http://www.usatoday.com/life/music/news ... -stk_x.htm
'Cold Mountain' songs have starring role
By Elysa Gardner, USA TODAY
Nicole Kidman, Renee Zellweger and Jude Law aren't the only stars featured in Cold Mountain, the Civil War epic arriving Christmas Day. T-Bone Burnett, the veteran producer behind the Grammy-winning O Brother, Where Art Thou? soundtrack, has corralled an equally glittering ensemble for Cold Mountain (Music From the Miramax Motion Picture), due Dec. 16.
Inspired by blues, folk, country and gospel influences, the film soundtrack will include new songs by Elvis Costello and Sting. Celebrated bluegrass performer Alison Krauss will sing both Sting's You Will Be My Ain True Love and The Scarlet Tide, which Costello wrote with Henry Burnett.
Zellweger's beau, Jack White of the rock band White Stripes, who makes his feature film debut in Mountain, appears on five additional tracks, among them traditional and blues covers such as Wayfaring Stranger and Christmas Time Will Soon Be Over,and his own original composition, Never Far Away. Other contributing artists include Tim Eriksen, the Reeltime Travelers, Riley Baugus and Tim O'Brien.
"These artists are all true to the sound and spirit of this music," Burnett says. "They cross decades, and centuries, to create traditional music that lives in the moment and reveals the old, coarse truths."
Elvis `song on Cold Mountain soundtrack.
-
HungupStrungup
- Posts: 371
- Joined: Sat Jul 26, 2003 12:14 pm
- Location: NE USofA
I know it's only USA Today, but . . . . .
Henry Burnett = T-Bone Burnett
Either Ms. Gardner doesn't know this, or she didn't think mentioning it was worth the space.
Either Ms. Gardner doesn't know this, or she didn't think mentioning it was worth the space.
"But it's a dangerous game that comedy plays
Sometimes it tells you the truth
Sometimes it delays it"
Sometimes it tells you the truth
Sometimes it delays it"
I'm thinking that name should have been "Henry Coward" as in T-Bone's name in the Coward Bros. (Unless I've got it backwards again -- I'm assuming it was Elvis who was "Howard Coward.")
Wonder if it'll be another Coward Brothers track if they're just having fun with the names on the songwriting credits.
Wonder if it'll be another Coward Brothers track if they're just having fun with the names on the songwriting credits.
http://www.forwardtoyesterday.com -- Where "hopelessly dated" is a compliment!
-
HungupStrungup
- Posts: 371
- Joined: Sat Jul 26, 2003 12:14 pm
- Location: NE USofA
The beginning of his biographical entry in the All Music Guide:
Despite critical acclaim as a performer, the rootsy singer/songwriter T-Bone Burnett earned his greatest renown as a producer, helming recording sessions for acts ranging from Roy Orbison and Elvis Costello to Counting Crows and Sam Phillips. Born Joseph Henry Burnett on January 14, 1948, in St. Louis, MO, he grew up in Fort Worth, TX . . . .
Despite critical acclaim as a performer, the rootsy singer/songwriter T-Bone Burnett earned his greatest renown as a producer, helming recording sessions for acts ranging from Roy Orbison and Elvis Costello to Counting Crows and Sam Phillips. Born Joseph Henry Burnett on January 14, 1948, in St. Louis, MO, he grew up in Fort Worth, TX . . . .
"But it's a dangerous game that comedy plays
Sometimes it tells you the truth
Sometimes it delays it"
Sometimes it tells you the truth
Sometimes it delays it"
-
HungupStrungup
- Posts: 371
- Joined: Sat Jul 26, 2003 12:14 pm
- Location: NE USofA
When you think about it, we're all t-bones
Maybe you're just thinking of T-Bone Wolk, whose first name is Thomas, I think.
"But it's a dangerous game that comedy plays
Sometimes it tells you the truth
Sometimes it delays it"
Sometimes it tells you the truth
Sometimes it delays it"
The preview trailer for Cold Mountain was kind of a howler. Whenever actors do southern accents you can find me off in a corner cringing. I'm sure the soundtrack will be excellent but it may be one of those where you buy the album and skip the movie....like T Bone's work on The Divine Secrets of The Ya-Ya Vaginas.
