Listening to a soundtrack before you watch the movie is sort of like putting the cart before the horse. In many cases, the reason you buy a soundtrack is that you liked the movie, and the music evokes certain scenes and visuals that you remember. Like when I used to play the music from Legend of Zelda on my computer at my old job, a co-worker who was around my age would walk by and say, “You are so weird - why are you listening to the theme from Zelda?” Yes, I get stuck in the 1990s from time to time, and it’s a video game, not a movie. But the fact that he knew it was Zelda shows the true power of a classic soundtrack.
Anyway, digression aside, you know a soundtrack is good when you can visualize a movie in your head before you’ve even seen the movie. Percy Jackson and the Olympians is a new film coming out in the U.S. this Friday, and after listening to a promo copy of the soundtrack, I have to say that it’s like a mini-movie within the movie.
First off, a feature flick about Greek mythology can take one of two musical approaches - 1) Be hip and get someone like Korn or Linkin Park to rock out with guitar-heavy tracks to back the CGI pyrotechnics you see on-screen, or 2) Be traditional and go with the classical/orchestral approach. Percy Jackson goes with the latter, which is probably the right way to go considering it’s a fantasy movie and the main character’s name is Percy. Also, with the external similarities between Percy Jackson and Harry Potter (i.e. two boys with magical powers who do magical things), it probably doesn’t hurt to see if you can evoke a similar feel to what’s worked in the past.
Overall, it’s well-done. I listened to it while multi-tasking on the computer, and the music is like a roller coaster. One minute you have a relaxing, quiet track punctuated with flutes or gentle strings, then suddenly your head perks up again as the big horns and heavy percussion come out for what you figure will be the action scenes. I like how the soundtrack establishes the main theme music with “Prelude,” then has it pop up from time to time in the later tracks in different variations and instruments. It’s good to have an identity, especially when it comes to marketing the movie, the album, the merchandise, and the DVD.
Overall, I give the Percy Jackson and the Olympians soundtrack a 3.5 out of 5. It’s nice to listen to, but I’m not sure if it’ll resonate enough with the public on its own unless the movie ends up doing well. To see when Percy Jackson opens up in your neck of the woods (2/12/10 in the U.S.), check out the official website.
Listen to samples and download the MP3 album:
Tuesday, February 9, 2010
Album Review: Percy Jackson and the Olympians Soundtrack (score by Christophe Beck)
Friday, January 22, 2010
Album Review: Soul Live - Seal
Two disclaimers - first off, I am almost 30 years old. Secondly, I’ve been a casual Seal fan ever since he broke onto the scene with Crazy. With that out of the way, Soul Live features covers of well-known songs that came out about 40-50 years ago. Seal performs them almost flawlessly with the help of a solid band, and the end result is a nice album you can unwind to after a long day at the office.
All that said, there’s one major issue I have - most of the songs are so recognizable that they just don’t sound the same when someone else sings them. Even when it’s Seal. For example, It’s a Man’s Man’s Man’s World is a James Brown original, and he wailed it with the raw anguish only the Godfather of Soul could deliver. Seal’s version is good, but it’s too clean and noble. Same problem with Stand By Me, If You Don’t Know Me By Now, and right on down the list.
Again, it’s not like they’re bad - quite the opposite, actually. But it’s all too clean, polished, and neatly packaged. Fortunately, Seal does add versions of Kiss From A Rose (former #1 hit that cleaned up at the 96 Grammys), and the aforementioned Crazy at the back end of the record. Those tracks are unmistakably his, and you can hear the difference.
My theory is this: to really sing great covers of soul songs, sometimes you need to hurt a little. But Seal is married to Heidi Klum. He has a great family and more money than he’ll ever need. Just a guess on my part, but he probably doesn’t have too many inner demons or major issues with his life.
Anyway, I give Soul Live a 3.5 out of 5. And it’s not because there’s anything really wrong with it. It’s just that there’s nothing in here to really remember. This album probably came along about 10-15 years too early for me - give me that time to settle down a little more, and I’ll probably like it even better.
