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Op vrijdag 2 mei 2008 10:55 schreef Hephaistos. het volgende:
Het is een mooie vrouw, maar Tom Waits liedjes passen natuurlijk totaal niet bij haar.

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Op vrijdag 2 mei 2008 10:58 schreef AlphaOmega het volgende:

[..]

Sterke argumenten...

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Op vrijdag 2 mei 2008 10:55 schreef Hephaistos. het volgende:
Het is een mooie vrouw, maar Tom Waits liedjes passen natuurlijk totaal niet bij haar.

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Op vrijdag 2 mei 2008 11:02 schreef chansadres het volgende:

[..]

Ik heb het album nu een paar keer geluisterd. Maar ze heeft echt een hele grauwe zangstem. Net als Tom Waits. Het is alleen een vrouw (en wat voor één). De arrangementen zijn heerlijk. Erg bombastisch maar niet overdreven. Ik ben ook blij dat ze heeft gekozen voor het "onbekendere" werk van de meester.

NME gaf deze cd een erg hoog cijfer en ik moet toegeven. Het luistert heerlijk weg. Erg Tom Waits maar toch een stukje ondeugender door de zangkwaliteiten van Scarlett

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Op vrijdag 2 mei 2008 11:33 schreef rgras het volgende:
Ben ik de enige die vindt dat haar stem zeer onvrouwelijk klinkt?

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Op vrijdag 2 mei 2008 11:02 schreef chansadres het volgende:

[..]

Ik heb het album nu een paar keer geluisterd. Maar ze heeft echt een hele grauwe zangstem. Net als Tom Waits. Het is alleen een vrouw (en wat voor één). De arrangementen zijn heerlijk. Erg bombastisch maar niet overdreven. Ik ben ook blij dat ze heeft gekozen voor het "onbekendere" werk van de meester.

NME gaf deze cd een erg hoog cijfer en ik moet toegeven. Het luistert heerlijk weg. Erg Tom Waits maar toch een stukje ondeugender door de zangkwaliteiten van Scarlett

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Op vrijdag 2 mei 2008 15:22 schreef -MyLove- het volgende:
Het valt me vooral op hoeveel moedervlekken ze wel niet heeft in haar gezicht.

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Op vrijdag 2 mei 2008 19:58 schreef Morrigan het volgende:

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Gelukkig hoor je dat niet als je naar de muziek luistert.

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Scarlett Johansson - Anywhere I Lay My Head
Rating: 5.5

The very idea of Scarlett Johansson's debut album has been met with a strange collective kneejerk dismissal, not so much because she's an actor making a foray into music, but she's a good actor making a foray into music. The Bijou Phillipses and David Hasselhoffs of the world, the Lindsay Lohans and Don Johnsons, have trained us to think the worst of dabblers and dilettantes. But Scarlett comes from an already storied cinema career-- Ghost World, Lost in Translation, and Match Point among the highlights-- so we assume she has better taste than to do something as gauchely commercial as make an album. Moreover, the concept behind the album-- a collection of Tom Waits covers-- might have bought her some sympathy and at least a little curiosity, but instead it seems almost comically ambitious, an endeavor that even most non-actress musicians couldn't pull off (see: Holly Cole). What could the star of The Island ever tell us about Waits that we didn't already know? Waits himself never got so much grief for appearing in studio bombs like Mystery Men or The Two Jakes.

Johansson's affection for Waits' music, however, is unmistakable. Instead of obvious picks, Anywhere I Lay My Head reveals an artist with more than a passing familiarity with his work. These songs-- culled from later Waits albums like 1992's Bone Machine and 2002's Alice, with only one track from the 1970s-- sound like personal favorites, and to respectfully reinterpret them, she and producer David Sitek corralled a backing band that includes the Yeah Yeah Yeahs' Nick Zinner and members of TV on the Radio, Tall Firs, and Celebration. Sitek proves as strong a presence as Johansson herself, swaddling her voice in a soft, otherworldly drone of bells, saxophones, ambient guitars, and burbling beats that suggest a Brooklyn update on vintage 4AD bands like This Mortal Coil or Cocteau Twins (without Elizabeth Fraser's vocal acrobatics, of course). As the album proceeds, this sound, which Sitek has described as a "Tinkerbell on cough syrup," becomes a bit repetitive, the same tricks over and over. The drunken music box and ambient telephone rings on "I Wish I Was in New Orleans" sound overly precious, and "I Don't Wanna Grow Up" never gels in this setting, which may have more to do with song choice than production or performance.

Sitek guides Anywhere I Lay My Head as much as Waits does. In fact, much of the album sounds like the producer might have devised this particular aesthetic as a softer, feminine counterpart to his day-job band's more aggressive, abstract attack. Music boxes replace jagged guitars, warm reed instruments displace lunar howls. Of course, Johansson doesn't take such liberties with lyrics, leaving many of the masculine pronouns unchanged. Still it's startling-- and not unpleasantly so-- to hear a guarded female voice sing words and melodies most commonly associated with Waits' gruff vocals. With all this gender realignment, David Bowie's cameos seem almost inevitable.