-
martinfoyle
- Posts: 2502
- Joined: Tue Jun 03, 2003 5:24 pm
- Location: Dublin, Ireland
- Contact:
I had the exact same reaction when I saw the trailer as well. Due for release in 2 weeks, apparently they are still putting the finishing touches to the film, and it will be nearly 3 hours long. Minghella is really a tv director who makes good solid period dramas that work well in that medium, but are bit of an endurance test on the big screen. This years Mr Majestic/Meet Joe Black methinks.El Vez wrote:The preview trailer for Cold Mountain was kind of a howler. Whenever actors do southern accents you can find me off in a corner cringing. I'm sure the soundtrack will be excellent but it may be one of those where you buy the album and skip the movie....like T Bone's work on The Divine Secrets of The Ya-Ya Vaginas.
-
verbal gymnastics
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I posted T-Bone's real name as being Tommy in another thread so it's probably my fault. I was quoting something Elvis said on stage. Don't worry Pip, you're not going mad. I am though.pip_52 wrote:Hmm, I guess the "Tommy" must just be me making things up again . . .
Who’s this kid with his mumbo jumbo?
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martinfoyle
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- Location: Dublin, Ireland
- Contact:
http://www.miami.com/mld/miamiherald/en ... tstory.jsp
-Posted on Fri, Dec. 26, 2003
Burnett Tackles 1860s Music on 'Mountain'
JOHN GEROME
Associated Press
NASHVILLE, Tenn. - When producer T Bone Burnett set out to make the soundtrack to the Civil War-era film, "Cold Mountain," he drew as much from his love of rock 'n' roll as from traditional American music.
Burnett mixed period pieces with new songs written by contemporary rock artists Sting, Elvis Costello and Jack White of the White Stripes.
The challenge was to make the new songs sound authentic, and the old songs sound fresh.
"We did a lot of work, a lot of research," Burnett said. "I can't speak for Sting, but I can say Elvis and I both have been studying this music in different forms for a number of years, so the job was pretty clear."
The movie, starring Nicole Kidman, Jude Law and Renee Zellweger, opened Christmas Day. It is an adaptation of the best-selling novel "Cold Mountain" by Charles Frazier and tells the story of a wounded Confederate soldier who walks home to the North Carolina mountains to find his sweetheart.
Recorded in Nashville and Los Angeles, the soundtrack consists of 19 Appalachian-flavored acoustic songs, most of them modern interpretations of traditional pieces.
White is the most prominent artist, taking the lead on five tracks, including the standards "Sittin' on Top of the World," "Wayfaring Stranger" and "Great High Mountain." He also wrote and performed "Never Far Away."
Costello and Burnett co-wrote "The Scarlet Tide" and Sting wrote and sang harmony on the Gaelic "You Will Be My Ain True Love" - both performed by bluegrass artist Alison Krauss.
Krauss said the project was intimidating.
"`Ain True Love' is a really different type of song," she said. "I had already heard Sting's version, and it was so perfect I couldn't help wondering, `How am I going to match that?' You kind of have to separate yourself from it."
Burnett sees no incongruity in rockers writing and performing Appalachian ballads. He said Costello and Sting are great composers, and White's career reflects a deep knowledge of American music that includes country icons Johnny Cash and Loretta Lynn.
"To me, we were just making rock and roll," Burnett said. "Rock grew out of this, out of rebellion and defiance and a spiritual quest."
Two tracks - "I'm Going Home" and "Idumea" - feature Sacred Harp singing, a homespun musical form that predates the Civil War. Sacred Harp songs are performed in a group without any instruments and come from a tune book, "The Sacred Harp," first published in 1844. The book uses a system of printed shapes to help untrained singers read the music.
The Sacred Harp songs were recorded at Liberty Baptist Church on Alabama's Sand Mountain, a site chosen because of the church's rich acoustics.
"We put out a call for everybody to meet at the Sand Mountain church and 80 or 90 people showed up from all over the country," Burnett said. "We were there about eight hours and recorded 30 tunes."
Burnett, a blues and rock musician who has produced albums by Costello, the Counting Crows and The Wallflowers, has visited American roots music before. He produced the "O Brother, Where Art Thou?" and Cajun-flavored "Divine Secrets of the Ya-Ya Sisterhood" soundtracks.
"O Brother," a collection of post-Civil War blues, country, bluegrass and gospel tunes, was a huge success, selling more than 6 million copies and winning a Grammy Award for album of the year.
Krauss, who also performs on the "O Brother" soundtrack, said acoustic music sounds fresh because it receives so little exposure on radio and television.
