From his 2014 album, Sun, European composer-musician Thomas Bergersen performs this track, which appears as # 6.
REVIEW:
Bursting with a fresh sense of energy, Thomas Bergersen’s “A New Life” incorporates contemporary electronica within an epic Celtic backdrop. The multiple vocal strands by a chorus provide further classiness. For fans of epic score-style instrumentals, adding “A New Life” to a favorite playlist makes good sense.
It is Enya’s seventh track off her 1992 Shepherd Moons album. The song appears as the primary theme for Ron Howard’s Far & Away historical romance (starring Tom Cruise and Nicole Kidman) released that same year.
REVIEW:
It’s vintage Enya. Bolstered by a compelling melody, Enya’s poignant vocals prove ideal for an epic journey. Clearly, Ron Howard’s production team made an insightful decision choosing “Book of Days” as Far & Away’s timeless and mood-setting theme. Either as a single download, or as a centerpiece for Shepherd Moons, this track is highly recommended.
Released by MCA Records in 1985, this eleven-track album has the following songs
The Original Miami Vice Theme Jan Hammer (1:00)
2. Smuggler’s Blues Glenn Frey (3:48)
3. Own The Night Chaka Khan (4:49)
4. You Belong to the City Glenn Frey (5:49)
5. In the Air Tonight Phil Collins (5:27)
6. Miami Vice (Extended Theme) Jan Hammer (2:26)
7. Vice Grandmaster Melle Mel (4:59)
8. Better Be Good to Me Tina Turner (5:08)
9. Flashback (Instrumental)Jan Hammer (3:20)
10.Chase (Instrumental) Jan Hammer (2:38)
11. Evan (Instrumental) Jan Hammer (3:06)
Note: MCA Records released Miami Vice II (a sequel soundtrack) in 1987.
REVIEW:
Considering nearly half the album is Jan Hammer’s synthesizer magic, this first season soundtrack is terrific. Hammer’s last three tracks were often recycled during the series; of them, the haunting Evan still retains its dramatic punch. Five of the remaining six tunes serve as an early Miami Vice highlight reel, as Glenn Fry’s two songs and Phil Collins’ In the Air Tonight are virtually synonymous with the series. Solo tracks from Tina Turner and Chaka Khan also made well-known appearances in the first season.
Only one track doesn’t age well: Track 7’s Vice rap song, which rapidly overstays its welcome. Even so, this somewhat abbreviated album is an energetic time machine for nostalgic fans of the 1984-89 NBC TV series. The one downside is that some extra songs would have been appreciated.
PACKAGING:
The tracks, artists, and running times are included on the disc. The packaging, otherwise, is standard-issue for the era.
Released by Morgan Creek Music Group in 1991, this ten-track album consists of:
Overture and a Prisoner of the Crusades(From Chains to Freedom) Michael Kamen (8:27)
2. Sir Guy of Gisborne /The Escape to SherwoodMichael Kamen (7:27)
3. Little John and the Band in the ForestMichael Kamen (4:52)
4. The Sheriff and the WitchMichael Kamen (6:03)
5. Maid MarianMichael Kamen (2:57)
6. Training – Robin Hood, Prince of ThievesMichael Kamen (5:15)
7. Marian at the WaterfallMichael Kamen (5:34)
8. The Abduction /Final Battle at the GallowsMichael Kamen (9:53)
9. (Everything I Do), I Do It For YouBryan Adams (6:38)
10. Wild Times Jeff Lynne (3:12)
Note:For this album, Kamen conducts the Greater Los Angeles Orchestra.
REVIEW:
The extended version of Bryan Adams’ hit song is unquestionably the highlight. Yet, the emotional complexity of conductor Michael Kamen’s orchestral score secures this soundtrack as a true winner. Beyond all its boisterous action crescendos, romantic serenity, and rustic interludes, Kamen complements the film’s plot by appealing to listeners’ sentiments for any given sequence. His work makes it refreshingly easy to visualize the movie’s twists based on just the music cues alone.
The dark Sheriff and the Witch is likely the hardest to identify, but its ominous undertones give Alan Rickman’s conniving Sheriff of Nottingham and Geraldine McEwan‘s witch their sinister due. Likewise, Maid Marian and especially Marian at the Waterfall imbue Marian & Robin’s developing love story with an elegantly serene contrast to the eerie Track 4.
