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.
La-La Land Records, Sony Pictures and Sony Music presents the world premiere release of the first official remastered and expanded edition of renowned composer John Williams's (JAWS, STAR WARS, SCHINDLER'S LIST) original score to the 1991 Tri-Star Pictures' adventure/fantasy epic HOOK, directed by Steven Spielberg. Long considered one of the maestro's best scores in collaboration with Mr. Spielberg, this masterwork is finally presented here in a worthy 2-CD release that contains more than 140 mins of music, including bonus alternate and unused cues, greatly expanding the score's original 1991 album assembly with more than 65 minutes of music previously unreleased in any official format. Produced by Didier C. Deutsch and Mark G. Wilder, mastered by Mark G. Wilder and Maria Triana and supervised and approved by John Williams, this expanded reissue features amazing art design by Jim Titus and exclusive, in-depth liners from film music writer Daniel Schweiger. It's an amazing soundtrack experience that will have you never wanting to grow up!
La-La Land Records, in association with Sony Music and NBC Universal, presents the remastered and expanded 2-CD SET of AcademyAward-Winning composer John Williams' (JAWS, BLACK SUNDAY, STAR WARS, RAIDERSOF THE LOST ARK) amazing score to the 1979 Universal Pictures and ColumbiaPictures comedy spectacular 1941, starring Dan Aykroyd, Ned Beatty, John Belushi and Warren Oates, and directed by Steven Spielberg. Williams provides adelightful, full-on orchestra assault (featuring one of the most infectious marches ever written for film) to compliment this cult-classic's slap-stick tapestry of WWII-era paranoia exploding in Hollywood. Produced by Mike Matessino, Didier C. Deutsch and Mark G. Wilder, remixed and assembled by Mike Matessino and mastered by Mark G. Wilder, this special release is expanded by more than 70 minutes with never-before-released music, including alternates and source cues. The original 1979 album presentation is also presented on disc 2, remastered. 1941 Re-issue producer Mike Matessino provides exclusive, in-depthliner notes.
None of Miles Davis' recordings has been more shrouded in mystery than Jack Johnson, yet none has better fulfilled Miles Davis' promise that he could form the "greatest rock band you ever heard." Containing only two tracks, the album was assembled out of no less than four recording sessions between February 18, 1970, and June 4, 1970, and was patched together by producer Teo Macero. Most of the outtake material ended up on Directions, Big Fun, and elsewhere. The first misconception is the lineup: the credits on the recording are incomplete. For the opener, "Right Off," the band is Miles, John McLaughlin, Billy Cobham, Herbie Hancock, Michael Henderson, and Steve Grossman (no piano player!), which reflects the liner notes.
Miles Davis' concert of February 12, 1964, was originally divided into two LPs, with all of the ballads put on My Funny Valentine. These five lengthy tracks (which include "All of You," "Stella by Starlight," "All Blues," "I Thought About You," and the title cut) put the emphasis on the lyricism of Davis, along with some strong statements from tenor saxophonist George Coleman and freer moments from the young rhythm section of pianist Herbie Hancock, bassist Ron Carter, and drummer Tony Williams.
Kind of Blue isn't merely an artistic highlight for Miles Davis, it's an album that towers above its peers, a record generally considered as the definitive jazz album, a universally acknowledged standard of excellence. Why does Kind of Blue posses such a mystique? Perhaps because this music never flaunts its genius. It lures listeners in with the slow, luxurious bassline and gentle piano chords of "So What." From that moment on, the record never really changes pace – each tune has a similar relaxed feel, as the music flows easily. Yet Kind of Blue is more than easy listening. It's the pinnacle of modal jazz – tonality and solos build from the overall key, not chord changes, giving the music a subtly shifting quality. All of this doesn't quite explain why seasoned jazz fans return to this record even after they've memorized every nuance.
With the arrival of Delta Lady: The Rita Coolidge Anthology, one can only remark: what took so long? No other singer – not Maria Muldaur, Bette Midler, Bonnie Bramlett, Carly Simon, or Linda Ronstadt – more perfectly embodied the wide range of changes that popular music underwent from the late '60s through the mid-'80s, and continues to seek new means of expression today. This two-disc anthology on Hip-O offers the first complete portrait of this complex and multivalent talent on CD (though a box set would have been nice). Rita Coolidge scored her first chart hit with friend Donna Weiss' "Turn Around and Love You" in 1969. That song earned her a studio spot where she fell in with Delaney & Bonnie, Leon Russell, and a huge cast of musicians. Being a background vocalist on Delaney & Bonnie's classic Accept No Substitute earned her a place on Russell and Joe Cocker's Mad Dogs & Englishmen revue and the rest is history, including a handful of chart hits and guest appearances that stagger the mind.
With the release of the spectral title tune, and the efforts of the Columbia marketing and publicity departments behind him, a thirty-year old Miles Davis entered into a period of extraordinary artistic maturity and growth. And Miles instinctively knew how to cultivate his star quality. Looming behind those shades, was the diffident, sensitive anti-hero–proud and defiant–who only spoke to his audience through his horn, and turned his back on them when the other soloists were blowing. The combination of attitude and intellect was irresistible. Beginning with ROUND ABOUT MIDNIGHT and proceeding through a remarkable succession of famous recordings over the next 30 years, Miles Davis became one of the greatest soloists, arrangers and talent scouts in the history of American music. People who didn't own a single jazz record came to know his name–Miles was a jazz icon.
Career retrospective from Pub Rock’s angriest man Graham Parker, spread over 6 CDs with a DVD featuring a live set at the Brook Southampton from last year’s final tour with the Rumour…LTW’s Ian Canty looks at 40 years of Camberley’s very own Punk Soul brother….. It wasn’t very promising on the face of it. A resentful 25 year old garage pump attendant with a run through the 60s from Mod to Hippy behind him and a headful of dreams about Van Morrison and Dr Feelgood, matched up with what might have been the cream of the Pub Rock scene. But this was after all of their respective bands had singularly failed to make an impact, so together, in 1976, they stood at the doors of the Last Chance saloon. What wasn’t expected was that with their musical power allied to the petrol pump punk’s lyrical smarts and alarming stage presence, they would blow the doors off the hinges. Ladies and gentleman, I give you Graham Parker and the Rumour.