buy chart music. Or Avril Lavigne...
Aside from "One", "Momentum" (used on the trailers) is a great piece of music with a beautiful juxtaposition of instrument, voice and lyrical content. See also "Deathly" and "Driving Sideways". A must for Aimee Mann fans.
But wait! What about the rest? Well, there are four songs by other artisits and, although all good, they seem almost as an afterthought, tacked on to the end. Supertramp are there with two from the vaults and, hey, they're always welcome, especially their eponymous "Goodbye Stranger" (used with devastating effect as William H Macy's character's life slips from sad into truly despairing in the film), along with a token "happy" track from Gabrielle and some of the film score by Jon Brion at the end. Once you get over the jolt of these four "extras" seemingly tacked on at random to the end of an Aimee Mann album, you'll be able to get into some all round great music.
And although I said it wasn't vital, try to see the film first!