No comments about Comic Relief (Spec).

No comments about Mad About You - The Final Frontier.

No comments about Comic Relief 3.

3 comments about The Marrying Man: Music From The Original Motion Picture Soundtrack.

1. This soundtrack is wonderful!! Who loves jazz find here a nice jewel! But the best is Kim Basinger with her powerful voice sing american classics like "Let's do it"! "Love is the Thing" is magnific!! I am waiting for her coming solo cd!! Let's do it Kim!!!



2. Like the movie it comes from, this album is a piece of fluff - but a fine, delightful one. The arrangements and performances by the (excellent) musicians nicely recapture the Big Band flavor they're supposed to; and, of course, the album showcases Kim Basinger's unsuspected talents as a singer, and affinity for the vintage material. That gal could easily earn a living as a crooner - wonder why she never got around to cutting an album in that style. Be warned: once you plop this CD in your player, you'll be coming to it again and again.



3. I used to watch The Marrying Man over and over until I made myself nauseous with it. The soundtrack is the best part of the film, and I was delighted to get it when it was newer and not so expensive. If you like big band music polished to a sheen and perfected with the benefit of modern studio technology, I recommend this album highly. The big band sound is great, authentic, and high quality. The real surprise is what a great vocal performer Kim Basinger is on tracks such as "Let's Do it," "Honeysuckle Rose," "Murder He Says," and especially the beautiful "Love is the Thing." Few people know that Basinger actually started out as a singer before she got into modelling and acting. This soundtrack more than demonstrates that she has a very able gift at interpreting song, and she has the added benefit of great studio musicians backing her up.

5 comments about The Alien Trilogy (1996 Studio Recording).

1. Now seven years out-of-date (it's the QUADrilogy now) this old Varese Sarabande CD gives us 7 tracks from (the late) Jerry Goldsmith's score to Alien, 3 tracks from James Horner's score to Aliens and 3 track of Elliot Goldenthal's score to Alien 3.
   
   Goldsmith's score the the first movie was more an underscore, with loads of subtle and atmospheric music. It doesn't stand so well on it's own but it does create a unique atmosphere for those with a keen ear.
   
   Horner's score to Aliens (probably the best of all 4) was filled with much of the same sound but there were also HUGE action cues. On this CD we get the Futile Escape and Bishop's countdown tracks. These two have ended up being Horner's most quoted work.
   
   The score to Alien 3 is definitely the most boring. Goldenthal's music is nothing more than atmospheric noises. Only in the last track 'Adagio' is worthy of any listen. The score, in general, is as pretentious as David Fincher's notoriously failed vision of Alien 3.
   
   These aren't the ACTUAL scores to the movies. It's done by Cliff Eidelman conducting the Royal Scottish National Orchestra. So it sounds rather different to the music heard in the movies. Still, it's worth picking up cheap if you can.



2. God bless them , the Royal Scottish Orchestra... no matter how hard they try, they can never quite get it right. All of their reproductions (Jaws, Superman,etc) always come out sounding too "concertish," and thus never quite sound right to those of us who've always wished for complete versions of the music and had in the meantime heard it only in the context of the film. And without fail, any time that Varese Sarabande releases these repros, the "real-deal Holyfields" are dusted off and presented to the public, thus nullifying their efforts (Superman, Jaws, and please God.... please.... Alien?).
   
   Goldsmith's score to Alien has a notoriously sticky backstory... many of the cues you hear in the film were actually intended for use with other scenes, and in some cases, the music you're hearing wasn't even originally recorded for Alien, but was from a past film score. Even the end credits cue, "Symphony #2 (Romantic)" by Howard Hanson, wasn't originally meant to be the end credits music!
   
   I have the actual original Alien score on vinyl, and I can tell you that in the end, as much as I love Jerry Goldsmith (RIP), this score benefitted from Ridley Scott's tampering. Much like in Citizen Kane, when, after the heavy dramatic wave of music by the great Bernard Herrmann brings the film's revelation to bear and closes the film, and then very quickly a peppy tune is played with the cast spouting lines as their names are plastered on the screen (as if to say, "Aw, it's only a show!"), Ridley Scott used Hanson's beautiful, simple piece to magnify just what an awful experience we'd just been through, trying to escape from Giger's wickedly designed ALien. It also reflected the peaceful sleep that Ripley was entering after the death of the beast.
   
