Crave more Cusack? Here you go, kids...

 

* The Stuck in the '80s tandem of Daly and Spears continues to bicker about the 10 Best John Cusack Movies -- this time, in the newspaper. RAGE FORTH.

* St. Pete Times film critic Steve Persall pens a downright brilliant critique on new Cusack disaster-porn flick 2012. READ THAT.

* And for your lunchtime listening pleasure, cue up our John Cusack podcast. LISTEN HERE. 
 

REVIEW: 'Glee' soundtrack is B- at best (oh, and I'll be sleeping on the couch tonight)

 

Album: Glee: The Music: Season One Vol. I (Columbia)
In stores: Now
Chorus lines: I’m not allowed to criticize Glee in my house. If I utter one churlish thing about Fox’s geek-chorus dramedy — for instance, its delicate balance of surreality and reality will be impossible to maintain (plus that phantom pregnancy plot line is lame) — I’m immediately banished somewhere dark, cold and without cable. But hey, this is my column, so just try and stop me. This new soundtrack compiles 17 of the show’s reimagined pop hits. (A second volume will be released in December.) Without the visuals, the music isn’t nearly as fun. And although Lea Michele (who plays overachiever Rachel) can sing for sure, Cory Monteith (Finn) is even more digitally pitch-tuned than you thought. (Can’t Fight This Feeling — yikes.) Too many songs (No Air, for instance) are presented without any Glee-ifying; that’s called karaoke, folks. But when he’s inspired, producer-arranger Adam Anders, who cut his teeth on the High School Musical franchise, blends amateur-hour enthusiasm and drama-club exuberance to delirious effect. The sunbursting vocals on Journey’s Don’t Stop Believin’ have helped that cover version sell more than 500,000 copies. A downright religious reworking of Queen’s Somebody to Love is even better. And bad-boy Puck’s Sweet Caroline and teacher Will’s Gold Digger have sweet, nerdly appeal.
Reminds us of: After a two-week layoff, Glee is back on Wednesday. I hope my family lets me watch. I’ll be good...for the most part.
Download these: Don’t Stop Believin’, Somebody to Love, Sweet Caroline
Grade: B-

The Best 'Toon Tunage: Phineas and Ferb, South Park, the Simpsons, Merrie Melodies

 

When you’re the father of two wee daughters — ages five and 21 months to be exact — the process of accepting their incessant “car music” comes in three stages:

(1) I bet the Jonas Brothers can’t throw a football.

(2) If Miley Cyrus were my daughter, that would make me Billy Ray Cyrus, which would make me cry a great deal.

(3) Okay, fine, maybe Dora the Explorer shouldn’t be tied to the outside of the space shuttle.

You eventually get used to the songs, singing along with your brood solely as a matter of self-preservation. But there’s rarely genuine enjoyment involved. That’s what makes the music of Phineas and Ferb, the Disney Channel’s No. 1 animated series for kids six to 14, such a revelation. The story of two inventive brothers, an exasperated older sis and a pet platypus named Perry (who’s also a secret agent), Phineas and Ferb blends sly humor, slapstick -- and some of the best ’toon tunage in TV history. (Gitchee Gitchee Goo is pure power-pop goodness.)

It also got me thinking of 10 other great televised ’toons that consistently mastered melody far beyond having a catchy theme song. Feel free to sing along:

Merrie Melodies (1931-1969) Nothing makes me laugh harder than Bugs Bunny calling that sinister square dance for those warring hillbillies. “Grab a fencepost, hold it tight /Womp your partner with all your might!”

Spongebob Squarepants (1999-?) Surrealism has never been so catchy. “The best time to wear a striped sweater is all the tiiime.” When Spongie comes on my iPod, I rarely skip ahead.

The Simpsons (1989-?) Wow, where to start with the Springfield spoofery? How about Flaming Moe’s, Lisa It’s Your Birthday and The Monorail Song. Oh, and Rock Me, Dr. Zaius.

South Park (1997-?) Thei nfamouscombo platter of R. Kelly, Tom Cruise and Trapped in the Closet helped Matt Stone and Trey Parker score an Emmy nom.

The Flintstones (1960-1966) Remember the Bedrock Twitch? “When you get an itch, you do the Twitch, in Bedrock! Twitch! Twitch!”