The sole weak inclusion is Jeff Lynne’s forgettable Wild Times, which does little more than complete the film’s playlist. Even so, the other nine tracks are a first-class instrumental narrative for the film.
PACKAGING:
The album’s tracks are listed on the CD case’s back cover, but their running times aren’t included. The classy double-sided, twelve-panel insert includes a brief introduction by screenwriters-producers Pen Densham & John Watson; primary cast photos; some film stills; technical credits; and obligatory album thank-you’s. The CD case itself is sturdy and well-protects the disc.
In 1985, composer/conductor Bill Conti and The London Symphony Orchestra released an instrumental album consisting of highlights from 1983’s The Right Stuff and 1985’s North and South TV mini-series. This suspenseful piece recurs throughout the North and South saga.
Note:As of 2008, a limited-edition CD set of Conti highlights from North and South Books One & Two was released.
REVIEW:
Familiar to North and South fans, this short track plays up some of the epic’s possibly confrontational cues. As brief as it really is, “A Close Call” is a solid enough instrumental from composer-conductor Bill Conti. It just makes one want to hear more of the North and South score.
Released by PolyGram Records in 1990, this Jon Bon Jovi showcase ‘inspired’ by the film Young Guns II includes two songs featured in its closing credits; an instrumental; and eight other tunes reflecting the film’s thematic content. Other than Alan Silvestri’s instrumental “Guano City,” the song lyrics and music are composed by Jon Bon Jovi.
Track 1: “Billy Get Your Guns” (from the film’s closing credits). Running Time: 4:48.Notes:A sample of Billy the Kid’s film dialogue by Emilio Estevez is its intro. Among its guest musicians are Randy Jackson; Aldo Nova; Elton John (on piano); and Jeff Beck.
Track 2: “Miracle.”Running Time: 5:08.Notes:Guest musicians include Randy Jackson; Aldo Nova; and Jeff Beck; as well as back-up vocalists Myrna Matthews; Julia Waters; and Maxine Waters.
Track 3: “Blaze of Glory” (from the film’s closing credits). Running Time: 5:44.Note:A tense dialogue clip between Kiefer Sutherland’s ‘Doc’ Scurlock and Emilio Estevez’s Billy is the intro.
Notes:Silvestri contributes to its string arrangement.
Track 6: “Justice in the Barrel.” Running Time: 6:49. Note:The back-up vocalists include actor Lou Diamond Phillips; Julia Waters; Maxine Waters, and Myrna Matthews.
Track 7: “Never Say Die.” Running Time: 4:53.
Track 8:“You Really Got Me Now.” Running Time: 2:23.ote:Little Richard is on piano and back-up vocals.
Track 9: “Bang a Drum.” Running Time: 4:36.Note:The back-up vocalists are Maxine Waters; Myrna Matthews; and Julia Waters.
Track 10: “Dyin’ Ain’t Much of a Livin.’” Running Time: 4:39.Notes:Elton John is on piano and adds extra vocals. Myrna Matthews, Maxine Waters, and Julia Waters provide further back-up vocals.
Track 11: “Guano City” (from the film). Running Time: 1:00.Note:Silvestri is its composer-conductor.
REVIEW:
Instead of a vanity solo project, Blaze of Glory confirms Jon Bon Jovi’s multi-talented arsenal. The album’s appeal smartly mixes rock tunes (i.e. “Billy Get Your Guns;”“Justice in the Barrel;” and, of course, “Blaze of Glory”) with poignant ballads (“Miracle;”“Santa Fe;” and “Blood Money”). Track 10 is a fourth ballad, “Dyin’ Ain’t Much of a Livin’” that insightfully echoes the fallout from the gang’s climatic shootout with Pat Garrett’s posse. The other tunes blend in fairly well, as “Never Say Die,” for instance, fits the film’s shoot-and-run antics. Only Track 8’s “You Really Got Me Now” is an instance of rollicking barroom filler.
Though hearing more of Silvestri’s instrumental score would have been appreciated, “Guano City” is still a minute’s worth of action-packed suspense. Despite Blaze of Glory being only a partial soundtrack (more of Silvestri’s work would have been appreciated), Jon Bon Jovi capably delivers plenty of entertainment.
Note:This album helped spawn a dubious Hollywood trend (i.e. 1995’s Batman Forever) where much of a movie soundtrack was merely ‘inspired’ by the film.
