American Idol alum Kimberley Locke sings this original R&B track for her 2003 album, One Love. Locke is also among the track’s co-writers.
REVIEW:
It’s a dose of surefire R&B from Kimberley Locke. Working with an ideal melody, Locke’s appealing vocals have a knack of making this song’s love-gone-awry lyrics come to life. At a minimum, “You’ve Changed” offers a persuasive advertisement to considering downloading Locke’s classy album — frankly, it’s an underrated gem of a debut.
For his 1996 dance-electronica album, Dreamland, composer-musician Robert Cocina (aka Robert Miles) ends it with this instrumental (Track # 11). There’s also brief and foreboding sound effects, including an uncredited feminine voice murmuring her love.
REVIEW:
It is Dreamland’s only ominous tune, as there’s a vaguely sinister undercurrent worthy of a movie soundtrack. While “Red Zone” isn’t memorable, it’s still a pretty good option for dance playlists and various workouts.
This ballad by U2 is the seventh track on 1994’s Reality Bites movie soundtrack. The song is originally from U2’s Rattle and Hum album released in 1988.
REVIEW:
It’s vintage U2. While The Knack’s effervescent “My Sharona” is the tune most associated with Reality Bites, it’s this somber U2 effort (even as a re-issue) that steals the soundtrack. Imbued with thought-provoking lyrics and a poignant melody, “All I Want Is You” is highly recommended.
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.
“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.
Recorded as the love song for Disney’s 1993 Three Musketeers movie soundtrack (complete with an MTV video), Bryan Adams teams up with Sting and Rod Stewart. Among the albums this ballad later appears on is Adams’ second career retrospective: 1999’s The Best of Me.
REVIEW:
Deploying an upbeat approach, it treads the same chivalrous turf as Peter Cetera’s “Glory of Love” ballad, which serves as the love theme of 1986’s Karate Kid, Part II. Working off a catchy melody, the good-spirited harmony amongst Sting, Stewart, and Adams remains this track’s best asset. Mostly deferring to his two cohorts, Adams’ husky vocals deliver solid support in the choruses.
However, the Three Musketeer-themed lyrics, unfortunately, are so schmaltzy that the tune risks becoming a real eye-roller. There’s no doubt that the intent was to copycat Adams’ 1991 “Everything I Do (I Do It for You),” but Adams and co-writer/producer Robert “Mutt” Lange don’t come close to recapturing their hit song’s magic. The forgettable “All for Love” just isn’t in the same league, especially with a string of half-hearted clichés that the Sting-Adams-Stewart trio are stuck pitching.
If “Everything I Do (I Do It for You)” hadn’t already existed, this knock-off might have well taken its place as Hollywood’s best swashbuckling love song. Instead, “All for Love” only ages so well for an even more hollow reason than listeners practically tasting the syrupy lyrics. This mercenary tune plays like it’s the equivalent of Adams, Sting, and Stewart cashing their hefty paychecks.
Released in 1995 by Elektra Entertainment Group, Tigerlily represents Merchant’s solo debut after she parted ways as lead vocalist of 10,000 Maniacs. In addition to her demure vocals, she also plays piano, organ, and vibraphone on the album. All written by Merchant herself, the eleven tracks are:
Track: Running Time:
San Andreas Fault 3:57
Wonder 4:26
Beloved Wife 5:03
River 5:32
Carnival 5:59
I May Know the Word 8:07
The Letter 2:12
Cowboy Romance 4:39
Jealousy2:11
Where I Go 3:59
Seven Years 5:30
REVIEW:
One shouldn’t judge Merchant’s Tigerlily solely on its three radio hits (and heavily-rotated VH-1/MTV videos): Carnival; Wonder; and Jealousy. These three songs are indeed superb. Yet, it’s the other eight tracks that explore Merchant’s duality as vocalist and insightful songwriter/storyteller.
Imbued with poignancy (i.e. Track 4 honors late actor River Phoenix), the low-key Tigerlily is reminiscent of spoken word poetry, as its mixture of rock, pop, folk, and bluegrass is first-class. Merchant’s elegant and often folksy ballads convey a welcome sense of artistic unpredictability, whether it’s urban commentary (Carnival); the loneliness of old age (Beloved Wife); the birthright into womanhood (Wonder); or romantic heartache (Seven Years). Merchant’s down-to-earth voice really does bring Tigerlily to life. In impressive fashion, her heartfelt effort is definitely worth experiencing.
PACKAGING:
The tracks and running times are listed on the CD’s back cover. The booklet consists of: each song’s lyrics; technical credits; and black-and-white portraits of her three primary band members: Jennifer Turner; Peter Yanowitz; and Barrie Maguire. Also included is a black-and-white photo of Merchant (and the dog, Gracie) casually collaborating with the three musicians, as well as four black-and-white head shots of Merchant.
Released by Interscope Records in 2012, this album consists of the eleven tracks below. The songs were written by Imagine Dragons, with Alex Da Kid and Josh Mosser as co-writers on Tracks 1, 4, 5 (Da Kid only), and 9.
Track: Running Time:
Radioactive 3:06
Tiptoe 3:14
It’s Time 4:00
Demons 2:57
On Top of the World 3:12
Amsterdam 4:01
Hear Me 3:55
Every Night 3:37
Bleeding Out 3:43
Underdog 3:29
Nothing Left to Say / Rocks 8:56
REVIEW:
Leading off with the catchy radio hit, Radioactive, Imagine Dragons are in excellent radio-friendly form on this album. Though some of their melodies aren’t too distinctive, the band smartly balances Night Visions’ generally upbeat tone with slower-paced tracks (i.e. Tracks 4, 6, 9, and 11). Along with Radioactive, the album standouts are most likely It’s Time, Demons, and Every Night. For road trips, workouts, or just a work playlist, Night Visions provides solid ear candy.
PACKAGING:
The tracks are listed on the CD’s back cover. The booklet consists of a two-page spread portrait of the band; each track’s lyrics; and, separately, the track credits. The track running times aren’t included. The CD case is standard-issue.
