Hollywood Records has issued the soundtrack from the new Dennis Quaid movie, In Good Company. The disc includes original score music by Stephen Trask (Hedwig and the Angry Inch), as well as Aretha Franklin's "Chain of Fools," Diana Krall's reworking of the Beatles' standard "Besame Mucho," and the '70s hits "Solsbury Hill" from Peter Gabriel and "Reelin' in the Years" from Steely Dan.
Hoping to capitalize on Eminem's sampling of Martika's '80s hit "Toy Soldiers" on his latest Encore album, the Columbia/Legacy label has issued a new Martika CD collection.
Toy Soldiers — the Best of Martika offers 15 tracks culled from her brief, late- '80s two-album career. Included is the hit "Toy Soldiers," along with a Japanese rendering of the song, two versions of her reworking of Carole King's "I Feel the Earth Move," the Madonna-esque hit "More Than You Know" and her smash collaboration with Prince, "Love … Thy Will Be Done." The disc includes a handful of other tracks, including two other Prince collaborations and Prince's mix of "Love … Thy Will Be Done."
If you love that old '80s synth sound, and don't dust off your old Martika LPs anymore, this one's for you.
Speaking of the '80s, Client is a cool, female electronica duo from Europe whose second CD is a perfect mix of haughty techno groove and retro dance floor delights. Formed by former members of Frazier Chorus and Dubstar, and embraced by Depeche Mode's Andy Fletcher (who signed them to his label and executive produced the disc), City mixes a modern techno-vibe, a la Garbage, Ladytron and Miss Kitten, with synth sounds that can't help but bring to mind early Erasure, Yaz and Depeche Mode.
While they haven't hit the radio here in the States, you may have heard them in the background on TV's "CSI Miami" and "Nip & Tuck." Anyone with a sweet tooth for the sometimes sterile synth sounds of '80s pop, or the aloof sounds of German-influenced electronic dance music, will love this disc.
City opens with the rippling piano and wash of synthesizer chords of "Radio" (which sounds a lot like England's Goldfrapp). The follow-up, "Come On," drives on a punchier synth-bassline, as the girls sing of getting their night moves going.
"One Day at a Time," one of the CD's best tracks, opens with a synthesizer mix that sounds right off of Yaz's classic Upstairs at Eric's album, while the teasing strut of the more upbeat and infectious "Pornography" feels like a lost Garbage track. While the synthesized '80s drumfest of "Down to the Underground" gets a little too repetitious, and the string-augmented ballad "The Chill of October" gets a bit draggy, overall City is a synth-pop lover's dream. They don't make 'em like this anymore … or, at least, not often.
After a failed run of albums on Capitol Records, Jimmy Eat World revived its career and hit it big a couple years back with the throbbing, crunchy-rock anthem "The Middle," from its self-titled Interscope debut. That song was ubiquitous on the radio for months; it begged the listener to sing along. Jimmy Eat World's follow-up, sadly, doesn't boast anything nearly as catchy as "The Middle," although the pounding energy of "Jen" does get the head banging.
For the most part, this is one of those mid-tempo rock albums that you can put on and basically forget about for 40 minutes. When it starts over, you'll find yourself thinking … hmmm, haven't I heard this before? Of course, that vague familiarity pervades all the songs on the disc, so that's not too surprising.
Futures doesn't hurt to listen to, it just never says anything to make you sit up and take notice. They may find themselves looking for another career revival record after this release.