The Jackson 5ive (1971-1973) Okay, this is a bit of cheat, as the songs were already album cuts — and the animation was crappy. But it proved that cartoon madcappery is instantly made cooler when soundtracked by MJ & Co.

Schoolhouse Rock! (1973-1985, 1993-1999) Three Is a Magic Number, Conjunction Junction, Lolly Lolly Lolly Get Your Adverbs Here — all written by the saintly Bob Dorough for ABC’s great edu-snippets. You’d be surprised (or not) at how often I still rely on those songs.

Family Guy (1999-2002, 2005-?) Seth MacFarlane creeps me out. But songs a la Everything Is Better With a Bag of Weed are a twisted brand of genius.

The Peanuts Holiday Specials (1965, 1966, 1973) Not only is it the greatest ’toon tune, but Vince Guaraldi’s Linus and Lucy is jazz piano perfection — and an instant mood-enhancer.

How the Grinch Stole Christmas (1966) The correct lyrics for Welcome Christmas? “Fah who foraze! Dah who doraze! Welcome Christmas! Come this way!”

'Glee' soundtrack out in stores today (love that Puck cover of 'Sweet Caroline')

The Glee soundtrack just showed up in my mailbox. And although only half of the 17 tracks are inspired, the good stuff is pretty damn great. You know Don't Stop Believin' and Somebody to Love. But my fave is bad-boy Puck's smarmily seductive Sweet Caroline. A man after my own twisted, manipulative heart. Enjoy!

Death Cab, Grizzly Bear, St. Vincent make 'New Moon' soundtrack better than it should be

 

The Twilight Saga: New Moon Soundtrack (Atlantic)
In stores: Now
Bella Notte: This moody, mesmerizing soundtrack, filled with sullen reverb and gothy melancholy, didn’t have to be this good to sell huge. In fact, it could have been an hour of gastrointestinal squips, and young folks would have still gobbled the album in record numbers. Author Stephenie Meyer’s vampire series — about mopey girl Bella Swan and neck-hungry luvah Edward Cullen — sells like gangbusters in any form: books, movies, albums, creepy figurines that thirtysomething mothers of two keep asking for much to the chagrin of their rock-critic fiances. New Moon the film, a sequel to last year’s Twilight, doesn’t hit theaters until Nov. 20, but its soundtrack might be the best thing the franchise has offered up so far. Instead of opting for catchy, obvious rock hits — a la Paramore’s Decode from the Twilight soundtrack — producers went for hip: Indie royals Death Cab for Cutie, Grizzly Bear and Radiohead frontman Thom Yorke contribute complex art-rock ruminations, all parts buzz, drone and lament. L.A. alt-folk outfit Sea Wolf offers a kickin’ number called The Violet Hour, which sounds like a slightly sour Violent Femmes cut. Even the ballads are intricate, including Bon Iver and St. Vincent’s creepy choral Rosyln.
Reminds us of: I’m so getting stuck with the kids on Nov. 20. Any of you dads want to have a play date?
Download these: Meet Me on the Equinox (Death Cab for Cutie), Rosyln (Bon Iver and St. Vincent) and The Violet Hour (Sea Wolf)
Grade: A

R.I.P. Vic Mizzy, composer of the Addams Family theme (and Green Acres!!!)

Now I feel REALLY bad for not including this in my Ultimate Halloween Playlist. The Brooklyn-born Mizzy (what a name!) has left us at the age of 93. That's a darn good run, and there's certainly a place in heaven (or a dusty shelf in Chez Addams) for his contribution to pop culture. Well done, Vic.

Wolfmother, Weezer and a Whole Lotta Lambert: 10 cool fall album releases

As well as being Jerry Lee Lewis’ 74th birthday — go get ’em, Killer! — next Tuesday kickstarts what could be a very cha-chingy season of music sales. Mariah Carey, Madonna and Barbra Streisand all have new platters out on the same day, and much hullabaloo will be made about that. (Look for Mimi’s Memoirs of an Imperfect Angel to top Madge’s Celebration and Babs’ Love Is the Answer at the cash registers.)

