Has the “skip” option made main title theme songs redundant? Hardly if you consider how some of the top-shelf shows of the streaming era have married music so effectively with the tone of the accompanying series.
It’s not a new phenomenon. Hearing Alabama 3’s “Woke Up This Morning” is so evocative of its parent series, “The Sopranos,” that you feel as though you’re riding shotgun with Tony Soprano as he winds his way down the New Jersey Turnpike. Same goes for the eerie and multi-layered theme of “Six Feet Under” from Thomas Newman, an instrumental that seems to never get old, no matter how many times you hear it, nor does it even sound dated. This also applies to Ramin Djawadi, whose score work for “Game of Thrones” is not only award-winning, but essential to the opening credits of the series, which mapped out the areas of...
It’s not a new phenomenon. Hearing Alabama 3’s “Woke Up This Morning” is so evocative of its parent series, “The Sopranos,” that you feel as though you’re riding shotgun with Tony Soprano as he winds his way down the New Jersey Turnpike. Same goes for the eerie and multi-layered theme of “Six Feet Under” from Thomas Newman, an instrumental that seems to never get old, no matter how many times you hear it, nor does it even sound dated. This also applies to Ramin Djawadi, whose score work for “Game of Thrones” is not only award-winning, but essential to the opening credits of the series, which mapped out the areas of...
- 12/21/2021
- by Lily Moayeri
- Variety Film + TV
Long before the “Skip Intro” era, people have lamented the demise of the theme song. There certainly are times when the days of the wistful broadcast sitcom opening number (or even the days of theme songs that parodied them) seem firmly in the rearview mirror.
But with “Succession” Season 2 coming to a close on Sunday, the rapid rise of Nicholas Britell’s opening 90-second orchestral drum loop earworm spectacular is cause for rethinking that assumption. Maybe it’s just the law of large numbers, but even with the glut of shows that now reduce their openings to a simple title card and a “created by” credit, there are plenty of TV themes besides Britell’s worth celebrating.
Some of these fall closer to the more traditional instrumental expectations. Patrick and Ralph Carney’s opening for “BoJack Horseman” may not have any words, but it doesn’t make that heavy sax...
But with “Succession” Season 2 coming to a close on Sunday, the rapid rise of Nicholas Britell’s opening 90-second orchestral drum loop earworm spectacular is cause for rethinking that assumption. Maybe it’s just the law of large numbers, but even with the glut of shows that now reduce their openings to a simple title card and a “created by” credit, there are plenty of TV themes besides Britell’s worth celebrating.
Some of these fall closer to the more traditional instrumental expectations. Patrick and Ralph Carney’s opening for “BoJack Horseman” may not have any words, but it doesn’t make that heavy sax...
- 10/11/2019
- by Steve Greene
- Indiewire
The Black Keys have unveiled their scorching, psychedelic new song “Lo/Hi.” It’s the duo’s – Dan Auerbach and Patrick Carney – first new music since their 2014 album, Turn Blue.
Written and produced by Auerbach and Carney, they recorded the single at Auerbach’s Easy Eye Sound studio in Nashville, Tennessee. “Lo/Hi” finds the duo in a classic blues-rock mode, with Auerbach moaning over a distorted riff and his bandmate’s crunching drum track. “Nobody to love you, nobody to care,” he sings. “Nobody to drug you, no one to hold back your hair.
Written and produced by Auerbach and Carney, they recorded the single at Auerbach’s Easy Eye Sound studio in Nashville, Tennessee. “Lo/Hi” finds the duo in a classic blues-rock mode, with Auerbach moaning over a distorted riff and his bandmate’s crunching drum track. “Nobody to love you, nobody to care,” he sings. “Nobody to drug you, no one to hold back your hair.
- 3/7/2019
- by Althea Legaspi and Ryan Reed
- Rollingstone.com
Ralph Carney has left this mortal coil far too soon. He was one of us, a musician from Akron who made it out and had become a much-beloved multi-instrumentalist where ever he hung his hat. (The last two years in Portland, Or.) Carney was also the uncle of Black Keys drummer Patrick Carney. He added his brilliance to acts like Tom Waits, The B-52s, Elvis Costello, Kronos Quartet, Jonathan Richman, St. Vincent... basically any band worth their salt that needed some brilliant reed component, whether clarinet or saxophone or some other homemade instrument!
He had lived in NYC for a spell after leaving Akron and his initial brush with success with one of Akron's coolest bands Tin Huey, a band that the legendary Jerry Wexler signed. Their album Contents Dislodged During Shipment (Warner Brothers, 1979) is not to be missed. This Akron band boasted an incredible lineup that also including my musical mentor Harvey Gold,...
He had lived in NYC for a spell after leaving Akron and his initial brush with success with one of Akron's coolest bands Tin Huey, a band that the legendary Jerry Wexler signed. Their album Contents Dislodged During Shipment (Warner Brothers, 1979) is not to be missed. This Akron band boasted an incredible lineup that also including my musical mentor Harvey Gold,...