   Without a doubt, if you can, get a hold of the Alien Legacy DVD version of the film. It has two alternate audio tracks. One has Goldsmith's original score, with cues where they were intended, plus a pile of others that thankfully were excised, and the other audio track contains what can be called the actual soundtrack, complete with the Hanson piece and the eerie, lonely main title music from the film. As a curiosity, if you listen closely, you'll even hear Lionel Newman's baton cueing the orchestra to begin and stop, and even some comments from the conductor. For now, until a 30th anniversary version is perhaps released (maybe after Goldsmith's death, they will contemplate a rerelease), that is THE best source for music from the long lost Alien Soundtrack.



3. This is some of the most beautiful music there is out there. My husband has been going to sleep to the alien movies for years, because the music is so soothing. Getting this CD is such a bonus, because we get the music without all the background noises of the films. Some of it is more dramatic, and it's great music too, but we don't use it to fall asleep.
   
   I strongly suggest this if you like background music that isn't gum drop sweet and happy.



4. Like Jeffrey Arnold, I also had the Alien Original Soundtrack on vinyl and feel this recording doesn't quite match up to it. The music and recording technicalities are not necessarily bad--it's just very different from the original. Most interested in this genre of music likely have the ears to immediately sense that something's not quite the same: The pacing is a touch slower in some passages, and a touch faster in others. The recording balance between orchestral sections is also different. Again, in itself these issues aren't problems that are necessarily bad; but a big disappointment to me was that in 'The Landing' and 'End Title', the all-important solo trumpet just doesn't have the same deep resonance as the original recording. Perhaps they are using a trumpet when they should have used a flugelhorn?? If you understand what I mean, you probably have the ears to be disappointed with this recording.
   
   HOWEVER, I never had the soundtracks for Aliens or Alien3. Without them for reference, this CD offers convenience and recording consistency. Too bad that the music from these two movies make up a much smaller portion of the CD, though. On a positive note, the CD liner notes are *excellent* and very insightful.
   
   In the end, some may want to opt for the DVD alternate audio tracks as Mr. Arnold suggests. In addition to the well-recorded music on audio tracks five and six, you can also see how Ridley Scott and Jerry Goldsmith had two different musical visions for the film. (I found Scott's discretion better...) More relevant to some, it is worth mentioning again that the Alien DVD also contains a good recording of the Howard Hanson passage that was actually used in Alien's end titles, rather than Goldsmith's piece. Hanson's music is not on this (or any other) Alien soundtrack that I know of. The DVD also contains a cut of the Mozart piece that Dallas chills to in the escape shuttle. Still, the only problem with the DVD alternative is that if you want to listen to the music on your iPod, you'll have to figure out a way of extracting the audio from the video....
   
   If the Closing Title from Alien is all you're looking for (the Goldsmith version--not to be confused with Hanson), then consider Telarc's 'Time Warp' CD. The recording on Time Warp is a lot more faithful to Jerry Goldsmith--and the trumpet (flugelhorn?) sounds 'just right' on it too. Time Warp also contains the original Gayne ballet, as used in 2001: A Space Odyssey. This piece is interpreted by James Horner in the Main Title for Aliens, and also used as the end title music for that sequel.



5. A really good album containing music from the first three "Alien" films. The Royal Scottish National Orchestra under the direction of Cliff Eidelman do a marvelous job and breathe alot of life into these recordings. If you are fan of the "Alien" series as I am, this CD is a must for your collection. Highly recommended.

5 comments about Aliens: Original Motion Picture Soundtrack.

1. I went to a place that sells stuff for practically nothing, like tomorrow never dies CD in good condition for three bucks. i got the tape of this for 1 buck. Boy, if only those people knew the value of the score they were about to give away! Its not the best. Deep blue sea has better use of instruments, but this is still one of my favs. it actually sounds like music, which i didn't like about the matrix score, which sounded like a bunch of instuments being hastily played. this stuff sounds great and i love the action. "Going after newt has a few tunes that were revised and played in the "ALIEN 3" video game for super nintendo. ANd ever wondered about that awesome music you here in so many action trailers? THat just so happens to be the remarkable brilliance of James's score. this is my first score by James Horner. I'm so glad I got it and i will definatly check out others



2. To start off, I must say that I do not own this album. I've purchased the complete album (20 tracks), and it overshadows the commercial release by quite a bit. Many good tracks were left out of the release, and regrettably my favorite track (Preparing for the Drop) isn't even used in the movie.

