A mid-'70s West German film about a 14 year old's descent into drug abuse, prostitution, and general sleaze led to this 1981 soundtrack, comprised entirely of previously released songs from David Bowie's "Thin White Duke" period. The bleak music of Bowie's collaborations with Brian Eno provides a fitting backdrop to the film, as his icy soul killer pose perfectly reflected the frozen and fragmented lives of Christiane and her gang: an "alternative family" taking respite in discos and underground train stations. Removed from that context, the album is still enjoyable for the sheer quality of the songs.
Features 24 bit remastering and comes with a mini-description. Those seeking Barney Kessel's legendary jazz stylings should look elsewhere. As a guitarist in the `50s, Kessel was renowned for his cool, bop-inspired playing in small quartets on sessions with the Contemporary label. But in the early `60s he signed with Reprise and embarked on a series of pop records. This was hardly new territory for Kessel, as he'd been backing pop musicians for years, and was a first-call guitarist for pop titans like Phil Spector; but as a front-man, this was a break from the jazz sessions he'd previously led. On his debut for Reprise, Kessel reinterpreted Henry Mancini's soundtrack for Breakfast at Tiffany's with a septet that included the superb playing of Paul Horn on saxophone and flute.
Who knows what Dave Edmunds was thinking when he agreed to produce and assemble the soundtrack to 1985's Porky's Revenge! It's easier to see the motives of the movie's producers – they were flush with cash after two successful teen-sex comedies set in the '50s, and who would be better to create a new soundtrack of old-time rock & roll than Edmunds, who was not only well-known for his retro-rock, but was riding a wave of popularity after a pair of MTV-friendly Jeff Lynne-produced albums in the mid-'80s. That makes sense. What boggles the mind is that Edmunds, after accepting the job, decided to treat this soundtrack – which, let's remember, is the second sequel to a film best known for a scene of horny teenage boys spying on the girls in a gym shower and for a female character called "Lassie" who howls like a dog during orgasm – as a prestige project, recruiting such superstars as George Harrison, Carl Perkins, Jeff Beck, Willie Nelson, and Robert Plant (performing under the Crawling King Snakes moniker with Phil Collins on drums!), along with the up-and-coming Fabulous Thunderbirds, to record new material for this exploitation film!
A listener familiar with the pedigree of the albums of Brian Eno might assume that Virgin/Astralwerks' release More Music for Films is merely a re-packaging of Music for Films II, a bonus album included within the LP boxed set Working Backwards. Such an assumption would be incorrect, as More Music for Films represents a new spin on a variety of soundtrack material made by Eno in the years 1976-1983, including some tracks drawn from Music for Films II, others from Eno Box I: Instrumentals, and at least six selections never made public before. According to Virgin, these are taken from the limited-edition promo LP of Music for Films, a two album set pre-dating the familiar EG release by two years and only circulated to filmmakers and journalists.
"Black Orpheus the film by Marcel Camus, and its soundtrack, were the signposts by which the world first learned of samba and bossa nova and fell in love with it. Therefore, it is staggering to consider that it took until 2008 for a definitive edition of the soundtrack to be released, one that assembled all the songs and music heard in the film. (…) The songs may be well known now; the music of the favelas, as practiced by the escolas de samba with their agogo bells, atabaques drumming, stomping batacuda solos, and duels, folk line chants, and unusual (even now if one thinks about it) blend of African rhythms, dissonance, and extended harmonics, is still revolutionary today."
Features 24 bit digital remastering. Comes with a mini description. This collaboration between Miles Davis and producer Marcus Miller (who, except for some cameos, plays all of the other instruments) is quite successful and a bit of a surprise since it is essentially a soundtrack to an obscure film. Dedicated to arranger Gil Evans, the music is greatly influenced by his style with Miller creating an electrified but very warm orchestra to accompany Davis' melodic solos. This was the first of several instances in which Miles Davis, in the twilight of his life, returned to his roots. It's worth searching for.