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Tip-Top - Chansons d’ennui

Jarvis Cocker

Alternatif et Indé - Verschenen op 22 oktober 2021 | Abkco Music & Records, Inc.

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A real release from a fictional entity, Jarvis Cocker's trompe-l'oeil album Tip-Top - Chansons d'ennui revisits a handful of French standards from the 1960s and 1970s. The concept—both enigmatic and terrifically exciting—is this: Tip-Top is a character from Wes Anderson's film The French Dispatch, played by the Pulp frontman. His appearance is ephemeral audio-only: all we hear of him is a cover of Aline coming from a jukebox. Nevertheless, this simple cameo gave the two unusual artists (Cocker and Anderson) the idea to follow the madness all the way, and release an entire record signed by Tip-Top. With his delicious English accent, his deep voice and ultra-sophisticated arrangements, the English singer covers Christophe, but also Nino Ferrer (Amour, je te cherche, the French version of Looking For You), Jacques Dutronc (Les Gens sont fous, les temps sont flous), and his all-time idol Serge Gainsbourg (Requiem pour un con). The mismatch between Cocker's personality and the choice of songs is the real attraction of Chansons d'ennui: when he tackles the Dalida/Alain Delon duet (Paroles Paroles) or Bourvil (La Tendresse), the listener is suddenly thrown into another dimension. This tricksy Tip-Top album includes a track which is particularly dear to Jarvis Cocker (Françoise Hardy's Mon Ami la rose, which he has been listening to since he was a teenager) and a cover version that symbolises all the cheerful madness of the project, Contact, a uniquely weird piece by Brigitte Bardot, written by Gainsbourg in 1967. © Nicolas Magenham/Qobuz
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The French Dispatch

Various Artists

Bandes originales de films - Verschenen op 22 oktober 2021 | Abkco Music & Records, Inc.

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CHANSONS d’ENNUI TIP-TOP

Jarvis Cocker

Alternatif et Indé - Verschenen op 22 oktober 2021 | Abkco Music & Records, Inc.

A real release from a fictional entity, Jarvis Cocker's trompe-l'oeil album Tip-Top - Chansons d'ennui revisits a handful of French standards from the 1960s and 1970s. The concept—both enigmatic and terrifically exciting—is this: Tip-Top is a character from Wes Anderson's film The French Dispatch, played by the Pulp frontman. His appearance is ephemeral audio-only: all we hear of him is a cover of Aline coming from a jukebox. Nevertheless, this simple cameo gave the two unusual artists (Cocker and Anderson) the idea to follow the madness all the way, and release an entire record signed by Tip-Top. With his delicious English accent, his deep voice and ultra-sophisticated arrangements, the English singer covers Christophe, but also Nino Ferrer (Amour, je te cherche, the French version of Looking For You), Jacques Dutronc (Les Gens sont fous, les temps sont flous), and his all-time idol Serge Gainsbourg (Requiem pour un con). The mismatch between Cocker's personality and the choice of songs is the real attraction of Chansons d'ennui: when he tackles the Dalida/Alain Delon duet (Paroles Paroles) or Bourvil (La Tendresse), the listener is suddenly thrown into another dimension. This tricksy Tip-Top album includes a track which is particularly dear to Jarvis Cocker (Françoise Hardy's Mon Ami la rose, which he has been listening to since he was a teenager) and a cover version that symbolises all the cheerful madness of the project, Contact, a uniquely weird piece by Brigitte Bardot, written by Gainsbourg in 1967. © Nicolas Magenham/Qobuz
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Animated Car Chase

Alexandre Desplat

Bandes originales de films - Verschenen op 28 september 2021 | Abkco Music & Records, Inc.

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Aline

Jarvis Cocker

Pop - Verschenen op 14 september 2021 | Abkco Music & Records, Inc.

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Obituary

Alexandre Desplat

Bandes originales de films - Verschenen op 14 september 2021 | Abkco Music & Records, Inc.

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Gravy (For My Mashed Potatoes) / Baby Cakes

Dee Dee Sharp

R&B - Verschenen op 13 augustus 2021 | Abkco Music & Records, Inc.

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Scott Pilgrim Vs. The World

Various Artists

Bandes originales de films - Verschenen op 9 juli 2021 | Abkco Music & Records, Inc.

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Black Sheep

Metric

Rock - Verschenen op 4 juni 2021 | Abkco Music & Records, Inc.

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Jumpin' Jack Flash / Child Of The Moon

The Rolling Stones

Rock - Verschenen op 28 mei 2021 | Abkco Music & Records, Inc.

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Jumpin' Jack Flash / Child Of The Moon

The Rolling Stones

Rock - Verschenen op 28 mei 2021 | Abkco Music & Records, Inc.

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The French Dispatch

Alexandre Desplat

Bandes originales de films - Verschenen op 21 mei 2021 | Abkco Music & Records, Inc.

