Discover Top Posts Tagged with #george doering

Cover songs can do favours to their musicians. They can make them successful like they did in the case of Juice Newton. Yes, I know, the fact her biggest hits are mostly the pieces by the other people shouldn't suggest anything, because her versions of them eventually became the most famous ones of them all. I mean, the tune in the link doesn't really differ from the original arrangement-wise, yet I think Mrs. Newton's voice fits the mood of the song much better. She has a certain swagger present in her vocals, which transforms the entire composition in a more ebbulient athmosphere. Whereas Dave Edmunds sounds like he's close towards the desperation, Juice Newton seems to be having a lot of fun during the whole enterprise.

Album Review: Shelby Lynne - The Servant

Shelby Lynne found religion and got the blues.

The result is the Servant, a collection of 10 eclectic songs of faith released with no promotion and no info about its makers save for arranging credits to Lynne, multi-instrumentalist George Doering and producer Steve Lindsey.

“Making it saved my soul,” Lynne said of the LP.

If more people knew about it, it also might save her bank account because the Servant is a heavenly listen.

Bookended by “Go Tell it on the Mountain” and “Wayfaring Stranger,” the Servant clocks in at just under 40 minutes of acoustic-based country blues and electrified blues music that finds Lynne channeling a Baptist revival on “Didn’t it Rain,” making a dirge of “When the Saints Go Marching In” and taking “Just a Closer Walk with Thee” to a juke joint.

And when Lynne shambles her way through a grimy “God’s Gonna Cut You Down,” the most-pious listener and the sinner are both likely to shiver.

Grade card: Shelby Lynne - The Servant - A-

10/12/21

#shelby lynne #the servant #george doering #steve lindsey #2021 albums

All the discussions we have about the Beach Boys' solo projects after their 15 Big Ones cannot ignore Mike Love's works, which fit his personality. He's a nostalgist, you can hear that in the way he rules the current incarnation of the works, so no shock to hear his solitary albums being in the similar vein. For instance, his debut, Looking Back With Love, resembles 15 Big Ones, because he mixes the covers of his favourite songs with his own original material. Of course, he does something like this completely differently than Brian Wilson, Love's opus feels like an adult contemporary update of the 60's, which means he's going for the tasteful approach. Then again, the latter suits his sentimental mood that he applied to the Beach Boys later on.

"Side Effects" Music By Thomas Newman

NEW RELEASE MUSIC

FEBRUARY 15, 2013

BY: DANNY GONZALEZ

"Side Effects"

Music By Thomas Newman

Varese Sarabande VSD-7182

18 Tracks/Disc Time: 38:10

Grade: B-

Side Effects is the latest psycho-drama from director Steven Soderbergh, who scored two box office hits last year with the balls out action-thriller, Haywire starring Gina Carano and Ewan McGregor and the male stripper comedy-drama, Magic Mike starring Channing Tatum and Matthew McCaughney. The film stars rising star Rooney Mara (Girl With The Dragon Tattoo remake) as Emily Taylor, whose husband Martin (Channing Tatum) has just been released from prison and despite the fact of their long awaited reunion, Emily becomes severely depressed with emotional episodes and suicide attempts soon after. Her phsychiatrist, Dr. Jonathan Banks (Jude Law, Contagion) after conferring with her old doctor, eventually prescribes her an experimental new medication, Ablixa. However, its side effects on Emily prove increasingly serious with Emily sleepwalking until she kills her husband while she's in that state. Emily ends up with a plea bargains into a mental hospital and Dr. Banks' practice ends up in ruins and the case closed. Unwilling to accept his fault, Dr. Banks starts a personal investigation to clear his name and what follows is a dark quest that threatens to tear what's left of his life apart even as he discovers the diabolical truth of this tragedy.

This film has all of the elements storywise and visually of Soderbergh's past films that include The Underneath, Erin Brockovich, Contagion, Traffic and Kafka that create an atmosphere that is both dream like that quickly unravels into a walking nightmare you can't escape. Adding to the mood of the film and it's visual style is Academy Award nominee Thomas Newman, riding high from his well deserved nomination from the hit James Bond film, Skyfall returns to a genre that he is completely familiar with and has really become inspired through his unique musical sensibilities. Working with Soderbergh previously with the brilliant Golden Age score to The Good German and was the driving musical force in Erin Brockovich, that helped Julia Roberts win her first Oscar with a inspired original score for that film. With this score, Newman really feels at home creating a dream like mood that makes you think musically when the nightmare will begin, then end and be able to wake up again. The music will remind most of his work in the early 90's like The Player, Whispers In The Dark and Flesh And Bone for example which featured a lot of unique sounds and instrumentation which this score really features a lot of.

The score gets off to a moody start with "Very Sick Girl (Main Title)" features a haunting guitar solo backed with a wordless distorted vocalise admist atmospheric and cool electronics and percussion. "Houston Free Meds" is a rythmic track for percussion, electronics and guitar which has a very stark icy sound to it which has a very reminiscent style that of Whispers In The Dark. ""Relativity" a brief track features a warm, almost lullaby feeling to it despite its' cold icy exterior that was introduced in "Houston Free Meds". "Another Acquittal" is a highlight track for this score which isn't all that dissimilar to both "Houston Free Meds" or " Relativity", Newman however adds a layer of suspense and tension to this track that is very stark and pulsing with energy the more the track develops. Newman also packs plenty of suspense and atmosphere with tracks such as "Knife", "Dark & Stormy", "Poisonous Fog", and "Salt Water", which are products of the main theme featured in "Very Sick Girl" and "Another Aquittal", with George Doering providing some excellent guitar solos throughout. "Malingering" is another highlight and the longest track on this album by far utilizing the music from "Relativity" stretched out to a bigger more developed version of that track that gets better with each listen. "Take Back Tomorrow (End Title)" ends the album just as it opens with a distorted vocalist and a more haunting atmosphere for percussion and electronics.

Varese's brief album is very effective for what it is, a score that works inconjuction with the film and on its own its a very interesting listen as Newman really does channel the style that really placed him on the map over twenty years ago. It really shows how far he has grown as a composer and that he also loves to continue to experiment with various different sounds depending on each film which reminds me alot of the late Jerry Goldsmith in that regard. The score does get a little too repetitive, but it surprisingly does have thematic work despite its atmospheric undertones. Side Effects is not one of Thomas Newman's best scores, but it is really an effective one that features his unique and inventive sound and easily one of the reasons why he and director Steven Soderbergh work so well together and hopefully we'll see them work together again soon. Recommended. http://www.examiner.com/review/side-effects-music-by-thomas-newman

The Player and Flesh and Bone. Uuuuh, sounds good.

Also, I love how George Doering was mentioned.

#review #side effects #george doering #thomas newman

Um, ok, George Doering played harmonica on "American Buffalo".

I suspected it.

#george doering #american buffalo

I suspected that it was George Doering playing guitar on "Skyfall"

It sounded a lot like "The Adjustment Bureau".

#george doering #skyfall #thomas newman