2000
Label: The 3rd Message, Inc. - AA52375 • Format: CD Album • Country: US • Genre: Hip Hop • Style: Conscious

Rhino Records Westwood. The Huffington Post. Archived from the original on 10 November Retrieved 23 August Los Angeles Times. Archived from the original on 9 May Running Press. June 12, Warner Music Group.

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Views Read Edit View history. Help Learn to edit Community portal Recent changes Upload file. Download as PDF Printable version. When Bassey hits that final note, it's like watching Bond leap from an exploding building.

Knowing he'll survive doesn't make it any less thrilling. The easy-going charm of Butch Cassidy and the Sundance Kid stands in sharp contrast to many of the bleaker, bloodier revisionist Westerns that emerged in the s.

So, it's fitting that the movie's unofficial theme music "Raindrops Keep Fallin' On My Head," which was written by the ace songwriting duo of Hal David and Burt Bacharach, was a lighthearted diddy that didn't attempt to make any grand statements about life or death.

Instead, it's content with its own gem-like shape, a pleasing dollop of a pop song. Of all the songs on this list, "9 to 5" is the most provocative critique of capitalism.

The hit song from the office comedy starring Jane Fonda, Lily Tomlin, and Parton herself works as ear candy. Each line is clever, Parton's vocals brim with sass, and the typewriter sound effect gives the song a vivid, tactile quality. It's like the demands are being written up as the song goes. As you'll see towards the end of this list, the "no musicals" rule isn't exactly a hard and fast one. There's a type of music industry film where the performances all take place in a realistic, unheightened context -- like at a coffee shop, a nightclub, or a recording studio -- and Robert Altman's sprawling comedic ensemble piece Nashville might be the best of the bunch.

During Keith Carradine's rendition of his ballad "I'm Easy," Album) roving camera notices the ways different women who have fallen into the singer's web of narcissism react to him. A small tragedy of glances and sighs plays out between artists and audience. As a delicate act of songwriting and filmmaking, it's anything but easy. The work of filmmaker Jonathan Demme, the director of madcap comedies like Something Wild and chilling thrillers like The Silence of the Lambsis brimming with the unchecked enthusiasm of a fan.

When Demme liked something, he'd put in a movie. Philadelphiahis legal drama about an AIDS patient suing his company for discrimination, makes room for not just a song called "Philadelphia" by Neil Young, but also an even better, more striking song called "Streets of Philadelphia" by Bruce Springsteen.

Neither of these artists are from Philly. Young is from Canada; you know where Springsteen is from. In Demme's world, these distinctions collapse: If the song works, it goes in the movie. It's a policy that served him well over a long career. In his four-star review of The Graduatefilm critic Roger Ebert declared Mike Nichols "a major new director" but also famously dinged the movie for including too many "limp, wordy Simon and Garfunkel songs. Robinson," isn't exactly bursting with kinetic energy.

Like many of the characters in the film, these songs were mild-mannered and self-conscious. Decades later, the Boston rock band The Lemonheads would give "Mrs.

Robinson" a kick in the ass. It's the type of brilliant cover that sends you back to the original text, which might hold more secrets and more of an edge than you first expect. Limpness is in the eye of the beholder. In some ways, "Lose Yourself" is hip-hop's answer to "Eye of the Tiger": a super-charged jock jam that can pump up a stadium, get hearts pounding, and rally a team to victory. The guitar riff that powers the song is anthemic. At the same time, the Oscar-winning track off the 8 Mile soundtrack also has an intimacy and specificity that makes it more than a rapped version of Michael Buffer's "Let's get ready to rumble!

They make the song's giant chorus hit even harder. Two years before he released the era-defining soundtrack for Shaft, Isaac Hayes dropped the equally essential Hot Buttered Soula work of smoldering ambition. Records like Curtis Mayfield's Super Fly would follow in the path it created. When his velvety, deep vocals arrive late in the song, it feels like they're introducing a character we already know from the wailing guitars and blaring horns. He's already a mythic figure. He arrives fully formed.

He's Shaft. It's unfortunate the sweat-drenched follow-up, which was directed by Sylvester Stallone and features multiple songs by his brother Frank Stallone, sullied the name of one of The Bee Gees' best songs. Instead, let's remember the groove, the strings, and, of course, the piercing falsetto of Barry Gibb, who turns this night on the town into an evening of interdimensional travel.

Perhaps more than Travolta's white suit, slicked-back hair, or his dance moves, Gibb's high-pitched vocals are this disco document's enduring legacy. Attempt to imitate at your own peril. When director Spike Lee recruited Long Island hip-hop innovators Public Enemy to write a song for his new film about a neighborhood in Brooklyn, he was looking for a track that would match the radical urgency driving the project.

Updating the Isley Brothers' song of the same name for the post-Reagan national mood ofChuck D delivers a message of political defiance, resilience, and pride. It's the sound of history being written. The skeletal rhythm of "When Doves Cry," which was created by a drum machine and features no Movies & Cartoons / Entertainment - The 3rd Message - The 3rd Message : A Compilation (CD line, was an aberration in pop music. Though the title track might be the ultimate throw-your-candle-in-the-air rock encore, the blunt texture of "Doves" is the better song because it shows how visionary Prince could be, Movies & Cartoons / Entertainment - The 3rd Message - The 3rd Message : A Compilation (CD.

He didn't chase trends; he bent the will of radio to his will -- and he did it with style, wit, and playfulness than his contemporaries. As a movie Purple Rain is frequently transfixing, but as an album it was all consuming. This is another case where we might be cheating by including this: Purple Rain is essentially a musical, right?

Prince didn't care about those categories and distinctions. Why should you? It's appropriate that the greatest movie soundtrack song of all time would feel untethered from its source. This wrenching torch song was on the soundtrack for the Movies & Cartoons / Entertainment - The 3rd Message - The 3rd Message : A Compilation (CD Houston and Kevin Costner melodrama The Bodyguardand before that it was written and performed by Dolly Parton, but Houston's version has the power to obliterate those details from your memory.

Frankly, it's a colossus. A study in the craft of melisma, the track begins in total silence, Houston's voice emerging with startling clarity. Each production choice, from the string arrangement to the mournful sax solo, serves to accentuate her delivery.

When she takes flight towards the end, hitting those "I's" and "you's" with surgical precision, you almost levitate, too. That's what greatness can do. This browser does not support the video tag. Columbia Records. Hard work got me where I am today, not my dad - DJ Cuppy. After five children, lady finds out her husband has another family. Young John - Incase.

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