PACKAGING:
The tracks and their running times appear on the disc and the case’s back cover. The fold-out insert is a mini-poster of Jon Bon Jovi on one side. The flip side consists of: song lyrics; musician credits; technical credits; and thank-you notes.
Recycling several of the first film’s tunes, one might expect merely a glorified rehash. Yet, this classy album often gives some well-worn ABBA hits a fresh spark. Compensating for forgettable male vocals (in the flashbacks) are several knockout efforts from Lily James as ‘Young Donna.’ As necessary, she gets terrific back-up from Alexa Davies and Jessica Keenan Wynn. In the present-day songs, Amanda Seyfried sparkles, as heard in Track 3: “One of Us.” In Meryl Streep’s place, Seyfried impressively holds her own with solid contributors Julie Walters and Christine Baranski (whom we hear too little of).
Track 13’s ensemble rendition of “Dancing Queen” is fine, but it sorely misses Streep’s presence. Though they have decent voices, Stellan Skarsgård and Colin Firth vanish among the back-up vocals on this track, which isn’t a bad call. The same applies to Track 17: “Super Trouper,” as the female vocals easily overwhelm the guys re: the minimal contributions they actually make. That said, Pierce Brosnan’s cameo on Track 10: “Knowing Me, Knowing You” is undeniably dreadful, and should have been edited out.
Cher so dominates Track 15: “Fernando,” that she utterly drowns out Andy Garcia. Though the melody retains its charm, Cher’s overbaked ‘it’s all about me’ vocals sabotage this duet. Still, the poignant Tracks 16 and 18 are stellar, particularly for Steep’s inclusion. Track: 16: “My Love, My Life” is an elegant lullaby-like ode to the enduring bond between mothers and daughters. Concluding with Streep’s enigmatic “The Day Before You Came” reminds listeners why her underrated vocals were the first album’s secret weapon. Her track’s melancholy offers an intriguing finish to an otherwise sunny album – especially, as its continuity to the storyline is debatable.
Overall, this album’s reliance upon James & Seyfried is smart thinking. In particular, James is the album’s MVP, as she single-handedly holds up the album’s first half. Not as endearing as the inspired first soundtrack, Mamma Mia! Here We Go Again compensates for puny male vocals with high-caliber performances by the actresses (not counting Cher’s diva turn).
PACKAGING:
The tracks and performers are listed on the case’s back cover. The tracks are also listed on the CD itself. However, the track running times aren’t included. The booklet insert is nicely decorated with numerous stills from the film. The booklet also contains each song’s lyrics; cast credits; composer & musician credits; and a two-page introduction.
Released by Capitol Records for the 1988 romantic crime drama starring Michelle Pfeiffer, Mel Gibson, & Kurt Russell, this ten-track compilation consists of:
1: Surrender to Me Ann Wilson & Robin Zander (4:08)
2: Do You Believe in Shame? Duran Duran (4:24)
3: Recurring Dream Crowded House (3:24)
4: Give a Little Love Ziggy Marley & the Melody Makers (4:02)
5: Don’t Worry, Baby The Everly Brothers & The Beach Boys (3:18)
6: Dead on the Money Andy Taylor (4:05)
7: Unsubstantiated The Church (3:32)
8: Beyond the Sea Bobby Darin (2:54)
9: Tequila Dreams Dave Grusin & Lee Ritenour (4:17)
10: Jo Ann’s Song Dave Grusin & David Sanborn (4:11)
REVIEW:
Consider it Miami Vice-Lite. Adhering to standard-issue 80’s soundtrack formula, this classy playlist distances itself from Miami Vice’s edginess with a breezy, low-key ambiance. Its ballads (i.e. Ann Wilson & Robin Zander’s haunting “Surrender to Me” and The Church’s “Unsubstantiated”) mesh well with stellar 80’s rock (Duran Duran; Crowded House); jazzy pop (Bobby Darin); reggae (Ziggy Marley); easy-going cruising (the Everly Brothers-Beach Boys team-up); and a one-two finish from Dave Grusin’s up-tempo, instrumental jazz. Only Andy Taylor’s pulsating rock tune, “Dead on the Money,” sounds out of place, but this exclusive tune is still enjoyable.
Tequila Sunrise’s best asset is variety, so one should consider it a musical cocktail worth adding to a favorite 80’s playlist.
