Songs and the City

Valentine's mixtape: Love songs for your loved one

Dean and Britta's "Back Numbers"
Jens Lekman
Yo La Tengo's "And Then Nothing Turned Itself Inside-Out"
Kurt Wagner of Lampchop
Nick Drake

I've been wracking my brain trying to determine the best Valentine's Day theme for this installment of "Songs and the City."

Should I highlight twisted love songs that find curious ways to express devotion (i.e. "She's Like Heroin to Me" by the Gun Club)?

Or should I focus on songs of heartbreak and misery as a shout-out to the millions of people who despise the Hallmark holiday: The single and the spurned? Tracks like "We'll Burn Together" by Robbie Fulks and "Better Off Without a Wife" by Tom Waits would be perfect for such an anti-Valentine's list.

Or should I gather together a handful of my favorite love songs as the ultimate mixtape for googly-eyed lovebirds like myself?

Since I'm feeling particularly warm and giddy this unusually cold February, I decided that I'd compile the latter, a heartwarming collection of musical tributes to love.

"Breathless" by Nick Cave and the Bad Seeds

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Not known as somebody who usually sings about anything positive, much less love (and, no, murderous obsession does not count), Nick Cave pulls out all the stops with the glorious "Breathless," a song that skips along with lovesick abandon. The flutes flutter about like the butterflies you feel when your sweetheart enters the room. "The happy hooded bluebells bow/And bend their heads all a-down/Heavied by the early morning dew/At the whispering stream, at the bubbling brook/The fishes leap up to take a look/For they are breathless over you."

"You Are the Light" by Jens Lekman

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The Swedish pop svengali delivers a first class cheeky ode to love with "You Are the Light," a song with a priceless opening line: "Yeah I got busted so I used my one phone call to dedicate a song to you on the radio." Talk about devotion! The punchy horns and lilting melody are pure pop confection. This is love that's sticky sweet and dance-inducing.

"Valentine's Day" by Hem

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Springsteen's unheralded gem from 1987 is given a brilliant treatment by the New York chamber-pop group, Hem. The lyrics are vintage Boss, a lonely highway journey back to the loving grasp of his true love: "I'm driving a big lazy car rushin' up the highway in the dark/I got one hand steady on the wheel and one hand's tremblin' over my heart/It's pounding baby like it's gonna bust right on through/And it ain't gonna stop till I'm alone again with you." While Springsteen's original is surely a winner, I'm partial to the pristine vocals of Sally Ellyson and the weepy pedal steel on Hem's stunning remake. It's a rare case where a Springsteen track is bested by another artist.

"You're 39, You're Beautiful and You're Mine" by Paul Kelly

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I can't wait for my wife to turn 39, if for no other reason than to be able to play this song for her over a full year and have the message be completely accurate. The piano line makes me swoon and the lyrics are a thing of simple beauty. For all you guys that are hesitant to openly share your feelings, this track's for you. Turn it up, grab your baby and lead her on a living room waltz she's not likely to forget.

"Our Way to Fall" by Yo La Tengo

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A true story about the budding romance between Yo La Tengo's lead singer Ira Kaplan and his soon-to-be wife (and the band's drummer) Georgia Hubley, "Our Way to Fall" perfectly captures the vulnerability, uncertainty and awkward giddiness that accompanies a new crush. Ira's hushed delivery, the brushed cymbals, woozy keyboards, Georgia's subtle backing vocals, and the languid tempo mesh with the lyrics to make this one of the sweetest love songs ever.

"I Believe in You" by Lambchop

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Kurt Wagner of Lambchop has earned heaps of praise and a cult following for his mumbling and muttering vocal style, but his message of love comes through as clear as a bell in his winning take on Don Williams' 1980 hit. After reeling off a litany of things he doesn't believe in (the price of gold, organic food, superstars, the certainty of growing old, to name a few) Wagner arrives at the chorus and professes what he does believe in: "But I believe in love/I believe in music/I believe in magic/And I believe in you." Enough said.

"If You Need Someone" by The Field Mice

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Boasting an infectious Smiths guitar jangle and a sweet bouncy melody, "If You Need Someone" should have been a late '80s hit, or at least included on a post-John Hughes romantic comedy soundtrack. It overflows with "aw-shucks" romanticism, but its elegant grandeur keeps it from coming across as to "twee" or treacly.

"You Turned My Head Around" by Dean & Britta

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For all of you who found your true love at a point in your life when things were looking down and you were feeling lower than low, you'll be able to identify with this timeless track. An elegant, wispy interpretation of a 1969 Lee Hazlewood song (originally sung by Ann Margaret), it finds Britta Phillips (the former voice of cartoon's Jem) soaring to the heavens as she proclaims how the arrival of her baby lifted her out of her doldrums: "I told myself I'd never feel again/I said I'd never care what's real, but then... you turned my head around."

"I Had to Tell You" by 13th Floor Elevators

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Even after countless listens, the power of this track is never diminished. It's about how love can give you strength even in the darkest of times. Read through a sample lyric and then let Roky Erickson take you away with his hauntingly fragile performance: "Chaos all around me/with its finger clinging/but I can hear you singing/in the corners of my brain/Every doubt has found me/Every sound grows drier/Everything is quiet/But the song that keeps me sane/I can hear your voice/echo in my voice softly/I can feel your strength/reinforcing mine."

