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Punch-Drunk Love Enhanced
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|16. Here We Go|
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listen 1. overture 2:09$0.99 buy tracklisten 2. tabla2:57$0.99buy tracklisten 3. punch drunk melody1:43$0.99buy tracklisten 4. hands and feet3:42$0.99buy tracklisten 5. le petit chateau1:36$0.99buy tracklisten 6. alleyway0:55$0.99buy tracklisten 7. punch drunk tack piano1:25$0.99buy tracklisten 8. he needs me3:31$0.99buy tracklisten 9. waikiki3:56$0.99buy tracklisten10. moana chimes3:02$0.99buy tracklisten11. hospital1:21$0.99buy tracklisten12. danny (lonely blue boy)2:13$0.99buy tracklisten13. healthy choice2:08$0.99buy tracklisten14. third floor hallway3:23$0.99buy tracklisten15. blossoms and blood2:05$0.99buy tracklisten16. here we go4:46$0.99buy tracklisten17. he really needs me
By turns bold, sentimental, and decidedly loopy, director Paul Thomas Anderson's Punch-Drunk Love has perceptively been described as a classic MGM musical without the songs. Which isn't to say it lacks for music; Jon Brion's glorious, stylistically baroque score matches Anderson's cinematic verve at every turn. Brion variously revives vintage Hawaiian pop-kitsch and Conway Twitty at his early Elvis-clone angstiest, and perfectly recasts Shelly Duvall's determined/desperate reading of "He Really Needs Me" from Harry Nilsson's underappreciated Popeye score as one of his major romantic themes; codependents need love, too. But the major touchstone for Brion's instrumental underscore is the elusive Reprise Records sound of the late '60s/early '70s, with arrangements that seem lingering homages to Brian Wilson's Smile, Van Dyke Parks' Song Cycle, and Randy Newman's Sail Away. The composer's own self-performed pop-waltz of a melancholy love song, "Here We Go," echoes nothing less than the Beatles in their Rubber Soul/ Revolver prime; it was even recorded in their old Abbey Road studio and seems to coax musical ghosts from the very walls. It's no mean feat to be both smart and sentimental, but Brion's pulled it off handsomely here on this, the best soundtrack these ears savored in 2002. --Jerry McCulley
Top Customer Reviews
Those are the words that come to mind when I listen to the score to one of my new favorite films, "Punch-Drunk Love." Composed by Jon Brion, this beautifully haunting score gets in your head and stays there (just like the movie). You pretty much feel a party of emotions when you pop this baby in.
While it can be very melodic and soothing at times, it can also get tense and rapid. A lot of the tunes on the score appear to be influenced by the song "he needs me," which was originally from the "Popeye" movie and was performed by Shelly Duvall. (The original song appears on the soundtrack as well). And you really get the feeling that you're watching some sort of cartoon when you play the CD. How strange I'd like something like this, but that's thanks to loving the movie so much.
My favorite tracks are "overture," "tabla," "punch-drunk melody," "he needs me," "hands & feet," "blossoms & blood," "here we go," "le petit chateau," hospital," and "third floor hallway." That's the majority of the album, but those are the songs I listen to the most. I really love Jon Brion's "here we go;" the lyrics really seem to hit home with me. All 17 tracks are a complete joy to listen to.
If you're a big fan of the film and you love a good film score, put "Punch-Drunk Love" on your list. This is a score that I can never get tired of. I'm glad that I have it in my CD collection and it is a frequent visitor in my stereo, I must admit.
The score mirrors this film in many ways. It's often brilliant, inspired, AND inspiring, but it's also a bit slight and the people involved have done better work.
Jon Brion, the uberproducer behind Fiona Apple, Rufus Wainwright, Aimee Mann is back after scoring Magnolia. Like always, the multi-instrumentalist/producer/composer/vocalist is the album's main star attraction.
His "Punch-Drunk Melody" occurs throughout, played in various different style, one Hawaiian, one grand and orchestral, and one played by a French-style accordian. Despite the various angles from which Brion interprets his own music, his Beatles-esque knack for a hook is still there. This isn't a boring run-of-the-mill score in the least. Yet it's sufficiently intricate as to not get sticky in pop simplicity...T
Other songs are more percussive and sparse. "Tabla's" sonic beeps accentuate the bareness of the snare and bass drum. A song this minimal shouldn't work, yet it does. Call it the Brion touch.
"Here We Go" attempts to get at the pathos of the story...How truly sad and pathetic the character of Barry Egan is, with no jokes to make us feel okay about his torment. Jon Brion himself sings the tune, and a remorseful edge enters the soundscape which the film tried to get at but never quite could.Read more ›
Jon Brion's taken the hint from Bjork's Dancer in the Dark soundtrack and made full use of the wide world of sound. This is most apparent on the track Hands & Feet where sounds of brushes and window blinds complete the percussion. I only wish there were more tracks devoted to making music from non-traditional instruments.
The CD is only 44 minutes long, but it's compiled well and the tracks are lengthy enough to leave you fulfilled. If you didn't love the movie, you probably won't like the soundtrack, but if you didn't like the movie, why are you reading this review?
Also, if you like this soundtrack, especially "Here We Go", go check out jonbrion dot com and his album meaningless. It is not yet available on Amazon.
Also, if you like this soundtrack, especially "Here We Go", go find Jon Brion's album "meaningless"
Most recent customer reviews
I was a huge fan of the movie, and particularly the music in it. The problem with this disc is that they break up the beautiful and unique score with less beautiful and less unique... Read morePublished on April 30 2003 by Saki
captures the essence of the film perfectly...you get the Shelley Duvall song and Waikiki and much more.
It comes enhanced with film footage playing Jon Brion's Here We Go. Read more
this soundtrack feels so inspired, and i mean literally from Nina Rota's work from Fellini's film "Amarcord". Well mostly the sad string theme. Read morePublished on Dec 9 2002