PACKAGING:
The back cover accurately spells out the songs, artists, & songwriters. The album insert reiterates this information and adds producing-recording-mixing credits. Individual running times aren’t provided, but the songs are listed in order on the disc.
Released by Rhino Records in 1995, this sixteen-track CD consists of vintage 1980’s TV theme songs by their original artists. These tunes are mostly expanded radio-length versions or later-season updates of the original theme. The CD includes a booklet providing synopsis information for each track. The tracks are:
1: WKRP in Cincinnati Steve Carlisle (2:55)
2: The Dukes of Hazzard (Good Ol’ Boys) Waylon Jennings (2:10)
3: The Facts of Life Gloria Loring (0.55)
4: Dynasty Bill Conti (3:29)
5: The Greatest American Hero (Believe It or Not) Joey Scarbury (3:15)
6: Hill Street Blues Mike Post (3:15)
7: Family Ties (Without Us) Johnny Mathis & Deniece Williams (3:55)
8: Silver Spoons (Together) Bob Wirth & Ric Howard (1:02)
9: Cheers (Where Everybody Knows Your Name) Gary Portnoy (2:35)
10: Miami ViceJan Hammer (2:29)
11: Who’s the Boss? (Brand New Life) Larry Weiss (1:04)
12: Charles in Charge Shandi (1:01)
13: The Equalizer (Busy Equalizing) Stewart Copeland (3:19)
14: Growing Pains (As Long As We Got Each Other) B.J. Thomas & Dusty Springfield (4:23)
15: The Love Boat Dionne Warwick (1:46)
16: My Two Dads (You Can Count on Me) Greg Evigan (1:00)
REVIEW:
It’s best to group these tracks into categories to explain them.
Tracks 1; 2; 4; 6; 7; 9; and 13.
These rare tracks are radio-length versions, especially as WKRP in Cincinnati; The Dukes of Hazzard (Good Ol’ Boys); Family Ties (Without Us); and Cheers (Where Everybody Knows Your Name) include additional lyrics. Waylon Jennings and Gary Portnoy add some good-natured humor to their contributions.
Tracks 5 and 10.
These standard, radio-length versions are still occasionally heard on the radio.
Tracks 8; 12; and 16.
These sixty-second tracks are the original theme songs per its show’s opening credits. As the album’s shortest recording, My Two Dads (You Can Count on Me) dubiously pads its length with a canned laugh-track.
Tracks 3; 11; 14; and 15.
These four sunny tunes were utilized as later-season updates and/or for its program’s final season. Growing Pains (As Long As We Got Each Other) is the only radio-length version in this bunch.
The accompanying booklet relates the tracks’ radio play history and related trivia notes. For instance, who knew that it took Gary Portnoy multiple tries to compose a theme song that finally satisfied the Cheers producers? Sporting solid audio quality, Tube Tunes, Vol. 3 – The ‘80s is a neat collection for TV nostalgia buffs that doesn’t wear out its welcome or, for that matter, pause for annoying commercials. Even with sixteen tracks, the inevitable downside is that album’s running time flies by fast.
PACKAGING:
The front cover image is a cartoony group caricature of featured stars: Loni Anderson; Ted Danson; Gavin MacLeod; Don Johnson; and Joan Collins, squeezed together on a couch watching TV. The back cover provides accurate product information.
BRIAN’S ODD MOON RATING: 6 Stars
Note:As a recommendation, TVT Records released several 65-track TV theme song albums in the mid-1990’s, with the original artists. These tracks all reflect their original opening credits running time. Television’s Greatest Hits, Volumes 5-7 (which covers the span of the 1970’s into the 1990’s) would nicely supplement this Tube Tunes album.
Courtesy of Apollo Four Forty, this energized disco remix of composer Jack Elliott’s original TV theme appears on the 2000 Charlie’s Angels movie soundtrack.
REVIEW:
Serving as a closing credits theme, Apollo Four Forty’s hip reboot is music’s equivalent of an adrenaline rush. In that sense, hearing Jack Elliott’s familiar TV instrumental getting some fresh life is cool. The problem is that this remix’s obnoxious high-pitch instrumentals may rapidly grate on one’s ears. Hence, due to sheer repetition, its four-minute running time drones on far longer than it really should. Still, “Charlie’s Angels 2000” is ideally suited for workout playlists — and possibly long road trips.