   Aside from the qualms about the CD release itself, the music is pretty good. Fortunately, Horner wrote this score early in his career, so he was forced to come up with as much original music as possible. Horner-bashers aside, you CAN recognize some themes in this release, most notably the Klingon theme from Star Trek III, and a litle of Khan's theme from Star Trek II. Both are not overused throughout the score, but you will notice other small Hornerisms here and there.

   Horner captures the essence of the movie in his score. Suspense, action, terror are all conveyed to the viewer through the music. The main and end titles have a solemn, lonely feeling, as Ripley floats in space in hypersleep.

   Near the end of Bishop's Countdown, Horner created a phrase that has been used in myriads of film trailers and scores by many composers. During the scene in the movie, Ripley and Company are desperately trying to escape the plume of fire from the nuclear blast on the planet below. The brass rhythm is repeated, with dissonant strings taking up the rhythm just before the whole planet explodes. The tension builds at a faster pace until Horner lets the whole orchestra explode with cacophony. It is a true delight to see coupled with the movie.

   On the whole, Aliens is a good score from early in Horner's career. It is utilized very well in the movie and although it has been presented poorly on CD, it makes for an eerie, action-packed listening.

   By the way, if you're wondering where to acquire this complete score, send me an email and I'll be happy to direct you to it.




3. Before I start my review I thought I would get people's attention.

   I'd like to start off by saying that if anyone wishes to email please contact me at sndtrkfn@hotmail.com regarding the Aliens score.

   2nd I would like to let everyone know that there will be an expanded edition to the Aliens score by Varese Sarabande (Deluxe Edition)which will consist 74 minutes of uncut, longer and unedited music that everyone has been wishing for for at least over a decade now.

   Now as for my review. I did initially get the short 39 minute version that was released and bought a few years ago and thought it was 3 1/2 star soundtrack at best because I knew that a lot of music was missing but since then I did aquire the limited edition that was released a year or 2 ago and thought it was a definite improvement. Although some of the music is borrowed from an earlier composer which we all know and is again used in Patriot Games and Clear and Present Danger, the scary theme/Aliens alternative theme that is used throughout the movie for instance after Newt and Ripley are stuck in the one room with the facehuggers and once they go against the window before you hear Newt ask Ripley to brake the window (hopefully everyone knows which theme I'm talking about) it's not used pro-dominitely in the varese release but is released more in the expanded edition. Sorry I'm not a music major so please don't mind my non-music analysis.

   Anyway's many times especially the first time I heard this score I found myself in the dark with no lights on and just listening to Sub-Level 3 for the first few times and was scarred out of my mind because this track works so well like in the film itself.

   Now I know there are some tracks that don't reach out to music lovers but I still have to rank this soundtrack high on my list just like the movie itself just because it works so well in the scenes and because this is one movie I wish that could have been even longer. I love every minute of this movie and score that sometimes I seem to wear myself out. My favorite tracks are Going after Newt, Main Title, Sub-Level 3, Ripley's Rescue, Bishop's Countdown, Resolution and Hyperspace/ my favorite tracks from the expanded are included.."Where's the Darn(different word)Beacon?", Marines Prepare oh what the heck it's all good and for my favorite characters of the movie are Newt and Ripley although I like them all these 2 stand out the most for me.

   Well in Conclusion I'm very much looking forward to the 74 minute version vs. the 64 minute I have now and this soundtrack again like the movie is one of my top 15 choices of all time (by James Horner standards and movie)

   If they do decide to make Alien 5 I sure and hope they have Horner doing the score and who knows maybe Cameron will return the helm. At all costs for people who don't have the short 39 minute version you must buy the 74 minute because that will be the most complete of the score and you may change your mind about James Horners efforts of this score and if you like to be scarred this ranks among the best with Poltergeist.