So, how does Johansson herself sound? More expressive and less tentative than she did on "Summertime", her track from the 2006 Music Matters comp Unexpected Dreams: Songs From the Stars. While her voice is limited and her pitch occasionally shaky, she has a wide textural range, spanning from low, smooth, and melancholy on "Song for Jo" (the only original, which she co-wrote with Sitek) to bristling and edgy on "Falling Down", whose melody best suits her voice and Sitek's production. However, she sounds blankly inexpressive on "No One Knows I'm Gone", overwhelmed by her back-up singers on closer "Who Are You" and unable to sell Waits' lyrics on "Town with No Cheer"-- a major shortcoming for an actor. Likewise, singing about street musicians and red-beans-and-rice on "I Wish I Was in New Orleans", she's out of her depth.

On several songs, Johansson gets lost in Sitek's swelling production, which may suggest a weak interpreter or a dearth of vocal personality but adds to the album's pervading dreaminess. Ultimately, her ambitions prove more musical than professional, and her willingness to make herself a secondary player here-- behind Waits, Sitek, and TV on the Radio-- makes the whole enterprise seem like a lark, an anti-vanity project. There are no tacky pronouncements of stars-are-just-like-you realness here, no statements about herself or her celebrity or really anything at all. The only thing we've learned about her is that she really, really likes Tom Waits. That's more than enough to avoid catastrophe, but not quite enough to make Anywhere I Lay My Head much more than a curio.

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Op vrijdag 2 mei 2008 14:53 schreef shiNinG_staR het volgende:
Dat nummer Falling Down is echt het meest afschuwelijke dat ik ooit heb gehoord. Die stem ! Dat is geen zingen meer, wat een wangeluid produceert zij.

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PETE YORN & SCARLETT JOHANSSON
DUET ON BREAK UP
Available September 15 On Atco Records
LOS ANGELES – In 2006, critically acclaimed singer/songwriter Pete Yorn contacted actress and Atco recording artist Scarlett Johansson with the idea to record a duets album in the spirit of Serge Gainsbourg’s 1960s recordings with Brigitte Bardot. “I was having a strange week of insomnia and when I finally passed out, it came to me in a dream,” says Yorn. “I woke up and the whole thing was in my head, fully formed.” Johansson was intrigued by Yorn’s out-of-the-blue invitation. “It sounded like an interesting little adventure,” she explains. “The idea of two people vocalizing their relationship through duets.”


On September 11, Atco Records, an imprint of Rhino Entertainment, presents the resulting work, Pete Yorn & Scarlett Johansson BREAK UP, a deeply emotive yet hook-filled song cycle about a tempestuous relationship. Prior to the release of BREAK UP, Yorn will release his fourth studio album, Back And Fourth, on Columbia Records June 23.

Break Up includes eight original compositions by Yorn, ranging in tone from the lilting opener “Relator” to the disarming, retro/futuristic “I Don’t Know What To Do” to the climactic “Someday.” Completing the collection is a powerful interpretation of the art-rock classic “I Am The Cosmos” by the late Chris Bell, co-founder of quintessential cult band Big Star. Produced by Sunny Levine, with Yorn and Max Goldblatt as executive producers, the album features contributions from guitarist Robert Francis; bassist Giuseppe Patane; and violinist Amir Yaghmai, with Goldblatt on banjo, synth bass and backing vocals, and Levine handling programming and mixing.

Predating Johansson’s debut album, Anywhere I Lay My Head, by nearly two years; Break Up was conceived and recorded in 2006, in Levine’s garage studio. “I always thought of it as just a small project between friends,” explains Johansson. “I’ve loved the album ever since I heard it completed. It perfectly captured where I was in my life at the time.” Yorn was as protective of Break Up as a father of his daughter, playing it for no one until last year.

When those close to him finally heard Break Up, the overwhelming response convinced Yorn that it was simply too strong a work to remain under lock and key.

BREAK UP

Track Listing

1. Relator

2. Wear And Tear

3. I Don’t Know What To Do

4. Search Your Heart

5. Blackie’s Dead

6. I Am The Cosmos

7. Shampoo

8. Clean

9. Someday

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Op zaterdag 23 april 2011 12:11 schreef PiRANiA het volgende:
B&H-topics .
Scarlett Johansson
Scarlett Johansson # 2
Scarlett Johansson #3

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Op zaterdag 23 april 2011 14:05 schreef das_phantom het volgende:
Ik vind het best een leuk nummer maar ik denk dat het beter zou klinken met een andere stem (Falling Down)

Tom Waits - Falling Down