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Reader’s Choice: 10 More Definitive Cinematic Music Cues

Jason Bailey — Thu, 17 Nov 2011 20:00:01 +0000

Any time you have the gumption to pose a list of the ten definitive anything, you’re going to get some pushback. But because Flavorwire has the greatest readers in the world (/blatant sucking up), our post last week of The Most Definitive Music Cues in Film History prompted very little venom, and several excellent additions (including a few that had been on our first, wildly overambitious draft). The concept, once again, is that certain films use pop music cues so well that the movie and the song get inextricably bound together in your head; when you think of the movie, you hear the song, and when you hear the song, your see the film in your mind’s eye. We’ve picked our ten faves from the addendums offered by you, the reader, after the jump; feel free to add more of your favorites in the comments.

“This Time Tomorrow” by the Kinks in The Darjeeling Limited

Our most egregious oversight on the original list, as pointed out by reader CL, was the exclusion of Wes Anderson, who has made ingenious use of (mostly obscure) pop music cues throughout his career. “Pity to overlook Wes completely,” tsk-tsked CL, correctly. Reader Mojo suggested the Who’s “Quick One While He’s Away” from Rushmore, while CL noted, “There is at least one brilliant cue in every Wes Anderson film, but namely The Royal Tenenbaums and The Darjeeling Limited.” We went with the latter, the 2007 effort that is widely considered “lesser Anderson,” but has some really wonderful moments — including this one. Lola Versus Powerman and the Moneygoround, Part One is your author’s favorite Kinks album, and anytime I listen to “This Time Tomorrow,” I just want to run for a train in slow-motion.

Great Covers of Classic Songs from ‘Sons of Anarchy’

Nicole Rallis — Thu, 08 Sep 2011 19:30:33 +0000

While we admit that our DVRs haven’t been set to record FX’s motorcycle-gang drama, Sons Of Anarchy, we’re reconsidering skipping the series now that we’ve learned about the amazing crop of cover songs that have premiered on the show. In the past, they’ve revisited the beloved music of Bob Dylan, Neil Young, and Leonard Cohen, and now TwentyFourBit has brought us the latest song to premiere on the series: The Kills and Dead Weather frontwoman Alison Mosshart’s lovely, raspy-voiced take on Louis Armstrong’s “What A Wonderful World.” Listen to a slew of fantastic Sons of Anarchy covers we’ve missed, many of which feature music supervisor Bob Thiele’s band the Forest Rangers, after the jump.

Audra Mae covers Bob Dylan’s “Forever Young”

Battleme covers Neil Young’s “Hey Hey, My My”

Katey Sagal & the Forest Rangers cover Leonard Cohen’s “Bird On The Wire”

Lions cover Bob Dylan’s “Girl From The North Country”

Billy Valentine & the Forest Rangers cover John Fogerty’s “Someday Never Comes”

Scott Shriner & the Forest Rangers cover Alice Cooper’s “I’m Eighteen”

Curtis Stigers & the Forest Rangers cover Blind Willie Johnson’s “John The Revelator”

Daily Dose Pick: Preservation

Doug Levy — Tue, 16 Feb 2010 20:17:26 +0000

Andrew Bird, Tom Waits, Jim James, Paolo Nutini, and Ani DiFranco are among the diverse artists who joined the Preservation Hall Jazz Band in New Orleans for this album benefiting the group’s time-honored home.

Proceeds from the project — which finds its cast of legendary and contemporary musicians tackling New Orleans classics — go toward Preservation Hall’s music-outreach program and upkeep. Also among the contributors are such established forces as Richie Havens, Dr. John, Pete Seeger, and the Blind Boys of Alabama.

Even the late, great Louis Armstrong makes an appearance, as the Jazz Band lays down new music for his “Rockin’ Chair” vocals, recorded almost 40 years ago.

Explore the official album site, visit Preservation Hall and the Preservation Hall Jazz Band online, become a fan on Facebook, and buy the album.

Daily Dose Pick: Pops

Chelsea Bauch — Mon, 28 Dec 2009 19:32:00 +0000

Terry Teachout’s Pops: A Life of Louis Armstrong sheds new light on the great Satchmo’s already well-documented life.

Taking a critical look at Armstrong’s dual roles as both artist and entertainer, Teachout, an arts critic for the Wall Street Journal, parses out the variously competing and complementary sides of the music icon’s legacy.

Along the way, he addresses the issues of race and identity that affected Armstrong’s persona, from his early days in New Orleans to his later years in the public eye. The result is a stunning new portrait of one of America’s most familiar yet enigmatic figures.

Read Teachout’s description of the biography, check out The New Yorker‘s review, and buy a copy of the book.