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| Scene from A Star is Born |
Welcome to a very special bonus Best Song column dedicated to the soundtrack for the 2018 film A Star is Born. Considering that this column was created to recognize all things relevant to the Best Original Song category, it only seems right that there would be a deep dive into one of the year's strongest contenders for the category not with just one song, but a whole handful of catchy, memorable tunes that will probably dominate radio and be lodged in your ears for years to come. With this bonus entry, the goal is to determine which of the many original songs from Bradley Cooper's directorial debut deserves a shot at the prize, and which ones actually stand a chance of winning. If all goes right, there will be a few of these awaiting prize consideration on Oscar night.
- Background -
In honor of the release of A Star is Born, I have decided to dedicate this entire week to looking at the expansive history of the franchise from its 1937 original up through its modern adaptation. Considering that it's already getting a lot of buzz as a potential Oscar front runner, there's a lot to look forward to in regards to this film. The soundtrack is electric and there's a good chance that Lady Gaga will have a few Oscar nominations out of the whole deal. It's a bizarre thing to speculate, but then again there's few films that pose to have a phenomenon quite like this. So while this is only highlighting the original songs on the soundtrack, there's more in the film that's worth checking out (such as a cover of "La Vie En Rose"). So please, check it out and enjoy this column as I discuss the good and bad of the album that is actually pretty, pretty good.
- Songs Considered -
"Black Eyes"
"Black Eyes"
In some ways, this is a perfect way to establish the film more as a remake of the 1976 version than the earlier Hollywood takes. Much like how that film opens with Kris Kristofferson in concert, this is Bradley Cooper in concert, rocking out with his country rock sound. It's heavy, dark, and creates the establishment that the singer may be a bit unbalanced. As a whole, it's a decent effort from Cooper, who learned to sing for the role. On a soundtrack full of strong ditties, this is probably in the middle if just because of how straightforward it is. There's little here that's exceptional, though it does the movie a service if viewed in a theater, because that sound really does immerse the audience in the experience.
Oscar Chances: No
"Maybe It's Time"
Another Bradley Cooper song, and one that lead off most of the original trailers, even before "Shallow" would dominate the viewer's attention. In all sense, this is the closest that a Cooper song will have at making it to the Oscars. It is a quiet, nuanced ballad full of remorse that sees him playing to his strengths in a self-reflective fashion. There's not a lot that's flashy here, though it does reflect the vocal range at which Cooper can sing and actually have some impact. It's a catchy enough number, and the central text is one of those subjects that fit both the story and the general vibe that Oscar voters go for when looking for nominees.
Oscar Chances: Maybe
"Alibi"
Another one of Bradley Cooper's hard rock songs, which definitely work in the theatrical experience, especially when blaring through the speakers. However, it's possibly the most generic of his solo songs, working decently as a pop song but not providing anything deeper. It mostly exists as one of those songs that reflects Cooper's abilities as an artist to write witty choruses and lyrics that flow like a thudding drum. It works in context, but there's not much there that isn't done better throughout the soundtrack. Also, for as much as he learned to become a singer - it's one of his weaker tracks. It works more as a homage to the music Cooper is referencing than a standalone hit.
Oscar Chances: No
"Shallow"
Does there really need more print to be written about this song? Once the end of the first trailer came about, many already knew that this song was destined for greatness - and it was only the back half where Lady Gaga finally gets to belt out with such intensity. If you didn't believe that she could sing, this song more than proved her capabilities. It hits the listener with such a raw energy that it becomes overwhelming. Also, the melodies are just incredible and likely to drive this to radio overplay within the next few weeks. This is arguably the song that this A Star is Born will always be remembered for, and it's easily a good thing. It's such a great confection that works on every level. Welcome Lady Gaga, Oscar winner, who is here to tear through your preconceived notions and become something greater. This is her moment, and this song refuses to go away.
Oscar Chances: Yes
"Music to My Eyes"
Here's where the soundtrack shifts into a more interesting and palatable direction. Whereas the first stretch was about filler music that established the characters, this is where the lyrics get more interesting and the passion becomes richer. While this is one of the more forgettable songs in this section, it has plenty of heart and gets Bradley Cooper and Lady Gaga crooning together in ways that give this soundtrack legs. There's emotion here, and it works with the country stylings that are more nuanced than the first half. Had the song had more on its mind, it might be worth more consideration. For now, it's some pretty great filler that shows how well Cooper and Gaga can harmonize.
Oscar Chances: No
"Diggin' My Grave"
Besides starting with a vaguely Steve Miller Band "Fly Like an Eagle" knock-off riff, this another song that mostly works because of how well Bradley Cooper and Lady Gaga can harmonize together. More than the previous song however, this is a song that has a bit of a generic quality to it. It's still catchy, but it doesn't have a lot going on besides a gimmicky subject matter. It's still interesting how the music has evolved throughout this point in the soundtrack and it's arguably still one of the stronger sections of the album aesthetically. However, there's nothing definitive about it in the grander picture. It doesn't immediately stand out as a hit. It's a fun country song, but that's about it.
Oscar Chances: No
"Always Remember Us This Way"
As mentioned earlier, this version of A Star is Born is mostly a showcase for Lady Gaga's immense talents. As much credit as "Shallow" will get all of the credit, her quieter numbers deserve some credit, especially this song. The melody is infectious and rolls along smoothly as the emotion builds, and she gets to that point of just belting out her soul. In a more reasonable world, this song might be considered for the Oscar more seriously, because it's another perfect example of musicality. Everything about the song immediately sticks with the listener, and it reflects Gaga's strengths as an artist at the same time. There's no piece of fat on this, and it will leave you emotional. I know that the Best Original Song category has to be generous and nominate other artists too, but please... don't forget this one.
