Most Helpful Customer Reviews
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15 of 15 people found the following review helpful:
3.0 out of 5 stars
People have been sharpening their knives, waiting for this release, 16 May 2008
Probably all listeners are going to come to Scarlett Johansson's debut album with preconceptions. There are many who hate the concept of actresses releasing albums (and with Lindsay Lohan, who can blame them?), envy her lifestyle (million dollar income, villa in the Hollywood Hills, Ryan Reynolds as fiance, etc.) or hate her for the Hollywood adulation and her already gargantuan popularity. And there are those who are accused of weakening at the knees before the formidable marketing juggernaut, loving the idea of this album before they have even heard a note. She's subject to adulation to be sure, but also to ridicule, falling seemingly irresistibly into that actress-cum-singer shoebox.
The crucial question, however, is: IS IT ANY GOOD? And I would say yes and no. Her weird, angular voice is definitely a surprise (I don't remember it being such a croaky baritone in Lost in Translation), which strikes a refreshingly different chord to the hyperhigh, glass-shattering vocals of other female singers. But Scarlett's delivery is almost always drowned out by the epic soundscape that David Andrew Sitek has created around her and Tom Waits' songs: she's more of a feature on the album's musical landscape than occupying its centre stage. David Bowie lends a hand on vocals, too (more a measure of her star-studded connnections than the high esteem in which he holds her vocal ability and musical artistry, I would imagine). The uncharitable would say that her voice is deliberately overwhelmed to cover up the fact that she can't actually sing, but it's a shame that we don't hear more of it - precisely because her throaty, croaky voice is unusual and compelling. Those shoegaze and dreampop atmospherics - from which this album borrows to craft its sound - are nothing new, having had their heyday in the early nineties. The album improves, however, towards the end: by the eighth and ninth tracks, she shakes off the woozy, dreamy soundscape and lifts her voice out of its basement. Her vocals become more melodious and emotive, as well as being set against less dominant instrumentation, quicker beats, and the chinking acoustics of a little girl's jewellery box. We could have done with more of this liveliness.
Worth a listen: Anywhere I Lay my Head, Falling Down, Fannin Street, I Don't Wanna Grow Up, I Wish I Was in New Orleans
For fans of: Dot Allison, Mazzy Star, the gravelly voices of Marianne Faithfull and Nico
Not for fans of: Tom Waits, probably ;-)
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4 of 4 people found the following review helpful:
4.0 out of 5 stars
Jolly Folly, 9 Jan 2009
This is a difficult album to review objectively as one camp is so strong in their condemnation of Johansson's `sacrilegious assault' in covering this collection of tracks by Mr. Tom Waits. True, without him, this album wouldn't exist, and true, what is the need for this album when `perfection' already exists in the shape of the original. However, it is my opinion that nothing is ever perfect and variety is healthy so I gave Ms. Johansson the benefit of the doubt and furthermore a spin or two more than was strictly necessary.
What struck me first was her curiously deep voice, and then man-of-the-moment Dave Sitek's (of TV on the Radio production amongst many others) lavish overproduction, which at times drowns out poor Scarlett. But that all said, this album inspired in me a renewed desire to sample the original, with whom I am not here to make comparison. Surely, it can only be a good thing when a cover alerts new listeners to a quality artist not yet amongst their collection, particularly when the motive is not ready cash. And, in this example, I think it great that a credible actress has delivered because few others could deliver such a credible homage.
Whimsy of the influential it may be, but for once, it's a pleasure to share. This is an album of easy listening, dreamy indie music, perfect for most occasions needing of inoffensive, unadventurous but unobvious background stylings. And it is very stylish, and also pleasantly comforting.
The titular track, Fannin Street and Falling Down are rousing highlights that catch the ear, though why an instrumental (`Fawn') starts a covers record I am very unsure! Perhaps Mr. Sitek drowned her out completely, which songbird she isn't, shame it would be. This grand folly of a record may yet stand proud in the grounds of Mr. Wait's gravel-drive estate.
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8 of 9 people found the following review helpful:
4.0 out of 5 stars
Surprisingly good, worth a listen, 14 May 2008
I think some of the reviews here are unfair and are simply just music snobbery. I'm not going to insinuate that this is one of the greatest albums ever, it isn't, but it is certainly a very good attempt considering how much rubbish tends to come as a result of actress-turn-singer albums.
The opening instrumental, Fawn, is a fantastically powerful track that (whilst I feel it's bizarre it's the opening and not the finale) is worth a listen if you're going to ignore the rest. Tracks such as 'Town with no cheer' and 'Fannin Street' make for a respectable album that is most certainly worth some of your time. The good thing, at the end of the day, is that it isn't just empty, manufactured pop music which can only be considered a bonus.
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