NOW That's What I Call Movies (OST) 2013
M4A 256 kbps | Tracks: 19+18+21 | 03:47:03 | 495.4 mb
Genre: Pop, Soundtrack

Take a walk down Hollywood boulevard with NOW That’s What I Call Movies, the latest offering from NOW That’s What I Call Music. This triple-CD compilation is packed with renowned hits from the biggest blockbuster films of all time. Featuring the iconic Bryan Adams’ ‘(Everything I Do) I Do It For You’, taken from Robin Hood: Prince of Thieves, through to the Whitney Houston’s smash hit ‘I Will Always Love You’ taken from the 1992 film Bodyguard. NOW That’s What I Call Movies –they are all here, this is a big one.

The bolero music is the soul of the work of internationally renowned vocal ensemble in this style, Trio Los Panchos. His work has been enormous and their various artistic formations have left more than 1,100 recorded songs. This compilation CD features 24 great songs and interpretations of his greatest hits, all of them bolero rhythm. Although the themes come from some of his various musical groups, overall the repertoire is representative of the professional work throughout his career.

Album by British composer, arranger and musical director Geoff Love, one of many that came up with producer Norman Newell in the 70s, when he created his own orchestra successfully launching discs of major themes of movies (war, love, etc.). The LP brings 12 well-known songs of historical movies focusing on the music of love that triumphed on the big screen.

Progressive Hard Rock act unfortunately now noted more as a conduit for various known musicians than any lasting impressions left by their albums. MAY BLITZ was created in 1969 by former BAKERLOO men bassist Terry Poole and drummer Keith Baker after their guitarist Clem Clempson had upped and left for COLOSSEUM, Joining them with the fresh band was front man vocalist / guitarist Jamie Black. Before MAY BLITZ got into the studio Poole departed to join VINEGAR JOE and Baker quit ending up in URIAH HEEP for their 'Salisbury' record.

How do you present music by an unknown composer on a market which already overflows with discs and in particular in a time of economic decline? You can devote a whole disc to this repertoire, but there is a good chance that a considerable part of the target group would remain sceptical. So many interpreters pretend that the music they have discovered is of world-class quality. Do we need to believe them? Emilio Percan tries to convince us that the music of Giovanni Antonio Piani is really worthwhile. He does so by presenting it together with music by two well-known masters of his time. That seems the most sensible way: if the listener is disappointed about Piani, he still has Handel and Geminiani to enjoy.
– Johan van Veen, MusicWeb International

Benny Goodman is heard in 1975 playing with four different combos. He performs four songs (including the unfortunate "Send in the Clowns") with a quintet that includes guitarist Bucky Pizzarelli, adds trombonist Al Grey to a similar group for "Sweet Lorraine," and reunites with violinist Joe Venuti (who he had last recorded with in 1933) for spirited versions of "Slipped Disc" and "Limehouse Blues." Most noteworthy though, are the three numbers that find BG in a septet with guitarist George Benson. Their hot version of "Seven Come Eleven" is very memorable. Overall, this LP shows that at 66, Benny Goodman still remained a force to be reckoned with.