For Your Listening Pleasure
Nirvana – Hormoaning
Said But True
“Heart-broken and attractive
A sad, sloppy mess
Lookin’ for approval
And easily impressed
Beware they say, but why would I listen?
I need to know what I’ve been missing
I’m no one you can trust
All little-boy lonely with curious lust
Confusion turns me upside down
Lost as quickly as I’m found
But soon enough it turns around
On the rebound
Call it fate or true love, never forced romance
Fell into a new love
Maybe perfect love by chance
Beware they say, but why would I listen
When it feels this good?
No one lives their life
Doing all the things they say they should
Confusion turns me upside down
Lost as quickly as I’m found
But soon enough it turns around
On the rebound
On the rebound
On the rebound
On the rebound.”
— Sebadoh, “Rebound”
(Lyrics by Lou Barlow, underrated indie singer/songwriter, who’s back touring with the band that made him a college radio icon)
And The Winner Is…
In case you somehow forgot, the Oscars are this weekend, and over 40 million people are getting ready to make ABC’s sponsors feel like they’re getting their money’s worth.
If you’re a music fan, you’ve probably had enough of awards shows, from MTV’s VMAs late last year, to the American Music Awards, GRAMMYs, and probably at least seven or eight more I can’t think of right now. While I was ripped a new one by one reader after proclaiming that the GRAMMY awards are useless, and the performances are what made the show this year, I still stand by the statement that without Prince teaming up with Beyoncé, OutKast sharing the stage with P-Funk, and Justin collaborating with… well, everyone, the GRAMMYs would have been lackluster at best.
So knowing my attitude towards awards shows in general, why would I watch the Oscars, let alone use precious column space on the topic?
Well, I think it’s safe to say that – outside of the opening number in years Billy Crystal is hosting – the highlight of the Academy Awards show for me is seeing the performances of “Best Original Song” nominees. Especially over the past few years.
It used to be true that unless it was a Barbra Streisand-esque ballad, a song only got nominated for this award if it was the theme to a big dancing flick (“I’ve Had The Time Of My Life”, “What A Feeling”, “Fame”) or the latest and greatest from Disney or some other animation house (“Under The Sea”, “Can You Feel The Love Tonight”, “A Whole New World”). Don’t believe me? Look up the past winners of this award on Oscars.com. And yes, I know that there are exceptions to this rule, but let’s face it. If it wasn’t for this award category, Randy Newman’s career would have gone down a completely different path.
Yet recently, things have changed up a bit, and the category has seemed more open than it ever has been since I was born. In fact, if you look at the winners in the 2000s, two of the last three award recipients were actually Bob Dylan and Eminem (with, yes, Randy Newman being the other of the three). Paul McCartney, Sting, U2, and Paul Simon have also racked up nominations since the turn of the century, and if you go WAY back to 1999 (at an awards show held in February 2000), you’ll see a hint of this new trend with Amy Mann nominated for one of her many contributions to the Magnolia soundtrack. Yes, that was the same year Robin Williams performed “Blame Canada” from South Park. Little did we know that rebellious times were a-comin’….
Okay, I won’t take it that far. What I will do, however, is take a look at the “Best Original Song” nominations for 76th Annual Academy Awards.
[Credit to Oscars.com for descriptions.]
THE TRIPLETS OF BELLEVILLE
“Belleville Rendez-vous”
Music by Benoit Charest
Lyric by Sylvain Chomet
This is the first Academy Award nomination for Benoit Charest, and including his nomination this year for Animated Feature Film for THE TRIPLETS OF BELLEVILLE, this is the third Academy Award nomination for Sylvain Chomet. He was previously nominated for an animated short film.
Film Synopsis
“When a dedicated cyclist competing in the Tour de France is kidnapped, his grandmother — who has devoted her life to his cycling career — enlists the aid of the family dog and a trio of elderly singing sisters to track down the gangsters who have taken him.”
This is a really fun song, which is enhanced whenever you visualize the three funky-looking sisters at the center of the movie. That being said, it’s from an animated movie, so in order to stay consistent with the few hundred words I spewed above, I’m going to have to disqualify it in my mind (although I think this one will be a hilarious live performance, if they’re planning on doing so!).
