RCA Victor (09026-63583-2)
Release Date: February 1, 1999
Conducted by David Arch
Formats: CD, Digital
|1.||"Don't Fence Me In" - David Byrne||3:29|
|2.||"It Must Be Love" - Madness||3:23|
|3.||"(Your Love Keeps Lifting Me) Higher and Higher" - Jackie Wilson||2:59|
|4.||"Just a Gigolo / I Ain't Got Nobody" - Louis Prima||4:42|
|5.||"Hernando's Hidaway" - Billy May's Rico Mambo Orchestra||2:17|
|6.||"Cha Cha on the Moon" - Pay Reader||1:46|
|7.||"Little Arrows" - Leapy Lee||2:41|
|8.||"You're The First The Last My Everything" - Barry White||3:24|
|9.||"The First Time I Saw Your Face" - Jane Powell||4:20|
|10.||"Hit The Road Jack" - Buster Poindexter||3:15|
|11.||The Bachelor Score Medley||10:15|
|Total Album Time:||42:31|
|by David A. Koran
June 23, 2001
Of course, as mentioned above, David Byrne's take on Cole Porter's "Don't Fence Me In," whose original mix resided on the AIDS benefit album, Red Hot + Blue, starts off the mix of peppy pop that doesn't stop till Buster Poindexter's take on "Hit The Road Jack." Ahhh, to remember the 1980s. Granted, this is not to say that the entire album simply spans that decade of sometimes memorable, sometimes forgettable hits and misses. We also have entries from Louis Prima, Jackie Wilson, and Barry White, covering their hits from the 50's, 60's and 70's respectively. Barry White's entry, "You're The First, The Last, My Everything" has been heard quite a lot on film soundtracks in the past 5 years, sparking a kind of resurgence for the artist that helped, in one way or another, conceive a good chunk of the twenty-somethings out in the world today.
The rest of the album is littered with expressive salsa-influenced lounge jazz-like songs and score. Albeit, the score is restrained to the ten-minute medley-suite at the end of the album, but it correctly follows the same vein as the pop entries on the album. Actually, I can tell that at least on passage was inspired by Francis Lai's "A Man & A Woman (Un Homme Et Un Femme)" and was most likely temp tracked with it. David A. Hughes and John Murphy did justice to their interpretation and it flowed quite easily in the suite. Given the premise of the movie, the compilation, as well as the score serve the film well, even if it came and disappeared quickly at the box office, at least give a shot for a listen if you want something different for the tin-eared music appreciating society.
Enter your e-mail address to receive weekly soundtrack and film score news:
If any information appears to be missing from this page, contact us and let us know!