Cold Mountain (Music from the Miramax Motion Picture)

冷山原声唱片的风格主线是美国传统民谣（Traditional Folk），“白条”乐队（White Strips）的杰克·怀特（Jack White）在影片中扮演了一个卖唱的戏子，这个戏子唱了5首歌，理所当然，这5首作品也成了电影原声中的组成元素。这次怀特手中的乐器不再是带电的吉他，而是班卓琴和曼陀林，唱的也不是他拿手的车库摇滚，而是一水儿的美国传统乡村民谣，他的表演和演唱的歌曲都重现了那个特殊时期美国人民的娱乐生活。其中最为著名的是《徒步旅行的陌生人》（Wayfaring Stranger），去年逝世的琼尼·凯什（Johnny Cash）也在2000年灌录的唱片《孤独的人》（American III: Solitary Man）中演唱过此曲。 《冷山》音乐是近年来美国大片中难得的动听音乐，其中有五首美国民谣，19段感人旋律。近来人气极旺的摇滚乐队“白色条纹”的首脑人物，同时也是蕾尼·齐维格男友的杰克·怀特参与了《冷山》的配乐工作，并为该片创作了主题曲“Never Far Away”。他还在片子中饰演了一个小角色，这是他首次在银幕中亮相。White Stripes的号召力使得《冷山》的原声大碟格外引人注目。 Miramax hops on the old-timey bandwagon with the release of the soundtrack for Anthony Minghella's Civil War epic Cold Mountain. Like O Brother, Where Art Thou?'s dark, older sibling, the latest collection of blues, ballads, and laments from producer T-Bone Burnett is a veritable dictionary of traditional country and Americana, but with a weightier muse. Jack White opens the record with a stark rendition of "Wayfaring Stranger" featuring Nashville heavyweights Stuart Duncan, Norman Blake, and Dirk Powell. For the most part, the White Stripes frontman successfully transplants himself into the genre, utilizing his throaty warble on Howlin' Wolf's "Sittin' on Top of the World" like a dust-bowl carny, and channeling fellow tenor Ralph Stanley on "Great High Mountain." However, it's the self-penned "Never Far Away" that elevates White above his garage rock trappings. With its delicate front-porch picking and wistful lyrics, it manages to walk the line between heartache and puppy love with a sweetness that's genuinely moving. That same bleeding heart pumps through Alison Krauss' delivery of Elvis Costello's powerful "Scarlet Tide," a ballad of devastating beauty that works almost like a spiritual. Recovering songwriter Sting contributes the record's only bad apple, the bland "You Will Be My Ain True Love." Krauss does her best to paint the tune in period colors, but Sting — who insists on singing harmony — keeps the piece firmly entrenched in the very nonsepia-toned world of adult-contemporary pop. Unfortunately, the orchestral work for the film is hastily assembled as if it were an afterthought. While it may lack the initial punch of Tim Eriksen's "I Wish My Baby Was Born" or either of the shape-note tunes provided by the Sacred Harp Singers at Liberty Church, Burnett clusters composer Gabriel Yared's understated score at the end of the record, delegating it as filler, which is unfair, as its quiet power mirrors the songs as well as the characters.