Scarlett Johansson - Anywhere I Lay My Head
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Music CD Cover
Artist: Scarlett JohanssonEdition: Music CD
Audio: English (Unknown)
CD Release Date: 2008-05-20
Music Label: Atco
Soundtracks:
- Fawn
- Town with No Cheer
- Falling Down
- Anywhere I Lay My Head
- Fannin Street
- Song for Jo
- Green Grass
- I Wish I Was in New Orleans
- I Don't Wanna Grow Up
- No One Knows I'm Gone
- Who Are You
Free Music Notes for Anywhere I Lay My Head
Free Music Review: Beautiful! Sublime!
Hit: 5 Stars
I don't know anything about Scarlett Johansson as an actress and don't recall seeing any films with her in, but I do know that I love this recording! It is so soothing to listen to, so relaxing and laid back. Also quite wistful and haunting in a very beautiful way. The notes in the booklet inside the CD say that it was recorded in hot lazy days and this is conveyed in the songs. Though the first 'song' on the album isn't technically a song at all but an instrumental piece of music, or soundscape, as it is more to listen to and hasn't got what one could call a tune as such. The rest of the album is devoted to Scarlett singing intertwined within the music itself, which, if anyone had bothered to read the notes supplied with the cd, would realise that this was the intention; to have her voice included inside the music, rather than sitting on top of it and outside of it. The songs are relaxing and mellow to listen to, very laid back and some almost ethereal, very chilled, making it a good chill-out album for drifting off into a reverie or could even be used as peaceful and comforting lullaby music, especially the wonderful track entitled "I Wish I Was in New Orleans", this is accompanied solely by a musical box arrangement and is so beautiful to listen to and my favourite track on the album, though every track is good to hear. If this had been by some obscure indie outfit instead of by a famous and glamorous actress then it would no doubt be lauded and applauded for its originality and feel-good vibes, but the sniping remarks from some quarters seem more like bitchiness directed at Scarlett herself because of who she is, and as I said already, I don't recall seeing any movie with her in, so have no idea what her qualities as an actress are, I only know about what I have heard of her on this recording. Her voice on these songs is beautiful, and far more suited to relaxing, soothing, lullaby music than some of the singers who put out lullaby albums and get praised to the heavens for it, when their voices are really far too high and sharp and shrill to be considered really proficient at performing lullabies, (Susie Tallman springs to mind here, whose voice is extremely high pitched and sharp, yet considered great at lullabies for children, when the reality is that listening to Tallman's voice would jolt anyone wide awake with its shrillness). I'd love to hear Scarlett perform some lullabies on an album devoted entirely to them. The "Wish I Was in New Orleans" song, with its beautiful music box tinkling accompanying her voice, is the kind of theme that would lend itself wonderfully to the sort of thing I have in mind. Perhaps the lady herself may even think about it if she sees this, and I'd like to thank the World Service for playing that track one night, which is how I came to hear it and bought the album on the strength of that one song, and so glad I did. Quite simply, the best album I have heard in a very long time!
(Don't recall hearing anything by Tom Waits before but I guess I shall have to check him out sometime).
Anywhere I Lay My Head Poster
Recorded at Dockside Studio in Louisiana?s Cajun country, Scarlett Johansson?s debut album Anywhere I Lay My Head features her distinctive vocal interpretations of ten songs by legendary singer-songwriter Tom Waits. It also introduces one original track, "Song For Jo," which she co-wrote with David Andrew Sitek (TV on the Radio), who produced the album and lent his instrumental skills throughout. The title track comes from Waits? 1985 opus Rain Dogs, and Johansson?s set also pulls cuts from Alice, Swordfishtrombones, Big Time, Orphans: Brawlers, Bawlers & Bastards, Real Gone, Small Change and Bone Machine. David Bowie adds backing vocals on two tracks, "Falling Down" and "Fannin Street," and the disc also features the talents of Yeah Yeah Yeahs guitarist Nick Zinner and multi-instrumentalist Sean Antanaitis from Celebration, among others.On an album of Tom Waits covers one should rightly expect some derelict bravado and gruff to make it a credible cover album. But when the vocals are delivered by the divine Scarlett Johansson, you?re already treading in different waters. Add music which offers deeply layered and evocative soundscapes from a deft lineup of musicians that includes members of Yeah, Yeah, Yeahs, TV on the Radio, and a guest appearance by David Bowie, and you?ve got something altogether different than one would expect on a Tom Waits cover album.
Fans of the old storyteller won?t recognize some of these versions. Instead, at least on a few notable tracks, fans of bands like Cocteau Twins, This Mortal Coil,and Dead Can Dance will recognize derivative and signature sounds from these mainstays of the venerable bands from the 4AD music label. On this her first musical venture aware from the big screen, Scarlett approaches the art of music by re-envisioning Tom?s old songs with both purpose and pensive respect for the artist she covers.
--Lucas Hilbert
On the day Academy Award-nominated actress Scarlett Johansson was born, Tom Waits was holed up in an L.A. studio knocking off the final gin-soaked lines of Rain Dogs, his near-perfect album of 1985. That Johansson?s cool enough to be a fan of Waits? character-driven songs and distinct rasp is one thing; choosing to cover 10 of his songs for her first album (and naming it after the lone Rain Dogs selection) could be downright precarious. Expect the robust voice that is her big-screen reputation, which, after the kick-off instrumental ?Fawn? (Alice, 2002), makes its debut on Town With No Cheer (Swordfish Trombones, 1983). Backed by a Waits-like orchestra of pump organ, vibes, horns and wind chimes, Johansson pulls off her best performances on the songs that beg for her persona. She makes ?Big Time? (Big Time, 1988) and ?I Wish I Was In New Orleans? (Small Change, 1976) sound like her own, finding irony in the respective lines ?Come from St. Petersburg, Scarlett and me? and ?By the whiskers on my chin, New Orleans, I?ll be there.? The latter, led merely by a music box, is the record?s finest, leaving a Waits fan to wonder what Johansson could do with ?Tango Til They?re Sore? or ?The Piano Has Been Drinking.? Trouble arises when arrangements are altered??I Don?t Want To Grow Up? sounds like Blondie, circa 1981??but, all in all, it?s a nice effort. --Scott Holter
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