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Show The Sail Lake Tritium Pop Records: Robert Hilburn By Sound-trac- leased tracks by other artists and additional music and adaptations by David Shire;, Giorgio Moroders Midtense, synthesizer-accentenight Express" and Stevie Wonder's inspiring "Journey Through the Secret Life of Plants." (Many soundtrack albums, purists will note, contain music that did not actually appear in the film.) There is an equally valuable group of sound-tracalbums that failed to capture the attention of the mass pop audience. The best moments of those LPs reflect the character and special vision that is the hallmark of all prized pop works. In his movie scores, Cooder, a Los Angeles guitarist, mixes country, blues, soul - ,d rock styles into a rich blend of grass-root- s Americana. The moody, chiefly instrumental approach is flexible enough in most of the film to convey both the romanticism of people who cling to the nations independent spirit and the darker, violent side of that same frontier instinct. Because Louis Malle's film "Alamo Bay deals with exactly that conflict, it is easy to see why Cooder was chosen to do the music. The album (on Slash Records) opens with a wistful, guitar-honesuggestion of the lingering potential of the American Dream, but gives way rapidly to the explosive frustration of Texas fishermen who resent the economic competition of Vietnamese refugees. Elsewhere, the LP moves from a wary, country-flavore- d love song (sung by John Hiatt and actress Amy Madigan) to the combative The Last Stand (featuring an appropriately agitated vocal by Fears Lee Ving). Paris, Texas (Warner Bros.) is an even moodier expression of the psychological dislocation that is at the heart of Wim Wenders film. Though further from pop accessibility than Alamo Bay, the score may be an even more affecting work because so much of it is told simply through shaped portraits that are as softly searching and gently probing as the film itself. While the brightly designed Old West textures of The Long Riders and the rugged intensity of The Border are also recommended, these two recent Cooder collections provide the most helpful introduction to todays look at hidden jewels. Here are some other key links in the rock n reel connection, limited to albums that never made the Billboard Top 100 sales chart (most never even made the Top 200). The list, which is chronological, also is limited to one LP per Los Angeles Times Writer I enjoy putting together Top 10 album lists so much that I have found a way to stretch it into a yearlong pro- cess. Every time an album arrives that I like, I place it on an office shelf in order of preference, so that I can see my current Top 10 at any given moment during the 12 months. In view of all this time devoted to my Top 10, I was surprised to see Ry Cooders "Alamo Bay" sound track on Time magazine's Top 10 albums of k 1085. The reason for the surprise: I had played "Alamo Bay" often during the year and enjoyed it, but never put it on my shelf. The same with a second Cooder sound track from 1985: "Paris, Texas." I have generally thought of sound tracks as a breed apart: albums whose primary intent was to serve the film, not the pop audience. Playing the albums again, I realized, however, there is a whole history of worthy sound-trac- k recordings that deserve to be considered in a wider pop context albums by Cooder (including "The Long Riders and "The Border) and other k figures notably Randy Newman, Jack Nitzsche, Mark Knopfler and Tangerine Dream. Together, they compose what we might describe as the hidden jewels in the rock 'n' reel connection. In the 50s and '60s, rock fans learned pretty much to stay clear of sound-trac- k recordings. They would buy them to get a particular theme song or hit single, and find the rest of the LP to be simply background ork chestral music without sensibilities. The rule became: Just buy the single. Today, that has changed. The aim with a high percentage of sound-trac- k records today is almost k sensibilsolely to fuel the ities that those albums once ignored. That trend, which just packs tunes by various artists together in hopes of getting some hit singles, has been bad for movies (the music does little to enhance the dramatic purpose of the film) and for the pop audience (so many of these collections are middlebrow in tone). Between the extremes, however, some pop artists have given us soundtrack albums that both meet the needs of the film and stand up outside of it as valid music. reAmong the many sound-trac- k cordings that worked well beyond the films and enjoyed considerable commercial success are such varied projects as Curtis Mayfields powerful and dark Superfly, Saturday Night Fever (an ambitious blend of original Bee Gees tunes, previously re pop-roc- d pop-roc- pop-roc- 363-626- 278-471- "Mark 7 15, 9:30 5:00. 