Jeff Lubeck

While Title Says Wildness: Snow Patrol Returns Tighter Than Ever

I became familiar with the the Scottish Alt-rock band Snow Patrol in the early 2000’s. With the albums Final Straw, Eyes Open, and One Hundred Million Suns, the group moved from Noticed to Highly Popular to Headliners. Snow Patrol’s style was one of thought-provoking melancholy with a up-paced edge sound. That sound was enhanced over the years with a couple of band-member changes to support co-founder and lead-man Gary Lightbody, given the departure of co-founder Mark McClelland. On occasion Snow Patrol would move to upbeat themes – which were superb.

International hits such as Chasing Cars and Taking Back The City were not only popular world-wide, but American T.V. Shows grabbed them for themes as well.

Two more pretty good but not superb albums releases followed – leaving fans in 2011 to wonder if Snow Patrol was capable of another gear or out of gas?

Not only was Snow Patrol out of gas but they all but disappeared from the scene. Now revealed, Lightbody dealt with depression, addiction and writers-block. Diversions to make time for writing music for others and potentially creating super-bands did nothing to help Snow Patrol itself.

Late in 2018, Snow Patrol released Wildness in what appears to be out of thin air (which we all know is never really the case). With Wildness, Jacknife Lee is back for Snow Patrol’s fifth straight album as its Producer. My guess is Lee has a lot with this album getting into the ears of the public.

Over simplified, Snow Patrol albums almost always sit around 4 out of 5 star rating in terms for satisfaction and quality. In short, never perfect, but very memorable, and always worth purchasing.

Wildness does not fall short of the a four-star rating on any aspect. Given the time lapse from new music by Snow Patrol – the album feels fresh, tight, and truly welcomed.

Straddling The Line with Great Effect Again: BlacKkKlansman

With respect to general audiences, Spike Lee (Do the Right Thing, Clockers, Inside Man) has made a career being provocative, not crossing over the line, and not selling out. Lee is a vocal and animated teller of american stories about people usually mired in the system (e.g., race, gender, education, occupation, location) who are about to challenge the status quo.

Materially more often than not, Lee is exceptionally effective at presenting the story on all fronts; script, production values, music, cinematography and acting. BlacKkKlansman starring John David Washington in his first real lead role and Adam Driver (This Where I Leave You, Logan Lucky, Star Wars, Star Wars: Episode VIII – The Last Jedi) is no exception.

As quirky as the story-line may sound – Two Police Detectives (a Black Man and a Jewish Man) are able to team up and infiltrate the KkK in Colorado and National Headquarters. Quirky? Yes. Truly happened? Yes, at least in Hollywood terms adapted from a biography.

Lee’s frequent collaborator Terrance Blanchard has created a really solid music track to support the film. Charyse Irvin in what appears to be his first feature length film as Director of Photographer presents a compelling image.

Lee, as much as he wants you to believe he is operating totally in the moment, is a polished professional filmmaker who is operating per plan. As an audience, we benefit.

Christmas 2018 – At The Cabin in Stanley

We decided to have Christmas at the Cabin in Stanley, Idaho in 2018. It is located on Goat Creek. The property abuts the Sawtooth National Forest\National Recreation\National Wilderness Boundary. We access via a Private Road and need to cross Forest Service property to get to our cabin. The property is part of a small enclave which has a permit that includes our ability to plow the Forest Service Road and our private road in winter. We chip in funds such that we have access to the cabin year-round.

Linda, Sage of the Wood River Valley dog, Kyle, Merry [Christmas] dog on Christmas day at the cabin. Not Pictured Valentine dog, Willow of the Wood River Valley dog and Jeff.