Release Date: May 7, 2013
Record label: Interscope
Genre(s): Pop, Rap, Avant-Garde, Pop/Rock, Adult Alternative Pop/Rock, Alternative Pop/Rock, Contemporary Pop/Rock, Soundtracks, Stage & Screen, Pop-Rap
This ain't your great-grandfather's West Egg. Jay-Z executive-produced this score, which infuses F. Scott Fitzgerald's Jazz Age tale with the sounds of the hip-hop age. The result is an unusually diverting mixtape, with an all-star lineup: Beyoncé's "Crazy in Love" is here – in a jauntily jitterbugging cover version by the Bryan Ferry Orchestra, with vocals by British soul upstart Emeli Sandé.
After collecting a reverent and respectful collection of song's for his 2008 film Australia, The Great Gatsby is an opportunity for director Baz Luhrmann to get back to the glitz, garish, and campy ways that made his earlier soundtracks Romeo + Juliet and Moulin Rouge such delights. What made them delicious was how smart and savvy they were under all that glittery make-up. With Jay-Z and the Bullitts as executive producers, Luhrmann's soundtrack to his lavish adaptation of F.
The Great Gatsby ’s newest film adaptation from Baz Luhrmann has pushed the soundtrack from executive producer Jay-Z as a focal point of the film’s marketing, certainly more than, say, Tobey Maguire’s role as Nick Carraway or even Carey Mulligan’s Daisy Buchanan. Essentially, Gatsby in 2013 is about Leo, Baz and Jay-Z. Not a bad pedigree, for a start.
Various ArtistsThe Great Gatsby Original Motion Picture Soundtrack(Interscope)Rating: 3.5 out of 5 stars Motion picture soundtracks seem to either be attention-grabbers of the highest order, or, even if they’re decent, fail to land any sort of punch. Adding to the soundtrack’s enigmatic nature is the manner in which many great soundtracks are substantially better than the movie the album’s built to accompany. Maybe more than any other director, Cameron Crowe is the biggest culprit of this artistic unevenness.
It’s time for a new film adaptation of the The Great Gatsby, old sport, and with it comes a soundtrack executive produced by Jay-Z. Being the fifth visual rendition of F. Scott Fitzgerald’s most famous novel, the story of The Great Gatsby is familiar to most. However, the 2013 version of the film has the big names behind it and a big budget to ensure that it brings the ostentatious world of Jay Gatsby to life like never before.
A word often associated with the Millennial Generation is “lost.” We’re told it won’t be found until we start to see the light peaking somewhere out of the recession, the student loan debt crisis is resolved, same-sex marriage is embraced throughout all 50 states, and the unemployment rate plummets. Like every older generation before it, this generation is often lauded as apathetic and entitled. Along with Hemingway and Stein, F.
The concept behind the soundtrack to Baz Luhrmann's cinematic adaptation of The Great Gastby was born when excessive rain halted filming in Sydney, which gave the director the chance to connect with Jay-Z. The latter saw Gatsby as a tale of aspiration (check the novel's Rap Genius entry), and persuaded Luhrmann-- whose 3D production of the film was designed to draw audiences into the wild party scenes-- that a hip-hop-inspired soundtrack was the perfect way to convey the excitement and novelty of the Fitzgerald-coined "jazz age" to modern viewers. But Jay-Z and music supervisor Anton Monsted didn't exactly commit to the theme; Jay's opening track, "100$ Bill", and the inclusion of his and Kanye West’s undeniable "No Church in the Wild" are the only full-on rap tracks here, with a few other, poppier songs hanging from the genre's coattails.
Recently, queer artsploitation filmmaker Bruce LaBruce presented a lecture with tongue reportedly slightly in cheek on the state of camp in 2013 as a sort of half-century revision to the comfortably ensconced taxonomy provided by Susan Sontag's “Notes on Camp. ” The crux of his corrective hinged on the proliferation of campiness as a default mode in current pop culture, ushered in by the near-simultaneous death of irony and the homogenization of the homo set and evident in the rise of various (implicitly inferior) camp mutations: reactionary camp, quasi-camp, conservative camp, bad straight camp. We're witnessing, LaBruce seemed to be arguing, the spiritual capitulation of a freshly welcome minority, allowing consumerism to take yet another victory lap.