"I always said if people just had a chance to hear this music they would love it," she said.
With its rootsy sound, "Cold Mountain" is bound to draw comparisons to "O Brother." Burnett warns that listeners will find the music on "Cold Mountain" much darker.
"Death was a big theme in those days," he said. "Life was brutal."
-Posted on Fri, Dec. 26, 2003
Burnett Tackles 1860s Music on 'Mountain'
JOHN GEROME
Associated Press
NASHVILLE, Tenn. - When producer T Bone Burnett set out to make the soundtrack to the Civil War-era film, "Cold Mountain," he drew as much from his love of rock 'n' roll as from traditional American music.
Burnett mixed period pieces with new songs written by contemporary rock artists Sting, Elvis Costello and Jack White of the White Stripes.
The challenge was to make the new songs sound authentic, and the old songs sound fresh.
"We did a lot of work, a lot of research," Burnett said. "I can't speak for Sting, but I can say Elvis and I both have been studying this music in different forms for a number of years, so the job was pretty clear."
The movie, starring Nicole Kidman, Jude Law and Renee Zellweger, opened Christmas Day. It is an adaptation of the best-selling novel "Cold Mountain" by Charles Frazier and tells the story of a wounded Confederate soldier who walks home to the North Carolina mountains to find his sweetheart.
Recorded in Nashville and Los Angeles, the soundtrack consists of 19 Appalachian-flavored acoustic songs, most of them modern interpretations of traditional pieces.
White is the most prominent artist, taking the lead on five tracks, including the standards "Sittin' on Top of the World," "Wayfaring Stranger" and "Great High Mountain." He also wrote and performed "Never Far Away."
Costello and Burnett co-wrote "The Scarlet Tide" and Sting wrote and sang harmony on the Gaelic "You Will Be My Ain True Love" - both performed by bluegrass artist Alison Krauss.
Krauss said the project was intimidating.
"`Ain True Love' is a really different type of song," she said. "I had already heard Sting's version, and it was so perfect I couldn't help wondering, `How am I going to match that?' You kind of have to separate yourself from it."
Burnett sees no incongruity in rockers writing and performing Appalachian ballads. He said Costello and Sting are great composers, and White's career reflects a deep knowledge of American music that includes country icons Johnny Cash and Loretta Lynn.
"To me, we were just making rock and roll," Burnett said. "Rock grew out of this, out of rebellion and defiance and a spiritual quest."
Two tracks - "I'm Going Home" and "Idumea" - feature Sacred Harp singing, a homespun musical form that predates the Civil War. Sacred Harp songs are performed in a group without any instruments and come from a tune book, "The Sacred Harp," first published in 1844. The book uses a system of printed shapes to help untrained singers read the music.
The Sacred Harp songs were recorded at Liberty Baptist Church on Alabama's Sand Mountain, a site chosen because of the church's rich acoustics.
"We put out a call for everybody to meet at the Sand Mountain church and 80 or 90 people showed up from all over the country," Burnett said. "We were there about eight hours and recorded 30 tunes."
Burnett, a blues and rock musician who has produced albums by Costello, the Counting Crows and The Wallflowers, has visited American roots music before. He produced the "O Brother, Where Art Thou?" and Cajun-flavored "Divine Secrets of the Ya-Ya Sisterhood" soundtracks.
"O Brother," a collection of post-Civil War blues, country, bluegrass and gospel tunes, was a huge success, selling more than 6 million copies and winning a Grammy Award for album of the year.
Krauss, who also performs on the "O Brother" soundtrack, said acoustic music sounds fresh because it receives so little exposure on radio and television.
"I always said if people just had a chance to hear this music they would love it," she said.
With its rootsy sound, "Cold Mountain" is bound to draw comparisons to "O Brother." Burnett warns that listeners will find the music on "Cold Mountain" much darker.
"Death was a big theme in those days," he said. "Life was brutal."
I wonder if T-Bone was the negotiator of the apparent Gordon/Declan roadmap to peace.
http://www.forwardtoyesterday.com -- Where "hopelessly dated" is a compliment!
-
martinfoyle
- Posts: 2502
- Joined: Tue Jun 03, 2003 5:24 pm
- Location: Dublin, Ireland
- Contact:
http://www.theglobeandmail.com/servlet/ ... ertainment
-The gospel according to T-Bone
The veteran music producer hopes his Cold Mountain soundtrack will match the success of O Brother, Where Art Thou?