   Thanks for reading, regards, Alex Brouns




4. Aliens isn't considered completely original (in fact, I heard a small little part from the Rocketeer on Futile Escape for those with keen ears) but it sure sounds good. The main theme on Alien sounds lonely and far out, fitting in with how Ripley has lost everyone she knew and remembered. An alternating two-note motif used during some of the less-action oriented cues really adds that spacey feeling to the movie. Snares and other percussion dominate this score, besides hearing the usual synthesizer. Hearing the pounding snares on Ripley's Rescue, Futile Escape, and Bishop's Countdown really drive them home, though the drums don't have the same deep, resonant, syncopated feeling as heard on Danny Elfman's Batman (probably because of the mixing). Let me just sum up part of Going After Newt: it has a part that sounds just like the theme from Dexter's Laboratory but darker and more brass-oriented and it is a favorite. Bishop's Countdown is furious and upbeat with a tense ending reminiciscent of the very ending of the Battle Of Yavin from Star Wars: A New Hope. What can I say, the action sequences are the high points of the score. I recommend this score but get the Varese version being released because it is the complete thing and, from hearing the bootleg of Aliens I also have, you'll love the unreleased frightning dissonant cues heard while the soldiers are checking the base.



5. ALIENS had little in common with its predecessor other than the return of Ripley, the Alien, and the production design of the first movie. So it is not surprising that James Horner's excellent score goes in a different direction. Using the spooky sound of Jerry Goldsmith's score as a starting point (with all the clicking and clacking of sounds in the background and the faint moaning of melancholy woodwinds and brass) the score has echoes of military motifs during the suspense cues and a fierce pounding rhythm for the action ones. Great stuff, no library would be complete without it. Highly recommended. But you might want to hunt out the expanded edition rather than this one.

4 comments about One Night at McCool's.

1. Track 5 - Velvet performed by Norweigan band, a-ha, serves as a musical delight to the senses and a definite highlight on the soundtrack!



2. The album is quite good, with I think the highlight being the song Velvet by A-Ha. Great song, very lovely, dreamy, great music. When is the last time you remember a song by A-Ha. Take on Me in the mid-80's. This song shows they still have what it takes to keep up with modern Rock/Pop. Check it out. I don't think you'll regret this purchase.



3. Quite a range of tunes on this soundtrack - but while you couldn't be faulted for thinking a-ha was thrown into the mix for some mid-1980s nostalgia (especially with The Village People's "YMCA" also on the soundtrack), the Norwegian pop trio provides the biggest surprise on the album. Velvet, a single off their latest album, "Minor Earth, Major Sky" (import), is honestly as big a musical find as you may find this year. Despite the fact the song is nearly a year old, it's "new to you" if you find yourself living west of The Emerald Isle.



4. a-ha's Velvet on track 5 is a slow whimsical atmospheric piece of sheer beauty. You have to hear it to appreciate this great melodic piece of elegant impressionism. Once again a-ha delivers a work of innovation and inspiration with this heart felt song.

5 comments about Bye Bye, Love: Original Soundtrack Album.

1. A group of divorced couples dealing with life's disappointments. A good clean down home movie that most divorced people can relate too.



2. It is rare for a film to tell a story which is dramatic and funny at the same time. "Bye Bye Love"'s director achieves this fine balance and delivers great performances from all cast members, especially Reiser, Quaid and Modine. The story evolves around 3 male friends who are divorced parents and who each cope with their situations differently while managing to keep their respective children the center of their individual lives. The story is highly entertaining and touching. A great family movie to watch!



3. Ordered with Kingdom of Heaven. Husband loves this movie. Purchased, shipped, received fast.



4. I have always loved this movie. I think my favorite part is with Janeane Garofalo on the blind date.



5. I absolutely loved this movie. It is a great movie to see how men deal with divorce and taking care of their kids on the weekends when they have visitation as well as the men trying to get on with their own lives.

5 comments about Beverly Hills Cop II: The Motion Picture Soundtrack Album.

1. My favorite song off of this cd is "Shakedown".



2. Yeah, most of the artists on the disc have long faded into the collective memories of those of us fortunate enough to have "boogied" to their sounds.
   
   But, oh, what a sound they each had.

   The Pointer Sisters? Any soundtrack from the decade would be incomplete without them.

