In Contention

Tag: 9000 Days

  • Listen to Overtone and Yollandi Nortjie’s ‘9,000 Days’ from ‘Invictus’

    OvertoneWe reported Friday (and mentioned in this weekend’s Oscar Talk) that Clint Eastwood’s latest, “Invictus,” has two original songs from South Africa boy band Overtone.  Today we’re happy to feature one of them.

    “9,000 Days” (credited as “Invictus 9,000 Days” in the film) also features vocalist Yollandi Nortjie.  It’s used in the context of the film and is also called up as a reprise as the first closing credits cue.  I wouldn’t say it’s used organically in the film, as the presence of both this and “Colorblind” (which we’ll feature Wednesday) seem forced and somewhat random on the film’s soundtrack.

    The song has a jazzy, bluesy vibe, much like Jamie Callum’s “Gran Torino” last year.  It also uses the William Earnest Henley poem which lends its name to the film’s title as a framing device throughout (which could render it ineligible, who knows).  Like the film, it’s pretty simple, cut and dry, no frills.

    Have a listen below and tell us what you think of the tune:

    [audio:http://www.incontention.com/audio/9000days.mp3]

  • Two original songs from ‘Invictus’ join the race

    Morgan Freeman in InvictusEven though trade reviews have popped up and there are enough little dutch boys around to seal off the steadily breaking dam, certain parties are still not permitted to discuss “Invictus” in a review capacity.  However, I would like to offer up some thoughts on two original songs from the film that should be added to that category’s on-going conversation in this space.

    “9,000 Days” and “Colorblind” are a pair of sentimental tracks peppered throughout the film.  Both songs, as well as most of the soundtrack, can be chalked up to the South Africa vocal group Overtone.  “9,000 Days,” using William Earnest Henley’s poem “Invictus” as a framing device, sounds curiously like Jamie Callum’s title track for “Gran Torino” last year.  It’s a breezy, jazzy tune that also features Yollandi Nortjie.

    “Colorblind,” meanwhile, from Overtone on their own, is a little more difficult to defend.  From the schlock, faux-emotive melody of the thing to the trite lyrics (which could probably be determined from the nail-on-the-head title), it’s a fairly miserable song.  And its usage in the film is swift, manipulative and frankly distracting.

    Suffice it to say, I don’t expect these tracks to play a major role in this year’s race for Best Original Song, but they’re worth mentioning in this robust year for the category regardless.