By DAVID MENCONI
Scripps Howard News Service
UPDATED AT 6:20 AM EST Saturday, Dec. 27, 2003
If Anthony Minghella was the logical choice to direct Cold Mountain, T-Bone Burnett was the obvious choice to create the soundtrack.
A veteran of Bob Dylan's mid-'70s Rolling Thunder Revue, Burnett is an acclaimed producer for Counting Crows, Elvis Costello and Los Lobos. And he put together the improbably successful soundtrack for another period story set in the South, the Coen brothers' loopy O Brother, Where Art Thou?
"In one way, yes, I was the obvious guy," Burnett says. "But at the same time, they were worried I'd just do the same thing I'd done on O Brother. I don't know why they would worry about that. But Cold Mountain is like the prequel to O Brother, although this is a real epic as opposed to a farce."
Epic or farce, the Cold Mountain team would love for this soundtrack to repeat the performance of O Brother. Despite minimal radio airplay, O Brother sold seven million copies, won the album-of-the-year Grammy for 2001 and launched bluegrass patriarch Ralph Stanley to career-high popularity.
As with the Depression-era folk and bluegrass of O Brother, the Cold Mountain soundtrack demonstrates Burnett's gift for bringing to life the music of bygone eras.
The soundtrack includes such vintage songs as Wayfaring Stranger, I Wish My Baby Was Born and Great High Mountain alongside new tunes by Burnett, Elvis Costello, Sting and White Stripes guitarist Jack White.
The music is slick in places, especially Alison Krauss's atmospheric reading of Sting's You Will Be My Ain True Love. But the folksy songs sound as if they were recorded on a rustic front porch.
The soundtrack touches on early blues with White's Sittin' on Top of the World and shape-note gospel singing with two songs by the Sacred Harp Singers at Liberty Church in Henagar, Ala.
The music is integrated into the film with care and skill. The Sacred Harp Singers' joyous I'm Going Home, for instance, works as ironic counterpoint in a church-service scene with congregants celebrating the news that war has broken out between North and South.
"When people do period music for a film, they usually get the form of the thing right," Burnett says. "Notes are hit; the clarinet does what it's supposed to do.
"But the actual content, the way it sounds, they miss. Like they'll use digital recording or digital reverb. The visual equivalent on Cold Mountain would be to put space suits on the Union soldiers.
"We recorded almost all of O Brother on one microphone from the 1930s. With Cold Mountain, I tried to get everybody in the room looking at each other, playing and relating and creating as it would have happened back then."
That sounds simple, but Burnett echoes what others involved in Cold Mountain say: This picture was the hardest thing any of them have ever done.
"This was much more difficult than O Brother," Burnett says. "That was just one of those crazy, blessed projects where everything lined up and went straight through. All I had to do was stay out of the way. But this was the polar opposite. Getting everything right was just a lot harder and more complicated."
Burnett and his collaborators recorded the Cold Mountain music in Nashville before shooting began. Because so many scenes are keyed to specific songs, Minghella attended the sessions to offer big-picture advice and context.
Some of the soundtrack participants' favourite music did not make the final cut.
Burnett speaks with particular regret of a Ralph Stanley spiritual that was eventually dropped, and vows to restore it to the DVD release.
Including the Stanley spiritual would make the Cold Mountain soundtrack even more of a gospel record than it already is.
In fact, folksy trappings aside, it could almost pass for the mystic Christian blues-rock albums that Burnett used to make before he became a big-time producer.
"You know the Bible story of Jonah?" Burnett asks.
"Well, that's me. I'm the guy who said years ago, 'I'm gonna follow God and follow Jesus, but I won't make gospel records because Christian music is very doctrinaire and dogmatic and not interesting.' But every record I end up making is gospel.
"It's like I'm Jonah and that whale spit me up on the shores of Nineveh. O Brother was gospel. My next soundtrack is the Coen brothers' The Lady Killers. It's all gospel and hip-hop, and Cold Mountain, more gospel.
"So here I am," Burnett concludes with a laugh. "Welcome to Nineveh."
-The gospel according to T-Bone
The veteran music producer hopes his Cold Mountain soundtrack will match the success of O Brother, Where Art Thou?
