Norah jones danger mouse dating

Given its creative pedigree, Rome is more substantial than the imaginary scores turned out by the two above-cited companies.Of the 15 tracks, six are complete songs, each clocking in at two to three minutes, with vocals by Jack White and Norah Jones.Burton and Luppi, fetishists of authenticity, recruited the veteran Morricone associates Marc 4 band and the I Cantori Moderni choir, and recorded the album at Forum Studios in Rome, using only vintage analog equipment.

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Together, the two spent several years rounding up the legendary orchestra and choir who recorded on some of the genre’s most seminal albums: manages to somehow toe the fine line between a reverently vintage soundtrack and a sprawling, post-modern Western concept album.

But with its sweeping choral and orchestral parts, interludes and evocative instrumental pieces rendered in widescreen, much of the record ends up sounding more like a movie soundtrack without the sort of visual accompaniment that often makes even the best film scores even better.

Danger Mouse wrote the words for Jones’ tracks, “Season's Trees”, “Black”, and “Problem Queen”.

White’s tracks are the album’s best, but even they aren’t particularly memorable.

Rome’s instrumental bits feel nearly interchangeable with their Morricone/Tarantino counterparts, but there’s a joyful lawlessness to the whole affair that makes it feel less like a lark and more like a fever dream come to unlikely fruition.

Rome, the new collaboration between the American producer Brian Burton, a.k.a.But the two don’t perform together, which is fine, since White deserves a co-star stronger than the blandly breathy Jones, whose appeal has always eluded me.(Maybe Danger Mouse and Luppi should’ve paired White with Wanda Jackson, whose recent album he produced, for a taste of rockabilly alla Romana.) White wrote the lyrics for his three songs, “The Rose with the Broken Neck”, “Two Against One” (where he sounds not a little like Robert Plant), and “The World”.Burton and Luppi were wise to bring on Jack White and Norah Jones to flesh things out, as their vocal contributions provide a much-needed break from the immaculate yet familiar melodies.Jones, with her smoky timbre and laid-back delivery, brings a cool confidence to standout cuts like “Season’s Trees” and “Black," while White, who spent countless hours driving around and listening to the instrumental mixes while bouncing ideas into a hand-held tape recorder, manages to make songs like “Two Against One” and “The World,” the latter of which features a knockout octave vocal, feel as sinister as their intentions. For nearly a decade now, Burton’s music has — like Allen’s films — defied any manner of simple explanation, collaborating with everyone from left-field hip-hop luminary MF Doom and alterna-rock hero Damon Albarn on , to the Shins’ James Mercer in Broken Bells and producing the Black Keys’ last couple of records.

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