Parade: Music from the Motion Picture Under the Cherry Moon is a 1986 album by Prince and The Revolution. It was the follow-up to Around the World in a Day and the soundtrack to Prince's second film. The album sees Prince further diversifying musically, adding orchestrations to his music and presenting a very European feel. Prince also displayed a new image with Parade: his trademark ruffled shirts, wild curly hair, and purple outfits which defined his look from 1981's Controversy to 1985's Around the World in a Day gave way to slicked-back hair and dress suits. Even though the single, "Kiss", was a number one hit, the album as a whole was not well-received in the U.S. Europe, however, embraced the album, and for the first time in Prince's career, European album sales eclipsed those in the U.S. This was Prince's final album released with The Revolution.
Too bad the film "Sliver" wasn't a hit, or else this could've been one of the greatest film soundtracks of all-time. While most soundtracks just throw songs together without much thought, there's a theme on this album. You can feel the atmosphere of loneliness, lust, and mystery even if you've never seen the film. Enigma's haunting "Carly's Song" and "Carly's Loneliness" are great tracks to get you in a trance, Massive Attack's "Unfinished Symphony" is downright sexy, and Aftershock's "Slave To The Vibe" is the album's showstopper. The film (which was beautifully shot in an MTV style) could rightfully be a showcase just for these songs, kinda like "Purple Rain".
La-La Land Records, Warner Bros. and WEA present the latest reamstered and expanded title in our collection of notable scores celebrating Warner Bros.'90th Anniversary-the original motion picture score to the 1994 family drama BLACK BEAUTY, starring Sean Bean and David Thewlis, and directed by Caroline Thompson. Lush, gorgeous, but also stirring and strong in spirit, Mr. Elfman’s score is much like the film’s titular creature and is considered to be one of his finest works. This deluxe treatment, expanded to nearly 79 minutes, finally gives this important film score the release it has always warranted. Produced by Dan Goldwasser and mastered by James Nelson, this special release, limited to 3000 Units, features attractive art design by Dan Goldwasser and exclusive, in-depth liner notes from film music writer Jeff Bond, with comments from the composer and the film’s director. A must for all film music enthusiasts!
Award-winning producer and artist, Danger Mouse, has curated the soundtrack for Edgar Wright's highly anticipated film, Baby Driver. The soundtrack for the music-heavy film, titled Music From The Motion Picture Baby Driver, boasts 30 multi-genre tunes in total, including 29 rare tracks and deep cuts, as well as one original song created by Danger Mouse specifically for Baby Driver. The new song is "Chase Me", by Danger Mouse featuring Run The Jewels and Big Boi.
The film received a pasting from UK critics but as the soundtrack chooses from a vast archive of great performances, it’s possible to retrieve something from the experience. The opening track, the Grosse Fuge, is a bold choice given the wider audience for whom this soundtrack is aiming. It receives a magnificent performance from the Takács Quartet which is as finely attuned to the music’s jagged outcrops as its sheltered byways. The uninterrupted flow of the sweet and soulful second movement of the third Razumovsky is pure poetry in their hands. Ashkenazy gives a brilliant but never rushed performance of the finale to the early Sonata in C minor and his straightforward manner in the Arietta from Beethoven’s last sonata is illuminated by the very clear Decca recording. Haitink’s performance of the finale of the Ninth Symphony with the Royal Concertgebouw and a quartet of soloists led by Lucia Popp does not storm the heavens and I don’t ever recall being so aware of this movement’s proceeding by paragraphs. However, it would seem to have found a comfortable place in a well planned and wide-ranging celebration of Beethoven’s genius.
The soundtrack to director Ron Howard's 1995 blockbuster Apollo 13 effectively blends dialogue, actual audio clips from newscasts, classic songs, and portions of conductor James Horner's original score, creating a worthy aural companion. Included are songs from the period of the titular spacecraft's peril-fraught mission, such as the Young Rascals' "Groovin'," Jefferson Airplane's "Somebody to Love," the Who's "I Can See for Miles," and a classy version of the oft-covered "Blue Moon" by the Mavericks (produced by Nick Lowe). The orchestrated score manages to capture the drama of the events in a manner that ranges from quietly stirring to sweepingly epic, with Eurythmic Annie Lennox adding her distinctive, ethereal vocal accompaniment to several of the cuts.