This homage to The Killer Shrews, one of the cheesiest 1950s horror films does more than recycle the plot with newfangled CGI effects. It updates the storyline to feature a reality show crew on a remote island
Martin Scorcese’s newest film, The Wolf of Wall Street, features the director’s usual assortment of delectable oldies — but the best moment maybe belong to a new song. Or, really, a new version of an old song.
Adrian Maben’s first pitch for a concert film involving Pink Floyd was met with bemused silence. His second pitch would grow out of a vacation mishap.
It seems that in the early seventies, many of the notable jazz musicians of the sixties went electric and dabbled in fusion.
On December 4, 1988, Roy Orbison was celebrating a huge year. His album with supergroup the Traveling Wilburys had sold extremely well; he finished recording his first album of original material in several years, Mystery Girl
Vangelis is that rarest of soundtrack artists, one who can create not just involving themes but complete musical worlds that stand apart from the films to which they were originally attached.
The Punk Singer, Sini Anderson’s briskly paced, 80-minute film examines Kathleen Hanna’s ascension as unofficial spokeswoman of the riot grrl movement.
Jeff Lynne’s first new music in ages isn’t another ode to Beatle-y goodness, or another orchestral maneuver with ELO. Instead, it’s a soundtrack instrumental for American Hustle. Listen in here!
Foghat stalwart Roger Earl’s principal claim to fame — beyond, of course, holding this band together through the losses of both Dave Peverett and Rod Price in the 2000s — is that stomping intro to “Slow Ride.”
Whatever the circumstances of his early passing, Ronnie Montrose’s music spoke to larger things — to outer-limits explorations on the guitar, to rafter-rearranging loudness, to fun.