By DAVID MENCONI
Scripps Howard News Service
UPDATED AT 6:20 AM EST Saturday, Dec. 27, 2003
If Anthony Minghella was the logical choice to direct Cold Mountain, T-Bone Burnett was the obvious choice to create the soundtrack.
A veteran of Bob Dylan's mid-'70s Rolling Thunder Revue, Burnett is an acclaimed producer for Counting Crows, Elvis Costello and Los Lobos. And he put together the improbably successful soundtrack for another period story set in the South, the Coen brothers' loopy O Brother, Where Art Thou?
"In one way, yes, I was the obvious guy," Burnett says. "But at the same time, they were worried I'd just do the same thing I'd done on O Brother. I don't know why they would worry about that. But Cold Mountain is like the prequel to O Brother, although this is a real epic as opposed to a farce."
Epic or farce, the Cold Mountain team would love for this soundtrack to repeat the performance of O Brother. Despite minimal radio airplay, O Brother sold seven million copies, won the album-of-the-year Grammy for 2001 and launched bluegrass patriarch Ralph Stanley to career-high popularity.
As with the Depression-era folk and bluegrass of O Brother, the Cold Mountain soundtrack demonstrates Burnett's gift for bringing to life the music of bygone eras.
The soundtrack includes such vintage songs as Wayfaring Stranger, I Wish My Baby Was Born and Great High Mountain alongside new tunes by Burnett, Elvis Costello, Sting and White Stripes guitarist Jack White.
The music is slick in places, especially Alison Krauss's atmospheric reading of Sting's You Will Be My Ain True Love. But the folksy songs sound as if they were recorded on a rustic front porch.
The soundtrack touches on early blues with White's Sittin' on Top of the World and shape-note gospel singing with two songs by the Sacred Harp Singers at Liberty Church in Henagar, Ala.
The music is integrated into the film with care and skill. The Sacred Harp Singers' joyous I'm Going Home, for instance, works as ironic counterpoint in a church-service scene with congregants celebrating the news that war has broken out between North and South.
"When people do period music for a film, they usually get the form of the thing right," Burnett says. "Notes are hit; the clarinet does what it's supposed to do.
"But the actual content, the way it sounds, they miss. Like they'll use digital recording or digital reverb. The visual equivalent on Cold Mountain would be to put space suits on the Union soldiers.
"We recorded almost all of O Brother on one microphone from the 1930s. With Cold Mountain, I tried to get everybody in the room looking at each other, playing and relating and creating as it would have happened back then."
That sounds simple, but Burnett echoes what others involved in Cold Mountain say: This picture was the hardest thing any of them have ever done.
"This was much more difficult than O Brother," Burnett says. "That was just one of those crazy, blessed projects where everything lined up and went straight through. All I had to do was stay out of the way. But this was the polar opposite. Getting everything right was just a lot harder and more complicated."
Burnett and his collaborators recorded the Cold Mountain music in Nashville before shooting began. Because so many scenes are keyed to specific songs, Minghella attended the sessions to offer big-picture advice and context.
Some of the soundtrack participants' favourite music did not make the final cut.
Burnett speaks with particular regret of a Ralph Stanley spiritual that was eventually dropped, and vows to restore it to the DVD release.
Including the Stanley spiritual would make the Cold Mountain soundtrack even more of a gospel record than it already is.
In fact, folksy trappings aside, it could almost pass for the mystic Christian blues-rock albums that Burnett used to make before he became a big-time producer.
"You know the Bible story of Jonah?" Burnett asks.
"Well, that's me. I'm the guy who said years ago, 'I'm gonna follow God and follow Jesus, but I won't make gospel records because Christian music is very doctrinaire and dogmatic and not interesting.' But every record I end up making is gospel.
"It's like I'm Jonah and that whale spit me up on the shores of Nineveh. O Brother was gospel. My next soundtrack is the Coen brothers' The Lady Killers. It's all gospel and hip-hop, and Cold Mountain, more gospel.
"So here I am," Burnett concludes with a laugh. "Welcome to Nineveh."
http://tennessean.com/entertainment/cds ... D=45313428
Powerful voices, songs warm 'Cold Mountain'
soundtrack
Various artists
Cold Mountain
Sony Music Soundtrack
When the T Bone Burnett-produced soundtrack from O
Brother, Where Art Thou? sold millions, some thought
it would lead an old-timey music revolution and usher
in a country radio era where Ralph Stanley was the new
Kenny Chesney.
