Performed by composer-conductor Harold Faltermeyer, this instrumental appears on 1984’s Beverly Hills Cop film soundtrack. The recurring theme narrates Eddie Murphy’s Detroit police detective ‘Axel Foley,’ as he searches for illicit evidence proving who killed a childhood friend.
REVIEW:
It’s likely one of the most enduring movie instrumentals of the 80’s. Harold Faltermeyer designed this catchy theme to be synonymous with Axel Foley’s sneaky ingenuity/improvisations, not to mention his team-up antics with fellow cops Taggart & Rosewood (John Ashton & Judge Reinhold). Faltermeyer’s spot-on instrumental work here remains a gem. For soundtrack playlists or just simply ‘80s nostalgia, “Axel F.” is a can’t- miss download option.
Recorded for 1984’s Footloose film soundtrack, Heart’s Ann Wilson duets with Loverboy’s Mike Reno. Including the soundtrack’s 1998 15th Anniversary Edition, this radio-friendly love song has subsequently appeared on a number of ‘80s pop compilation albums.
REVIEW:
Pairing Ann Wilson and Mike Reno in a romantic duet was an inspired choice, given the gorgeous melody. There’s no mistaking that their polished vocals are electric, as both of them are at the top of their game. The song’s weakness clearly isn’t Wilson and Reno; rather, it’s more the overly sentimental lyrics. Suffice to say, “Almost Paradise” risks soaring into romantic pop drivel.
Even so, as long as the lyrics are more of an afterthought, the song makes a good choice for ‘80s pop and road trip playlists. The only other caveat, ironically enough, stems from Footloose itself. Whether it’s interpreted as adult lust and/or loneliness, this song’s yearning context seems, at best, awkward, if applied to the film’s love-struck (and underage) teenagers portrayed by Kevin Bacon and Lori Singer.
Originally for 1983’s Octopussy starring Roger Moore, this James Bond tune was recorded by Rita Coolidge. This song has since been re-released on various compilation albums, primarily multiple updates of the Best of Bond … James Bond (which assembles the franchise’s theme songs to date).
Note:The Best of Bond … James Bond series includes a 40th anniversary edition in 2002 and a subsequent update in 2008 for Chris Cornell’s “You Know My Name” from Casino Royale.
REVIEW:
Reminiscent (or perhaps too imitative) of Carly Simon, Rita Coolidge’s breezy vocals are this tune’s best asset. Otherwise, “All Time High” would likely fade into easy-listening obscurity, as even casual fans might not recognize this classy Early ‘80s love song as a James Bond theme. Its chief claim to fame, otherwise, is that “All Time High” is the first Bond title song to exclude the movie’s title from its lyrics (1969’s On Her Majesty’s Secret Service’s instrumental theme, notwithstanding).
In an intriguing, yet perhaps not coincidental, twist, “All Time High” sounds vaguely similar to Lani Hall & Michel Legrand’s “Never Say Never Again,” — which was also released in 1983 for Sean Connery’s same-named Bond film competing against Roger Moore. While the sly Hall/Legrand tune is closer to a lounge act performance, Coolidge’s “All Time High” has a more polished melody. Frankly, it makes too little difference, as both of these 1983 Bond tunes are at best average.
If given a choice, though, one might prefer finding Hall’s “Never Say Never Again” over Coolidge’s “All Time High,” as Hall’s jazzy tune is catchier.
Composer-conductor Michael Kamen devised the instrumental, “Rowena,” for the soundtrack of the acclaimed 1995 Richard Dreyfuss drama, Mr. Holland’s Opus. A few years later, the Seattle Symphony Orchestra performed the track for the 1998 Michael Kamen’s Opus retrospective album.
REVIEW:
It isn’t distinctive, but composer Michael Kamen imbues “Rowena” with an intriguing sense of melancholy. This somber track conveys a down-to-earth narrative with appropriately poignant touches at the right moments. Though the theme perhaps overstays its welcome, “Rowena” should blend in well with instrumental and classical music playlists.