THE LORD OF THE RINGS: THE RETURN OF THE KING
“Into the West”
Music and Lyric by Fran Walsh and Howard Shore and Annie Lennox
This is the first Academy Award nomination for Annie Lennox, the seventh for Fran Walsh and third for Howard Shore (the latter two having been involved in other LOTR projects).
Film Synopsis
“In the final chapter of the Lord of the Rings trilogy, the battle for Middle Earth and control of the One Ring continues. As Frodo and Sam follow their devious guide, Gollum, toward Mount Doom, where they must destroy the ring, their friends attempt to unite the kingdoms of Rohan and Gondor in battle against the evil Lord Sauron’s armies.”
You know, it’s easy to forget just how wonderful Annie Lennox’ voice can be when paired with the right song. This is a powerful, sweet, sad song that captures the feeling of the Hobbits as they continue on their journey, and the perfect piece to close out the movie’s soundtrack. But, perhaps showing the strength of this year’s nominees, I would have to consider it a long shot for the victory.
COLD MOUNTAIN
“Scarlet Tide”
Music and Lyric by T Bone Burnett and Elvis Costello
These are the first Academy Award nominations for T Bone Burnett (GRAMMY-winning producer, known most notably for the soundtrack to “Oh Brother, Where Art Thou”) and Elvis Costello.
Film Synopsis
“Amid the horrors of the Civil War, Inman, a Confederate soldier, deserts and embarks on a dangerous odyssey that will reunite him with Ada, the woman he loves. His difficult journey home parallels Ada’s own struggle to survive under harsh circumstances for which her sheltered life has left her ill-prepared.”
A chilling piece from Elvis Costello, who is insisting on having Alison Krauss perform the song at the Oscars, as she does on the record. A rare case for me, where I actually bought the soundtrack before seeing the film, and hopefully I can still catch this movie before it leaves theaters.
COLD MOUNTAIN
“You Will Be My Ain True Love”
Music and Lyric by Sting
This is the third Academy Award nomination for Sting, who was previously nominated for songs from Kate & Leopold and The Emperor’s New Groove.
Film Synopsis
See above.
I hear Alison Krauss start to sing, and here come the goose bumps. Sting’s harmonies on this recording are subtle and perfect. It was interesting to see which songs the Academy would choose to nominate from this soundtrack, and as great as Krauss’ vocals are, I would be lying if I said I wasn’t surprised one of the Jack White-performed recordings wasn’t on the ballot. Needless to say, I’m hoping that “Scarlet Tide” and “True Love” split the pro-Cold Mountain vote, opening things up for my favorite to bring home the gold little man…
A MIGHTY WIND
“A Kiss at the End of the Rainbow”
Music and Lyric by Michael McKean and Annette O’Toole
These are the first Academy Award nominations for Michael McKean and Annette O’Toole.
Film Synopsis
“The world of folk music is given a satiric skewering in this mockumentary depicting the musicians participating in a reunion tribute memorializing a legendary promoter. As the promoter’s son works frantically to put the show together, long-disbanded groups reunite and begin clashing over old grievances.”
How is this Michael McKean’s first Oscar nomination?! This core member of Spinal Tap, who has also appeared on albums with Squeeze, Joan Jett, and even has a “coordinator” credit on Laverne & Shirley Sing, has obviously had a storied career… and has written what should be “Song of the Year” at this year’s Oscars.
In a lot of ways, “A Kiss at the End of the Rainbow” doesn’t make any sense whatsoever. I mean, isn’t A Mighty Wind supposed to be one big joke? A comedy, a “mockumentary” or something like that? Well, this song is anything but a joke. Sure, watching Eugene Levy and Catherine O’Hara’s mannerisms throughout the movie and during their performances is pretty hilarious, but this song is one point in the movie where everything just stops…
…and you wait to see whether or not they’ll kiss. A great movie moment from a great movie, and if this song doesn’t win, it’ll be a crime.
Until next time…
peace. love. moe.
– Matt
Matt’s Black Log
Matthew Michaels’s columns can also be found on moodspins and 1-42.