   Pebbles? Yeah, her "Mercedes" has long run out of gas, but it was a nice drive while it lasted.

   Ready for the World? Like its "gheri curls", the group has faded into obscurity but this soundtrack reminds us of how it did shine for a fleeting second.

   Bob Seger? "Like a rock", he still can stand solid and "Shakedown" remains one of his best tunes.

   And George Michael? Perhaps his "I Want Your Sex" was not politically (or morally) correct, but it was (and is) a good jam to dance to.




3. THE BAD:

   The original Beverly Hills Cop soundtrack is one of the best OSTs of all time- layered with innovative artists and overall control from film composer Harold Faltermeyer and producing colleague Keith Forsey.

   Four songs apart, the same cannot be said for the inferior sequel's album. Unlike BHC, BHC2 is a largely manufactured album and Harold Faltermeyer was only involved with the sig song SHAKEDOWN. Interesting to note that his credit on the film is that of "music score by" as opposed to his BHC credit, "music by". And we don't even hear ANY score music. The manufactured tunes of this album came from the hands of Giorgio Moroder (who Bruckheimer and Simpson worshipped after going soft rock on most of the Top Gun OST songs) and former Prince producer Andre Cymone. But then again, BHC2 was made post Stock Aitken Waterman, so it's unfortunately natural that the OST is out of the hands of the innovative (Forsey, Faltermeyer) and into the hands of the manufactured. It's totally representative of the late 80s Pete Waterman-initiated death of pop music, with plastic teeny bop garbage The Jets, Ready for the world, Corey Hart, Pebbles, and I WANT YOUR SEX, the sadist solo effort from George Michael. The rot had set in.

   Also annoying, the sleeve track listing differs from the track arrangements actually on the CD.

   THE GOOD:

   SHAKEDOWN- AMAZING production, AMAZING sound quality, AMAZING music (much more synthy than the rock-orientated edit heard in the movie), but let down by the misplaced presence of idiosyncratic hick Bob Seger. His contributions, including the lamentable lyric "Shakedown, Shakedown, You're busted!" Original choice Eric Clapton was much needed to respect this Faltermeyer/Forsey classic.

   BE THERE- As you may know, the Pointer Sisters contributed the classic NEUTRON DANCE to the original BHC OST, and a nice bit of continuity here as they make an exclusive return to the franchise. Produced by legendary soul producer Narada Michael Walden, who went on to write and produce the last great James Bond title song, Licence to Kill, this isn't a rehash of the success of the Sisters last BHC, this is to NEUTRON DANCE what day is to night. Drum machine driven with more ecstatic saxophone solos and upbeat synth chimes, this track is probably the most all round perfect track on the album.

   IN DEEP- Not actually that great a song, and it does have Charlie Sexton- But this is KEITH FORSEY producing, and it shows. One of the only links to the quality of the original BHC OST.

   I CAN'T STAND IT- As with SHAKEDOWN, BE THERE and IN DEEP, this song also has direct ties with the original BHC movie OST, and it shows. Producer Howie Rice, who produced NEW ATTITUDE and EMERGENCY for Patti LaBelle and Rockie Robbins respectively on the BHC album, was responsible for this Sue Ann sung song, and as with those other three BHC2 already mentioned, it really sticks out like a sore thumb on this album. It wouldn't be out of place on the original BHC OST.

   It's such a shame that those four songs apart, the only good musical contribution to this awful film's soundtrack is Harold Faltermeyer's original score, WHICH HAS NEVER BEEN RELEASED, and probably never will. It's sad that innovation and art plays second fiddle to manufactured, teeny bopper demograph fodder, yet in 1984, it was the other way around.

   If you enjoyed the score for BHC 2, I recommend purchasing Harold Faltermeyer's album Harold F, as there lies a the track BAD GUYS, which is the villains theme from the movie, but with vocal lyrics performed by Keith Forsey.




4. Whereas the first Beverly Hills Cop soundtrack was a celebration of 80's electropop, the second one shows a split between rock and R&B/pop, with multiple producers. And hey, they had three Top Ten songs, including a #1 and #2. And three of the songs ended up on the artist/group's albums, making this soundtrack a launching pad of sorts.

