New Fleetwood Mac tribute album to be released September 14

[michelej1]

I think Dodfather's post may have been lost, but he asked where he could stream the album. Here are 9 of the songs:

http://www.rollingstone.com/music/al...d-mac-20120814

[Dodfather]

Originally Posted by michelej1

I think Dodfather's post may have been lost, but he asked where he could stream the album. Here are 9 of the songs:

http://www.rollingstone.com/music/al...d-mac-20120814

Thank you! Listening now. By the way, if you scroll down on it you see the whole album is there

[michelej1]

Consequence of Sound
http://consequenceofsound.net/2012/0...fleetwood-mac/

Album Review: Various Artists – Just Tell Me That You Want Me: A Tribute to Fleetwood Mac


By Jon Hadusek on August 20th, 2012 in

On New Year’s Eve 1974, Lindsey Buckingham and Stevie Nicks joined Fleetwood Mac. This solidified a lineup of musicians that would become one of the most enduring pop ensembles of all time, but that was only one incarnation of Fleetwood Mac. The band had existed since 1967 as a blues-rock outfit fronted by Peter Green, but the group couldn’t hold down a consistent lineup, losing guitarists and songwriters to drugs, legal entanglements, and even religious conversions. Instrumentalists came and went; drummer Mick Fleetwood remained the only constant.

During the early years, the band’s fluctuating membership resulted in an ever-changing sound from album to album. Oft-forgotten (but worthy) LPs like 1970’s Kiln House and 1972’s Bare Trees proved that despite the turmoil, Mick Fleetwood knew how to scout songwriting talent. This culminated with the addition of Buckingham and Nicks, who would lead the band to pop stardom with 1975’s Fleetwood Mac and pop superstardom with 1977’s Rumours.

Rumours was ubiquitous; music pundits loved it and the general public adored it, as the album sold over 40 million copies worldwide — an almost unheard-of number in today’s landscape of MP3s and digital singles. Rarely does a record trigger such consensus. It’s not hard to see why: the songs were addictive (“Don’t Stop”, “Go Your Own Way”), romantic (“Dreams”, “Gold Dust Woman”), and angsty (“The Chain”). Combine brilliant songwriting with emotions that everyone can relate to, and you’ve got a smash hit. But what’s truly poignant about Rumours is how it reflected — with 100% transparency — the situation of its creators. Once a cute singer-songwriter couple, Buckingham and Nicks had broken up, John and Christine McVie were recently divorced, and Mick Fleetwood was in divorce proceedings with his wife, Jenny. Rumours channeled everything tragic about romance.

To mark the 35th anniversary of Rumours, the Hear Music/Concord label rounded up some current artists for Just Tell Me That You Want Me, a Fleetwood Mac tribute album. These 17 tracks span the entirety of the band’s discography, and the artists were given full liberty to rework the songs from the ground up (which is what makes a quality tribute album: why cover a song if you’re not putting your own spin on it?).

Lee Ranaldo and J Mascis open the record with their take on the Peter Green instrumental “Albatross”, which inexplicably hit No. 1 on the UK singles charts in 1969. Phasing and tweaking their guitars as only they know how, Ranaldo and Mascis provide a pleasant intro for what follows: Antony Hegarty’s quivering rendition of Stevie Nicks’ “Landslide.” His fragile vocals are perfect for such a poignant, downbeat song, making for arguably the strongest cover on the album. But after that pleasant start, Just Tell Me That You Want Me falters due to mediocre renditions and some serious song selection issues.

While it can certainly favor the late ‘70s/early ‘80s material, a Fleetwood Mac tribute should fairly represent all of the band’s various songwriters, or at least most of them. Of the 17 tracks on Just Tell Me That You Want Me, ten of them were written by Stevie Nicks, three by Green, and a mere two by Lindsey Buckingham (Christine McVie and Bob Welch each got one). That’s criminal. Sure, the featured artists probably chose the songs, but that doesn’t make it fair. Fleetwood Mac was defined by their tandem songwriting, which this album fails to illustrate. And some of these Nicks covers are just plain bad. Best Coast lazes through “Rhiannon”, Karen Elson boringly replicates “Gold Dust Woman” note-for-note, and Marianne Faithfull delivers a very un-Marianne Faithfull vocal performance on “Angel”. These musicians can do better. Only The Kills and Lykke Li turn in Nicks-worthy efforts. The former breaks “Dreams” down to its sparse essentials (guitar and drums) and vocalist Alison Mosshart handles the melody with elegance and respect. Lykke Li’s shoegazer arrangement on “Silver Springs” actually suits the song better than the original instrumentation.

