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And maybe they don't, yeah, maybe they're not as obvious. I can't play a major seventh chord on the guitar, and I had written all these songs on piano. But once again, you try to feel like, "Where can I intersect with this character?" Or "What can I find in this situation that interests me?" Or like, "What's an approach that interest me?" But musically, the changing tempos, changing time signature kind of thing, I use a lot of seventh chords and diminished chords in a way that I virtually never do because I usually write on guitar, so honestly, it's just harder to play. And there are songs that have a very specific point of view, they're supposed to be sung by specific characters. But once I had my own voice on it, it really did underscore how different it was.īaltin: What were the things that to you stood out to you as being most different? Although not surprising, 'cause it was written for a totally different reason. So I think listening back to it, it was surprising to hear how different it was from my other music. You could stop time, you can change tempos or you can change keys, you can sort of do whatever you want. I had not intended any of these songs to be songs that I sang, and there's a certain freedom in writing for the theater. Mann: At the point where I decided I would record these songs for my own record, of course. What's interesting about it is to find out where you intersect, but to sort of keep it intact as its own thing as it was intended in the book.īaltin: Were there things then that when you went back and listened to Queens Of The Summer Hotel that really surprised you? Taking a book, which is a pre-existing thing with its own history and its own mythology almost and writing songs for that, I don't know. So it was like writing in this parallel way. Mann: I think the Magnolia thing was more a happy accident because we were close friends and we were on the same page about the kinds of things we were writing about. And so you really kind of know this better than most everybody else who does this, with the exception of at this point, Trent Reznor, Danny Elfman, a couple of people who have that regular relationship.
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So I'm not really sure what stage it's in or will be in at the end of the day, but I feel like my job was to generate songs and they're free to use whatever songs in whatever way they want to.īaltin: To me, Magnolia is the benchmark for a collaboration between an artist and a director. And so, because of the pandemic, there's not a lot of workshops and productions and that kind of thing. I think that the director or the writer and director, at some point, decided they didn't really want to have a musical musical, but I had sort of written songs with that in mind. So I read the book and I just started writing songs.
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Mann: When we met, the producers had put this team together - a director, a writer and me - and they wanted it to be specifically based on the book, not the movie.