   "Shakedown" was yet another soundtrack song for Bob Seger, and this time, he hit the top, with its infectious backbeat thanks to rapid-fire keyboards and some soulful backing vocals in the chorus. If this sounds like a Billy Idol song, it's because Keith Forsey was one of the producers, the other being Harold Faltermeyer, who did one of the best songs on the first BHC movie and fresh from the Top Gun Theme.

   Forsey produces another track here, Charlie Sexton's "In Deep", whose fiery guitar solos and power synths and keyboards might work for Sexton but is something Forsey's star client, Billy Idol wouldn't touch with a barge pole.

   Canadian singer Corey Hart has a good turn with the inoffensive 80's pop of "Hold On," with its jingly synths, pulsing rhythm guitar, all produced by Giorgio Moroder.

   The only other group from the first movie to do a song here are the Pointer Sisters with "Be There." Despite the brassy horns, rattling drums, and Narada Michael Walden's production, this song is half-hearted, showing the trio's last bit of oomph was 1985's "Dare Me."

   George Michael sure picked some way to introduce his second solo hit, his first being "A Different Corner," due to the unnecessary controversy created by the title and the alleged meaning of the song. "I Want Your Sex" made it to #2 despite the brouhaha. Hey, it has a good backbeat, and a real underlying message: "It's natural, it's chemical, it's logical, habitual" And of course it ended up on his Grammy-winning Faith album.

   The last couple of songs are firmly in the soul/R&B area. Former Prince guitarist Andre Cymone produced two tracks here. The first is James Ingram's "Better Way" which is typical 80's R&B/soul with some accompanying horns. This song though doesn't do justice to Ingram's voice, as he's done better. The second is Pebbles' funky jam "Love/Hate" which sounds like a refugee from Janet Jackson's Control album. This also landed on Pebbles' self-titled debut.

   Yet another song that ended up on the group's album is the Jets' bouncy crossover pop "Cross My Broken Heart" also on the Jets' Magic album. If the beat resembles early Madonna, it's because the song was co-written and co-produced by Stephen Bray, a songwriting collaborator on Like A Virgin.

   And then, those guys who imitated Prince with "Oh Sheila"--Ready For The World. This time, they demand "36 Lovers," as extravagant a demand as their synths. The sound's more pedestrian soul-pop.

   Sue Ann's "I Can't Stand It" recalls brassy Pointer Sisters fare like "I'm So Excited" and THIS is the kind of stuff the Pointers should've been doing here. Jermaine Jackson's synth-happy "All Revved Up" makes him another Giorgio Moroder client, but Moroder did better for Hart earlier in the album.

   Not a bad album in itself, with numbers by Seger, Michael, Hart, Pebbles, and the Jets pulling the weight here.




5. The album is pretty good. The main reason I like it is because of the tune "Shakedown" sung by Bob Seger.
   
   The song was given to Glenn Frey formely of the Eagles, (who had a succuessful solo career in the 80's with hits for soundtracks such as "The Heat Is On" and "You Belong To The City") to sing but he came down with laryngitis and Seger recorded the song instead. As well "Shakedown" was Seger's first #1 hit of his career, with his vocals that do the song justice. I cannot picture Eric Clapton singing that song, it would not work.

5 comments about Jerry Seinfeld Live on Broadway: I'm Telling You for the Last Time.

1. I think People sometime's forget just what a brilliant comedian Jerry Seinfeld really is. The television series was remarkable and the best ever, in my opinion. This movie; Jerry Seinfeld Live on Broadway: I'm Telling You for the Last Time, reminds us that the show was based on material that Jerry came up with. I have had the pleasure of seeing Jerry twice in Sacramento, California. He is brilliant with the most impeccable timing I have witnessed. This movie captures Jerry at the peak of his performing prowess with timeless material that serves as a testament to his sharp wit and billiant comedic mind. 5 Stars!



