Home > Articles > CD Reviews > Various

Various

7

Music from the Motion Picture “Something’s Gotta Give”
(Warner Bros.)
Review by Matt Robinson

With its combination of Jack Nicholson, Diane Keaton, Keanu Reeves and Amanda Peet, “Something’s Gotta Give” had something romantic for everyone ­ whether on the purely eye-candy level or something deeper and more lasting. Though this soundtrack leans more to the latter, it is enjoyable for all. From classics like Louis Armstrong’s “La Vie En Rose” and the timeless Flamingos’ hit “I Only Have Eyes for You,” this soundtrack crosses not only generational borders, but international ones as well. Astrud Gilberto’s “So Nice (Summer Samba)” helps bridge the language gap, as do Eartha Kitt’s two two-tongued tunes, “Je Cheriche un Homme” and “C’est Si Bon.” Some songs, such as Django Reinhardt’s take on “Brazil” and Stephane Grapelli’s OSweetLorraine,” simply rely on the universal language of music to get their romantic messages across. Perhaps the greatest and most romantic interpretation, however, is Jack Nicholson’s reprise of “La Vie.” Though his voice may not have the sweet rasp of Satchmo, his delivery is so heart-felt and pure, it reaches every heart, no matter what the age or inclination.

- Matthew S. Robinson
c. 2004, M. S. Robinson, ARR

 


6

Cocktails with Cole Porter
(Capitol)
Review by Matt Robinson

For their latest Ultra-Lounge collection, the compilations kings at Capitol have decided to ditch the themes (e.g., “Spy” music, TV themes, famous bongo solos) and turn instead to one of the hippest and most influential composers of all time- Cole Porter. In so doing, they have demonstrated not only their knack for brining together the best of the best, but how wide-ranging and long-enduring Porter’s music has been. From Deano’s gentle crooning of “True Love” and Nat Cole’s lamenting “Miss Otis Regrets” to Satchmo’s boss Bossa “High Society Calypso” and Kay Starr’s swing through “C’est Manifique,” the album runs the gamut from romance to rollick, from husbands (Louis Prima) to wives (Keely Smith) and from mothers (Judy Garland) to daughters (Liza Minnelli). With musical contributions from Count Basie, Duke Ellington, and George Shearing and vocal magic from Ella, Nancy, Sarah, Tony, and Sammy, this compilation also travels the musical globe from Kay Starr’s “I Love Paris” to Judy’s “I Happen to Like New York.” Yes there were few moods that Porter did not cover, and covers of most of them are here. As with any great romantic, “Cocktails” is a great introduction to the man and his music.

- Matthew S. Robinson
c. 2004, M. S. Robinson, ARR

 


5

Ultimate Mancini
(Concord)
Review by Matt Robinson

In honor of one of America’s greatest living composers, Concord Records has asked Henry Mancini’s daughter Monica and a number of other contemporary stars to offer their takes on his signature songs and sounds. From original takes of “Charade” and “The Thorn Birds Theme” to original reworkings like Stevie Wonder’s “Moon River” (featuring the vocal shimmer of Take 6), Tom Scott’s “Peter Gunn,” and Joey DeFrancesco’s “Mr. Lucky,” this latest Mancini collection combines old and new while maintaining Mancini’s timeless orchestrations and moods. The younger Mancini makes the most of her father’s work by adding her own vocal touches to such classics as “Days of Wine and Roses” and by pairing up with Kenny Rankin for a Smooth Jazz reworking of “Dreamsville.” Though the album eventually has to come to an end, the Mancinis close with a promise of “Music on the Way.” Such is the promise that has maintained the man for 80 years and that will continue to sustain his music far into the future.

- Matthew S. Robinson
c. 2004, M. S. Robinson, ARR
 


4

Ravel’s Greatest Hit: The Ultimate Bolero
(RCA Red Seal)
Review by Matt Robinson

While almost everyone knows the theme from “Bolero” (you know--- baaaa- ba ba-da da-da ba-da ba da-daaa…), few may have considered it beyond its orchestral orientations. On this new compilation, this legendary “one-hit wonder” is interpreted in 10 different (often very different) ways, demonstrating how original this “repetitive” theme can be. From the trilling percussion of Evelyn Glennie to Isao Tomita’s sweeping synths and from the four-handed keywork of Jaques Fray and Mario Braggiotti to the 50-fingered flights of The Canadian Brass, the variations on this famous theme are impressive and often intriguing. Even Benny Goodman’s takes a swing! And Boston fans get two- a lush and lilting one from the Charles Munch and the Boston Symphony Orchestra and a short and snappy one from the Boston Pops, led by the beloved Arthur Fiedler. “One-hit wonder”? Maybe. But this “hit” was (and continues to be) a home run!