I’m much more excited about other goodies on the fall schedule. So here you go, SD's Ten Most Intriguing Autumn Albums:

Miranda Lambert, Revolution (Sept. 29) First single Dead Flowers is way too tame for this crossbow-totin’ country gal. But here’s hoping Ran terrorizes a couple of exes before she’s done.

Karen O and the Kids, Where the Wild Things Are (Sept. 29) I have squishy feelings about Spike Jonze’s big-screen take on Sendak’s classic. But having the Yeah Yeah Yeahs bizarress — and Jonze’s gal pal — do the soundtrack is daring. “Let the wild rumpus start!”

Bob Dylan, Christmas in the Heart (Oct. 13) Zimmy’s late-career Bing Crosby fetish reaches its peak. Positively 34th Street?

Daryl Hall & John Oates, Do What You Want, Be What You Are (Oct. 13)  A 4CD set of Philly soul, FM bliss and final proof that Oates never should have shaved the ’stache.

Weezer, Raditude (Oct. 27) With the help of unlikely hip-hop pals Jermaine Dupri and Dr. Luke, awesomely unstable Rivers Cuomo continues his search for the perfect power-pop formula.

Wolfmother, Cosmic Egg (Oct. 27) After shedding his old mates, Aussie hairball Andrew Stockdale forges on with three dudes well-versed in heavy metal, Led Zep and puffy unicorn stickers.

Various Artists, Glee: The Music (Nov. 3) From Journey’s Don’t Stop Believin’ to Kanye West’s Gold Digger, Fox’s hit show about losers in tune takes pop hits and reinvents them with robust choral cheek. In a related note: Isn’t it time the great Jane Lynch won an Emmy?

Carrie Underwood, Play On (Nov. 3) True confession: I gave Underwood’s 2007 album Carnival Ride a D grade. Two years later, I have four songs from that disc on my iPod. I will never underestimate the Nashville nymph’s seductive powers again.

Norah Jones, The Fall (Nov. 17) With her opium-haze voice and toasty piano style, Miss Jones walks that tricky tightrope between lulling and numbing. The good news — well, for us at least — is that this one is a break-up special with angry guitar.

Adam Lambert, TBD (Nov. 24) In the new ish of Rolling Stone, there’s a wicked shot of  last year’s AI runner-up howling in the recording studio. Sweet! We want our Lamby to raise a hellhound ruckus on his debut disc. Bring the noise, baby!

Loving 'Adventureland'...and INXS

INXS-Don't Change

I've been gobbling up my Netflix queue lately, including a recent viewing of coming-of-age '80s flashback Adventureland, which I can't recommend enough. The movie is not just a riff on that magical decade; it's an honest reflection, and a heartfelt one at that. It also feeds into my nerdly love of amusement parks (filmed at PA's Kennywood, which is awesome), corn dogs and Kristen Stewart. Okay, okay, and Ryan Reynolds. It's poignant, funny and wise in portraying the awkwardness and awesomeness of youth. The soundtrack is sublime too -- including this INXS gem, Don't Change, which is used for nice emphasis in the flick. Anyway, go rent Adventureland. You won't be sorry.

PODCAST! Remembering John Hughes

Your Stuck in the '80s podcast team of Steve Spears, Cathy Wos and Sean Daly pay their respects to writer-director-producer-shaper of lives John Hughes. Alas, no "seggies" this week, but you do get plenty of clips, giddy chatter and trenchant analysis of the existential power of "Those aren't pillows!" CLICK HERE TO LISTEN or download us on iTunes.

Silicon Teens 'Red River Rock' (hey EW, you missed a John Hughes song!)

In the current ish of Entertainment Weekly, the pop-culture mavens pay tribute to the late John Hughes. There's an oral history, a rundown of his top flicks -- plus a playlist of the best tunes from his movies. As the master of the playlist, I give EW a B. Their choices are too obvious, too blah. But their biggest sin is that they left off Red River Rock!!! How does something like that happen? Perhaps because I have a screw loose, the Silicon Teens' Red River Rock, from 1987's Planes, Trains and Automobiles, is my flat-out fave Hughes tune. Have you ever heard such a joyful noise? The bubblicious cut punctuates two of the movie's biggest laughs, including a man getting picked up by his genitals. (Also great from PTAA? The Mess Around by Ray Charles!)