The success of a tribute album (or a cover song in general) comes down to a pair of questions: are these songs preferable to (or at least as good as) the originals, and can they stand alone as separate versions? No and mostly no, in the case of Just Tell Me That You Want Me. Though there’s a handful of great tracks, the covers here are either too similar (“Gold Dust Woman”), awkward (MGMT’s vocoder butchering of “Future Games”), or flat (“Rhiannon”). But this project was doomed from the beginning. How can a Fleetwood Mac tribute have only two Lindsey Buckingham songs? It’s baffling and unforgivable.

[michelej1]

Hear Rachael Maddux discuss the album here:

http://www.rawkblog.net/2012/08/rawk...ribute-albums/

[michelej1]

Philadelphia Inquirer, August 19, 2012
Read more: http://www.philly.com/philly/enterta...#ixzz2472RRaan

3 stars

It's rare that you pick up a tribute album with no idea what you're going to get. But this celebration of Fleetwood's Mac's music uses many alternative bands (Washed Out, Tame Impala, Gardens & Villa). And they've ventured into the remoter regions of Mac's catalog - the collection closes with, of all things, a Bob Welch song covered by MGMT - so it's all pretty revelatory. Highlights include Antony's tremulous, votive take on "Landslide," the Kills' merciless deconstruction of "Dreams," and the New Pornographers' fizzy, fuzzy do-over of Christine McVie's "Think About Me." A tribute? It's more of a transformation, with moments both strange and wonderful.

- David Hiltbrand

[Travisevian]

Does anyone know who produced Marianne Faithfull's version of Angel? Although, I am questioning why some of the lyrics were omitted, it's a well-produced track. By the way, I'm a bit surprised that Ms. Faithfull didn't record Beautiful Child, which would be very suitable for her voice and so interesting to hear.

[MikeInNV]

The latest issue of Rolling Stone has a review, which I won't transcribe here but maybe it's available on the website. It calls "Landslide" sparkling and cites "Before the Beginning," "Oh Well," "Rhiannon," and "Silver Springs" as high points. It also says that "Dreams" fizzles.

[michelej1]

By Will Hermes, August 14, 2012

Wes Anderson's music guru Randall Poster produced this tribute with Gelya Robb, and it's as inspired as their 2011 LP Rave On Buddy Holly. Aside from Antony's sparkling "Landslide," the less-familiar stuff is most striking. Trixie Whitley turns "Before the Beginning" into a howling séance; Billy Gibbons steers "Oh Well" away from the Ren Faire. Some radio staples – including the Kills' leaden "Dreams" – fizzle, but Best Coast give "Rhiannon" a Courtney-meets-Darlene Love vibe. And Lykke Li's synth-y "Silver Springs" shows all those dream-pop texture sluts dominating indie rock the magic ingredient: songwriting.


Read more: http://www.rollingstone.com/music/al...#ixzz24A0CRZkT

[michelej1]

Los Angeles Times
http://www.latimes.com/entertainment...,3672329.story
Fleetwood Mac is summer listening with pop and heft

Fleetwood Mac albums last. So listen. You can also read about one ('Making Rumours' by Ken Caillat) and listen to tributes ('Just Tell Me That You Want Me').

By Randall Roberts, Los Angeles Times Pop Music Critic

August 21, 2012
Summer listening, like summer reading, entails a commitment to leisure and comfort, especially considering the volume of pop music genres producing so many fresh sounds at such a huge volume. But despite the reflex to check out with a beach-burning romance novel, or a breathtaking thriller, choosing a vacation diversion certainly doesn't mean abandoning reason completely and indulging in the collected works of, say, LMFAO. There needs to be enough heft to keep the brain's internal jukebox engaged, but not to Zappa-esque proportions.

For that reason and more for a few weeks this summer while working my way up and down the Mississippi River I listened to, and read about, Fleetwood Mac. At the end of that time, I was convinced anew of the ever-evolving genius of a band able to not only reinvent themselves where others vanished into obscurity, but to come together amid pressure, heartbreak and mounds of cocaine to create music that lasts.