What happened? Well, not much, except that some great
musicians got Grammys and millions of people heard
worthy artists performing well-rooted songs full of
beauty and truth and (gasp) substance. Gillian Welch
didn't take over mainstream radio, though, and record
labels didn't rush to sign the next Peasall Sisters
(or even the first Peasall Sisters).
While the record biz is back to normal, the movie biz
is apparently still quite interested in old-time
sounds. For the soundtrack to Cold Mountain, Miramax
enlisted Burnett as producer, and Burnett recorded a
bunch of fine musicians doing timeless-sounding
material. Some of those fine folks — Alison Krauss,
Tim O'Brien, Stuart Duncan, Cheryl White, Mike
Compton, Dennis Crouch, David Schnauffer, Edgar Meyer
among them — are Middle Tennesseans.
On paper, it sounds like O Baby Brother, but the Cold
Mountain soundtrack is quite different from Burnett's
last soundtrack hit. For one thing, rock 'n' roll ''it
boy'' Jack White sings five tracks, making him the de
facto star of the show.
White is as effective as a well-rooted, bucolic,
minimalist acoustic guy as he is when he's a
well-rooted, city-dwelling, minimalist garage rock guy
fronting the White Stripes. On Cold Mountain, he is
plaintive and unaffected, delivering powerful takes on
traditional songs (Wayfaring Stranger, Sittin' on Top
of the World, etc.) and providing a yearning original
song called Never Far Away.
Krauss sings two songs, both of which sound a trifle
more modern than White's efforts. The Sting-penned
(yep, we said Sting) You Will Be My Ain True Love is
beautifully sung, but the song itself works better as
a movie companion than as a stand-alone.
Krauss is
more enjoyable on The Scarlet Tide, a perfectly
written, simply presented song written by Elvis
Costello and Burnett: ''We'll rise above the scarlet
tide/ That trickles down through the mountain/ And
separates the widow from the bride.''
While Krauss' selections are pretty and earnest, other
selections are more rollicking. An unexpected
highlight of the album is a gorgeous and gentle
performance of Like a Songbird That Has Fallen,
written by Burnett and Bobby Neuwirth, by the
not-so-famous Reeltime Travelers. Also, the Sacred
Harp Singers at Liberty Church (of Sand Mountain,
Ala.) emerge triumphant on two cuts.
The album's power wanes toward the end with four
selections from Gabriel Yared's score. It's a nice
score, understand, but it has nothing to do with much
of what precedes it: The shift from Stuart Duncan and
Dirk Powell's fiddle and banjo to Yared's austere
piano is too much.
Too much, though, is better than too little, and
skipping through Yared's four cuts still leaves us
with 15 vibrant bits of Americana.
Peter Cooper, Staff Writer
Powerful voices, songs warm 'Cold Mountain'
soundtrack
Various artists
Cold Mountain
Sony Music Soundtrack
When the T Bone Burnett-produced soundtrack from O
Brother, Where Art Thou? sold millions, some thought
it would lead an old-timey music revolution and usher
in a country radio era where Ralph Stanley was the new
Kenny Chesney.
What happened? Well, not much, except that some great
musicians got Grammys and millions of people heard
worthy artists performing well-rooted songs full of
beauty and truth and (gasp) substance. Gillian Welch
didn't take over mainstream radio, though, and record
labels didn't rush to sign the next Peasall Sisters
(or even the first Peasall Sisters).
While the record biz is back to normal, the movie biz
is apparently still quite interested in old-time
sounds. For the soundtrack to Cold Mountain, Miramax
enlisted Burnett as producer, and Burnett recorded a
bunch of fine musicians doing timeless-sounding
material. Some of those fine folks — Alison Krauss,
Tim O'Brien, Stuart Duncan, Cheryl White, Mike
Compton, Dennis Crouch, David Schnauffer, Edgar Meyer
among them — are Middle Tennesseans.
On paper, it sounds like O Baby Brother, but the Cold
Mountain soundtrack is quite different from Burnett's
last soundtrack hit. For one thing, rock 'n' roll ''it
boy'' Jack White sings five tracks, making him the de
facto star of the show.
White is as effective as a well-rooted, bucolic,
minimalist acoustic guy as he is when he's a
well-rooted, city-dwelling, minimalist garage rock guy
fronting the White Stripes. On Cold Mountain, he is
plaintive and unaffected, delivering powerful takes on
traditional songs (Wayfaring Stranger, Sittin' on Top
of the World, etc.) and providing a yearning original
song called Never Far Away.
