This year’s Oscars were different from any show previous. The divergence was clear – this program had more music than ever before. Perhaps in an imitation of this year’s Grammys, which also had the most musical performances in its history, the Oscars had a penchant for bringing music back, in a bid to attract more viewers to a more song and dance oriented spectacle.
The Oscars were surprising in several other ways as well. Hugh Jackman, most famed for his turn as the X-Men mutant superhero Wolverine, exhibited none of that super masculine aura, instead offering a lighthearted, musically inspired side.
Surprisingly entertaining, he added to the event’s spectacle by singing, dancing, and joking his way through the awards ceremony. As he sang in the show’s opening number, “[N]o recession can stop my confession, or silence my song.” While Jackman was onstage, nothing did, though he was seen relatively little during the program compared to hosts of previous years.
The show was different from previous Oscars in other ways, which worked to both advantage and disadvantage. In an attempt to attract more viewers and keep them glued to the screen, as well as prevent the program from becoming stale and boring over the years, these Oscars featured more musical performances than any other.
Jackman sang and danced in both his opening number with Anne Hathaway, and a number dedicated to the return of the musical, which featured the young couples from 2008’s “Mamma Mia!” and teen hit “High School Musical 3.” Though these were well done, they also unfortunately added to the runtime of the show, making the creators of the Oscars break their promise of keeping the show under three and a half hours.
A medley of the three songs nominated for Best Song was a highlight, featuring exceptional performances from John Legend and A.R. Rahman. Choreography of the dancers in the background added to the sights and sounds of the whole affair. This worked to wake a sleepy viewer up in the midst of commercials and drawn-out presenters.
Celebrity musical accompaniment was again used to mixed effect during the “In Memoriam” segment, which paid tribute to those in the filmmaking industry who passed away during 2008. Queen Latifah sang an excellent rendition of “I’ll Be Seeing You,” which was neither overwrought nor underdone. However, it distracted from the simplicity of the memorial montage, making it more about Latifah’s performance than the people being remembered. At times, it was difficult to make out names on the screen or see the figures because of the zoomed out camera angle.
There were no real surprises in the awards themselves, however. Danny Boyle’s “Slumdog Millionaire” swept, taking eight awards, including those for Best Picture, Director, Cinematography, and Adapted Screenplay. As expected, Heath Ledger won Best Supporting Actor for his outstanding performance in “The Dark Knight;” Sean Penn and Kate Winslet were no surprises in the Best Actor and Actress categories. The only small departure from what was expected was in the Foreign-Language Film category, where Japan’s “Departures” trumped Israel’s “Waltz With Bashir.”
The Oscars this year were charmingly surprising in terms of musical influence. But overall, the show and spectacle came across as overblown. In today’s tough economic times, the Academy might have chosen a more modest approach.
Monday, February 23, 2009
Monday, February 9, 2009
Edited Review Outline
The review in a nutshell: introduction as to what the album is, a little background on Andrew Bird and a couple of other artists provided for reference; what makes the album distinct; what brings the album together; specific examples provided throughout (i.e. alliteration, ability to play with language). Small amount of wrap-up, information about companion disc, "Useless Creatures."
A Plethora of Sound Available on “Noble Beast” Part Deux
Andrew Bird has done it again. With his newest release, “Noble Beast,” the Chicago-based singer-songwriter has created another unique and diverse album, influenced by everything from the singer’s classical training to sounds heard on his Illinois farm. The result is a record that’s gentler and mellower in comparison to his earlier work.
The follow-up to Bird’s 2007 “Armchair Apocrypha,” itself critically acclaimed, this new record was self-produced. It bears comparison to other folk/indie rock albums such as Sufjan Steven’s “Come On Feel The Illinoise!” or Iron & Wine’s “Woman King,” both 2005 releases.
But what makes this disc great is the diversity of tracks it contains; every song is different. It opens with the infectious, fast-paced, “Oh No,” partly inspired by a child’s cries on an airplane. The track automatically hooks the listener with Bird’s characteristic whistling and wide range of vocals.
Contrast this with the more electric feel of “Not A Robot, But A Ghost,” which makes effective use of oboe and a crackling electric guitar. The song and Bird’s voice at its highest are oddly similar to “Gong,” by Icelandic slow-motion rockers Sigur Ros. Similarly, “Fitz and Dizzyspells” utilizes an electric violin to draw the listener into the song.
Bird has been inspired by vastly different sources in making this record. Trips to Chicago’s Field Museum and the Garfield Park conservatory were responsible for the folk-influenced ballad “Natural History.” In an odd twist, the introduction to “Souverian” bears an uncanny resemblance to the start of The Buena Vista Social Club’s “Pueblo Nuevo.” Whether this similarity was intentional is debatable – however, jazz was a large influence in Andrew Bird’s earlier career, so it’s possible.