Oscar Chances: Yes
"Look What I Found"
Another showcase on this album is the piano, which drives a lot of the best tracks on this album. It's hard to imagine this song without the melody carrying Lady Gaga through the infectious melody. While its incorporation of R&B may recall the lesser tracks to come, it's still a distillation of what works about Gaga as an artist. She carries those notes so well and makes you groove along as she bears her soul. It may be wholly generic in other senses, but it's one of those Amy Winehouse-esque motifs that you didn't know you wanted. Even if viewed solely as a showcase for Gaga as a singer, it's still an incredible song that overcomes its vapidness. It's fun.
Oscar Chances: Maybe
"I Don't Know What Love Is"
This whole stretch of music is maybe some of Lady Gaga's best work as an artist. While one could argue her pop music has made more interesting music, you get the sense of a real singer underneath the artifice that she is known for, and she delivers it here as she returns to croon with Bradley Cooper. This may be the closest that the album comes to feeling like a recall of the 1976 film with the duet nature, but it still works. Bradley Cooper's singing may just be fine, but again Gaga carries it in ways that make this sweet ballad have a bit more power. It may be in some ways forgettable, but it at least has some interesting vocal moments for Gaga, and that gives it some redeeming qualities.
Oscar Chances: No
"Is That Alright?"
This section of the album comes to an end with one of the most tender songs in the entire film, and it has such an overwhelming power. It's a moment when Lady Gaga gives herself over and declares her love. The way that she sings in the chorus has a power all unto itself, making you convinced she believes every syllable and note. The way she fluctuates over the song comes to have a deeper resonance, and probably adds more power than the generic lyrics would suggest. It makes you feel in the power of love, and the way that she plays with melody also makes things even more overwhelming. This is bound to be a wedding dance song very soon, so get used to it now. It's another one that won't go away.
Oscar Chances: Yes
"Why Did You Do That?"
Listen, this is probably the easiest song to write for. It wasn't written to win Oscars. It was to establish a point about how vapid pop music is and how it is limiting as a career choice. It almost exists solely in a cynical manner, even if it's reminiscent of better Lady Gaga. It's not good at all, and simply trading any older Gaga song would do your life better than listening to it. It's intentionally awful, and it barely gets points for not being totally awful given that Gaga can't help but try a little to make it work. Still, the fact that whoever wrote it made it just correctly obnoxious that it will be stuck in your head deserves to be demoted. No amount of better effort on this album really deserves how much of an earworm this song ends up being.
Oscar Chances: No
"Hair Body Face"
On the bright side, it's a bit of a step up from the previous entry. It may be part of the phase of the film where Lady Gaga becomes a pop star, but at least it has some deeper text going on. It wants to discuss image, even in a generic pop song format. However, it at least tries to be catchy in an effective manner that recollects Gaga's earlier career, especially in the way that the tones shift between chorus and verse. There's enough going on that makes it work, even if it is far from the best thing that this album produces. Gaga can't help but try once again to make every note work, and that's done more effectively here in ways that at least make it more tolerable and not a full out moment of frustration.
Oscar Chances: No
"Before I Cry"
There's plenty to like about this song, again mostly because Lady Gaga makes every note matter and makes it a showcase for her register. However, it's easily the most forgettable of the good songs, because of how the verse feels too subdued at points and never allows for anything inspired to happen. There's been a lot of love songs on this album, so it seems a bit redundant to have yet another one on here, even if the meaning behind it is supposed to be powerful. It probably works better in context of the film, but here it's just another song where Gaga pours out her heart in ways that are astounding. You're left in awe of her singing, but that's about it. This song also feels kind of rushed in the chorus for some reason. It's fine, but it feels like filler in unintentional ways.
Oscar Chances: Maybe
"I'll Never Love Again"
If there's one thing to the film's credit, it goes out on such a powerful final note. The slow build of this song is full of remorse and is the perfect encapsulation of Lady Gaga as a singer. The music has an aching earnestness to it all, and the way her voice withers at points is even more powerful. Everything about leaves a bit of sorrow over the listener. It even works better within the context of the film, which best not be spoiled. The desire to be devoted to someone who isn't there is a tragic context, and you buy the context so well here. Of every song on here, this is the other non-"Shallow" song that actually stands a chance at getting nominated because of how the film positions it. This is where all of the energy builds up to, and it's where the emotion breaks out in incredible force. It's where things end, and Gaga makes it count.
Oscar Chances: Yes
- Overall Thoughts -
I'm not entirely sure how well this film works song-to-song. I have listened to it a few times, and I still feel like it has issues being wholly satisfying. I'm not a big fan of Cooper as a singer, and I feel like his country songs are the weakest part of the entire experience. His ballads are fine, but there's a lot to wonder why he couldn't hire someone else to amplify the vocals in any meaningful way. Still, it's admirable for Cooper when it works. However, of the 5-7 brilliant songs on this, it's mostly a credit to Lady Gaga, who makes this the strongest showcase for a singular artist in the franchise since Judy Garland. You buy her struggle, and her power as a singer is finally going to get the recognition it deserves. It's a decent soundtrack that has some blissful highs, but it does suffer some indulgence in part from jam-packing the soundtrack (there's audio samples on the actual soundtrack that tell the whole story) and giving us one of the most annoying Lady Gaga songs out there. Still, songs like "Shallow," "I'll Never Love Again," and "Is That Alright" are godsends to categories like this, and I hope that there's room for most of them. If nothing else, I'm glad that there's a soundtrack that put this much effort into being so impeccably good and dense. That gives it a lot of extra points.
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