Krauss sings two songs, both of which sound a trifle
more modern than White's efforts. The Sting-penned
(yep, we said Sting) You Will Be My Ain True Love is
beautifully sung, but the song itself works better as
a movie companion than as a stand-alone.
Krauss is
more enjoyable on The Scarlet Tide, a perfectly
written, simply presented song written by Elvis
Costello and Burnett: ''We'll rise above the scarlet
tide/ That trickles down through the mountain/ And
separates the widow from the bride.''
While Krauss' selections are pretty and earnest, other
selections are more rollicking. An unexpected
highlight of the album is a gorgeous and gentle
performance of Like a Songbird That Has Fallen,
written by Burnett and Bobby Neuwirth, by the
not-so-famous Reeltime Travelers. Also, the Sacred
Harp Singers at Liberty Church (of Sand Mountain,
Ala.) emerge triumphant on two cuts.
The album's power wanes toward the end with four
selections from Gabriel Yared's score. It's a nice
score, understand, but it has nothing to do with much
of what precedes it: The shift from Stuart Duncan and
Dirk Powell's fiddle and banjo to Yared's austere
piano is too much.
Too much, though, is better than too little, and
skipping through Yared's four cuts still leaves us
with 15 vibrant bits of Americana.
Peter Cooper, Staff Writer
-
martinfoyle
- Posts: 2502
- Joined: Tue Jun 03, 2003 5:24 pm
- Location: Dublin, Ireland
- Contact:
http://story.news.yahoo.com/news?tmpl=s ... tions_list
- Original Song: "Into the West" from "The Lord of the Rings: The Return of the King," Fran Walsh, Howard Shore and Annie Lennox (news); "A Kiss at the End of the Rainbow" from "A Mighty Wind," Michael McKean (news) and Annette O'Toole; "Scarlet Tide" from "Cold Mountain," T Bone Burnett and Elvis Costello (news); "The Triplets of Belleville" from "The Triplets of Belleville," Benoit Charest and Sylvain Chomet; "You Will Be My Ain True Love" from "Cold Mountain," Sting.
Elvis finally gets an Oscar nomination. Still I expect Sting to be this years Taste of Honey.
- Original Song: "Into the West" from "The Lord of the Rings: The Return of the King," Fran Walsh, Howard Shore and Annie Lennox (news); "A Kiss at the End of the Rainbow" from "A Mighty Wind," Michael McKean (news) and Annette O'Toole; "Scarlet Tide" from "Cold Mountain," T Bone Burnett and Elvis Costello (news); "The Triplets of Belleville" from "The Triplets of Belleville," Benoit Charest and Sylvain Chomet; "You Will Be My Ain True Love" from "Cold Mountain," Sting.
Elvis finally gets an Oscar nomination. Still I expect Sting to be this years Taste of Honey.
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spooky girlfriend
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- Contact:
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mood swung
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Actually, this has got to be the most consistently strong line up of Oscar nominated songs in the history of the category -- certainly over the last forty years.
In fact, in the past, a non-excreble Oscar song nominee was pretty much the exception -- and it usually lost to the latest ditty cowritten Dianne Warren and Marilyn and Alan Bergman -- "Love Theme from Airport '77" or "You're My Top Gun, Baby" or some such.
There isn't a rank stinker in the bunch, and that's saying something. Actually, I personally sort of dig the Triplets of Belleville song, even though the movie didn't delight me as much as it did a lot of people. It may not be the greatest song ever written, but once you hear it, you won't forget -- though you might wish you did. Think the Andrews Sisters on crystal meth.
In fact, in the past, a non-excreble Oscar song nominee was pretty much the exception -- and it usually lost to the latest ditty cowritten Dianne Warren and Marilyn and Alan Bergman -- "Love Theme from Airport '77" or "You're My Top Gun, Baby" or some such.
There isn't a rank stinker in the bunch, and that's saying something. Actually, I personally sort of dig the Triplets of Belleville song, even though the movie didn't delight me as much as it did a lot of people. It may not be the greatest song ever written, but once you hear it, you won't forget -- though you might wish you did. Think the Andrews Sisters on crystal meth.
http://www.forwardtoyesterday.com -- Where "hopelessly dated" is a compliment!
