In Contention

Tag: Jack White

  • ‘Conan’ comes into his own

    Conan O’Brien’s foray into basic cable (airing on TBS) settled on an applicable show title two months ago. Because “Conan” is just that, the host, personality — and perhaps for the first time ever — person (rather than caricature) unfiltered and freely spirited.

    On tonight’s premiere episode — following a humorous pre-taped open featuring an homage to “The Godfather” — O’Brien paced in front of a camera panning to catch up with his energy as he delivered an opening monologue full of crisp, precise jokes and uncharacteristically authentic energy. But there was an unmistakable ease.

    O’Brien has always been associated with unusual, sometimes esoteric humor. But once self-awareness became a part of the act early on, it quickly cannibalized his material. But while he carried David Letterman’s “Late Night” baton well, the audience for his next gig — an ill-fated nine-month stint as host of “The Tonight Show” — clearly did not take to his brand quick enough for NBC suits.

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  • TECH SUPPORT: Best Original Song

    Tech Support at In ContentionAs I said a few weeks ago, I would not analyze the last “tech” category until the eligible entries had been announced. Now that the Academy has named 49 finalists for Best Original Song, and with the BFCA and HFPA rattling off their list of nominees (though they are, admittedly, not great predictors), the time seems appropriate to have an in depth look into the category.

    It’s a good mantra to say “there are no locks” in this field. Since the rules were changed three years ago, forcing voters to watch the songs in the context of the movie, some surprises have certainly been in store.  Nonetheless, there are two titles this year I’d be very surprised to see miss the cut.

    The first is Bruce Springsteen’s title track for Darren Aronofsky’s “The Wrestler.” One of the most deserving winners ever in this category (for “Streets of Philadelphia”), his ends credits track seems poised to bring him his third Oscar nomination. In addition to the song perfectly fitting the film, it is also simply a great tune.

    I expect Springsteen to battle it out for the win with “Down to Earth,” the “WALL-E” tune from Peter Gabriel and Thomas Newman.  Now here is a film whose performance in the precursors has absolutely shocked me (albeit in the best way possible). Gabriel has yet to have a hit with the Academy but he’s never written anything that was so Oscar friendly before either. And while Newman has yet to be nominated for a song, he’s never had a song in contention before and he’s also yet to win for his portfolio of classic scores.

    Admittedly, both these tunes only play at the end of the movie, over the credit roll. This seems to have become a disadvantage in recent years. But I still would be surprised if either title failed to make the cut when all is said and done.

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  • Naming and shaming

    I think it’s fair to say that Jack White and Alicia Keys’ Bond theme (which so disappointed yours truly) is not going down all that well.

    So much so that Popjustice, one of my personal favourite websites, is seeking retribution.

  • ‘Quantum of Solace’ theme is out

    It’s finally landed. “Another Way to Die,” the theme song recorded by Jack White and Alicia Keys for the latest installment of the Bond franchise, made its radio debut earlier today — listen to it here and see what you think.

    I must say, on first listen, I’m a little disappointed. Perhaps it’s a grower. But for all the gutsy guitar riffs and atmospheric build-up, I found any clear melody — the bedrock of all the best Bond compositions from “You Only Live Twice” to “Nobody Does It Better” — distinctly lacking. And Keys’ presence is so muted, I’m not sure what the point of the duet was.

    I have a feeling we won’t be seeing this performed on Oscar night. Your thoughts?

    (EDIT: Thanks to Bradley Porter for sending me the full song, sans DJ intrusion. I will try and amend the post to include the song, but technical issues fail me at the moment.)

  • A taste of ‘Another Way to Die’

    Jack White is reportedly none too pleased about this, but an instrumental sample of “Another Way to Die,” his much-awaited Bond theme on which he duets with Alicia Keys, has been revealed in a new ad for Coke Zero.

    The ad, a promotional tie-in which finds the soft drink rebranded as Zero Zero 7 (geddit?) is a fairly low-rent knockoff of a typical Bond credit sequence, but the music is terrific — sounds like White has married his own guitar sound with a throwback to John Barry brassiness. If the vocals are this good, it could be the best Bond theme in some time.

  • Bond chooses ‘Another Way to Die’

    Well, I said I would remain guarded when the rumour mill stated that Duffy was “almost certain” to sing the long-discussed theme song for “Quantum of Solace.” And rightly so. After a drawn-out process in which seemingly everyone in the pop universe but Michael Jackson was at one point in the running, the producers have finally announced their selection. And I, for one, did not see this coming.

    Alicia Keys. And Jack White. Together.

    Yep, in what will be the first ever duet in the 22-song history of Bond themes, the soul diva (who was, in fact, deemed the frontrunner for the gig a few weeks ago) and the blues-rocker will collaborate on “Another Way to Die.” (Now wouldn’t that have been a better title for the film?) The White Stripes and Raconteurs frontman is writing and producing the track, and will also – oddly – play drums. (Is Meg busy or something?)

    Now I know this sounds hypocritical coming from me, since I pretty much slated Keys as a potential Bond chanteuse, but this pairing has me excited. Keys has a terrific voice; it’s her bland songwriting of late that has bothered me. White’s writing should hopefully push her into more dangerous musical territory, and the fusion of her lush throwback sound with his more elemental style sounds like a good fit for an old-school film franchise that’s undergone a very contemporary makeover.

    At the very least, the song should be interesting. (And I haven’t said that about a Bond theme in some time.) And the team-up has the right balance of familiarity and critical cred to prove, potentially, rather Oscar- friendly. It’d be nice to have a Brit involved, but you can’t have it all.

    Smart choice, 007.