Moderator: _BataZiv_0809
......moj favorit Un Simple Histoire........
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Writer and director Zach Braff does a masterful job matching the charming, heartfelt tone of classic films like The Graduate and Rushmore in his motion picture debut, Garden State, so it only makes sense that the music he personally compiled for the soundtrack plays just as big a part here as it did in those films. Simon & Garfunkel's languorous "The Only Living Boy in New York" is an obvious thread, but aside from Nick Drake's "One of These Things First," Braff is able to carry the mood without getting tripped up in the past. Frou Frou's "Let Go" and Zero 7's "In the Waiting Line" supply soft techno touches, while Iron & Wine's "Such Great Heights" and former Men at Work singer Colin Hay's "I Just Don't Think I'll Ever Get Over You" offer understated angst. It's a pair of emotionally racked contributions from the Shins ("Caring is Creepy," "New Slang"), however, that really make this compilation a must-have. 
hajd ako ti nije mrsko objasni ovaj post, nista nisam skontao...sorge_sa wrote:
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obavezno nabaviti..............prelijepa muzika......tesko je nadmasiti......Dead Can Dance.........ali DJ Allen Arkin.......Turcin rodjen u Canadi je to uspio.....njegov peti album......pod nazivom SU=Voda.......je masterpiece.......
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English singer-pianist Jamie Cullum comes into view as an already heralded jazz-pop artist, signed to a million-pound contract and riding a CD that's already registered double platinum in the UK. The "jazz" label doesn't hang that comfortably on the 24-year-old Cullum--he's more in the mold of polished lounge swingers like Bobby Darin and Buddy Greco and has more in common with, say, Billy Joel (definitely a "New York State of Mind") than any traditional jazz artist you might mention. An ironist who covers both Cole Porter and Radiohead, he's aware of the contradictions that he embodies. Those contradictions drive the title track as Cullum's lyrics plumb "twentysomething" uncertainties ("Maybe move back home and pay off my loans/Working nine to five answering phones") while moving to a mock-primitive chanted riff that's pure '50s hip. What surprises most is Cullum's emotional and musical range, and the way he combines methods to create depth and complexity. "Blame it on My Youth" is delivered with the heartfelt delicacy of Chet Baker, while his reading of "The Wind Cries Mary" suggests that Jimi Hendrix might have just about invented smooth jazz. "I Could Have Danced All Night" explodes with playful energy and creativity, launched with scat singing over a rhythm pounded out on drums and piano wood. Cullum has energy and talent to burn, plus a postmodern knack for layering idioms that signals a welcome direction for jazz-pop. As "Lover, You Should've Come Over" attests, he can also project an emotional intensity that breaks through the clever arrangements
