No. 1 in Heaven is the eighth album by the American rock band Sparks. Recorded with Italian disco producer Giorgio Moroder, it marked a change of musical direction for the group and became influential on later synth-pop bands.
Composer Nick Urata (Ruby Sparks, Crazy, Stupid Love, I Love You Phillip Morris) turns in a charming original score to the 2014 film adaptation of Michael Bond's beloved children's character Paddington. The live action film about a young Peruvian bear seeking a new home in London was produced by David Heyman, who brings the same whimsical touch he delivered to the Harry Potter films. Mixing a cinematic English wistfulness with upbeat Latin themes, Urata has managed to create something that is both playful and, at times, disarmingly tender. The gentler themes, like the lovely waltzing "Journey from Peru" and "The Letter Home," blend austere piano melodies with subtle strings, while the more exuberant Latin-inspired tracks are bursting with percussion, brass, and Spanish guitars. A handful of additional songs featured in the movie, like Lionel Richie's "Hello" and Steppenwolf's "Born to Be Wild," pad the soundtrack, but don't detract too much from what is largely a fun and heartfelt original score.
Arista remastered Graham Parker's masterpiece, Squeezing Out Sparks, for CD reissue, adding the previously promotional-only live album Live Sparks as an added bonus. Though it is somewhat disconcerting to hear the same songs in the same order in a row, it's an excellent addition for hardcore collectors, especially since the sound on the original album is considerably improved. And, Live Sparks is a nervy, energetic live recording, especially with the addition of "I Want You Back (Alive)" and "Mercury Poisoning".
Murder Ballads brought Nick Cave's morbidity to near-parodic levels, which makes the disarmingly frank and introspective songs of The Boatman's Call all the more startling. A song cycle equally inspired by Cave's failed romantic affairs and religious doubts, The Boatman's Call captures him at his most honest and despairing – while he retains a fascination for gothic, Biblical imagery, it has little of the grand theatricality and self-conscious poetics that made his albums emotionally distant in the past…