Welcome to the massive group effort Film [Soundtrack] Festival! From November 1-14, we’re covering all sorts of movie soundtracks. There’ll surely be lots for everybody! Huge thanks to Bruce at THE VINYL CONNECTION for this fantastic group post idea! COMMUNITY!
First off is one of the big singles, the bouncy pop (as only he can do it) of Phil Collins’ Two Hearts. It’s a classic, and listening now it’s hard to imagine it was done for this soundtrack, not culled from one of his albums. Crazy. Then we go to The London Film Orchestra/The Hollies with Just One Look, which is an odd gluing together of orchestra bits at the beginning, with jangly 60s guitar Beatles-ish pop of the Hollies. They do it again with The London Film Orchestra/Phil Collins, on Big Noise. I don’t think I’ve ever heard/seen that done before. Anyway, Big Noise blasts along at high speed and still sounds exactly like Phil Collins (you know what I mean).
Anne Dudley’s The Robbery is next. It features a whole mashing together of different orchestral score sounds (gentle, tense, jubilant, etc) with the occasional guitar solo. Then we shift without a clutch into Sonny And Cher’s I Got You Babe. Next! The Spencer Davis Group’s Keep On Running is here, which is fun seeing as how I also recently heard it on the Mr. Holland’s Opus soundtrack. It’s a fun tune you know well.
Next it’s another melding of The London Film Orchestra with a band, this time The Four Tops, on the Motown-sound Loco In Acapulco. It’s not their greatest song, I’ve gotta say. Gerry And The Pacemakers are next, with the sweet How Do You Do It? This sounds like something my Mom would have had on her jukebox of oldies.
The London Film Orchestra/Dusty Springfield join forces on I Just Don’t Know What To Do With Myself. Hard not to hear the White Stripes’ version here! Then it’s The London Film Orchestra/The Searchers, with Sweets For My Sweet, more jangly 60s pop with lots of “ooo oo ooo” backing vocals.
Anne Dudley is back, this time with more film score music on Will You Be Waiting?, which is gentle dreamy music that builds but not much, and then just peters out on its own. And finally, another tune you could swear was off an album but was actually done for this soundtracks, we’re bookended by Phil Collins’ Groovy Kind Of Love. You know this one.
This is a pretty good soundtrack. It’s been so long since I saw the film, but I assume all of the score/song work done here is integral to the film scenes, as it feels built that way. It’s an interesting technique, and doesn’t ruin anything (unless you want one of the band songs for a mix there’s no way to seperate them). The Phil Collins songs here are the best bit. What huge songs!