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.
Eleni Karaindrou – “Greece’s most eloquent living composer” in the words of Time magazine – was born in Teichio, a mountain village in central Greece. She still retains vivid memories of the sound world of her childhood: "the music of the wind, rain on the slate roof, running water. The nightingale's singing. And then the silence of the snow." Sometimes the mountains would echo to the sound of flutes and clarinets played at village festivals. “I still have a strong memory of the Byzantine melodies I heard in church and the continuous voices of the men accompanying the chanter," she has said. Resonances of this sound world, imbued with the history and suffering of her native land, have found their way into the many scores she has composed for film, TV and theatre in the past four decades.
Official Release #97. Frank Zappa produced a television program aired by KCET in Los Angeles in 1974, featuring a sextet that included keyboardist George Duke and the zany saxophonist and singer Napoleon Murphy Brock. This bootleg opens with a blistering medley of "The Dog Breath Variations" and "Uncle Meat," followed by a rather overly long "Florentine Pogen." Zappa offhandedly ends "Stink-Foot" with the comment of "Oh, that's enough of that," before launching into one of his best pieces of the 1970s, "Inca Roads"; this version contains a particularly potent Zappa guitar solo and Duke's excellent keyboard work, too, but it is also contains a sudden fadeout near its conclusion.