Released by Atlantic Recording Corporation in 1986, this soundtrack features ten vintage songs by the original artists. The tracks are:
Title: Artist: Running Time:
Everyday Buddy Holly 2:07
Let the Good Times Roll Shirley and Lee 2:22
Come Go With Me The Del Vikings 2:40
Whispering Bells The Del Vikings 2:25
Get a Job The Silhouettes 2:44
Lollipop The Chordettes 2:09
Yakety Yak The Coasters 2:49
Great Balls of Fire Jerry Lee Lewis 1:49
Mr. Lee The Bobbettes 2:14
Stand By Me Ben E. King 2:55
REVIEW:
It’s the kind of album that is easily overrated as nostalgia or simply easy to dismiss altogether. Saved for last, the title tune’s timeless magic is worth the price of admission alone. Yet, apart from Ben E. King’s classy presence, the Stand By Me soundtrack comes off as a merely a sample of American Graffiti’s far more extensive songbook. Even if this compilation is by no means remarkable, its well-chosen assortment offers a pleasant retro-style listening experience. The album’s ridiculously short running time, however, is its biggest detriment. If one doesn’t mind how fleeting this album really is, then it’s likely a worthwhile bargain.
PACKAGING:
All the tracks, artists, and their running times are listed on the case’s back cover. The fold-out booklet includes stills, a track listing; running times; composition credits; and artist credits.
It’s the sixth track of Madeleine Peyroux’s 1996 jazz-blues album, Dreamland. Peyroux also wrote this song.
REVIEW:
Harkening back to old school-style blues, Madeleine Peyroux does terrific work with this tune. With a strumming guitar as her acoustic backdrop, Peyroux’s appealing vocals makes “Always a Use” a real treat. The song probably isn’t worth a single download, but it serves as a wonderful advertisement for Peyroux’s Dreamland.
“Baby, Baby” first appeared as the lead single from Amy Grant’s successful 1991 pop crossover album, Heart in Motion. Part of a lyric in this song (which Grant also co-wrote) would inspire the album’s title. The song subsequently appears on Grant’s 2004 Greatest Hits: 1986-2004 album.
REVIEW:
This ultra-sunny pop tune won’t likely age well for non-fans. Still, Amy Grant’s delightful vocals outshine some gooey pop lyrics. The bottom line is that her down-to-earth charisma makes “Baby, Baby” work. In terms of “work,” more specifically, this bubble gum track is ideal for playlists geared towards young children, particularly for impromptu dancing.
From AC/DC’s seminal 1980 album, Back in Black, is its title tune, which experienced a resurgence in radio popularity due to its presence on 2010’s Iron Man 2 soundtrack.
REVIEW:
This classic AC/DC effort is frankly timeless, as it can match any power metal effort from any era. “Back in Black” is a definite ‘must-have’ for metal playlists. Like “Shoot to Thrill” from the same album, this tune’s raw energy is also ideal for workout playlists.
It’s the third track from Matraca Berg’s 1997 album, Sunday Morning to Saturday Night. Berg co-wrote the song with Stan Lynch. The rollicking music video depicts Berg hanging out with her pals (Martina McBride, Patty Loveless, Suzy Bogguss, & Faith Hill) before they are later ‘bailed out’ from jail by their real-life significant others.
REVIEW:
Including good-natured bits of ‘drunken’ humor, Matraca Berg’s honky-tonk bar tune is a contagious dose of fun. Berg, with some help from her all-star friends, sounds at the top of her game. The song’s night-out-with-the-girls ambiance makes “Back in the Saddle” an absolute gem.
The 1984-86 NBC TV opening credits theme was composed by Mike Post and Pete Carpenter, but, despite the album’s title, it’s not Post’s brief original version. Covering the theme is The Daniel Caine Orchestra for its 1999 instrumental tribute album, NYPD Blue: The Best of Mike Post.
REVIEW:
While a Riptide TV series soundtrack may not exist, this extended cover from The Daniel Caine Orchestra is a virtual replica of Mike Post’s work. For fans seeking this hard-to-find TV series theme, the cover is likely the best available option.