The Fleetwood Mac choice wasn't necessarily out of the blue. Stevie Nicks recently confirmed a Fleetwood Mac reunion tour for 2013. Too, this year marks the 35th anniversary of "Rumours," the 1977 rock classic, a record that its co-producer Ken Caillat documents in the recently published "Making Rumours."

And a new tribute album, "Just Tell Me That You Want Me" (Concord) curated by music supervisor and longtime Wes Anderson collaborator Randall Poster, offers Mac reinterpretations from across the band's four different incarnations. Artists including present-day tastemakers such as MGMT, Lykke Li, Antony Hegarty and Best Coast, and vets like ZZ Top's Billy Gibbons, Marianne Faithfull and the New Pornographers, tackle the myriad stylistic gems that can still pop when they burst from the radio.

Two founding members of Fleetwood Mac, drummer Mick Fleetwood and bassist John McVie, have guided the band with fluid power since their birth in England in 1967 while their singers, keyboardist and guitarists — including Peter Green, Bob Welch (who died earlier this year), Christine McVie and, since 1975, Lindsey Buckingham and Stevie Nicks — have come and gone.

"Just Tell Me You Want Me" co-producer Poster (with Gelya Robb) grew up following the many incarnations of Fleetwood Mac, he told me during a recent phone conversation. He thinks one overlooked aspect of the group is the depth within each lineup. "On the one hand, there's so much familiarity, and yet on the other hand there's almost so much of it that's really been shrouded over time." That familiarity arrived via the classic roster of Nicks, Buckingham, Fleetwood, John McVie and his then-wife, Christine McVie, who created the brilliant triumvirate of the self-titled "Fleetwood Mac" (1975), "Rumours" (1977) and "Tusk" in 1979.

But the music stretches back 45 years, when guitarist Green and drummer Mick Fleetwood left John Mayall's Bluesbreakers to start their own band. Soon McVie followed, and the new group forged a sound that channeled American electric blues through a maturing, post-British Invasion music exploring volume. Hear the band's late '60s work, represented by ZZ Top's Gibbons on "Oh Well," and you'll understand where Led Zeppelin got early inspiration.

Poster said that the Green period is often ignored, and believes that guitarist Green was "the first person who took American blues and filtered it through the British blues movement, and it came out rock and roll."

After Green departed, McVie and Fleetwood hired singer/guitarist Danny Kirwan, later added Welch to the lineup and released a few decent transitional records. Within three years, though, both Welch and Kirwan were out, and the remaining members hired a San Francisco duo who went by the name Buckingham Nicks to take over on guitar and vocals.

This most fruitful period is documented in "Making Rumours," Caillat's version of the 1976 creation of "Rumours," Fleetwood Mac's 11th (!) album. "Rumours" is nearly as well-known for the inter-band relationships, three different ones, in various states of dissolution during recording as it is for the music.

Caillat's book unpacks those destined-to-be classics, "Go Your Own Way," "Don't Stop," "The Chain," "Dreams," "Gold Dust Woman" and others, in ways that cast light on the often discordant (and cocaine-, marijuana- and gin-fueled) process. One great tidbit: Nicks wrote "Dreams" in Sly Stone's rehearsal space, which Caillat describes as having "a four-poster bed covered in black fur and an entrance resembling two furry red lips."

Poster said that inhabiting the emotions that created "Rumours" and its even-better follow-up, "Tusk," made covering these songs difficult, a truth that's exemplified at times on the album. British duo the Kills' version of "Dreams" suffers from this: After hearing their tentative, by-the-numbers version, the only absolution is to wash it away with Stevie. More engaging is L.A. hard pop band Best Coast reimagining "Rhiannon" as a defiant, melodic rock anthem.

And best, and strangest, is MGMT's nine-minute, album-closing version of "Future Games," the title track of a Bob Welch-era album."It's like music from outer space, really," said Poster of MGMT's version, and Mac's influence, "and it does speak to how these songs evolve, and live on, and are filtered through another sensibility."

[MikeInNV]

Originally Posted by michelej1

By Will Hermes, August 14, 2012

Wes Anderson's music guru Randall Poster produced this tribute with Gelya Robb, and it's as inspired as their 2011 LP Rave On Buddy Holly. Aside from Antony's sparkling "Landslide," the less-familiar stuff is most striking. Trixie Whitley turns "Before the Beginning" into a howling séance; Billy Gibbons steers "Oh Well" away from the Ren Faire. Some radio staples – including the Kills' leaden "Dreams" – fizzle, but Best Coast give "Rhiannon" a Courtney-meets-Darlene Love vibe. And Lykke Li's synth-y "Silver Springs" shows all those dream-pop texture sluts dominating indie rock the magic ingredient: songwriting.


