先從曲目開始。
1. needle in the camel's eye / brian eno
2. hot ones / shudder to think
3. 20th century boys / placebo
4. 2hb / the venus in furs
5. t.v. eye / wylde ratttz
6. Ballad Of Maxwell Demon / Shudder To Think
7. Whole Shebang / grant lee buffalo
8. Ladytron / the venus in furs
9. We Are The Boys / pulp
10. Virginia Plain / roxy music
11. Personality Crisis / teenage fanclub & donna matthews
12. Satellite Of Love / lou reed
13. Diamond Meadows / t-rex
14. Bitter's End / paul kimble & andy mackay
15. Baby's On Fire / the venus in furs
16. Bitter-Sweet / the venus in furs
17. Velvet Spacetime / carter burwell
18. Tumbling Down / the venus in furs
19. Make Me Smile (Come Up And See Me) / steve harley
其中有兩個supergroups:
the venus in furs:
bernard butler
clune
jon greenwood
paul kimble
andy mackay
thom yorke
這個格林伍德先生是收音機頭的吉他手沒錯
andy mackay一直是 roxy music 的鍵盤及sax手
還有兩個大家都認識了
wylde ratttz:
mark arm
ron asheton
jim dunbar
don fleming
thurston moore
steve shelley
mike watt
這個團好像更恐怖
thurston 跟 steve是 sonic youth的 吉他跟鼓
mark arm是 mudhoney的guitar / vocal.
ron asheton更可怕. the stooges的創團人，吉他貝司跟vocals.
mike watt是聽說很有影響力的minutemen貝司手
don fleming...搞不太清楚確定的角色，不過跟half japanese, mo tucker,
sonic youth, dinosaur jr. teenage fanclub有關係
似乎是地下大牌製作人一隻。
好。關於曲目 新作舊作翻玩作品
以後再說
amg上難得有對電影原聲帶有這麼大篇幅介紹
關於這部電影與bowie之間的糾葛提到不少
頗是有趣
噢 還有 一定要說的
executive producer 是 michael stipe.
Glam rock was all about style as substance, finding
truth through image. Todd Haynes realized this, constructing
Velvet Goldmine, his ode to glam, as a hallucinatory
experience where nothing quite makes sense and the surface
means as much, if not more, than the underlying meanings.
Which means, of course, that Haynes' view of glam was based
on the artier inclinations of David Bowie and Roxy Music,
not the tarted-up pop of Gary Glitter and Queen, or even
the heavy-rock-in-platforms of Mott The Hoople. In fact,
Haynes goes even further, finding the sinister cabaret
and full-blown dementia of Brian Eno-era Roxy as the pinnacle
of glam. Perhaps this is due to Bowie's refusal to have any
of his music licensed for use in Velvet Goldmine, but the
film itself and its accompanying soundtrack are so heavily
in the Roxy corner -- to the extent of suggesting that Bowie
stole all their ideas (in the movie, from Curt Wylde, the Iggy
Pop character played by Ewan MacGregor, and Jack Fairy, a
bizarre fusion of Bryan Ferry, Marc Bolan and, possibly, an
alien) and then literally metamorphosed into a different being,
namely the shameless showman of Let's Dance -- that it's very
hard to believe it was intended as anything other than its
existing form. Given the anti-Bowie slant of the material, it
isn't surprising that the Thin White Duke decided to keep his
songs to himself, but the filmmakers squeezed their way out
of a tight, potentially fatal, situation by hiring Shudder To
Think and Grant Lee Buffalo to write Ziggy soundalikes for
Brian Slade, Jonathan Rhys Meyers' Bowie stand-in, to sing under
his stage persona, Maxwell Demon. They work smashingly, as Shudder
To Think's "Ballad of Mawell Demon" captures the sweeping
ballad feeling of "All the Young Dudes," while Grant Lee
Buffalo's "The Whole Shebang" is an uncanny recreation of
Hunky Dory's skipping vaudevillian pop. Their contributions
naturally stand out on the Velvet Goldmine soundtrack, which
is primarily devoted to songs from the era, either in their
original incarnations or in newly minted covers. It's actually
a risky move to stand Roxy Music's classic first single "Virginia
Plain" next to a wealth of Roxy interpretations by the Venus in
Furs, a supergroup featuring former GLB bassist Paul Kimble,
ex-Suede guitarist Bernard Butler, Roxy saxophonist Andy Mackay
and two members of Radiohead, Thom Yorke and Jon Greenwood. Their
recreations of "2HB," "Ladytron," "Bitter-Sweet" and Eno's "Baby's
on Fire" (the latter sung by Rhys Meyers, as is the cover of Steve
Harley's "Tumbling Down"), are stunning recreations of the original
songs, enhanced by Yorke's remarkable imitation of Bryan Ferry's
vocals. The Iggy Pop band, Wylde Ratttz -- featuring former Stooge
Ron Asheton, Sonic Youth's Thurston Moore and Steve Shelley,
Mike Watt, Don Fleming and Mudhoney's Mark Arm -- do an admirable
job with "TV Eye" (original pressings contained a version with
MacGregor on vocals which the band publically berated), good enough
to make the album of Stooges covers they recorded during these
sessions seem like an enticing project. Not all the covers fare
so well -- Placebo's leaden "20th Century Boy" hammers home Brian
Molko's lack of charisma, voice and sexuality; Donna Matthews
and Teenage Fanclub's "Personality Crisis" is simply awkward --
but the other original music (Pulp's stomping, horn-driven Slade
extravaganza "We Are the Boys," Paul Kimble's collaboration with
Andy Mackay on "Bitter's End") is first-rate, and all the original
tunes are terrific, particularly since famliiar items like "Satellite
of Love" are balanced by such cult items as Eno's fantastic "Needle
in the Camel's Eye," T. Rex's lesser-known "Diamond Meadows" and
Steve Harley & Cockney Rebel's British hit "Make Me Smile (Come Up
and See Me)." Even with all its many attributes, the soundtrack,
like the film itself, is more of a collection of moments than a
coherent experience, mainly because it tries to cover too much
ground. But those moments can be pretty spectacular.
-- Stephen Thomas Erlewine, All-Music Guide
--
"No reason to get excited," the thief, he kindly spoke,
"There are many here among us who feel that life is but a joke.
But you and I, we've been though that, and this is not our fate.
So let us not talk falsely now, the hour is getting late."
Bob Dylan