Listen to samples and download the MP3 album:
Wednesday, January 20, 2010
Album Review: Transference - Spoon
In criminal law, the burden of proof is on the accuser. And in music, the burden of proof is on the artist. I don’t listen to a lot of indie/alternative rock, so pretty much any band I do listen to has some extra work to do to convert me. Transference is a new album from Spoon, and while it doesn’t convert me, it’s certainly worth a download and a listen.
Stereotypes are dangerous, and I admit that I have a few. When I think of the genre, I picture a grungy band in a pub or cozy concert venue with exposed brick all around, playing laid-back guitar and piano-driven tracks about relationships and other everyday abstractions. Most of the songs on this album make me feel like I’m in one of those intimate live music venues, nursing a Newcastle, and thinking, “Hey, these guys are pretty good,” but ultimately knowing I’ll forget about them the next morning.
A couple of songs did get my attention though:
The Mystery Zone offers some extra funk and comes off sounding a little like the Rolling Stones’ Miss You. Out Go the Lights has crossover appeal that would translate well to radio, which is a compliment from an indie novice like me. Finally, the metronome-like percussion and abbreviated guitar notes in Nobody Gets Me But You make it sound like an 80s pop-rock amalgamation.
Anyway, whether you religiously listen to indie and alternative rock or not, Transference is an enjoyable album. I give it a 3.75 out of 5. But if you’re an aspiring indie listener seeking an ideal starting point in the genre, keep looking.
Listen to samples and download the MP3 album:
Tuesday, January 19, 2010
Album Review: Stronger WithEach Tear - Mary J. Blige
Times change, and sometimes even the greatest artists need to reinvent themselves. Mary J. Blige is a prime example. As the queen of hiphop and R&B in the 90s, she presided over a musical landscape where the popular beats featured soul samples and the now-defunct New Jack Swing. Today, the mainstays on the top 40 feature polished dance beats made from computer programs and advanced electronic equipment. That said, you run into trouble when you start mass-producing your beats, and all your songs start sounding way too similar, or just plain dull.
In other words, picking beats to match your characteristics as a singer is like picking the right clothes - it takes time, and you need to try a lot of combinations before you get it right. Stronger WithEach Tear is Mary J. Blige’s latest album, and it’s clear that her fashion sense has gotten better over the past decade.
Two tracks stand out to me in particular:
Tonight has a delayed handclap, a shimmering bass that quietly pounds in your head, and a whooshing undertow that reminds me of the Beastie Boys’ Paul Revere. In addition, Said and Done is melodically rich, like biting into a Hershey bar. Ryan Leslie is an underrated producer, and he paints a mysterious, but compelling soundscape that you can dance to, drive to, or chill to. And as she often does, Mary rides the beat like a pro.
The rest of the album isn’t quite as noteworthy, but it isn’t weak either. Some of it gets a little syrupy sweet and monotonous, but that’s probably more about giving a shoutout to her female fans who nod their heads in understanding at her love ballads and lighter, slower tracks. Not that those songs can’t appeal to everyone, but she just isn’t in mid 90s form anymore.
Overall, I give Stronger WithEach Tear a 3.75 out of 5. It’s not her best, but certainly not her worst, and it shows that she’s one of the few artists who’s successfully bridged the gap from one millennium to the next.
Listen to samples and download the MP3 album:
Friday, January 15, 2010
Album Review: Contra - Vampire Weekend
When it comes to music, sometimes it’s ok to be different, as long as you’re good. At the very least, the name “Vampire Weekend” gets your attention. Their music is pretty unique too. I’ll admit that this is the first album I’ve ever heard from them, and it’s interesting in a good way.