Read more: http://www.rollingstone.com/music/al...#ixzz24A0CRZkT

Thanks Michele. Seeing it posted it seems so short. Looked like a much longer piece in the magazine.

[louielouie2000]

Just listened to all the songs a few times, and here are my initial impressions. I seemed to like every song more with each additional listen; after I threw out my notions of what the original songs sounded like.

Here's a rundown of my favorite cuts:

Though I'm hugely biased (I've long loved Marianne) I still think Marianne Faithfull's rendition of Angel is my favorite track of the album. And I don't even like Fleetwood Mac's version of Angel! To me, she captures the essence that the original was going for, but could not. Marianne's is simpler, folksier, and wonder of wonders, it actually has a climax at the end! The Fleetwood Mac original just wandered aimlessly & never went anywhere in my opinion.

I thought it was really cute & cheeky what Gardens & Villas did with Gypsy. I would have never picked out the very Asian melody running throughout Gypsy, but these folks did & brought it to the surface.

Craig Wedren and St. Vincent's version of Sisters was appropriately spooky and rocking. I thought it would have benefitted from a single singer, though.

I very much liked the spacey yet literal take on Straight Back.

Same with Green Manalishi. The Entrance Band's version is sort of a more elaborate version of the original... on acid. I can't stop listening to it. I didn't think a whole lot of it until I really cranked the volume & let the vocals, bass, and drums hit hard (those are the best parts of the original, IMO). This probably ties as my other favorite on the album.

HAIM's version of Hold Me is just pure fun.

Tame Impala's version of That's All For Everyone is pretty cool. This is probably the sound Lindsey was going for originally, but somehow didn't attain. The ending goes on way too long, though.

Honestly, the rest of the album falls pretty flat for me, though:

The autotuned robot vocals on MGMT's version of Future Games utterly ruined that song for me (I *HATE* that effect with a passion. It's the dumbest production "trick" in the book).

I've heard Landslide far too many times to like any rendition of it anymore.

Rhiannon was a pure hipster farce.

Billy Gibbons' version of Oh Well is exactly what you'd expect it to sound like (not that this Texan doesn't adore ZZ Top). Yawn.

I really like The New Pornographers version of Think About Me, sans the harmonies... they're very amateurish.

Lykki Li's version of Silver Springs was fine until I realized the song would not ramp up & take off like the original. Silver Springs IS the crescendo that the song builds up to.

Karen Elson's Gold Dust Woman is predictable, even though I know not who she is. Some of the production elements are fantastic, others are not.

Storms would have been fine sans for the insincere vocals/harmonies. The original is so raw & emotive. These guys just sound like they're going through the emotions here. And everything after the vocals stop at the end of the song is just filler noise. I do like the rain at the end, though.

The Kills version of Dreams reminds me of Bekka Bramlett covering Stevie's songs with the Mac during the Time Tour. Great voice, but wrong singer to be covering Stevie Nicks... the whole thing just comes across trashy.

The cover of Tusk is interesting until you realize it doesn't have a climax. Mick's crazy drum solo is what makes that song.

[cliffdweller]

Originally Posted by louielouie2000

Just listened to all the songs a few times, and here are my initial impressions. I seemed to like every song more with each additional listen; after I threw out my notions of what the original songs sounded like.

Here's a rundown of my favorite cuts:

Though I'm hugely biased (I've long loved Marianne) I still think Marianne Faithfull's rendition of Angel is my favorite track of the album. And I don't even like Fleetwood Mac's version of Angel! To me, she captures the essence that the original was going for, but could not. Marianne's is simpler, folksier, and wonder of wonders, it actually has a climax at the end! The Fleetwood Mac original just wandered aimlessly & never went anywhere in my opinion.

I thought it was really cute & cheeky what Gardens & Villas did with Gypsy. I would have never picked out the very Asian melody running throughout Gypsy, but these folks did & brought it to the surface.

Craig Wedren and St. Vincent's version of Sisters was appropriately spooky and rocking. I thought it would have benefitted from a single singer, though.

I very much liked the spacey yet literal take on Straight Back.

