Podcasts & RSS Feeds
Most Active Stories
- Don't like the water shut-offs in Detroit? Now you can pay someone's overdue water bill
- Proposal 1 asks Michigan voters to weigh in on a complex tax issue
- Approaching construction on the highway? Experts say the "zipper merge" can help
- These three female candidates could be some of the most interesting leaders in Michigan
- This ballot proposal is critical to Michigan's economy, but most people won't bother to vote on it
Mon May 9, 2011
First Listen: Danger Mouse and Jack White vs. the Spaghetti Western
How many times a day do you wonder what a Spaghetti Western soundtrack would sound like composed by Danger Mouse and featuring Jack White's signature vocals? Forty? A hundred?
Whatever the number is, you can stop wondering. Danger Mouse and Italian composer Daniele Luppi are on the verge of releasing Rome, a Spaghetti-inspired album which features vocal performances by superstars Norah Jones and Jack White.
You can listen to the whole album--ahead of its release--here.
The long-anticipated brainchild of producer-composer Danger Mouse and Italian composer Daniele Luppi, Rome benefits from a bit of context. More than five years in the making, the project assembles many of the surviving performers of classic '60s and '70s Ennio Morricone scores — and, in half a dozen memorable cases, pairs them up with the vocals of Norah Jones or The White Stripes' Jack White.
Naturally, Rome can't possibly exceed the sum of its parts, with its successful composer and arranger in Luppi, its groundbreaking producer and composer in Danger Mouse, countless combined years of orchestra experience, a painstaking recording process with vintage equipment, and the juxtaposition of White's fatalistic moan with Jones' coolly detached croon.
It almost has to sound better on paper than in practice, but it's terrific in practice, too, as it alternates appropriately cinematic instrumentals with a handful of nifty showcases for its headliners. Jones is long overdue for an image makeover: All those tens of millions of records sold and armloads of Grammys have made it easy to forget that she's still a remarkably cool singer.
Here, Jones at times channels the wounded iciness of Metric's great Emily Haines, while still lending her own brooding gravitas to "Season's Trees," "Black" and "Problem Queen." Of course, White makes the most of his own three appearances, from the tone-setting portent of "The Rose With the Broken Neck" to the album-closing "The World," which helps conjure mental images of rolling credits.
But Jones and White aren't the only scene-stealers in Rome: Edda Dell'Orso pops up in the album-opening "Theme of Rome," picking up where she left off in the soundtrack to 1966's The Good, The Bad And The Ugly.
If it weren't for the unmistakably contemporary voices among its ranks — White's in particular — Rome could just as easily have emerged from a vault, sealed 40 or even 50 years ago. That's clearly the point: From start to finish, the album provides a timeless, arduously arranged backdrop to past generations' visions of panoramic vistas and blood-stained betrayals.
In spaghetti-ly related news, Quentin Tarantino has finished writing his next film, "Django Unchained," which will also pull from the genre.
Rome will be released on May 17.