先从曲目开始。 1. needle in the camel's eye / brian eno 2. hot ones / shudder to think 3. 20th century boys / placebo 4. 2hb / the venus in furs 5. t.v. eye / wylde ratttz 6. Ballad Of Maxwell Demon / Shudder To Think 7. Whole Shebang / grant lee buffalo 8. Ladytron / the venus in furs 9. We Are The Boys / pulp 10. Virginia Plain / roxy music 11. Personality Crisis / teenage fanclub & donna matthews 12. Satellite Of Love / lou reed 13. Diamond Meadows / t-rex 14. Bitter's End / paul kimble & andy mackay 15. Baby's On Fire / the venus in furs 16. Bitter-Sweet / the venus in furs 17. Velvet Spacetime / carter burwell 18. Tumbling Down / the venus in furs 19. Make Me Smile (Come Up And See Me) / steve harley 其中有两个supergroups: the venus in furs: bernard butler clune jon greenwood paul kimble andy mackay thom yorke 这个格林伍德先生是收音机头的吉他手没错 andy mackay一直是 roxy music 的键盘及sax手 还有两个大家都认识了 wylde ratttz: mark arm ron asheton jim dunbar don fleming thurston moore steve shelley mike watt 这个团好像更恐怖 thurston 跟 steve是 sonic youth的 吉他跟鼓 mark arm是 mudhoney的guitar / vocal. ron asheton更可怕. the stooges的创团人，吉他贝司跟vocals. mike watt是听说很有影响力的minutemen贝司手 don fleming...搞不太清楚确定的角色，不过跟half japanese, mo tucker, sonic youth, dinosaur jr. teenage fanclub有关系 似乎是地下大牌制作人一只。 好。关於曲目 新作旧作翻玩作品 以後再说 amg上难得有对电影原声带有这麽大篇幅介绍 关於这部电影与bowie之间的纠葛提到不少 颇是有趣 噢 还有 一定要说的 executive producer 是 michael stipe. Glam rock was all about style as substance, finding truth through image. Todd Haynes realized this, constructing Velvet Goldmine, his ode to glam, as a hallucinatory experience where nothing quite makes sense and the surface means as much, if not more, than the underlying meanings. Which means, of course, that Haynes' view of glam was based on the artier inclinations of David Bowie and Roxy Music, not the tarted-up pop of Gary Glitter and Queen, or even the heavy-rock-in-platforms of Mott The Hoople. In fact, Haynes goes even further, finding the sinister cabaret and full-blown dementia of Brian Eno-era Roxy as the pinnacle of glam. Perhaps this is due to Bowie's refusal to have any of his music licensed for use in Velvet Goldmine, but the film itself and its accompanying soundtrack are so heavily in the Roxy corner -- to the extent of suggesting that Bowie stole all their ideas (in the movie, from Curt Wylde, the Iggy Pop character played by Ewan MacGregor, and Jack Fairy, a bizarre fusion of Bryan Ferry, Marc Bolan and, possibly, an alien) and then literally metamorphosed into a different being, namely the shameless showman of Let's Dance -- that it's very hard to believe it was intended as anything other than its existing form. Given the anti-Bowie slant of the material, it isn't surprising that the Thin White Duke decided to keep his songs to himself, but the filmmakers squeezed their way out of a tight, potentially fatal, situation by hiring Shudder To Think and Grant Lee Buffalo to write Ziggy soundalikes for Brian Slade, Jonathan Rhys Meyers' Bowie stand-in, to sing under his stage persona, Maxwell Demon. They work smashingly, as Shudder To Think's "Ballad of Mawell Demon" captures the sweeping ballad feeling of "All the Young Dudes," while Grant Lee Buffalo's "The Whole Shebang" is an uncanny recreation of Hunky Dory's skipping vaudevillian pop. Their contributions naturally stand out on the Velvet Goldmine soundtrack, which is primarily devoted to songs from the era, either in their original incarnations or in newly minted covers. It's actually a risky move to stand Roxy Music's classic first single "Virginia Plain" next to a wealth of Roxy interpretations by the Venus in Furs, a supergroup featuring former GLB bassist Paul Kimble, ex-Suede guitarist Bernard Butler, Roxy saxophonist Andy Mackay and two members of Radiohead, Thom Yorke and Jon Greenwood. Their recreations of "2HB," "Ladytron," "Bitter-Sweet" and Eno's "Baby's on Fire" (the latter sung by Rhys Meyers, as is the cover of Steve Harley's "Tumbling Down"), are stunning recreations of the original songs, enhanced by Yorke's remarkable imitation of Bryan Ferry's vocals. The Iggy Pop band, Wylde Ratttz -- featuring former Stooge Ron Asheton, Sonic Youth's Thurston Moore and Steve Shelley, Mike Watt, Don Fleming and Mudhoney's Mark Arm -- do an admirable job with "TV Eye" (original pressings contained a version with MacGregor on vocals which the band publically berated), good enough to make the album of Stooges covers they recorded during these sessions seem like an enticing project. Not all the covers fare so well -- Placebo's leaden "20th Century Boy" hammers home Brian Molko's lack of charisma, voice and sexuality; Donna Matthews and Teenage Fanclub's "Personality Crisis" is simply awkward -- but the other original music (Pulp's stomping, horn-driven Slade extravaganza "We Are the Boys," Paul Kimble's collaboration with Andy Mackay on "Bitter's End") is first-rate, and all the original tunes are terrific, particularly since famliiar items like "Satellite of Love" are balanced by such cult items as Eno's fantastic "Needle in the Camel's Eye," T. Rex's lesser-known "Diamond Meadows" and Steve Harley & Cockney Rebel's British hit "Make Me Smile (Come Up and See Me)." Even with all its many attributes, the soundtrack, like the film itself, is more of a collection of moments than a coherent experience, mainly because it tries to cover too much ground. But those moments can be pretty spectacular. -- Stephen Thomas Erlewine, All-Music Guide -- "No reason to get excited," the thief, he kindly spoke, "There are many here among us who feel that life is but a joke. But you and I, we've been though that, and this is not our fate. So let us not talk falsely now, the hour is getting late." Bob Dylan