Quantcast
Advertisement
 Email

 First Name

 Last Name

 Company

 Country
CAPTCHA code
Captcha: (type the characters above)

UMG REVS RISING,
SUITORS CIRCLING
Vivendi's looking for more than 10 cents for a slice of the pie. (10/18a)
HITS LIST:
PERFECT PAIRINGS
Bluetooth-enabled (10/18a)
REVENUE CHART:
HIGHER & “HIGHEST”
Speaking of Travis... (10/18a)
KANYE DROPS JESUS IS KING IMAX TRAILER
But shouldn't "is" have an initial cap? (10/18a)
FLIPOVER FRIDAY: NEW ARRIVALS AT iTUNES AND APPLE MUSIC
Jimmy Eat World, Third Eye Blind... What decade are we in? (10/18a)
RIHANNA PREPARES TO RULE THE ROOST
What shoes go with dancehall?
WHAT'S NEXT FOR R&B?
How certain projects connect at streaming.
THE K-POP LANDSCAPE
농담은 한국어에서 더 잘 작동합니다.
THE NEW GRAMMY POWER
Change is nigh.
Critics' Choice
ILLUMINATING BRUCE'S STARS
9/13/19

By Phil Gallo

Over the last decade, Bruce Springsteen has taken control of his legacy via a memoir, Broadway show, focused tours, box sets and interviews with the mainstream press that find him delving into the “why?” of his art deeper than ever before.

Western Stars, his 19th and most recent album, appeared to be a diversion. Here is, for the first time, Springsteen in a full orchestral setting playing music inspired by records from the ’60s and ’70s that he and his E Street buddies may well have scoffed at when they were new. The shorthand for the album was “an homage to Jimmy Webb and the Southern California soft rock of the late ’60s and early ’70s.” That angle missed the lyrical side, an omission Springsteen and Thom Zimny’s film Western Stars works to clarify.

The pic premiered at the Toronto International Film Festival on Thursday, and Warner Bros. will release it theatrically on 10/25. To attract an audience beyond diehards, they’ll need to emphasize the film’s spoken elements over the music.

As directors, first-timer Springsteen and his longtime filmmaking partner Zimny have made a film like none of the other Springsteen films. Where Springsteen on Broadway was a tight, extreme closeup, Western Stars is an expansive view of an individual within multiple communities. It complements Springsteen’s assertion about the two sides of American life rubbing up against one another every day—individual freedom and communal life. Western Stars wears that ethos like a badge of honor.

At its core Western Stars is a concert film—the 13 tracks from the album—along with a cover of a Glen Campbell song that Webb didn’t write— performed in a barn on Springsteen’s New Jersey ranch. Viewed in a screening room, the orchestra sounds more vibrant and three-dimensional than on the record, the banjo bites more intensely and Springsteen’s percussive guitar strums pound with added urgency. The performances are sharp and well-recorded.

The attraction, here, though—and this is where it connects with Springsteen’s continued career summarization—is in the interstitials where Bruce not only explains the ideas behind the songs, but also the philosophies and learned truths about life that went into each lyric.

It boils down to aging. Here he is, turning 70 this month, and he’s looking back at what it took for him to make marriage and fatherhood work, where he made mistakes in how he treated others and other flaws in his character. The people who populate the Western Stars songs are older too—the fading star of Western movies, the hitchhiker, train passengers and drivers looking for a different tomorrow.

He even talks about metaphors, frustrated, for example, that cars don’t represent freedom and forward progress the way they did when “Thunder Road” was written. In our current political state, he suggests, we’re no longer moving forward. “A lot of the time we’re just moving,” he says.

Springsteen has said he won’t tour this album, but the film just makes you want to see him with a four-piece and an orchestra of a couple dozen musicians playing Western Stars’ better songs, a few cuts from The Rising, “Streets of Philadelphia” and perhaps a few early songs that would lend themselves to this type of setting. It would sell out easily.  

    

Springsteen has said he won’t tour this album, but the film just makes you want to see him with a four-piece and an orchestra of a couple dozen musicians playing Western Stars’ better songs, a few cuts from The Rising, “Streets of Philadelphia” and perhaps a few early songs that would lend themselves to this type of setting. It would sell out easily.

 

  

"LIVE" ONES
7/29/19

Australian Consul General Chelsey Martin joined a bevy of industry players for a sneak preview of LIVE BABY LIVE, a film capturing INXS’s now-legendary Wembley Stadium concert. The DOC was mixed in Dolby ATMOS by Giles Martin and Sam Okell at Abbey Road Studios and restored in 4K; look for it to drop later this year, with “LATELY,” a previously unreleased audio track from the concert, serving as a single. Seen suppressing the urge to request a vegemite sandwich are (l-r) UMPG Prexy, North America Evan LambergPetrol Records Chairman Chris Murphy, UMG EVP Marketing Andrew Kronfeld, Martin and UMe President/CEO Bruce Resnikoff.

THEY'LL MAKE A CLIENT OUT OF YOU
6/17/19

Ken Hertz and associates at Hertz, Lichtenstein and Young LLP have signed Donny Osmond. The singer, dancer, actor and former teen heartthrob will be repped by attorney Ed Bugge. Osmond, who is also a Jim Morey client, joins a roster that includes Celine Dion, Gwen Stefani, Will Smith, Keith Richards, Stevie Nicks, and Calvin Harris, among others.

Osmond, whose Las Vegas Residency with Marie Osmond at The Flamingo Hotel & Casino is coming to an end this November after 11 years, is currently working on his 62nd album. Throughout his career, Osmond has earned 33 gold records and sold 100m+ albums. Most recently, Osmond was the runner-up on the debut season of Fox’s The Masked Singer.