From PT Anderson’s 1999 film “Magnolia,” the audacious scene where all of the lead characters (who are experiencing incredible emotional trauma) sing along to Aimee Mann’s tremendously emotional song “Wise Up.” A brilliant and artistically ballsy scene and one of the reasons PT Anderson is our generation’s greatest filmmaker.
Continuing the Walter Hill thread from the last post is this seminal R&B song prominently used in Hill’s 1982 film “48 Hours” The film featured Eddie Murphy’s debut as a film actor and 30 years later, is still one of the most electrifying debut performances in movie history. The song is amazing and the Bus Boys, a tremendously underrated R&B / rock band from the early 1980s, were like the Blasters, albeit with more of a Stax-Volt feel. Another great band that didn’t fit into any prescribed niche and therefore, slipped through the cracks commercially.
OK, I’m blaming the selection of this guilty pleasure on my daughter’s theater group doing “Les Miserables” this week. Let’s just say I’ve been feeling a little “Fosse” the last few days and if you give me any s–t about it, I will post Neil Diamond’s horrendously inappropriate cover of “I Dreamed a Dream” to punish you. Don’t think I won’t do it.
Anyway, I’ve always liked this song and the movie it came from (“Streets of Fire”). Arguably, Jim Steinman’s finest hour as a writer/producer. And even if you don’t like it, you can see Diane Lane strutting her stuff (NEVER a bad thing!), while Michael Pare, Willem Dafoe, Robert Townsend, Mykelti Williamson, and Lee Ving (from the beyond politically-incorrect punk band Fear) do their thing in the background.
Mott the Hoople’s 1974 album “The Hoople” is a great, but uneven collection of songs that shows the band at a crucial, albeit schizophrenic crossroads. Many the songs seem written for a rock and roll Broadway musical, while others (the Marilyn Manson/Alice Cooper-like “Crash Street Kidds”) seem to be anticipating punk a few years later. “Marionette” is from the Broadway end of things, albeit creeping towards the Cooper/ Manson side. Somewhere Meat Loaf and his producer/collaborator Jim Steinman are taking notes.
An unusual, but wonderful cover of the Peggy Lee classic from 1969 that Harvey recorded for the soundtrack of Julian Schanbel’s wonderful biopic on Jean-Michel Basquiat from 1996 (“Basquiat”).
Continuing the melodramatic early 1970s piano/strings ballad vibe, comes this remarkably gorgeous ballad from 2010. I just heard this for the first time today and it reminded me of the type of song that would not have been out of place on a Harry Nilsson or Badfinger album back in the day. I think the accompanying video leaves much to be desired, but the song is a winner.
From the infamous “lost weekend” album that Lennon recorded with Nilsson (“Pussy Cats”) in 1974, comes this lush, melodramatic ballad that makes “Without You” sound like “We Got the Beat.”
The stunning opener from O’Connor’s debut album “The Lion and the Cobra.” It’s the song that hooked me when someone played this album in the record store I was hanging out in during the winter of 1987-1988. Even 25 years later, it still puts chills up my spine.
The Breeders do a subdued, but beautiful cover of the song that’s arguably the emotional centerpiece of the musical “Hedwig and the Angry Inch.” Recorded for the Hedwig tribute album “Wig in a Box.”
Another rare punk music video from the late 1970s. Yes, the pastel suits are a bit much, but they disguise how terrifically nasty and ferocious this really is. Very reminiscent of Alice Cooper at his best, with a distinct late 1970s punk feel. This was a Top 40 hit in England back in the day.
Dave's Strange World 