Despite differences between individual songs throughout the album, the common thread of Bird’s voice, violin (and guitar) plucking and playing, and distinctive whistling unify this collection. His vocals are often given an echo effect, with tracks becoming spectral and inspiring as a result. The warm, rumbling drumming of Martin Dosh and the various instruments of the multitalented Jeremy Ylvisaker (including organ, shortwave, and guitar), also tie the album together.
Another subtle instrument that Bird uses to fashion this record into a whole is his ability to play with language. On “Noble Beast,” he shows a fascination with words. Whether it’s the “salsify mains” and “calcified arythmatists” of “Oh No,” the “proto-Sanskrit Minoans and porto-centric Lisboans” from “Tenuousness,” or the kittens with pleurisy in “Natural History,” it’s clear that Bird has a penchant for toying with odd words. More remarkable is his ability to use them fluidly in his songs without sounding clunky or awkward.
Use of alliteration adds to this sense of playing with language as well. “Fitz and Dizzyness” gives the listener “crooks and craggy cliffs” while “Masterswarm features “flailing feudal fleas feeding from the arms of the master.” Together with Bird’s wikipedia-worthy references, this creates an engaging aural experience that rewards close listeners, making this an increasingly satisfying record on repeat listenings. “Noble Beast” can be purchased on its own or in a deluxe edition that includes its companion instrumental disc, “Useless Creatures.”
The follow-up to Bird’s 2007 “Armchair Apocrypha,” itself critically acclaimed, this new record was self-produced. It bears comparison to other folk/indie rock albums such as Sufjan Steven’s “Come On Feel The Illinoise!” or Iron & Wine’s “Woman King,” both 2005 releases.
But what makes this disc great is the diversity of tracks it contains; every song is different. It opens with the infectious, fast-paced, “Oh No,” partly inspired by a child’s cries on an airplane. The track automatically hooks the listener with Bird’s characteristic whistling and wide range of vocals.
Contrast this with the more electric feel of “Not A Robot, But A Ghost,” which makes effective use of oboe and a crackling electric guitar. The song and Bird’s voice at its highest are oddly similar to “Gong,” by Icelandic slow-motion rockers Sigur Ros. Similarly, “Fitz and Dizzyspells” utilizes an electric violin to draw the listener into the song.
Bird has been inspired by vastly different sources in making this record. Trips to Chicago’s Field Museum and the Garfield Park conservatory were responsible for the folk-influenced ballad “Natural History.” In an odd twist, the introduction to “Souverian” bears an uncanny resemblance to the start of The Buena Vista Social Club’s “Pueblo Nuevo.” Whether this similarity was intentional is debatable – however, jazz was a large influence in Andrew Bird’s earlier career, so it’s possible.
Despite differences between individual songs throughout the album, the common thread of Bird’s voice, violin (and guitar) plucking and playing, and distinctive whistling unify this collection. His vocals are often given an echo effect, with tracks becoming spectral and inspiring as a result. The warm, rumbling drumming of Martin Dosh and the various instruments of the multitalented Jeremy Ylvisaker (including organ, shortwave, and guitar), also tie the album together.
Another subtle instrument that Bird uses to fashion this record into a whole is his ability to play with language. On “Noble Beast,” he shows a fascination with words. Whether it’s the “salsify mains” and “calcified arythmatists” of “Oh No,” the “proto-Sanskrit Minoans and porto-centric Lisboans” from “Tenuousness,” or the kittens with pleurisy in “Natural History,” it’s clear that Bird has a penchant for toying with odd words. More remarkable is his ability to use them fluidly in his songs without sounding clunky or awkward.
Use of alliteration adds to this sense of playing with language as well. “Fitz and Dizzyness” gives the listener “crooks and craggy cliffs” while “Masterswarm features “flailing feudal fleas feeding from the arms of the master.” Together with Bird’s wikipedia-worthy references, this creates an engaging aural experience that rewards close listeners, making this an increasingly satisfying record on repeat listenings. “Noble Beast” can be purchased on its own or in a deluxe edition that includes its companion instrumental disc, “Useless Creatures.”
Thursday, February 5, 2009
A Plethora of Sound Available on “Noble Beast” (1st version)
Andrew Bird has done it again. With his latest release, “Noble Beast,” he’s created an album composed of a diverse group of songs influenced by everything from the singer’s classical training, to sounds heard on his Illinois farm, to a small child’s cries on an airplane trip. The result is simply fantastic.
What makes this record truly great is the widely different array of tracks it contains. Every song is different. It opens with the infectiously catchy, fast-paced, “Oh No,” which was partly inspired by a child’s cries on an airplane. The track almost automatically hooks the listener with Bird’s characteristic whistling and vocals. Contrast this with the more electric feel of “Not A Robot, But A Ghost,” which makes effective use of oboe and a crackling electric guitar. The song and Bird’s voice at its highest range are oddly similar to “Gong,” by Icelandic slow-motion rockers Sigur Ros. Similarly, “Fitz and Dizzyspells” utilizes an electric violin to bring the listened into the song.