- 12/20/2017
- by Dusty Wright
- www.culturecatch.com
People will tell you Tom Waits’ best album is Rain Dogs. This is not strictly true. It is perhaps the most Waits-ian of Tom Waits albums, by virtue of having a Waits lookalike on the cover and a song selection that ranges across virtually every genre of music (and combinations thereof) Waits could wrangle. But the best Tom Waits album is not Rain Dogs. Instead it’s Bone Machine (which netted Waits his first Grammy in 1993), and it turns 25 years old today.
Waits explained Rain Dogs’ titular inspiration to Spin in 1985: “You know, dogs in the rain lose their way back home.
Waits explained Rain Dogs’ titular inspiration to Spin in 1985: “You know, dogs in the rain lose their way back home.
- 9/12/2017
- by Alex Heigl
- PEOPLE.com
Reason #489 to love podcasts: no expiration date. Even though some shows thrive on being the entertainment du jour, it’s never too late to catch up with the greats. With scores of new feeds popping up on a weekly basis, this summer had plenty of quality hours from established favorites and newcomers alike.
Read More: 10 Must-Listen Podcast Episodes from 2016 So Far
But if you’ve come to the end of your listening queue after the Labor Day weekend festivities, allow us to recommend some of our favorites from the summer months. (Some of our top episode picks from the halfway point of 2016 dropped in the first week of June, so be sure to check there for other recent favorites.) A few of these are podcast mainstays. The others are well on their way.
The Bright Sessions – #24: Zero Hour
Airdate: June 15th
Radio dramas for the podcast age often veer...
Read More: 10 Must-Listen Podcast Episodes from 2016 So Far
But if you’ve come to the end of your listening queue after the Labor Day weekend festivities, allow us to recommend some of our favorites from the summer months. (Some of our top episode picks from the halfway point of 2016 dropped in the first week of June, so be sure to check there for other recent favorites.) A few of these are podcast mainstays. The others are well on their way.
The Bright Sessions – #24: Zero Hour
Airdate: June 15th
Radio dramas for the podcast age often veer...
- 9/7/2016
- by Steve Greene
- Indiewire
Long before fans discover the dark depths of “BoJack Horseman” or pick up on the show’s nonstop assault of jokes, they first fall in love with its opening credits. A minute-long fast track through the self-destructive world of the main character, the opening credits get an iconic kick from its theme, a jazzy composition from “The Black Keys” drummer Patrick Carney that captures the core of BoJack’s hard-partying delirium.
Read More: Review: ‘BoJack Horseman’ Season 3, Episode by Episode, Stays Beautiful — But Never Apologizes For Going Dark
Carney recently joined his uncle, Ralph Carney, on Hrishikesh Hirway’s “Song Exploder” podcast and revealed the surprising origins of the infectious theme song. Most shocking of all is how the track wasn’t even written for “BoJack Horseman” to begin with, which is surprising given how perfect it matches the show’s main character. According to Patrick, the theme started just...
Read More: Review: ‘BoJack Horseman’ Season 3, Episode by Episode, Stays Beautiful — But Never Apologizes For Going Dark
Carney recently joined his uncle, Ralph Carney, on Hrishikesh Hirway’s “Song Exploder” podcast and revealed the surprising origins of the infectious theme song. Most shocking of all is how the track wasn’t even written for “BoJack Horseman” to begin with, which is surprising given how perfect it matches the show’s main character. According to Patrick, the theme started just...
- 8/4/2016
- by Zack Sharf
- Indiewire
Ralph Carney's Serious Jass Project: Seriously (Smog Veil)
One of the great things about recycling old jazz is that there are so many styles to choose from. On the evidence of this CD, saxman Ralph Carney (known as a member of Tin Huey and Oranj Symphonette as well as for his contributions to records by Tom Waits, the Black Keys, Black Francis, the B-52's, Bill Laswell, Elvis Costello, Galaxie 500, Allen Ginsberg, Marc Ribot, William Burroughs, Pere Ubu, and many more) has a great fondness for small-group swing and jump blues, but taps a few additional subgenres as well. He's even more versatile as an instrumentalist, credited on this album with six types of saxophone, two types of clarinet, and flute, trumpet, English horn, lap steel guitar, and vocals, with a moderate amount of overdubbing at times.
Of course, when Carney includes "serious" in the band and album names,...
One of the great things about recycling old jazz is that there are so many styles to choose from. On the evidence of this CD, saxman Ralph Carney (known as a member of Tin Huey and Oranj Symphonette as well as for his contributions to records by Tom Waits, the Black Keys, Black Francis, the B-52's, Bill Laswell, Elvis Costello, Galaxie 500, Allen Ginsberg, Marc Ribot, William Burroughs, Pere Ubu, and many more) has a great fondness for small-group swing and jump blues, but taps a few additional subgenres as well. He's even more versatile as an instrumentalist, credited on this album with six types of saxophone, two types of clarinet, and flute, trumpet, English horn, lap steel guitar, and vocals, with a moderate amount of overdubbing at times.
Of course, when Carney includes "serious" in the band and album names,...
- 11/29/2011
- by SteveHoltje
- www.culturecatch.com
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