| | L-Word L Word Soundtrack CD
The soundtrack to Showtime's lesbian answer to Sex and the City is much like the show itself -- classy, upscale, sophisticated, well-intentioned, and in good taste, but overly earnest and is lacking a sense of humor. Or risk, for that matter. There's nothing here that's unexpected -- it's heavy on female singer/songwriters, from Lucinda Williams to the Murmurs, and it stretches outside of that genre with sharp selections from Ella Fitzgerald, Connie Francis, and Fantcha. It's very urbane, and not all that interesting; it's contemporary singer/songwriter music for listeners who like the sound of the music, not the content. As such, it's not bad as background music, but it's not compelling listening on its own terms, even if it captures the sound and feel of the show quite well. ~ Stephen Thomas Erlewine
Lucinda Williams/Connie Franci Ella Fitzgerald/Nick Cave/Indi
Audio Mixer: Tchad Blake.
Photographers: Matthew Rolston; Carole Segal.Rolling Stone (p.177) - 3 stars out of 5 - "[The soundtrack] tells stories through the lyrics and moods of its skillfully selected songs..." L Word Soundtrack Music | List Price | $18.97 (You save $3.58) | | Category | Rock/Pop Albums, Soundtrack CDs, Television | | Label | Tommy Boy | | Orig Year | 2004 | | All Time Sales Rank |  41277  | | CD Universe Part number | 6705009 | | Catalog number | 1582 | | Discs | 1 | | Release Date | May 04, 2004 | | Studio/Live | Studio | | Mono/Stereo | Stereo | | Producer | Etienne Daho; Gene Norman; Howie Beck; Rick "Soldier" Will; Joe Sherman; John Raham; Jon Wood; Joseph Arthur; K.D. Lang; Lucinda Williams; Norman Granz; Patrick Leonard; Steve Lillywhite; T-Bone Burnett; The Be Good Tanyas; Twangtrust; Rosie Lopez | | Additional Info | Original Soundtrack |
L-Word L Word Soundtrack Songs L Word Soundtrack Review
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Lead Us Not into Temptation started as music for the film Young Adam, but has evolved to sit somewhere between a true soundtrack and a David Byrne solo album. Since the cast and director of Young Adam were all Scottish, and Byrne himself was born in Scotland, the choice of recording with young Scottish musicians (Belle & Sebastian, Mogwai) appealed to him from a conceptual standpoint, and after director David MacKenzie assembled a listening list, Byrne chose a group of musicians to work with. The end result is that Byrne leaves behind all the international rhythms that have dominated his solo work and turned in an album of moody, subtle beauty. Byrne sketched out some musical ideas to have a framework established, then worked with the Glaswegian musicians to elaborate on the sketches. Oftentimes, this was accomplished by Byrne giving the musicians a set choice of notes to be used on any given piece, but allowing the musicians themselves the decision of what notes to play and when (these sort of chance operations also play a part in both the music of John Cage and Brian Eno, among others). The music often echoes the gloom and dankness of the Scottish climate, sometimes mournful without being depressing or bleak, at other times tempered by a subdued optimism. Strings, piano, and Rhodes rise and fall in the mix, adding impetus to songs that could have too easily become static. Vocals appear only on the ...
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