Johnny O'Clock (Dick Powell) is a junior partner in a posh casino with Guido Marchettis (Thomas Gomez), but is senior in the eyes of Nelle (Ellen Drew)—Guido's wife and Johnny's ex. This love triangle leads to a web of complications, leaving Police Inspector Koch (Lee J. Cobb) to unravel the threads of deceit and a murdered casino employee's sister (Evelyn Keyes) to tug on Johnny's heartstrings before it's too late.
Three years after song-and-dance man Dick Powell reshaped his nice-guy image by playing hard-boiled gumshoe Phillip Marlowe in Murder My Sweet, he returned to film noir with this crime-based thriller. Johnny O'Clock (Dick Powell) and his partner Pete Marchettis (Thomas Gomez) operate a gambling casino that has seen better days. Chuck Blayden (Jim Bannon), a cop on the take, wants in on the casino, and he makes friends with Pete while trying to convince him that Johnny, the smarter of the two, should go. When Chuck's girlfriend Harriet (Nina Foch) is found dead, a supposed suicide, his sister Nancy (Evelyn Keyes) smells a rat, especially after Chuck skips town. Nancy is convinced that her sister was murdered, and she asks Johnny to help her prove it. Johnny, who already has a number of women in his life – including Nelle (Ellen Drew), Pete's wife – figures that one more can't hurt and agrees to help her. But Police Inspector Koch (Lee J. Cobb), convinced that Johnny and Pete were behind Harriet's death, is making it hard for Johnny to do much investigating, and matters get worse when Chuck's body is found floating in the river. Screenwriter Robert Rossen made his directorial debut with this film, 14 years later, he would return to this film's tough, gritty style for his best picture.
Grapefruit Moon: The Songs of Tom Waits is Southside's tribute to one of his favorite songwriters, but also a pet sound: big band music. The idea to marry the brassy, ballsy sound of a big band to Tom Waits' cinematic, character-driven songs has been sitting in the back of Southside's mind for sometime.
Johnny Handsome is a 1989 American crime drama film directed by Walter Hill and starring Mickey Rourke, Ellen Barkin, Forest Whitaker and Morgan Freeman. The film was written by Ken Friedman, and adapted from the novel The Three Worlds of Johnny Handsome by John Godey. The music for the film was written, produced and performed by Ry Cooder.
Originally included as part of the exhaustive Unearthed box set of Johnny Cash's American Records recordings, My Mother's Hymn Book is exactly what it claims to be – songs directly out of Cash's mother's old hymnal. Featuring Cash alone playing an acoustic guitar, this is a stark, beautiful, and simple album. In the liner notes, Cash calls this his favorite record he's ever made and it's clear that learning these songs as a child is what inspired his love of music. In that sense, despite no original material, these are some of the most personal songs Cash ever recorded; he even includes song-by-song commentaries that help illuminate what each track meant to him. For Merle Travis' "I Am a Pilgrim" Cash writes, "It's one of those old country gospel classics that my mother sang, that I knew I would record it someday." Of course, Cash recorded gospel songs before this album, as in 1959 with Hymns by Johnny Cash and again in 1962 with Hymns From the Heart and he usually included one gospel track per album.
Compiled and designed in the manner of Love, Murder, and God, three thematically compiled Johnny Cash anthologies released to wide acclaim in the spring of 2000, Life brings together 18 songs from Cash's back catalog that in one way or another deal with the nuts and bolts of many people's existence – home, nation, work, family, surviving hard times, and celebrating good times. Of course, the nature of this theme is broader and not nearly as cleanly defined as the themes of the three previous sets, and a few of these songs might have fared better elsewhere – "Where Did We Go Right" and "You're the Nearest Thing to Heaven" would have fit nicely on Love, while "I Talk to Jesus Everyday" and "Lead Me Gently Home" would not feel out of place on God. But as a summation of the broad and idiosyncratic worldview of Johnny Cash, Life fares very well indeed; Cash could set a protest song like "The Ballad of Ira Hayes" or "Man in Black" next to the fiercely patriotic "Ragged Old Flag" and see no contradiction, and celebrate the importance of hard work ("Country Trash") while savoring the sweet prospect of punching out the boss ("Oney").
John Coltrane's matchup with singer Johnny Hartman, although quite unexpected, works extremely well. Hartman was in prime form on the six ballads, and his versions of "Lush Life" and "My One and Only Love" have never been topped…