So you've seen the movie-pretty good movie, right?-and decided that this is the disco album you're going to try. Another possibility: the critics are fibbing a little to cover their ignorance.
#MAGNOLIA SOUNDTRACK FOREIGNER MOVIE#
If the music makes the movie, as more than one film critic has surmised, then the movie is a lie. The only musician of promise here, Ronee Blakley, hasn't righted any of the quirks that unfocused her solo debut three years ago, and she's no more a country singer than Wendy Waldman.
This is a perfectly competent-plus mod-country band which has gone virtually unacknowledged in print, led by a Texas music man named Ronny Weiss whose name you might file. Is considerably deeper and more coherent than the Antonioni film of the same name. Includes selections, most of them instrumental, by Pink Floyd, the Grateful Dead, Kaleidoscope, the Youngbloods, Jerry Garcia, John Fahey, Roscoe Holcomb, and Patti Page. But set semiclassical-twice-removed melodies amid received, overrehearsed rock instrumentation and all the verve and spontaneous power which is the music's birthright gets crucified. Tommy, in which real rock and rollers pursued a grandiose dramatic concept, was risky enough. Outsiders since Pat Boone have had the dumb idea that rock and roll means projecting the kind of sham intensity that the worst kind of opera lover is a sucker for, and here's more-"rock musical" is too kind. And Mick Jagger's version of Jagger-Richard's scabrous, persona-twisted "Memo From Turner" is his envoi to the '60s. Randy Newman's version of Nitzsche's metaphor to impotence, "Gone Dead Train," is a white blues landmark. Merry Clayton and Ry Cooder and Buffy Sainte-Marie and composer-producer Jack Nitzsche are pretty good for a soundtrack and pretty forgettable for a record album.
0 kommentar(er)