- Matthew S. Robinson
c. 2004, M. S. Robinson, ARR
 


3

Motown #1s
(Motown/UTV)
Review by Matt Robinson

Following the trend of putting together the top hits from the top artists, Motown leads the way in compiling an entire label’s vaults of chart-toppers on one album. That it all fits on one album may be surprising, but every track is a classic. Even the newer hits like Boyz II Men’s “I’ll Make Love To You” have that signature Motown sound. Even so, the heart of this album hearkens back to the earlier days of the Detroit Sound- the days when the likes of The Temptations (“My Girl,” “Ain’t To Proud to Beg”) and The Four Tops (“I Can’t Help Myself (Sugar Pie Honey Bunch),” Reach Out, I’ll Be There”) ruled the airwaves. In addition to three tracks from Ms. Ross (The Supremes’ “Where Did Our Love Go” and “Stop! In the Name of Love” and the solo hit “Endless Love”) and Marvin has four of his own (“Ain’t Nothing Like the Real Thing,” “I Heard it Through the Grapevine,” What’s Going On,” and “Let’s Get it On”), the collection also includes one-hit wonders like Edwin Starr (“War”), Thelma Houston (“Don’t Leave Me This Way”), and even more questionable hits like De Barge’s “Rhythm of the Night” and Michael McDonald’s recent remake of “Ain’t No Mountain High Enough.” From the Commodores to Stevie Wonder, this album finally lays it all out for your listening pleasure- 40 years of America’s finest.

- Matthew S. Robinson
c. 2004, M. S. Robinson, ARR
 


2

Music from “Coffee and Cigarettes”
(Milan)
Review by Matt Robinson

Who but renegade genius Jim Jarmusch could put together a film that combines the likes of Steve Buschemi and Steven Wright, Cate Blanchett and Iggy Pop,
Roberto Benigni and RZA, and both Jack and Meg White? And though the title and subject matter of the film are, at their heart, rather simple, the soundtrack is anything but. From the classic strains of Tommy James’ “Crimson and Clover” to the Classical lines of Mahler’s “Ich bin der Welt abanden gekommen (I Have Lost Track of the World),” and the Cotton Club chimes of Modern Jazz Quartet’s “Baden Baden” to the slack-key slidings of Jerry Byrd’ss “Hanalei Moon,” this album takes listeners on as many different trips as were probably experienced during the filming of the movie itself. And whether you prefer the bass-driven Funk of Parliament’s “Nappy Dugout” to the horn-y grooves of “A Joyful Process” or the comprehensible version of “Louie, Louie” by Richard Berry or the vitriolic spewings of Mr. Osterberg’s version, “Coffee and Cigarettes” has everything you need to feed your Jones.

- Matthew S. Robinson
c. 2004, M. S. Robinson, ARR
 


1

Superstars of Seventies Soul
(Shout! Factory)
Review by Matt Robinson

Look out, Rhino- There’s a new compilation contender on the block. In addition to the more expected hits of the Disco Generation, such as Rose Royce’s “Car Wash,” Donna Summer’s “Bad Girls,” A Taste of Honey’s “Boogie Oogie Oogie,” and EW&F’s “Shining Star,” this three-disc set (the empty fourth disc holder of which begs to be filled) also delves into deeper Soul stars, like The Staple Singers’ “I’ll Take You There,” Rufus’ “Tell me Something Good,” and King Isaac’s “Shaft” (ok, maybe that last one is to be expected). While other sets might include Curtis Mayfield’s “Superfly,” this one also offers the film’s official theme, “Freddie’s Dead.” Similarly, Rev. Al represents with”I’m Still In Love With You” instead of the more predictable “Let’s Stay Together.” Though some of the “Soul” selections may be questionable (e.g., The Spinners’ “Games People Play” and Natalie Cole’s “This Will Be”), the collection offers a wide array of period music, demonstrating how much there was for the “Me Generation” to share.

- Matthew S. Robinson
c. 2004, M. S. Robinson, ARR
 

©2003-2005 Boston Beats

.....

   

Advertising

 

 

Boston Music, Boston Artist Interviews, Boston Bands