Same with Green Manalishi. The Entrance Band's version is sort of a more elaborate version of the original... on acid. I can't stop listening to it. I didn't think a whole lot of it until I really cranked the volume & let the vocals, bass, and drums hit hard (those are the best parts of the original, IMO). This probably ties as my other favorite on the album.

HAIM's version of Hold Me is just pure fun.

Tame Impala's version of That's All For Everyone is pretty cool. This is probably the sound Lindsey was going for originally, but somehow didn't attain. The ending goes on way too long, though.

Honestly, the rest of the album falls pretty flat for me, though:

The autotuned robot vocals on MGMT's version of Future Games utterly ruined that song for me (I *HATE* that effect with a passion. It's the dumbest production "trick" in the book).

I've heard Landslide far too many times to like any rendition of it anymore.

Rhiannon was a pure hipster farce.

Billy Gibbons' version of Oh Well is exactly what you'd expect it to sound like (not that this Texan doesn't adore ZZ Top). Yawn.

I really like The New Pornographers version of Think About Me, sans the harmonies... they're very amateurish.

Lykki Li's version of Silver Springs was fine until I realized the song would not ramp up & take off like the original. Silver Springs IS the crescendo that the song builds up to.

Karen Elson's Gold Dust Woman is predictable, even though I know not who she is. Some of the production elements are fantastic, others are not.

Storms would have been fine sans for the insincere vocals/harmonies. The original is so raw & emotive. These guys just sound like they're going through the emotions here. And everything after the vocals stop at the end of the song is just filler noise. I do like the rain at the end, though.

The Kills version of Dreams reminds me of Bekka Bramlett covering Stevie's songs with the Mac during the Time Tour. Great voice, but wrong singer to be covering Stevie Nicks... the whole thing just comes across trashy.

The cover of Tusk is interesting until you realize it doesn't have a climax. Mick's crazy drum solo is what makes that song.

I agree with you about "Angel." It's my favorite on the album as well.

I DON'T agree with you on The Kills and Bonnie Prince Billy (Dreams, Storms). I think both versions are brilliant. I love the menacing quality of the The Kills' version, I think it's a great, dark twist on this very familiar old song. As for BPB, I think his voice is just as heart-breaking and tragic as Stevie's on Storms, but then again, I'm a huge fan of his.

[michelej1]

Purdue University Calumet
http://www.pucchronicle.com/fleetwoo...ment-1.2885266
Fleetwood Mac gets the indie rock treatment

By Jessica Gerlich, August 21, 2012

After 45 years of music-making and 17 studio albums, the possibilities offered for a Fleetwood Mac tribute are almost endless. The latest, “Just Tell Me That You Want Me: A Tribute to Fleetwood Mac,” produced by Randall Poster and Geyla Robb and released August 14, starts out strong with bone-chilling renditions and ends on a much more interpretative note with electronic-sounding explorations. The indie rock artists involved in this collaboration take their own liberties with each track, and the product is mostly beautiful.

Lee Ranaldo of Sonic Youth and J Mascis set the stage for the first half of the album with a drawn-out and heartfelt take on the instrumental “Albatross,” which begins with an ambience-like feel and slowly moves into the well-known tune. This is immediately followed with Antony Hegarty’s (Antony and the Johnsons) version of “Landslide.” Hegarty’s timid yet earnest tone evokes a deep feeling of vulnerability and intimacy that rings true for the entire album. Other highlights include a version of bluesy “Oh Well” stripped raw by Billy Gibbons and Co and an eerie-sounding “Silver Springs” by Lykke Li.

As the album progresses, it becomes more and more experimental. Gardens and Villa put together a version of “Gypsy” that is easily recognizable, yet completely different from Stevie Nicks’s original song. It begins with a woodwind instrument and continues into an electronic-sounding tune.

Consequently, the last two tracks, Crystal Ark’s “Tusk” and MGMT’s nine-minute “Future Games,” are the most experimental on the album, and it shows. “Tusk” sounds a bit jumbled at times, and it is hard to listen past the four-minute mark. During “Future Games,” on the other hand, MGMT uses some dissonant tones in places that do not sit well on the ears. Aside from those moments, the band pulls it off.

“Just Tell Me That You Want Me,” which takes its title from a line of “Tusk,” is full of artists taking risks with music that has stood the test of time, and this works wonders. The sheer number of singers on the album is incredible. Producer Poster, a lifelong lover of Fleetwood Mac, succeeds in telling a story through the arrangement of these songs. This is a must-listen for Fleetwood Mac fans and fans of indie rock bands alike.

