This final LOiseau-Lyre set presents some of the most significant Medieval & Renaissance albums recorded by one of the most authoritative Early Music labels.
The soundtrack for About Time, the 2013 British romantic comedy from Love Actually writer and director Richard Curtis, dutifully reflects its story's time travel premise with a 17-song set of (mostly) previously released selections from the likes of The Killers ("Mr. Brightside"), Groove Armada ("At the River"), Amy Winehouse ("Back to Black"), and Nick Cave ("Into My Arms"). Ben Folds offers up a new, heavily orchestrated version of his sentimental 2001 ballad "The Luckiest," while ex-Dream Academy mastermind Nick Laird Clowes offers up a pair of wistful piano pieces ("Golborne Road" and "The About Time Theme") from his evocative score.
Re-Bop: The Savoy Originals collects 13 tracks recorded between 1945 and 1959 for the influential West Coast jazz label. Boasting a wide range of performers, this compilation gathers classic cuts by the Modern Jazz Quartet, Charlie Parker, Miles Davis, Red Norvo, Duke Jordan, Cal Tjader, Curtis Fuller, Cannonball Adderley, Herbie Mann, and Dizzy Gillespie. The "Originals" portion of the title refers to the companion set, Re-Bop: The Savoy Remixes, in which turntablists like DJ Logic, Basement Boys, and DJ Jazzy Jeff take liberties with these tracks by rearranging them for the digital age. No matter what your feelings concerning remixing experimentation, Re-Bop: The Savoy Originals is a well-chosen primer collection for the jazz novice and a great-sounding disc for the completest.
The original soundtrack for Neil LaBute's Nurse Betty features innocent, classic pop songs that capture the sweetly delusional state of the film's title character. Jula De Palma and Pink Martini's versions of the lighthearted standard "Whatever Will Be, Will Be (Que Sera Sera)" bookend songs like Ricky Nelson's "Poor Little Fool," Ann-Margret's "Slowly," and Della Reese's "Don't You Know," and selections from Rolfe Kent's quirky original score complete this enjoyable companion to one of 2000's most unique films.
Compliation album featuring 34 Sony artists from the Eighties. Featuring Bangles, Cyndi Lauper, Toto. ELO & more.
The soundtrack for first-time director Jason Reitman's satire of Big Tobacco spin plays like an amiable, city slicker sequel to O Brother, Where Art Thou?. Tex Williams' western swing standard "Smoke, Smoke, Smoke That Cigarette!" kicks things off with a mischievous grin, laying the groundwork for classics from Patsy Cline ("Three Cigarettes in an Ashtray"), Otis Redding ("Cigarettes and Coffee"), the Mills Brothers ("Smoke Rings"), and the Platters ("Smoke Gets in Your Eyes"). The thread is obvious, but the selections sound handpicked rather than researched solely on the basis of their subject matter. Composer Rolfe Kent, who brought such an excellent sense of place to 2004's Sideways, manages to echo the hipster swing of the Mancini-era '60s without sounding regressive, providing Thank You for Smoking with a cheerful brevity that keeps the spin more balanced than fair.
The film received a pasting from UK critics but as the soundtrack chooses from a vast archive of great performances, it’s possible to retrieve something from the experience. The opening track, the Grosse Fuge, is a bold choice given the wider audience for whom this soundtrack is aiming. It receives a magnificent performance from the Takács Quartet which is as finely attuned to the music’s jagged outcrops as its sheltered byways. The uninterrupted flow of the sweet and soulful second movement of the third Razumovsky is pure poetry in their hands. Ashkenazy gives a brilliant but never rushed performance of the finale to the early Sonata in C minor and his straightforward manner in the Arietta from Beethoven’s last sonata is illuminated by the very clear Decca recording. Haitink’s performance of the finale of the Ninth Symphony with the Royal Concertgebouw and a quartet of soloists led by Lucia Popp does not storm the heavens and I don’t ever recall being so aware of this movement’s proceeding by paragraphs. However, it would seem to have found a comfortable place in a well planned and wide-ranging celebration of Beethoven’s genius.