2. Jerry Seinfeld in his DVD "I'm Telling You for the Last Time" (1998) delivers as a consummate comedian. Seinfeld has the unique ability to see complexity and detail in supposedly simplistic everyday life and things. These include aspects like airflight traveling, cab drivers, airport bathrooms, doctors and waiting rooms, grocery stores, elderly folks in Florida, McDonalds, horses, and so much more. What is seemingly irrelevant and unnoticeable, is what Seinfeld can turn into jokes, and simultaneously keep the audience laughing and pondering, and talking about it the next day. Because much of what he portrays is based on common daily circumstances, Seinfeld's comedy is largely timeless. He certainly comes across as a meticulous master observer, one who gathers up unnoticeable and ignored detail in everyday life, and transmits this through comedy. Here are bits of Seinfeld humor. "Airline peanut bags are too small, dig?...so are airline booze bottles and bathrooms." "When people go to the store they can never remember if they have enough milk." "New York cabbies are bad smelling foreigners and airport security guards are too fat."
   
   Notably, Seinfeld loves the short Question-Answer technique. He asks the audience, why this and this happens, and while they laugh at the seemingly simple yet intriguing question, he offers an answer that people would not expect, sending the audience into a frenzy of uncontrollable laughter. Example: "Dogs are broke all their lives. You know why they have no money? No pockets. They see change on the street--there's nothing they can do about it." Not to mention, most of Seinfeld's jokes are fresh. Furthermore, profanity does not exist in his routine, something he is so much credited for, given the significant employment of profanity by many comedians. Look at more of Seinfeld's comedy: "I'm going to tell you the secret of the male mind---all men think of themselves as low-level superheroes."
   
   Jerry Seinfeld is remarkably comfortable on stage. He starts his joke routine casually then digs in with mostly fresh material. His appeal also has to do with his humility, calmness and ease, as well as genuine appreciation for his audience, all this despite the high level of success with his television show. Seinfeld even allows for audience questions, an aspect quite rare among comedians. Seinfeld is genuinely touched when the audience gives him a standing ovation whether at the beginning of or at the end of his set. Both on TV and stage, Seinfeld is a highly skillful comedian. The combination of his TV show (that ran for an impressive 9 years) and the stage performances build him into a much greater performer. The TV show offers more flexibility and body expression, whereas Seinfeld demonstrates far less facial expressions in the stage acts. Nevertheless, Seinfeld dramatizes that comedy can come across plainly but excellently without the employment of grotesque facial expressions that many comedians are known for.
   
   While using some of the most mundane things in life for his material, he still possesses and transmits an intellectual form of humor. The Seinfeld performing on the DVD is quite the same as the television Seinfeld. Many of the jokes are familiar, and even those that are not tend to sound like they are. That Seinfeld is also consistent in the humor from start to finish is undeniable. Further, Seinfeld tends to appeal to quite a wide audience, that transcends gender and even age to some extent, just as long as this audience is in tune with his intellectual oriented humor. Some of his jokes do have a mature backdrop, but overall Seinfeld's comedy can be enjoyed by both young and old. A good example that gathers a wide breadth of laughs is the segment about trick-or-treating as a child and drive toward a constant need for candy. Much of Seinfeld's presentation is about Seinfeld's writing ability combined with physical representations of the off-the-wall characters he has met.



3. If you are a fan of the stand up comedy of Jerry Seinfeld then this is a must in your DVD collection!! From milk to cab drivers to candy to Chicken of the Sea,it is still outrageously funny. 75 minutes of pure comedy plus cameo appearances at the beginning with Ed McMahon, Jay Leno, Robert Klein,Gary Shandling, and the late Alan King among others.This is great comedy Jerry Seinfeld's way! Okay we have the complete "Seinfeld" collection, "I'm Telling You for the Last Time", "Jerry Seinfeld Comedian" and in a few months,"Bee Movie" to add to the collection! Just enjoy!!



4. What can you expect from a used product... The CD had scratches and the cover was pretty worn... decided not to give it as a gift because it looked like I found it in a thirft store.



5. Jerry Seinfeld is good at being funny. This DVD doesn't let you down! He sees everyday things that we all notice and finds a way to make them funny. You'll often find yourself thinking "That is so true!" Another plus is the fact that Jerry doesn't swear at all which is always a difference when talking about stand up comdedians.
   The only minus i can think of is you can watch it once and then remember most of the jokes, which makes the next time you watch it not quite as funny. It's also missing the classic writing of Larry David and 3 other actors to make it as hilarious as the usual 'Seinfeld'.
   Good fun for a rainy weekend.