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Battles | Gloss Drop
CD Reviews
Various Artists: Accepted: Original Motion Picture Soundtrack
Shout Factory/Universal
By
MATT ASHARE
|
August 15, 2006
VARIOUS ARTISTS, ACCEPTED: ORIGINAL MOTION PICTURE SOUNDTRACK
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2.5
Stars
A-LIST:
Accepted
The Pixies kick things off with, appropriately, “U-Mass,” and an A-list of alterna-indie artists (Modest Mouse, Le Tigre, Weezer, Ryan Adams, the Chemical Brothers with Beth Orton) all provide top-notch if familiar cuts. I was relieved to see, on closer inspection, the cover “Eleanor Rigby” credited to David Schommer, a soundtrack guy, and not
Friends
’ David Schwimmer. It’s actually not a bad novelty punk-pop interpretation. Schommer is also responsible for the two must-skip tracks: a hip-hop collage pasted together from dialogue by the film’s many cut-ups (“Sherman’s Way”) and the amusing if annoying “Keepin’ Your Head Up” by the Ringers, a fake band who appear in the movie. But he makes up for it by throwing together a breakbeaten cover of the tween classic “Don’t You (Forget About Me)” with Lucy Woodward on vocals. Simple Minds still own the tune, but it’s nice tip of the hat to the high-school genre.
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What happened to the label that made college kids feel good about hip-hop in an era when gangstas ruled the streets?
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The Wire is over, but the five-season drama lives on in the unforgettable characters and in this simmering HBO collection.
Various artists: Obsession
Some of the finest psychedelic rock in the late ’60s and early ’70s was created far from the movement’s epicenters in the UK and US.
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Mark Twain once observed that it’s “better to be a young June-bug than an old bird of paradise.”
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Ryan Adams’s transition from Whiskeytown frontman to solo artist wasn’t exactly smooth.
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Mark up another score for the seductive spirit of Serge Gainsbourg.
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Every year, there’s one dancehall riddim to beat.
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Given the hypnotic arrangements and talk of fairies, the 19 tracks compiled on Strange Folk might more accurately be termed “enchanted folk” or, more skeptically, “dippy folk.”
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Tanzania has produced no superstars, but this volume argues that it’s nevertheless an Afropop powerhouse.
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ARTICLES BY MATT ASHARE
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