På Österåker ("At Österåker") is a live album by country singer Johnny Cash released on Columbia Records in 1973, making it his 43rd overall release. The album features Cash's concert at the Österåker Prison in Sweden held on October 3, 1972. Its predecessors in concept are the more notable At San Quentin and At Folsom Prison. Unlike the aforementioned, På Österåker does not contain any of Cash's most well-known songs; it does, however, include a version of Kris Kristofferson's "Me and Bobby McGee". The majority of the songs featured in the original release would remain unique to this concert recording, though Cash would later record a studio version of "City Jail" for his 1977 album.
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.
Few bands in the '90s Brit-pop scene carried as much melodramatic weight as Suede. Singles, despite its generic moniker, does an excellent job illuminating the fact that Bernard Butler and Brett Anderson were far more David Bowie and Mick Ronson than the oft-cited Morrissey/Johnny Marr press quips would have you believe. The group's penchant for neo-glam excess and apocalyptic grandstanding inundated their entire time line, from 1992's "Animal Nitrate" and "Metal Mickey" all the way through to 2002's New Morning, despite the switching out of Butler for the flashier Richard Oakes. While the group's 1993 debut and 1994 follow-up Dog Man Star remain required listening for anyone with even a passing interest in the scene, this collection, paired with 1997's Sci-Fi Lullabies, presents a near perfect picture of one of the late-'90s most underrated acts.
Although I usually find the inclusion of dialogue on a soundtrack to be intrusive, that's not the case here. Luckily it is not too overdone. The compositions by Trevor Jones and the sax of Courtney Pine bring back all the haunting beauty and terror of the film. There are no throwaway screeching scare tracks. At under 40 minutes, it is a beautiful rendering of a sinister mood that can be listened to again and again. More than a decade later, one might say the film doesn't keep it's "mystery" very well hidden but the music has held up. It's a superior example of a composer's ability to make a good film great and for that reason, I can watch it again and again. Note however, I could not watch the film without its score but I can spin the disc constantly. Alan Parker was a genius for choosing to go with atmosphere rather than musical hysterics. Never have the blues been so unnervingly hypnotic.
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!