Singles soundtrack cover art
![singles soundtrack cover art singles soundtrack cover art](https://fiverr-res.cloudinary.com/images/q_auto,f_auto/gigs/167883747/original/fd6f0237737e92ac3530052e32364ef9c7176351/create-cover-art-for-albums-singles-and-eps.jpg)
- Singles soundtrack cover art how to#
- Singles soundtrack cover art movie#
- Singles soundtrack cover art serial#
Singles soundtrack cover art movie#
As with most of Crowe’s films, there’s so much that’s left off the actual soundtrack, mostly because he stuffs his movie with so many sounds.
![singles soundtrack cover art singles soundtrack cover art](https://images-na.ssl-images-amazon.com/images/I/51JINUPxSmL.jpg)
Until now, though, it’s only been the tip of the iceberg. To paraphrase Steve, the film and its soundtrack make a scorching-hot couple. Later on, when Steve strolls around Seattle, destroyed, confused, and lonely, Chris Cornell keeps him company with “Seasons”, singing: “And I’m lost, behind/ The words I’ll never find/ And I’m left behind/ As seasons roll on by.” Of course, it also helps that most of the bands actually appear in the film: Eddie Vedder, Jeff Ament, and Stone Gossard play Poncier’s bee-loving bandmates in Citizen Dick Steve lets off steam at tinnitus-inducing shows by Soundgarden and Alice in Chains and Cornell humorously watches Poncier wreck Janet’s car when he tests out a new stereo system outside the film’s titular apartment building. Hell, even the outliers found a seat at the table: The Smashing Pumpkins’ post- Gish jam “Drown” closes things down with one of Billy Corgan’s greatest solos while Paul Westerberg tips off his post-Replacements career with two original charmers.īut Crowe doesn’t just toss any cool song into his film, and while the soundtrack became a signifier for a separate movement, it’s still wholly indebted to the film. When Linda is cruelly betrayed by complete and utter Eurotrash, Pearl Jam’s torturous “State of Love and Trust” blares in the background at the club. All three were a year or two removed from their proper breakthroughs, and Singles served as a handy tour guide straight out of the Seattle Sound’s proverbial gift shop, complete with liner notes on how said scene came to fruition - see: Mother Love Bone’s epic “Chloe Dancer/Crown of Thorns”, The Lovemongers’ cover of Zeppelin’s “Battle of Evermore”, and The Jimi Hendrix Experience’s “May This Be Love” - in addition to the latest jams from the local heroes - see: Mudhoney’s “Overblown” and Screaming Trees’ “Nearly Lost You” - still kicking it. The film’s flannel-wearing sidepiece arrived nearly three months before the film’s release, riding on the first wave of ’90s alternative with future titans Pearl Jam, Soundgarden, and Alice in Chains. Twenty-five years later, it’s admittedly somewhat difficult to imagine a time when soundtracks commanded such power, but that’s exactly what happened with Singles.
Singles soundtrack cover art serial#
But that’s a total disservice to its corollary cast, from Sheila Kelley’s serial dater Debbie Hunt to Jim “Prez” True-Frost’s hapless sidekick David Bailey, who amplify the film’s chewy ruminations on love, heartbreak, and the messy stuff in between. Singles has at least four of these type of roles, namely Campbell Scott’s good-natured Steve Dunne, Kyra Sedgwick’s unlucky Linda Powell, Bridget Fonda’s marginalized Janet Livermore, and, yes, Matt Dillon’s doofus-incarnate Cliff Poncier. You want to talk to them, you want to hug them, and you want to never have to say goodbye.
Singles soundtrack cover art how to#
Reason being, Crowe knows how to carve out characters that feel like both your longtime next-door neighbor and your childhood teddy bear. With Singles, Crowe widened his scope, working with the expansive diorama storytelling of Fast Times… and soaking it with all the heart-wrenching emotion that made Say Anything… such a formidable bruiser, and it worked. He proved this back in 1981 with his excellent first novel, Fast Times at Ridgemont High, which he quickly adapted for celluloid with Amy Heckerling, and then later with 1989’s coming-of-age drama, Say Anything…, which made John Cusack the coolest person in the world and Peter Gabriel’s “In Your Eyes” the most important song to ever play on a boombox in the middle of the night outside your girlfriend’s house. It’s in his blood, stemming from a lifelong obsession with Billy Wilder, a scholarly knowledge of pop music, and a keen eye for the more inherent struggles of life. Rather, it’s an unpretentious and innocent meditation on the chaos and creation of everyday romances, something Crowe knows how to capture with addicting precision. All too often, the 1992 romantic comedy is cheaply sold as a nostalgic time capsule of Seattle’s alternative rock scene, but it’s not really that at all. There’s a natural grace to Cameron Crowe’s Singles. “I was just nowhere near your neighborhood.” The following review originally ran on May 15th, 2017.