7:15. 7.30, 9:45 1:00. 3:05. 5:15, bpS The Jewel Of The Nile 1:00, 3:10. 5 20. 7 "Troll Mf 1:00, 2:50. 4 30. 6 00 20. 8:10. 6 20. 8:10. 10:00 10 00. Sat. 1 00, 2 45. 4 30. 6:15. feiin Anyone who fails to respond to Iron Eagle has no red blood at all. -- Archer -T- orn The Color Purple Triumphs! Its hard not to be moved by Spielbergs film and its formidable cast. real crowd pleased The aerial scenes are some of the flashiest ever filmed: NEWSWEEK, David Austin The Color Purple is the years best film! (4 Column, PEOPLE MAGAZINE rating). stars-highe- st - CHICAGO SUN TIMES, Roger Ebert The Color Purple is nothing less than a revelation. I loved The Color Purple from start to finish. A lot of Oscar nominations are going to come out of this picture. To miss this film is to cheat yourself and your family of a memorable movie-goin- - AT Auce VLtukt'rs Puutzar experience. g THE MOVIESCHICAGO TRIBUNE, Gene Siskel A STEVEN blIDJM RG 7 i M Pna Winning Skv ( Dolby SUrxi pm WARNER BROS, a STEVEN SPIELBERG FnTHE COLOR PURPLE MARGARET AVERY sun.. DANNY GLOVER ADOLPH CAESAR . RAE DAWN CHONG nd imodng WHOOPI GOLDBERG Director ol Photography ALLEN DAVIAU Production Designer J. MICHAEL RIVA 40 ejho. MICHAEL KAHN. A.C.E. Mu QUINCY JONES novel by ALICE WALKER Screenplay by MENNO MEYJES Executive Producer JON PETERS end PETER GUBER Produced by STEVEN SPIELBERG KATHLEEN KENNEDY FRANK MARSHALL QUINCY JONES 3 ipg i3 Fum Twain Directed 2 j on Qwest Record and FRnM ARNIH NLARNFR 'MMI Nil 'S' c Ill Tape BROS, i dffiv MIRNt ?? W WUTW Tfuicr PAHh'Nl, cr IV (pern 5:10,7:20,9:30 1:00. 3:10. IN DOLBY At iJjATi(JIN STIHfO IN DOLBY DAIIY AT 45 3 45 6 45 9 45 AT 12 STIRtO 45 45. 3 45 6 45 9 PICTURES Presents n A JOE WIZANiROIM SAMUElS IRON Chauffeur w Rocky -- A. Soundtrack Book (pg-i- EAGLE'- CAR0UNE 1:15.3:15. 5:15. 7:15,9:15 igi HS 54TH SO. 4:05, 7 00, 10:00 10, My (g Pocket a k uj RD. REDWOOD 1 the 9:40 4:10.7 00, 9:40 1:30, 12 6266 Reed NOW PLAYING AT 2 THEATRES! DAIIY -- STEVEN SPIELBERG by PG13iFUUT!STMML? CSUTMUo' iei iiiinii ei e enm ni rmr. ne n; "White Nights (o upon the Based - AS0T PG DAO . LAGERFEEJ . 'ocUcson A SIDNEY j. PURE Fin SUCHET and TIM 7H0MEPS0N -'- RON FURlE SAMUELS and ..w. - UfWDimnMW r 'r c 1986 LARRY LOUIS GOSSETT ;P. B. 0E WIZAN DILPMI Pictures DNEY). FURE rRIJTAB All Rights RELEASE 12 T1lfT4T 30 1 Reserved rt( 7 -- Gary Franklin, KhkXTHE 4b 5 Los Angeles CBS-T- best action movie -- Jan Herman, NEW lb 9 30 MAI INI. ES 2 tl OF THE YEAR! IN DOLBY TONIGHT STEREO AT YORK DAILY NEWS AT 00 FILM...' "RUNAWAY TRAIN' IS A GREAT -- Roger Ebert, 964-- AT THE MOVIES 2921 5766 SO REDWOOO TODAY (on his ten best list for 1985) SATURDAY THEATRES ilfl A Inc NOW PLAYING AT 5 -SI- ..10'.' FILM OF THE YEAR. 1 SCOTT KEVIN ELDERS TIMES PUBLISHED ARE FOR TODAY ONLY ( M NEW YORK POST A KEVIN ELDERS & SIDNEY 8:00, Wlnsten. TODAY. NBC TV. Gune Shalit Jl so highland 5001 1 Out Of Africa ipgi 9:45 an emotional surge into a triumph of blinding brightness. It should be against the law not to see The Color Purple. 12:45. 3:45. 7:00. 10:00 -- A- 55. 4:50 Sun. Only 101 Oalmations More than a movie NEW YORK DAILY NEWS ipgi "Out Of Africa" 40. 10:00 1 WLNiu;iyiii);E to their feet screaming." ay Maeder. score. SFj J In Sun. 1:15. 3:15, 5:15. 7 30. 9 Today 5:15. 7 30. 9 40 5:00. Sat.. Sun Only ipgi "Mark Twain" ONLY 9:30 1:30. 3:15, - The Jewel Of The Nile - (Rj 1:30. 3:30. 5:30. 7:30. 