Here are some Hollywood samplers, movie soundtrack albums that feature varied artists' performances in lieu of (and occasionally in addition to) orchestrated cuts:
"Andre" (Rhino) * * * 1/2Here's one of the best oldies sampler soundtracks I've heard in some time, with one great hit after another - The Coasters' "Yakity Yak," The Edsels' "Rama Lama Ding Dong," The Drifters' "This Magic Moment," Joey Dee & the Starliters' "Pepermint Twist" and many more! (Goodness - this is starting to read like an ad for K-TEL!)
Decidedly more iffy, however, is the new stuff: "Thanks to You" by Tyler Collins, a cover of "This Magic Moment" by The Morgan Heritage and "You're My Best Friend" by Craig (Taubman) 'n Co.
"Pulp Fiction" (MCA) * * *
Like the film it comes from, the soundtrack for "Pulp Fiction" is pure Quentin Tarantino. Tarantino is the young writer-director of "Pulp Fiction" and "Reservoir Dogs," and he carefully chooses songs for his movies as an integral part of the goings-on.
And there's no question that most of the numbers here are great choices, starting off with Dick Dale's "Misirlou," Kool & the Gang's "Jungle Boogie" and Al Green's "Let's Stay Together." Also enjoyable are "Lonesome Town" by Ricky Nelson, "Son of a Preahcer Man" by Dusty Springfield, the Statler Brothers' "Flowers on the Wall" and a number of others. Including, of course, the current single, "Girl, You'll Be a Woman Soon," a cover of the Neil Diamond song by Urge Overkill.
I was less thrilled, however, by the mediocre "Bustin' Surfboards" by the Tornadoes and "Bullwinkle Part II" by the Centurians (though it should be said that those tunes work very well in the movie).
There is also some of Tarantino's witty dialogue between songs . . . it's just too bad that dialogue is peppered with R-rated four-letter words. As a result, this album won't get the repeat play in my house it might have otherwise received. (In fact, this may be the first song collection to carry a "Parental Advisory" label for dialogue cuts instead of lyrics.)
"The Specialist" (Crescent Moon/epic soundtrax) * * *
The emphasis on "The Specialist" is a Mexican motif. To that end, the Spanish-language songs easily steal the show - "El Duro Soy Yo" by Tony Tatis y Su Merengue Sound, "Que Manera De Quererte" by Albita, "El Amor" by Azucar Moreno, etc.
I also liked "Slip Away" by Lagaylia and the Miami Sound Machine's "Jambala." Plus, John Barry's two instrumental cuts, performed by the Royal Philharmonic Orchestra - very romantic, with piano and saxophone solos.
The rest is so-so material, some of it wildly overwrought, including the one Gloria Estefan entry. The album was produced by her husband, Emilio Estefan Jr.
"Corrina, Corrina" (RCA) * * *
Like "Andre," "Corrina, Corrina" is loaded with golden-oldie goodies, which makes the new material pale in comparison. In this case, Big Joe Turner doing "Corrina, Corrina" is terrific, though the Ted Hawkins version is just so-so - and the same can be said about Oleta Adams and Brenda Russell on "We Will Find a Way."
But it's hard to complain when you get Louis Armstrong and Oscar Peterson on "You Go to My Head," Sarah Vaughn singing "They Can't Take That Away From Me," Billie Holiday doing "Pennies From Heaven," etc. (Thomas Newman also contributes a piece from his instrumental score.)
"The Adventures of Priscilla, Queen of the Desert" (Mother) * * *
Think disco. In fact, fans will be in disco heaven.
We're talking Abba ("Mamma Mia") and no less than two versions each of Peaches and Herb's "Shake Your Groove Thing," the Village People's "Go West" and Gloria Gaynor's "I Will Survive." And would you believe, three versions of Alicia Bridges' "I Love the Night Life"? Yikes!
Redundancy aside (these are bonus cuts?), those who enjoy the songs will adore this album.
The rest of us may want to skip to Lena Horne doing "A Fine Romance" or Patti Page on "I Don't Care If the Sun Don't Shine" or maybe R.B. Greaves' "Take a Letter Maria."
"Getting Even With Dad" (Private Music) * * *
The movie was awful but the rhythm-and-blues numbers that dominate the "Getting Even With Dad" soundtrack are terrific - "Money (That's What I Want)," "Do You Love Me," "Blues Ain't Nothin'," "Weight of the World," etc.
Miles Goodman's score is also well-represented and though some cuts are better than others, it's generally enjoyable.
"Blown Away" (550 Music/epic soundtrax) * * 1/2
Though it contains a few goodies - October Project's "Return to Me," U2's "With Or Without You," Aretha Franklin's "All Night Long" - most of the "Blown Away" collection is rather mediocre.
It does, however, include a medley of Alan Silvestri's themes from his instrumental score.
"The Cowboy Way" (550 Music/epic soundtrax) * *
Largely composed of contrived covers of songs like "Mammas, Don't Let Your Babies Grow Up to Be Cowboys" by the Gibson/Miller Band and "On Broadway" by Jeff Beck and Paul Rodgers, the soundtrack for "The Cowboy Way," like the movie, tries too head to ingratiate, and instead, alienates.