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Composer Alexandre Desplat's fifth collaboration with film director Wes Anderson, The French Dispatch features a lean, jaunty chamber music score that looks to instruments like harpsichord, banjo, and tuba as well as piano and strings. Embellishing Anderson's hyperreal version of 1960s France and events surrounding a publication based on The New Yorker magazine, Desplat's light touch here was heavily inspired by the works of French pianist/composer Erik Satie. Harpsichord and tuba open the proceedings on the stately "Obituary," which adds plucked strings and a simple piano melody before expanding its palette to include woodwinds and brass -- usually with just one player representing each instrument or section -- as they rotate solos. Most of the rest of the score follows that track's example, with one-note-at-a-time keyboard lines and the feel of a combo more than an ensemble. Some of the more distinctive entries take the form of the waltzing "Mouthwash de Menthe," swinging "Kidnappers Lair," and "Blackbird Pie," which is musically illustrated by fluttery woodwinds and fanfare-like brass. While most of the 30-minute score was tracked at Abbey Road Studios in London, the piano solos were recorded remotely by Jean-Yves Thibaudet, who captures the fanciful, off-balance spirit of the project on pieces like "Moses Rosenthaler." © Marcy Donelson /TiVo
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The French Dispatch

Alexandre Desplat

Bandes originales de films - Verschenen op 21 mei 2021 | Abkco Music & Records, Inc.

Composer Alexandre Desplat's fifth collaboration with film director Wes Anderson, The French Dispatch features a lean, jaunty chamber music score that looks to instruments like harpsichord, banjo, and tuba as well as piano and strings. Embellishing Anderson's hyperreal version of 1960s France and events surrounding a publication based on The New Yorker magazine, Desplat's light touch here was heavily inspired by the works of French pianist/composer Erik Satie. Harpsichord and tuba open the proceedings on the stately "Obituary," which adds plucked strings and a simple piano melody before expanding its palette to include woodwinds and brass -- usually with just one player representing each instrument or section -- as they rotate solos. Most of the rest of the score follows that track's example, with one-note-at-a-time keyboard lines and the feel of a combo more than an ensemble. Some of the more distinctive entries take the form of the waltzing "Mouthwash de Menthe," swinging "Kidnappers Lair," and "Blackbird Pie," which is musically illustrated by fluttery woodwinds and fanfare-like brass. While most of the 30-minute score was tracked at Abbey Road Studios in London, the piano solos were recorded remotely by Jean-Yves Thibaudet, who captures the fanciful, off-balance spirit of the project on pieces like "Moses Rosenthaler." © Marcy Donelson /TiVo
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One Night In Miami...

Terence Blanchard

Bandes originales de films - Verschenen op 9 april 2021 | Abkco Music & Records, Inc.

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Speak Now

Leslie Odom Jr.

R&B - Verschenen op 5 januari 2021 | Abkco Music & Records, Inc.

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One Night In Miami...

Terence Blanchard

Bandes originales de films - Verschenen op 9 april 2021 | Abkco Music & Records, Inc.

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Robin Roberts Presents: Mahalia

Various Artists

Bandes originales de films - Verschenen op 2 april 2021 | Abkco Music & Records, Inc.

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Robin Roberts Presents: Mahalia

Various Artists

Bandes originales de films - Verschenen op 2 april 2021 | Abkco Music & Records, Inc.

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The Poet

Bobby Womack

Soul - Verschenen op 1 januari 1981 | Abkco Music & Records, Inc.

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Eschewing the orchestrated sound that dominated much of his 1970s output, the Across 110th Street soundtrack being the definitive example, with The Poet Womack stays in that slick vein, but this time does so with a soft jazz feel. Workouts like "Where Do We Go from Here" contain long intros and codas with Womack's gruff vocal style trading off with the silky voices of a female choir; on "So Many Sides of You," one of the more rollicking songs on the record, the piano, drums, and Nathan East's bass are as crisp as a new dollar bill. A bonus, aside from the songs, is the great cover art, which shows Womack decked out in a lavender sports coat and a pair of sunglasses, which only someone of his soulful grace could pull off. © Steve Kurutz /TiVo
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The Poet II

Bobby Womack

Soul - Verschenen op 1 januari 1984 | Abkco Music & Records, Inc.

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Though Bobby Womack's in great voice, The Poet II doesn't quite hit the same heights as The Poet, which successfully executed ideas Womack had been tinkering with since 1979's Roads of Life. This seeks the success The Poet got by surprise. Womack's skill is his pragmatic take on relationships, but on The Poet II his aim is a little off. "Love Has Finally Come at Last" is the first of three duets with Patti LaBelle. The duet idea works better on "It Takes a Lot of Strength to Say Goodbye"; it sounds better suited for two singers, and the dramatic arrangement and chemistry between Womack and LaBelle are strong but not that exciting. The Poet II also features some over-produced though skillful dance tracks. "Tell Me Why" is effective and has Womack asking why his relationship is failing and uses his children as pawns when he sings, "You don't have to do it for me/But do it for the sake of the kids." By the end of the album, Womack's lack of winning premises starts to catch up with him. "I Wish I Had Someone to Come Home To" has him sounding a little phony with lyrics like "Ain't no way this lonely man can seem to win." Fans of Womack know he'd think up something to do. The effort's last track, "American Dream," features snippets of Martin Luther King's "I Have a Dream" speech. With its so-so lyrics and plodding arrangement, it just falls apart within the first two minutes. The Poet II is no doubt a good Bobby Womack album, but it is clear that he can do much better. © Jason Elias /TiVo