Sebadoh

I haven’t seen the film KIDS since I saw it in the theater back in the day. I remember feeling equally inspired and disturbed by it.

Mostly I remember this beauty closing out the story in the credits. Those little guitar plucks are cinematic and lovely. Sad, lo-fi production and melancholy vocals from Lou Barlow. Stirring lyrics that made us think about this group of kids we got to know for a couple hours. ♥️🎬

The Sound

Last one from our CALVIN MARSHALL soundtrack — this music placement is special to me. I love Calvin’s clutch baseball moment unfolding in beer league softball with Tori watching.  

From an all time favorite songwriter of mine, Adrian Borland wrote and recorded some amazing post-punk records in relative obscurity. I love the way this track begins with the rising kick drum and guitar. It’s a track that’s a little hard to classify or categorize, but it’s beautiful and moving and 100% Adrian.

Is it fear that you feel
when all eyes are on you?

Spoon

Still probably my favorite track by this great rock band, even though each new record feels stronger than the last. This is more CALVIN MARSHALL needle drop — the perfect fit for our tryout montage, because it’s upbeat and fun, even though something sad is happening. I love those guitar and vocal overdubs. And I really dig those Britt Daniel 'ooooooo’s’ at 2:10.

Jandek

Another favorite use of music in a film I directed is this track from Mr. Sterling Smith himself — who has operated Corwood Industries since 1978 releasing his own music. I was intrigued by the man and his massive, expanding catalog and fell in love with quite a few of his records over the years. You won’t find them on Spotify — only a handful of tracks — and one of them is TIME AND SPACE. How lucky am I that his song is in our film and on our Official Calvin Marshall Soundtrack? It has this drunken, bar room tempo — great, electric guitars and drums and vocals.

Series70

One of my favorite uses of music in filmmaking that I played a part in is from our movie BLACK ROAD. Michelle Lombardo played Sarah and had to come off like a minor pop star in 2029. And not just in the future, but within a crumbling economy unfolding in the independent, free state of Jefferson. All credit goes to John Morgan Askew for creating this amazing track. I was more or less a cheerleader. My only real contribution was wanting it to feel like an artist on the great Johnny Jewel label Italians Do It Better.

Michelle Lombardo had to sing it and so we recorded her vocal before production. Then during the shoot, Michelle had to perform and own the song. Again, all of this had to feel real and it was so satisfying to pull this off. There are several SERIES70 songs in the film that are worth finding. 😊🎵🎬

The Faces

The kind of track you could play all day back in ‘73. That addictive acoustic guitar picking. Great lyrics and vocals from Ronnie Wood and an unforgettable chorus.

But now I can’t hear it without thinking of this final dance at Grover Cleveland High School. Max Fisher and Mrs. Cross. ♥️

Donovan

And there’s a second song that makes me remember Billy Batts — it’s this terrific single from ‘69. We go from the innocence of the Crystals to this late 60’s anthem in the SAME sequence. This beautiful chorus and Donovan’s voice carry us to a sacred place. Atlantis — the place we long for, the place we once lost. Like a heaven or maybe it’s hell. The after life, where Batts is headed. What a spellbinding choice as the violence erupts and Batts is kicked, beaten and shot.

The Crystals (feat. Darlene Love)

When I think of Billy Batts — which happens way too often than it probably should — it’s hard not to hear this unbelievable pop song from ‘61 that plays during his “get-out-of-jail” party. As great as this song is alone, it’s hard to not to connect it back to Billy. But what vocals and what a song. What a spell it casts — that Phil Spector wall of sound.

Chromatics

I love the way they tinkered with songs over time, and always willing to release a new and improved version. This track first appeared in much different form on the record DRUMLESS, but it remerged with a vengeance in 2017 — the title track to perhaps their best known record. Those opening swirling keys are amazing. And they took a page from New Order with those guitars (1:37!) but it’s those glorious keys throughout that take the song to new heights. And juxtaposing these dark, DARK lyrics to heavenly music creates such interesting subtext.

Johann Sebastian Bach

Since remembering A CASE OF YOU, I’ve been planning to revisit the film WAKING THE DEAD — and it got me thinking about other movies that introduced me to music. Funny how good movies can do that. And I love the fact they often elegantly introduce you to other things — like the poetry of ee cummings. I still love the Hannah and Her Sisters soundtrack and often spin it on vinyl. You can find the whole thing on YouTube if you’re curious. Very much worth your time. This music from another era sets a mood.

Erik Satie

From another unforgettable Woody Allen film — a brooding drama with Mia Farrow in a sad performance playing pregnant and depressed. Her story is overheard (at first inadvertently) by a philosophy professor played beautifully by Gena Rowlands. The experience makes this successful educator question her own decisions and spiral with a new kind of regret. Great memorable supporting roles for Gene Hackman and Ian Holm. But I think what I most remember about this film is hearing this masterful Erik Satie composition for the first time. This one feels like a perfect pairing of subject matter and score.

Joni Mitchell

A song I’ve always loved — from her classic record BLUE that Henry’s fingerprints are all over — the production style, the approach and Joni’s vocal performances. Could be a top ten favorite love song. I’ve never made that list, but before I do, I’ll just start with it at the very top. The first line kills me —

Just before our love got lost…

And these lovely, gentle, shuffling major chords with Joni’s soaring vocals? They’re perfect. It’s one of these songs you could play all day and not tire of.

Joni Mitchell

Henry Lewy recorded all of Joni Mitchell’s records — not only an astounding feat but a rare creative partnership between artist and producer. I remember my favorite English teacher in High School played this song from a little tape recorder. Stopping it occasionally, he lectured on the lyrics and meaning with insightful 70’s social commentary. All of this was new to me and what a beautiful song — that crisp guitar and Joni’s perfectly recorded vocals as cartwheels turned to car wheels — which is something I’ve witnessed in my daughter’s life recently. Watching her move from 11 to 16 the past five years has been one of the greatest joys of my life so far.