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Various Artists “Moulin Rouge: Music from Baz
Luhrmann’s Film” Interscope Records
When trying to blend two distinctly different genres, caution
must be taken to avoid getting fingers caught in that whirring
musical blender. Otherwise, an album like the “Moulin Rouge:
Music from Baz Luhrmann’s Film” may result; pleasing no
one and dissatisfying all. Lovers of musicals may find it too pop
oriented, while those with a taste for mainstream music will
probably discover it is uncomfortably lyric heavy. Posters for Baz
Luhrmann’s new musical starring Nicole Kidman and Ewan
McGregor are seen all over campus, but it is doubtful that the
soundtrack will be all over the airwaves. Part of the problem is
that the music relies significantly on the film, meaning that
without watching the movie a listener feels as if something is
noticeably missing. With lyrics such as “Moulin Rouge is
going on” in Valeria’s tune “Rhythm of the
Night,” any connection with the music is immediately
jarred by the reminder that this is a musical, meaning the songs
are integral to the plot and not just a supporting feature. The
best thing going for the soundtrack is its varied talents. David
Bowie, Bono, Fatboy Slim, Christina Aguilera and Beck are among the
more notable artists with new music made especially for the movie.
While most of the songs are adequate dance material (which is the
point of Club Moulin Rouge, right?), only Beck’s
“Diamond Dogs” has the energy to break free from the
otherwise dependent tracks. Written by Bowie, it is song that needs
no interpretation to be felt and yet still gives a clearly distinct
picture of what “Moulin Rouge” is all about. Many of
the songs are sung by stars Kidman and McGregor. They do remarkably
well, especially on “Elephant Love Medley,” which
incorporates numerous classic love songs, such as the
Beatles’ “All You Need is Love” and U2’s
“In the Name of Love” into a single ode to passion.
Both have excellent voices, but are too steeped in classic musical
tradition to be interesting. Kidman’s “Sparkling
Diamonds” is fun but vapid, as is McGregor’s rendition
of Elton John’s “Your Song.” While painfully
uneven, the musical styles of each artist still somehow mesh to
lend a singularly distinct feel to the soundtrack. Perhaps the
music supports the film in a rewarding fashion, but if it cannot
stand alone, it has ultimately failed to become a unique piece unto
itself.
David Holmberg Rating: 6 Â Tim
Easton “The Truth About Us” New West
Records
With simplicity in mind, Tim Easton created his second solo
album, “The Truth About Us.” Infectious, sweet melodies
and strumming guitars fill the album with charm that keeps fans
listening. Perhaps it’s the cover of the album that draws
some ““ it’s not every day that an album cover depicts a
guy sitting on one side of an old couch, dressed in shabby
clothing, staring at something he’s possibly pointing at.
However, the initial draw of the album is not its staying force.
Playing the first track, “Half a Day,” the listener is
easily hooked. The song is amazing with its interesting drum beat
and a semi-traditional pedal steel solo, along with a lovely
repeating six note piano riff. If this catchy melody doesn’t
get the listener, Easton’s voice will, as it resembles Bob
Dylan’s. However, Easton also explores a sort of bluesy,
backroad Mississippi sound with his third track “Downtown
Lights.” To spice things up, he adds an acoustic slide guitar
and harmonica. The song is one of the tracks on the album that
shows Easton’s creativity in pursuing other realms of music.
Even though Easton’s voice sounds a lot like Bob
Dylan’s, it is also similar to music comrades such as Elvis
Costello and Duncan Sheik. In “I Would Have Married
You” Easton showcases his soft, but sometimes rusty voice, to
tell a simple story about a girl he once knew. Skipping a few slow
songs, the listener arrives at the funky “Soup Can Telephone
Game Conversation,” with a melody that can be compared to
some of Sheryl Crow’s early works. The final track on the
album, “Don’t Walk Alone,” has an introduction
that reminds listeners of the type of music heard in a church down
South. By ending the album with this song, Easton still keeps
simplicity in mind, but this song along with a few others are less
than appealing. Instead of providing a continuous music experience,
Easton’s CD is patchy, forcing listeners to skip around and
only listen to a few of his more infectious songs.
Laura Morgan Rating: 6 Â
David Gray “Lost Songs ’95-’98″
RCA Records
Potential one-hit wonder David Gray proves that he is exactly
the opposite with his newest album, “Lost Songs.” The
acoustic recordings of his previously unreleased songs written
between 1995 and 1998 are a testament to a musician who is well on
his way to moving from underground hero to widespread phenomenon.
Although many may only know Gray by the hit radio song,
“Babylon” from his 1999 album “White
Ladder,” it is time to get properly acquainted “”mdash; and
“Lost Songs” is the perfect introduction. While his new
album is a departure from his prior mesh of old school folk and new
wave electronica, his focus on the former is a logical one, for
that’s where his true strength lies. While the
“singer-songwriter” fad may return to the mainstream
after a long hiatus, no one else embodies the tradition as well as
Gray. It is impossible not to think of quintessential loner Bob
Dylan while listening to Gray’s simple, understanding lyrics
and light guitar. With the support of his two-member band, Clune on
drums and bass, and Tim Bradshaw playing piano and bass, an
unaffected musical style emerges with movement and originality. The
album’s mood is mellow, and every song flows into the next
with tranquility. If any flaw is to be had with “Lost
Songs,” it stems from a lack of individual distinction of
songs. At the same time, this trait makes it more like a bubbling
mountain river; rolling and ebbing without pause, but nevertheless
wonderful in its own accord. As with predecessor Dylan, what makes
Gray so forceful is his lyrics. Right from the first line of the
first track, “Flame Turns Blue,” he delves into simple
universal experiences with “I went looking for someone I left
behind/Yeah but no-one just a stranger did I find.” Losing
love is a recurrent theme of “Lost Songs,” and one that
fits well with his melancholy sound. The sentiment weaves
throughout the music, ending with the final song, “Falling
Down the Mountain,” and “You left me cold/To meet your
ghost/All over town.” Listening to Gray’s new album, it
is easy to understand why major musicians, such as Dave Matthews
and Radiohead, cite him as one of their personal favorites. His new
album is a reminder of the simplicity and pervasiveness that makes
music a corkscrew into the soul, releasing that which lies beneath
for all the world to see and experience.
David Holmberg Rating: 8