Janusz (Center) on the set of Jerry Maguire
Cameron profiled legendary cinematographer Janusz Kamiński for New York Times Magazine back in February, 2000. He’s been nominated for five Academy Awards for his work and won twice (Schindler’s List & Saving Private Ryan). In addition to his long and fruitful relationship with Steven Spielberg, some of his other films include Jerry Maguire, The Diving Bell and the Butterfly and Funny People.
Happy Holidays everyone! Vinyl Films Records and Caldo Verde Records are pleased to announce two new vinyl releases from Sun Kil Moon. Among the Leaves is the vinyl debut of Sun Kil Moon’s latest (released this past May). Third and Seneca is the vinyl debut of the I’ll Be There EP. More details including track listings are available on their respective vinyl pages on the site. Both releases will be available in late January. More info soon.
Greg here. I’ve got to admit it. I’m a huge fan of all things UK. Their movie houses, movie magazines (Empire, Total Film, etc.) and especially their quad posters. There’s just something extra classy about them, don’t you think? Here’s a few of Cameron’s posters in all their “Quad Glory”.
Jerry Maguire turns 16 years-old today and we thought it was a good time to revisit Jerry’s Mission Statement. You might recall that Cameron decided to write the entire 25 page document that is really drives the plot of the film. It’s all here for your reading pleasure.
Carole King – Music (Ode SP 77013)
With the release of the new Carole King album, Music, she is in the same situation The Band was in with Stage Fright, Cat Stevens is in with Teaser and the Firecat, and James Taylor was in with the release of Mud Slide Slim. When an artist becomes a superstar on the basis of one album, the follow-up LP is always compared with it’s predecessor. No matter how good the second album is, the majority of critics and buyers will criticize it as not “being as good.”
If the artist has changed his style in any way, the buyers will be disappointed. If the artist has stayed the same, the critics will pan the album and him for not evolving musically. So, Carole King can’t please everybody in Music.
Writer, her first album, was an experimental one. She switched from style to style, the result being an amateur recording with the exceptions of “Child of Mine” and “Up on the Roof,” which made it hard to believe that these were from the same album as the disasters “Spaceship Races” and “To Love.”
Tapestry, one of the most successful albums in recording history, was Carole King after she found her strength. Her jumpy piano work and the bubbling guitar of James Taylor seemed to make a combination that pleased both undergrounder and Sixteen Magazine devourers alike.
Music, however, isn’t a carbon copy of this successful style. For the new album, Miss King has employed the same group of musicians that has accompanied her throughout her previous albums: James Taylor and Danny “Kootch” Kortchmar on lead guitars, her husband, Charley Larkey, on bass, and Russ Kunkel on drums. So, what we hear on the new album is not only the musical evolvement of Carole King, but of the accompanists as well.
Eight of the album’s ten tunes were written by Miss King solely. In the past, she has collaborated with Gerry Goffin and, more recently, Toni Stern (who wrote three songs for the album), but these are the first lyrics that she has written by herself.
My favorite cut is the trivial “Brighter.” These changes are really first rate and the up-tempo arrangement couldn’t be more efficient. Although the song is obviously for the purpose of filling up the LP and achieving the quota for playing time, there is something about it that cries out for more than the skimpy 2:50 that is devoted to it.
The changes in Carole King’s style with this new album are minor. Her stuttering piano work has been replaced by a more continuous flowing sound. Her strained voice has matured in a short time to a smoother style.
The simple arrangements have grown more complex and lasting with the effective addition of more voices and guitars.
So, what more can be said? Carole King is definitely worthy of all the premature hype placed upon her by the many critics eager to unload their journalistic vocabulary of superlatives.
Courtesy of the Door (aka San Diego Door) – Cameron Crowe – December 23, 1971 – January 12, 1972
Vanity Fair has released their first comedy issue with guest editor Judd Apatow (with three unique covers). Contributers to the issue include Chris Rock, Conan O’Brien, Lena Dunham, Zack Galifianakis, the making of the Blues Brothers and much more. Cameron shares a new article entitled “Rocking the Role” about musicians who shine in acting roles. We will have that piece in the near future. In the meantime, check out the January Vanity Fair issue on store shelves now.
Glenn Frey, Irving Azoff & Dan Fogelberg
We have an exciting new addition to the Journalism section today. Cameron profiled rock manager Irving Azoff for the June 15, 1978 issue of Rolling Stone. At the time, Azoff was the most powerful manager in the industry. He would go on to produce Fast Times at Ridgemont High, head MCA, start his own label (Giant Records) and much more. Azoff is currently the CEO/President of Front Line Management and Live Nation and was recently ranked #1 on Billboard‘s Power 100 list for the music industry.
Cameron and legendary saxophonist Trevor Lawrence discuss the new 40th anniversary release of Marvin Gaye’s soundtrack for the film, Trouble Man on NPR’s Tell Me More. You can listen to their conversation via Soundcloud above. Enjoy!