[WeepingWall]

Originally Posted by Travisevian

Does anyone know who produced Marianne Faithfull's version of Angel? Although, I am questioning why some of the lyrics were omitted, it's a well-produced track. By the way, I'm a bit surprised that Ms. Faithfull didn't record Beautiful Child, which would be very suitable for her voice and so interesting to hear.

I believe it is Joe Henry. Unfortunately it seems artists were approached to cover pre-selected songs. Beautiful Child would have certainly been a better choice for Ms. Faithfull.

[michelej1]

Variety
http://www.variety.com/article/VR1118058174

Randall Poster offers tribute to the music

Music supervisor equates soundtracks, tribute albums

By Christopher Morris

According to veteran music supervisor Randall Poster, a tribute album is nothing more than another kind of soundtrack.
"I really think of these tribute records as movies -- that might just be my own vocational habit," Poster said. "By putting certain artists and certain songs up against each other, hopefully, if somebody plays it through, there's a sense of story that comes through. When I do soundtrack albums for movies, I try to do the same things."

Over nearly two decades, Poster has gained a top rep supervising music for feature directors like Wes Anderson and Todd Haynes; earlier this year, he won a Grammy for his work on HBO's mob drama "Boardwalk Empire."

But Poster has moved into the tribute biz in a big way. Last year, he and co-producer Gelya Robb helmed the Buddy Holly homage "Rave On," a starry collection led by Paul McCartney (who owns Holly's copyrights). The success of that Concord Music project spurred "Just Tell Me That You Want Me: A Tribute to Fleetwood Mac," released last week on Concord's Hear Music imprint.

Poster says his work on the soundtrack for Haynes' 2007 feature "I'm Not There" -- which featured a diverse cast of musicians interpreting the songs of Bob Dylan, the pic's ever-morphing subject - was ideal preparation for his tribute work.

"That was a rare opportunity to really take on an artist's repertoire in a very thorough and dynamic way," Poster says. "It was really a Bob Dylan tribute record."

Given the opportunity to plumb the oeuvre of another rock institution after the Holly set, Poster was drawn to the long, twisting history of Fleetwood Mac, which began life in the late '60s as a British blues band.

Poster notes, "For a band of so many styles and generations, it seemed rare and right to take on. We wanted to musically draw the connective line from (founding guitarist-singer-songwriter) Peter Green up through the last, prime version of the band."

Green's 1967-70 era gets its due in bluesy renditions of his compositions by ZZ Top's Billy Gibbons, Trixie Whitley of Black Dub and the guitar duo of Lee Ranaldo (Sonic Youth) and J. Mascis (Dinosaur Jr.)

While other songwriting members of the band like Christine McVie and the late Bob Welch are represented on "Tell Me That You Want Me," the lion's share of the repertoire comprises songs by Stevie Nicks and Lindsey Buckingham, whose tenure in the group spawned the '70s hits "Fleetwood Mac," "Rumours" and "Tusk."

In fact, the album is virtually a Nicks tribute, for the female vocalist accounts for 10 of the album's 17 tracks. Her erstwhile partner Buckingham -- often cited as the band's driving creative force in its heyday -- is represented as a writer on just two tracks.

Poster notes that renditions of several Nicks classics -- Marianne Faithfull's "Angel," Antony's "Landslide," Lykee Li's "Silver Springs" -- were earmarked early on, and her writing dominance on the package "kinda snuck up on me."

In the immediate future, Poster will be busy with his main gig. "Spring Breakers," a new collaboration with writer-director Harmony Korine, premieres in Venice in September. Work is wrapping on the third season of "Boardwalk Empire." And, fresh off ecstatic reviews for "Moonrise Kingdom," Poster and Anderson will begin their eighth film together in early 2013.

But Poster has also set a couple of album projects for the near future. Given his work on Anderson's "The Life Aquatic With Steve Zissou" and Hayne's "Velvet Goldmine," it's unsurprising that his next tribute subject will be David Bowie.

"Then, I don't know if this is a tribute record, but I'm going to make a record of Civil War music," he says.

"These things, as you must imagine, are really fun to do," he adds. "Hopefully, this is the dividend of working so hard doing these movies, and having enough creative good will that people will trust that the thing will work as a whole."