9:30 A 1 4890 SO Fear" largely defines the tense, pulsating style that Giorgio Moroder expanded upon and popularized in later films such as "Midnight Express," "American Gigolo and "('at People." "Ragtime," Randy Newman (Elek-tra- , Newmans first score 1981) was for "Cold Turkey," a quirky, Norman quickly forgotten early-'70- s Lear film about a town trying to win millions of dollars bv making everyone refrain from smoking for a month. If a sound-tracrecording Iron Eagle is bringing audiences -J- here abound with a sophistication and style rarely found anymore in Hollywood musicals "Local Hero. Mark Knopfler (Warner Bros , 1983) - The loveliness and warmth of Knopflers music beautifully accents the peaceful-vil-lag- e charm celebrated in Bill Forsyths film, and that warmth transfers nicely to record. "Rumble Fish." Stewart Copeland (A&M, Police drummer 1983) Copeland transfers some of the aspects of his work with that band to this nervous, energetic, pointillistic i "My Chauffeur" 5:05, 7 20 2:55, 12:45, Tangerine Dream - This German synthesizer band has returned with other scores most notably "Thief"), but this one for the William Friedkin remake of the French thriller The Wages of 1977) 12 45. 3:45. 6:45. 9:45 In Dolby Staroo Spies Like Us 9:30 HOLIDAYS) SHOW The Color Purple" IV (PC) 7 25. 9:30 TROLL "Sorcerer, (MCA. D 278-47- 1 A FIRST Spies Like Us St. Rocky - band 7TH EAST AT 5TH SO. 6 Yr 7:00.9:15 Sun. 2:00. 4:30. 7:00. 9:15 (G) 100, 3 00. 5:00 (EXCEPT HOLIDAYS 5:00 7 Mon.-Fr- i (2 101 Oalmations" Ffll MON I "ftiMMjr TWn" m . I PM 6 SUNOAY 3092 SO HIGHLAND Sot. rock-oriente- d reggae collections that it hardly seems hidden. But the package did not crack the Top 100 the year it was released, so the stirring statement of determination and salvation qualifies. Jimmy Cliffs own tunes are augmented by recordings of Toots & the Maytals, the Slickers, the Melodians and Desmond Dekker O Lucky Man1, Alan Price There is a (Warner Bros., 1973) feel here as lively, English music-hal- l Price, a valuable though infrequent record maker since his days with the Animals, mixes sarcasm and optimism in these witty, disarming songs from Lindsay Anderson s biting film about ambition and power. Besides was even released, I havent been able to find it. But "Ragtime" is an impressive, mature work that earned Newman an Oscar nomination. "One From the Heart," Tom Waits The best tunes (Columbia. 1982) writing and performing tin music. Price appears in the film with his Jack Nitzsche Performance, (363.6266 (pgui un-ag- e. The Harder Thi y Come, various (Mango, lJ72) - I almost left this off the list because it has become so well known as one of the essential artists (Warner Bros., 1970) Long prized by Stones cultists because the film, an BARGAIN PRICE Enemy Mine especially unsettling if frequently pretentious look at moral disintegration, presents Mick Jagger in a role that exaggerates all the perverse implications of the Stones late-- 60s It also features Memo From Turner, a typically mocking, irrevtune. But erent Jagger-Richard- s there is far more than that song to sound-trac- k LP enjoy on the Nitzsche, who has gone on to do scores in both the traditionally orchestrated style of "One Flew Over the Cuckoos Nest and the song approach of Cruising (another overlooked jewel), wrote much of the music and produced the album. Randy Newman sang lead on one selection and conducted the orchestra on others, while Cooders bottleneck guitar playing gives the music its dominant color. artist-compose- r: SATURDAY CM M5 24, l'Uili albums are overlooked gems k guitar-- SHOWS 9EF0AE JaaSf: Friday, January RD THRU SUNDAY IN DOLBY SURfO 1? OQ 2 JO 500 7 )0 9 45 TONIGHT AT 5 15 7 30 SAI IJPOAY MAT INI AT 9 45 DOLBY SO (S AT I? 45 JOO Rf O "ITS It SUCCESS... A SUPERTHRILLER. A grabs you, stirs you up -- Michael Wilmington, THE LOS ANGELES TIMES CHEVY CHASE PGlH,lt DAN AYKROYD 0&H y FROM lHMMI SLQAJCl SUGBWO AT QO 3 15 6 50 BOO 10 PC WARNER BROS. Sk ATKINSlI'MPASV 8th Great Week!! 02 czrrTWyooo"Y11 mkXANOD m Pi MANN TMf ATIIC 1 20. 9 35 (fkSHSEl! 5 00 7 9 20 10, AT tffi J3JAIAM SOM M1MANN 27S-47- 7 JOHN P FLICK 2 CAST 15.3 15.5 7 12 45. 7 ZINOEL. r,c T HHWHIO 3 00. 9 IS 30. 9 45 El OAIH MANN6riAA l BOAD AJ 54IM SOUTH CARTER. TREVOR t JONES uiv cMm in ns AT 00 I 10 10 f 0 9 R) IVN Hi 5 ToN'GHt At 6 (.X) 8 00 10 00 (piin) StlMIO H N !Th Iteie U jiliU t IS to A! McMILLAN KENNETH ""S MENAHEM BUNKER QCANNOM . K JS2B EDWARD 30. 9 40 IHTUHTT .SO PAUL 15 RYAN HUME MA'M AKIRA SI COIAN.YORAM me A. ROBERT GOLDSIONSSJiMATIRAZ MlllCfVIC. KUROSAWA m GLOBUS ""I! ANDREI KONCHALOVSKY MANN THEATRES WLLA 302 HIGHLAND UY M ANN Dft ) U)NH .Ml N lx n HY it At stmt 6Ul 9 MS MJ 4 |
