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03-15-2008, 01:21 AM
| #68 (permalink) |
| Mu nótahu   |  You can't hiiiiiiiiiiiiiiiiiiiiiiiiiide OHHHHHH NOSSSSSS, from the way I feeeeeeeeeeeeeeel.  The gazer effect blends in perfectly with the general tone of the movie and the relationship between the characters, the isolation and somberness in a strange land, the city lights and buildings as they are passing by.. The karaoke scene is just really cliche. Last edited by Captain Beefheart; 03-15-2008 at 01:28 AM.. |
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03-24-2008, 05:08 PM
| #79 (permalink) |
| (L)  | Uncut magazine's website has a preview of scarlett's album commenting track by track: http://www.uncut.co.uk/news/uncut/news/11263 "As a rule, we’re as suspicious of actors making records as we are of, well, rock stars appearing in movies. But Scarlett Johansson’s previous, if brief, forays into music have at least demonstrated more than the requisite flashes of talent. There’s an abiding memory of her in a pink wig singing karaoke to The Pretenders’ “Bass In Pocket” in Lost In Translation, or seen in fuzzy Youtube clips providing backing vocals for “Just Like Honey” at the Jesus & Mary Chain’s comeback show at last year’s Coachella festival. She also recorded the Geshwin standard “Summertime” for a US compilation and even starred in a Bob Dylan video, “When The Deal Goes Down…”, to support his Modern Times album. Now, she’s recorded her debut, an album of Tom Waits’ covers (and one self-penned track), produced by TV On The Radio’s Dave Sitek and featuring guest spots by Yeah Yeah Yeah’s guitarist Nick Zinner and, on two songs, David Bowie, with whom she co-starred in Christopher Nolan’s movie, The Prestige. Most of the songs come from the later part of Waits’ career, with only one song pre-dating 1983’s Swordfishtrombones. Here, then, is our track by track preview at what you can expect… TRACK BY TRACK: Scarlett Johansson: Anywhere I Lay My Head 1. “Fawn” (Taken from Tom Waits’ 2002 album, Alice) A bit of a cheat, this, as it’s an instrumental track. But, it does efficiently set out the album’s sonic template – loosely, somewhere between late period Cocteau Twins and Mercury Rev’s Deserter’s Songs. A gentle organ intro before a wave of brass comes crashing in, then straight into… 2. “Town With No Cheer” (Swordfishtrombones, 1983) Scarlett privileges the storytelling aspect of Waits’ original, recalling here Marianne Faithfull as she half-sings, half-speaks the lyrics. Waits’ version is pretty sparse – just his voice recounting the lyrics accompanied by keyboard and accordion. Initially, this version doesn’t stray too much from that: the backing is organ, and keyboards with the occasional burst of guitar, but gradually Sitek layers on sax and drums and pushes the organ further up in the mix. 3. “Falling Down” (Big Time, 1988) This was the only studio cut on Waits’ ’88 live album. Here, Scarlett sounds very like Liz Frazer, which is effectively the vocal setting she operates in for much of the album. She’s perhaps deeper and less sharp than Frazer, but her voice works convincingly in the musical context, which Sitek describes as a “cough medicine tinker bell vibe.” Her voice sits surprisingly well with Bowie’s harmonies. There’s sleigh bells and a xylophone, while a haunting guitar motif |