VA - 9½ Weeks - Original Motion Picture Soundtrack (Reissue) (1993)

VA - 9½ Weeks - Original Motion Picture Soundtrack (Reissue) (1993)
Artist: VA
Title: 9 Weeks - Original Motion Picture Soundtrack
Year Of Release: 1993
Label: Capitol Records
Genre: Downtempo, Soft Rock, Pop Rock, Synth-pop, Soundtrack
Quality: Flac (tracks)
Total Time: 41:42
Total Size: 272 Mb


01. John Taylor - I Do What I Do... (Theme For 9½ Weeks)
02. Luba - The Best Is Yet To Come
03. Bryan Ferry - Slave To Love
04. Dalbello - Black On Black
05. Corey Hart - Eurasian Eyes
06. Joe Cocker - You Can Leave Your Hat On
07. Devo - Bread And Butter
08. Eurythmics - This City Never Sleeps
09. Stewart Copeland - Cannes
10. Luba - Let It Go

Every Valentine's Day, video stores and online rental outlets are swamped with requests for the film this soundtrack represents. Crazy as it sounds, this tale of obsession, surrender, masochism, and domination really gets under the skin of some people over and over again. (For those who either don't remember or never knew, the film was an interpretation of a seemingly authentic account of just such an affair by a well-known socialite who wrote it under a nom de plume.) While the film might have a sort of timeless appeal -- Kim Basinger and Mickey Rourke were young then, and while one has aged gracefully, the other has become a plastic surgery disaster -- the soundtrack (which also experiences a bit of a sales spike during this holiday) has lost much of it. Certainly the theme song, "I Do What I Do," penned by John Taylor (right), Michael Des Barres, and Jonathan Elias and performed by them along with B.J. Nelson, Michael Brecker, and Dalbello, sounds so dated as to be almost laughable, as are contributions by Devo ("Bread and Butter"), Dalbello ("Black on Black"), and Corey Hart ("Eurasian Eyes"). Other cuts here have become classics (or already were): Bryan Ferry's "Slave to Love," Joe Cocker's "You Can Leave Your Hat On," and Eurythmics' "This City Never Sleeps." Still others, such as Luba's "The Best Is Yet to Come" and "Let It Go," are campy fun, and Stewart Copeland's moody "Cannes" is a miniature masterpiece that actually reflects something akin to incidental music in a film score.
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