"So In Love" by Curtis Mayfield

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Sultry, sexy, soulful. Words like these can't even begin to describe the wonder of this 1975 cut by the legendary Curtis Mayfield. He's one of those rare artists (along with Marvin Gaye) who's equally adept at slinging stinging social commentary one minute and exuding spine-tingling sensuality the next, often on the same album side. This talent has enabled Mayfield to lay down some of the greatest soul music ever put to wax.

"Northern Sky" by Nick Drake

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This track from Nick Drake's masterpiece "Bryter Layter" never fails to give me goosebumps. Described by NME as the "greatest English love song of modern times," "Northern Sky" features Drake's achingly beautiful voice combined with a sweeping orchestral arrangement and an expert guest turn by the Velvet Underground's John Cale on piano, organ and celesta. "I never felt magic crazy as this," Drake sings to open the song, and every time I hear it I couldn't agree with him more.

"You You You You You" by The 6ths (featuring Katharine Whalen)

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The 6ths is one of the many side projects of Magnetic Field's Stephin Merritt, an immensely gifted songwriter who follows in the footsteps of golden age craftsmen like Cole Porter, the Gershwins, and Lerner and Loewe. Granted, his lyrical approach is updated for the 21st century, but his songs beam with the same classic grace and sophistication of the giants who came before him. On "You You You You You" he recruits Squirrel Nut Zipper Katharine Whalen to deliver a delicious ode to love that's impossible to resist: "You make me feel like I'm seventeen again/You make everything beautiful seem true/I can't wait to go to sleep and dream again/'cause every dream I dream is a dream of dreamy little you."

Movie Review

Action-packed Kraven the Hunter showcases gritty Marvel antihero

Aaron Taylor-Johnson in Kraven the Hunter

Photo by Jay Maidment

Aaron Taylor-Johnson in Kraven the Hunter.

One of the oddest things about the blockbuster era we live in is that while Disney owns the rights to the majority of Marvel comic book characters, Sony Pictures owns the rights to Spider-Man and any affiliated characters. Since they’re sharing Spider-Man himself with Disney, Sony has been trying to capitalize on those rights by making stand-alone films using niche characters that only comic book fanatics would know.

Having exhausted Venom and whiffed on attempts with Morbius and Madame Web, they’re trying again with Kraven the Hunter. Also known as Sergei Kravinoff, Kraven (Aaron Taylor-Johnson) is a self-styled vigilante who, as the film tells it, travels the world exacting vengeance on the truly bad people of the world. He’s the son of Nikolai (Russell Crowe), a hard-edged Russian oligarch, and brother to Dmitri (Fred Hechinger), who is relatively weak compared to the rest of his family.

The origin story has Kraven gaining his animal-like powers - including super-strength, speed, and jumping abilities - as a teenager from a mysterious serum given to him by a girl named Calypso (played as an adult by Ariana DeBose) after he was mauled by a lion. The two maintain a tenuous partnership as adults, with Calypso helping him hunt down other villains like Aleksei Sytsevich (Alessandro Nivola) and The Foreigner (Christopher Abbott).

Directed by J.C. Chandor and written by Richard Wenk, Art Marcum, and Matt Holloway, the film looks and feels enormously lazy, something made merely to hold on to potentially valuable intellectual property. Other than the tense family dynamic between the Kravinovs, little makes sense in the story. Kraven has an indecipherable moral code that has him going after poachers - because he’s part lion? - in addition to other high-powered criminals, with no clear goal except to … get back at his father?

The laziness extends to the action scenes, which feature Kraven being mostly impervious to any damage, whether it’s hand-to-hand combat, knives, or guns. The CGI-heavy scenes don’t even allow moviegoers to enjoy an R-rated bloody free-for-all, as all of the blood splatter is computer-generated, too. Since apparently one Spider-Man villain is not enough, three others make appearances with abilities that are under-explained and CGI that is poorly done.

That’s not even counting Calypso, another Spider-Man villain whose purpose in this film is nebulous at best. Her early connection with Kraven is so coincidental as to be laughable, and her continued reasons for helping him as an adult strain credulity as well. The only saving grace of her presence is that the filmmakers don’t try to shoehorn romance into the plot; perhaps they’re saving that for the (inevitable?) sequel.

Taylor-Johnson has had one of the most prolific-yet-anonymous careers in modern Hollywood, with appearances in big films like The Fall Guy, Bullet Train, and Tenet that have made very little impact. Even as the star here, he fails to hold your attention, with the story and visuals doing him no favors. DeBose has followed up her Oscar win for West Side Story with schlock like I.S.S., Argylle, and this, which doesn’t bode well for her career. At least Crowe gets to chew the scenery.

With a contractual inability to mention the name “Spider-Man,” movies like Kraven the Hunter exist in a weird area that forces filmmakers to make up stories for characters to which most people have no attachment. And just like Sony’s previous efforts, it is a very poor way to spend two hours in a movie theater; avoid at all costs.

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Kraven the Hunter opens in theaters on December 13.

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