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lapinsjolis
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- Location: In the cloud of unknowing
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The Triplets is a movie that people say, 'you don't
get it' when you don't like it. It's fashionable and
the grotesque elements are considered artsy. The lack
of dialog-daring! No one pauses to ask if it's a
waste of ink and time. That the uneven story can't be
hidden beneath pretension and hype That the song can
drive you to heroin, while the movie only makes you
long for death. None of this is mentioned because the
people who espouse an affection for this movie are too
busy pretending that there are cultured.
Yet it's the only song of the nominated I know.
get it' when you don't like it. It's fashionable and
the grotesque elements are considered artsy. The lack
of dialog-daring! No one pauses to ask if it's a
waste of ink and time. That the uneven story can't be
hidden beneath pretension and hype That the song can
drive you to heroin, while the movie only makes you
long for death. None of this is mentioned because the
people who espouse an affection for this movie are too
busy pretending that there are cultured.
Yet it's the only song of the nominated I know.
"Be yourself; everyone else is already taken."
http://launch.yahoo.com/read/news.asp?contentID=216607
Krauss Can't Pick Between Oscar Songs
(AP, 01/28/2004 10:33 AM)
Alison Krauss sings two of the best original song Oscar nominees, which puts her up against herself — and she "just can't pick" a favorite of the two, the musician told AP Radio.
The contenders are her renditions of "Scarlet Tide" and "You Will Be My Ain True Love" from "Cold Mountain" — both produced by T Bone Burnett for the movie's soundtrack.
Krauss said "Ain True Love" shows Sting's genius — he wrote it from a woman's perspective at the time of the Civil War. Burnett and Elvis Costello wrote "Scarlet Tide."
Krauss said she loves working with Burnett because he has a way of making her feel like the most beautiful and talented person he's ever seen. "The mood he sets in the studio, you don't tire of working for him," she said.
Costello told the AP he won't perform "Scarlet Tide" at the Oscars because he feels Krauss should sing it. But he said he'll probably sing the song forever in his own shows because he's very proud of it.
Costello asserted he feels no rivalry with Sting, explaining that two nominations shows how good the "Cold Mountain" soundtrack is.
David St. Hubbins of Spinal Tap could technically win this award, too: Actor Michael McKean is nominated for co-writing "A Kiss at the End of the Rainbow" from "A Mighty Wind." Annie Lennox is nominated for co-writing "Into the West" from "Return of the King," and the song "Triplets of Belleville" from the movie of the same name is also a contender.
The Academy Awards will be held Feb. 29 in Los Angeles.
Krauss Can't Pick Between Oscar Songs
(AP, 01/28/2004 10:33 AM)
Alison Krauss sings two of the best original song Oscar nominees, which puts her up against herself — and she "just can't pick" a favorite of the two, the musician told AP Radio.
The contenders are her renditions of "Scarlet Tide" and "You Will Be My Ain True Love" from "Cold Mountain" — both produced by T Bone Burnett for the movie's soundtrack.
Krauss said "Ain True Love" shows Sting's genius — he wrote it from a woman's perspective at the time of the Civil War. Burnett and Elvis Costello wrote "Scarlet Tide."
Krauss said she loves working with Burnett because he has a way of making her feel like the most beautiful and talented person he's ever seen. "The mood he sets in the studio, you don't tire of working for him," she said.
Costello told the AP he won't perform "Scarlet Tide" at the Oscars because he feels Krauss should sing it. But he said he'll probably sing the song forever in his own shows because he's very proud of it.
Costello asserted he feels no rivalry with Sting, explaining that two nominations shows how good the "Cold Mountain" soundtrack is.
David St. Hubbins of Spinal Tap could technically win this award, too: Actor Michael McKean is nominated for co-writing "A Kiss at the End of the Rainbow" from "A Mighty Wind." Annie Lennox is nominated for co-writing "Into the West" from "Return of the King," and the song "Triplets of Belleville" from the movie of the same name is also a contender.
The Academy Awards will be held Feb. 29 in Los Angeles.
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verbal gymnastics
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cbartal - get that gag in in case anyone missed it from the other thread!johnfoyle wrote:I see that the Oscar show date - Feb.29 - is going to be tight for Elvis. He`ll be in Toronto the night before and Chicago to night after. I daresay he`ll somehow manage to squeeze it in....
Who’s this kid with his mumbo jumbo?
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mood swung
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