The album also contains more traditonally inspired songs. Trips to Chicago’s Field Museum and the Garfield Park conservatory were partly responsible for the folk-influenced ballad “Natural History.” Looking still further back, the introduction to “Souverian” bears an uncanny resemblance to the start of The Buena Vista Social Club’s “Pueblo Nuevo.” Whether this similarity was intentional is debatable – Andrew Bird is known to have been highly influenced by jazz earlier in his career.
Despite the differences between songs throughout the album, the common thread of Bird’s voice, violin plucking and playing, and distinctive whistling unify this collection. Quite often the vocals are given an echo effect; this can be heard on tracks such as “Oh No,” “Masterswarm,” “Fitz and the Dizzyspells,” “The Privateer,” and “Souverian.” The result is spectral and inspiring. The warm, rumbling drumming of Martin Dosh and the various instruments of the multitalented Jeremy Ylvisaker (including organ, shortwave, and guitar), also help tie the album together.
Another subtle instrument that Bird uses to fashion this record into a whole is his ability to play with language. On “Noble Beast,” he clearly shows a fascination with words, even if they’re being used for their texture and not their context. Whether it’s the “salsify mains” and “calcified arythmatists” of “Oh No,” the “proto-Sanskrit Minoans and porto-centric Lisboans” from “Tenuousness,” or the kittens with pleurisy in “Natural History,” it’s obvious that Bird has a penchant for playing with odd words. Even more remarkable is his ability to make them work in his songs without sounding clunky or awkward.
The use of alliteration adds to this sense of playing with language as well. “Fitz and Dizzyness” gives the listener “crooks and craggy cliffs” while “Masterswarm features “flailing feudal fleas feeding from the arms of the master.” Together with Bird’s wikipedia-worthy references, this creates an engaging aural experience that rewards close listeners.
For Andrew Bird fans, “Noble Beast” is an absolute necessity. Those looking to get into his music would do well to purchase it as well. And for the true fans, there’s a deluxe edition available, with a copy of the entirely instrumental companion disk, “Useless Creatures,” included. Both are a fantastic addition to any collection.
What makes this record truly great is the widely different array of tracks it contains. Every song is different. It opens with the infectiously catchy, fast-paced, “Oh No,” which was partly inspired by a child’s cries on an airplane. The track almost automatically hooks the listener with Bird’s characteristic whistling and vocals. Contrast this with the more electric feel of “Not A Robot, But A Ghost,” which makes effective use of oboe and a crackling electric guitar. The song and Bird’s voice at its highest range are oddly similar to “Gong,” by Icelandic slow-motion rockers Sigur Ros. Similarly, “Fitz and Dizzyspells” utilizes an electric violin to bring the listened into the song.
The album also contains more traditonally inspired songs. Trips to Chicago’s Field Museum and the Garfield Park conservatory were partly responsible for the folk-influenced ballad “Natural History.” Looking still further back, the introduction to “Souverian” bears an uncanny resemblance to the start of The Buena Vista Social Club’s “Pueblo Nuevo.” Whether this similarity was intentional is debatable – Andrew Bird is known to have been highly influenced by jazz earlier in his career.
Despite the differences between songs throughout the album, the common thread of Bird’s voice, violin plucking and playing, and distinctive whistling unify this collection. Quite often the vocals are given an echo effect; this can be heard on tracks such as “Oh No,” “Masterswarm,” “Fitz and the Dizzyspells,” “The Privateer,” and “Souverian.” The result is spectral and inspiring. The warm, rumbling drumming of Martin Dosh and the various instruments of the multitalented Jeremy Ylvisaker (including organ, shortwave, and guitar), also help tie the album together.
Another subtle instrument that Bird uses to fashion this record into a whole is his ability to play with language. On “Noble Beast,” he clearly shows a fascination with words, even if they’re being used for their texture and not their context. Whether it’s the “salsify mains” and “calcified arythmatists” of “Oh No,” the “proto-Sanskrit Minoans and porto-centric Lisboans” from “Tenuousness,” or the kittens with pleurisy in “Natural History,” it’s obvious that Bird has a penchant for playing with odd words. Even more remarkable is his ability to make them work in his songs without sounding clunky or awkward.
The use of alliteration adds to this sense of playing with language as well. “Fitz and Dizzyness” gives the listener “crooks and craggy cliffs” while “Masterswarm features “flailing feudal fleas feeding from the arms of the master.” Together with Bird’s wikipedia-worthy references, this creates an engaging aural experience that rewards close listeners.
For Andrew Bird fans, “Noble Beast” is an absolute necessity. Those looking to get into his music would do well to purchase it as well. And for the true fans, there’s a deluxe edition available, with a copy of the entirely instrumental companion disk, “Useless Creatures,” included. Both are a fantastic addition to any collection.
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