First off, the lead vocalist sounds like Paul Simon with little traces of Sting on certain tracks. The music itself features a mix of influences - African and electronic are the most prominent ones I hear. Two songs stand out to me in particular:
Overall, the music has a happy sound to it, and there really isn’t any track that I couldn’t at least listen to the whole way through. Contra would be a fitting soundtrack for a roadtrip to nowhere in particular, an indie film about nothing in particular, or a kids movie like Where The Wild Things Are. And that’s not intended as a knock - it’s really a compliment to its versatility.
I give the album a 4.25 out of 5. It’s different, it’s enjoyable, and while it lacks a truly transcendent single, it’s consistently good. You can’t ask much more from music these days.
Listen to samples and download the album:
Sunday, December 27, 2009
Album Review: Malice N Wonderland - Snoop Dogg
When I was a little boy, I knew one day I would be a writer. And despite a few attempts at other occupations, I ended up going back to the one thing I always knew I could do. Point is that you are who you are, and the sooner you recognize it, the better off you’ll be. The secret to Snoop Dogg’s success over the years is that he’s always known who he is - an entertainer with one of the smoothest flows in the industry. Party records are his business, and business has always been good. He’s gone a little more pop since he burst on the scene on Dr. Dre’s The Chronic
To me, this album really revolves around two singles - I Wanna Rock and 1800:
The biggest single off this album will be I Wanna Rock. You got a looped sample and part of the chorus from Rob Base and DJ EZ Rock’s classic It Takes Two, plus a filthy, shuffling drum beat that makes your head nod. 1800 is a little more generic, but the beat goes hard with the handclaps and Lil Jon yelling in the background. Most importantly, it’s already got suburban white kids c-walking. The song reminds me of Akon and Snoop’s I Wanna Love You, only harder, and that’s a good thing.
Most of the rest of the album is made up of other party tracks that just aren’t at the same level. It’s sort of like he said, “Well, I made my two hits for the record, now I can put it on cruise control.” He does mix it up from time to time and step out of his comfort zone with songs like Different Languages, but it just doesn’t sound right. Not that it’s a bad beat, but it’s the kind of offbeat jazz that would better suit hipster rappers like Kanye, Lupe Fiasco, or Kid Cudi.
Overall, I give Malice N Wonderland a 3.5 out of 5. I like the top two singles, but the rest of the album feels a little mailed in. Snoop Dogg fans who’ve been there since the beginning will feel the dropoff, but casual listeners will happily download the lead singles and call it a day.
Listen to samples and download the album:
Friday, December 18, 2009
Album Review: The Element of Freedom - Alicia Keys
When you set a high standard with your debut, it’s tough to top it. Alicia Keys should know that all too well. She’s one of the most talented singers and songwriters of our generation, and her debut album Songs in A Minor was billed by many as the launching pad for a legendary career. Since then, she’s won Grammys and solidified her spot as a superstar, but she hasn’t really made that one album or set of singles that leaves an indelible impression on future generations. The Element of Freedom is her latest attempt to build on her legacy, but somehow I feel like she hasn’t hit her stride yet.
Simply put, none of the songs really stand out to me. None of them are bad either. They’re pretty much all easy listening, and that’s the problem - Alicia Keys could make good music in her sleep. I want to hear what she can do when she gets into a zone.
Most of the album features pop-R&B, softer ballads, and even some 80s synth mixed in. Try Sleeping With A Broken Heart is one example of when it all comes together:
Somehow I feel like I’m listening to a blend of Prince, Toto, and Drake’s recent single Successful, but with more authority in the drums. Pensive and mysterious, but still upbeat. It also made my eyelids heavy, which can be good if you’re chilling at home, and bad if you’re behind the wheel.
Otherwise, there’s enough to like, but not enough to love. I feel like I’ve heard most of this before from today’s run-of-the-mill pop and R&B artists. And that’s too bad, because Alicia Keys’ talent is anything but average.
I give The Element of Freedom a 3.75 out of 5. If it was playing in a department store, I wouldn’t mind, and it’s better than Rated R. But to whom much is given, much is expected. And I expected more.
Listen to samples and download the album:
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