Footloose was a throwback to '50s rock & roll movies, with a silly plot about a town where it was illegal to dance. It was a major hit, as was its soundtrack, which spent a grand total of ten weeks at number one and sold over seven million copies. It's easy to see why – the album delivers its mainstream pop, anthemic rock, and light dance-pop with style and an abundance of hooks. Six of the nine tracks became Top 40 hits, and three – Kenny Loggins' bouncy title song, the excellent power ballad "Almost Paradise" (a duet between Loverboy's Mike Reno and Heart's Ann Wilson), and Deniece Williams' frothy, charming "Let's Hear It for the Boy" – shot into the Top Ten. The sound and production of Footloose has dated badly – there is a reliance on synthesizers and drum machines that instantly announces that the record was made in 1984 – but that isn't necessarily a weakness. Not only does it function as a time capsule of a certain moment in pop music history, but many of the songs are catchy enough to transcend their production. There's nothing of substance on the Footloose soundtrack, but it's a light, entertaining listen. Sometimes, that can be better than something substantial.
Forrest Gump (1994) is one of the most successful films ever made, winning Tom Hanks his second successive Best Actor Oscar (he won the previous year for Philadelphia) as well as claiming the Best Picture Oscar and many other awards and nominations, including several for music. A unique fable of American life from the 1950s to the 80s, the film blends comedy, drama, war, romance and groundbreaking special effects into a social and political portrait of the passing years, all seen through the eyes of the intellectually challenged but immensely likeable Forrest Gump. The soundtrack is a double album featuring 31 classic pop tunes plus a suite from Alan Silvestri's rich orchestral music, represented more completely on the companion score album. Opening with Elvis Presley's "Hound Dog", this is a fine anthology of three decades of American music, taking in everything from Joan Baez's "Blowin' In The Wind" to Aretha Franklin's "Respect", The Mammas and The Papas' "California Dreamin'" and Simon & Garfunkel's "Mrs. Robinson". Here also is Scott McKenzie with "San Francisco", plus Jefferson Airplane, the Supremes, Lynyrd Skynrd and many more. Like American Graffiti (1973), this is one of the great pop soundtracks, happily at home in just about any music collection.
Deluxe Special Edition Double Disc Reissue. The first of a series of Marc Almond expanded re-issue CD s, Open All Night was originally released in 1999 and pays respect to the sound of Soft Cell whilst mixing in elements of R&B, gospel, Latin and trip-hop. Features duets with Siouxsie Sioux ( Threat Of Love ) and with former Sneaker Pimps vocalist Kelly Ally ( Almost Diamonds ). Features an 18-track bonus disc, curated by Marc Almond himself of original song demos, film soundtrack rarities and alternative versions of tracks recorded at the time of the 1999 Open All Night Sessions.
Bob Dylan is an American songwriter, singer, artist, and writer. He has been influential in popular music and culture for more than five decades. Much of his most celebrated work dates from the 1960s, when his songs chronicled social unrest. Early songs such as "Blowin' in the Wind" and "The Times They Are a-Changin'" became anthems for the American civil rights and anti-war movements.
Fifteen years after his first big hit ‘Offshore’, legendary UK producer Chicane presented his ‘Thousand Mile Stare’ album. Shortly after the release of the successful 5th album of the mastermind, he presents a special Collectors Edition. This boxset has 2 discs and USB stick which has 13 tracks in their formative state, though they sound like fully formed tracks. This is an absolute must-have for fans.
Growing out of the festival in Holland of the same name, Boulevard of Broken Dreams is a retro big band reveling in tunes from and around The Great Depression - a time of broken dreams. These folks love this music. Besides the musicianship, how else can you explain these phenomena? Even though the songs are generally sad there is a level of fun energy running through the entire set.