With Oliver!, Lionel Bart created one of the most enduring musicals of all time. Yet there was more to Bart than just the one show - though it was the only international hit he would ever write. In between palling around with The Rolling Stones and Andrew Loog Oldham at the height of Swingin' London, Bart dominated the pop charts and the musical theatre stage. Now, Cherry Red's el label has celebrated this quintessential British songwriter on a new 5-CD box set. Consider Yourself! The Highs
Welcome to today's Release Round-Up for the first international Friday release date! Like you, we're still adjusting to the switch from Monday in the U.K./Tuesday in the U.S. to a worldwide Friday date. Please sound off in the comments below on whether you would like to see us run this longtime feature each Friday, or earlier in the week (so that you may plan ahead for Release Day)! The Hollies, Changin' Times: The Complete Hollies, January '69 - March '73 (Parlophone) (Amazon U.S. /
For many, the sound of John Barry epitomizes the sound of the spy thriller. It’s no surprise – with 12 James Bond films under his belt, the late, great British composer imbued his melodies with the right amount of adventure, humor, tension, sophistication, and well, sex. It’s fitting that Barry opens Ace Records’ superlatively entertaining new anthology Come Spy with Me: The Secret Agent Songbook, collecting 25 samples of swinging music from spies and secret agents (and even a handful of
TABU Reborn, Wave 3: The S.O.S. Band, S.O.S. / Cherrelle, High Priority / Alexander O'Neal, Hearsay / Kathy Mathis, Katt Walk (Tabu/Edsel) The latest wave of Tabu reissues available from the U.K.: all have bonus tracks, with Cherrelle and Alexander O'Neal's sets presented as two-disc packages. Amazon U.K. links are above; here are U.S. links for The S.O.S. Band, Cherrelle, Alexander O'Neal and Kathy Mathis. Burt Bacharach, Anyone Who Had a Heart: My Life and Music (Harper) One of the
When Sean Connery first uttered the immortal words “Bond…James Bond” fifty years ago in the film Dr. No, the template for the long-running movie series was already set. That soon-to-be-signature phrase was joined in the film by a piece of music that would quickly rival those three words for familiarity. John Barry’s arrangement of “The James Bond Theme” not only helped cement the silver screen icon of 007 but virtually became a genre unto itself, that of spy music. The spy film craze may have
Dame Shirley Bassey first blazed into the American consciousness in 1964 singing the immortal theme to Goldfinger. Bassey's full-throttle take on the John Barry/Anthony Newley/Leslie Bricusse song became her first and only American Top 10 single, and helped the film’s soundtrack recording climb all the way to the top spot. Bassey returned to both John Barry and James Bond with the themes to Diamonds are Forever (1971) and Moonraker (1979), but she never again scaled the heights of commercial