Thank God It’s Friday is a 1978 American musical comedy film directed by Robert Klane and produced by Motown Productions and Casablanca FilmWorks for Columbia Pictures (whose torch-holding mascot, in a specially produced logo, dances to disco music before the opening credits).
Title: Thank God It´s Friday
Label: Casablanca Records
Catalog# TGIF 100-1
The film contains many popular disco songs, with many key performers featured, including Donna Summer, Pattie Brooks, Love & Kisses, The Commodores. A triple album containing many of the tracks heard in the film was a commercial success.
Several songs heard in the film were not included on the soundtrack album, including Alec R. Costandinos‘ “Romeo and Juliet“, Giorgio Moroder‘s “From Here to Eternity“, The Originals‘ “Down to Love Town”, D.C. LaRue‘s “You Can Always Tell a Lady (By the Company She Keeps)”, The Commodores‘ “Brick House“, The 5th Dimension‘s “You Are The Reason (I Feel Like Dancing)”, Meco‘s “Meco’s Theme” and the Village People tracks, “In Hollywood (Everybody Is A Star)” and “I Am What I Am.”
The biggest hit single on the album was Donna Summer’s “Last Dance“, which won an Academy Award as well as a Golden Globe for Best Original Song and also made it to #3 on the US singles chart. The song was written by Paul Jabara, who the following year would go on to compose Summer’s duet with Barbra Streisand, “No More Tears (Enough Is Enough)“. Jabara himself performed two of the songs on the Thank God It’s Friday soundtrack, and appeared in the film as well.
The soundtrack album was originally issued as a 3 record set in 1978, of which the 3rd disc was a single side 12 inch single of the 15:45 minutes Donna Summer, “Je t’aime… moi non plus” track.
Cameo‘s “Find My Way” was originally issued as a 7″ single in 1975. Giorgio Moroder and Donna Summer’s cover version of Serge Gainsbourg and Jane Birkin‘s 1969 hit single “Je t’aime… moi non plus” was also recorded a few years earlier, but had its debut on the soundtrack and was subsequently issued as an edited 7″ single in a few countries in 1978. “Too Hot ta Trot” was from The Commodores‘ 1977 album Commodores Live! – on certain editions of the Thank God It’s Friday album replaced by a studio recording. Other titles on the soundtrack, including “Last Dance“, were especially recorded for the film.
Diana Ross‘ “Lovin’ Livin’ and Givin'” was remixed after the release of the soundtrack and used as the opening track on her 1978 album Ross. It was also released as a single in certain territories and has since been remixed and re-edited a number of times for inclusion on various hits packages issued by Motown/Universal Music.
1. Love And Kisses – Thank God It’s Friday (4:16)
2. Pattie Brooks – After Dark (7:55)
3. Donna Summer – With Your Love (4:00)
4. Donna Summer – Last Dance (7:10)
1. Paul Jabara – Disco Queen (3:46)
2. Cameo – Find My Way (4:57)
3. Commodores – Too Hot Ta Trot (3:309
4. Wright Bros. Flying Machine – Leatherman’s Theme (3:25)
5. Marathon – I Wanna Dance (6:00)
1. Sunshine – Take It To The Zoo (8:00)
2. Santa Esmeralda – Sevilla Nights (6:08)
3. Love And Kisses – You’re The Most Precious Thing In My Life (8:02)
1. D. C. La Rue – Do You Want The Real Thing (4:42)
2. Paul Jabara – Trapped In A Stairway (3:30)
3. Natural Juices – Floyd’s Theme (2:58)
4. Diana Ross – Livin’, Lovin’, Givin’ (3:30)
5. Thelma Houston – Love Masterpiece (4:03)
6. Donna Summer – Last Dance (Reprise) (3:17)
Special Bonus Maxi-Single
1. Donna Summer – Je T’Aime (Moi Non Plus) (15:51)
Sgt. Pepper’s Lonely Hearts Club Band is a multi-platinum double album produced by George Martin, featuring covers of songs by The Beatles. It was released in July 1978, as the soundtrack to the film Sgt. Pepper’s Lonely Hearts Club Band, which starred the Bee Gees, Peter Frampton and Steve Martin.
Title: Sgt. Pepper´s Lonely Hearts Club Band
Label: RSO Records
Catalog# RS 2-4100
Like the album itself, the soundtrack to the 1978 film Sgt. Pepper’s Lonely Hearts Club Band is a legend in its own right. Where the Beatles‘ album was a groundbreaking moment in pop music, the Robert Stigwood film was an unmitigated disaster, an embarrassment not only to the Beatles, but to everyone involved in the production. Nevertheless, as the years passed and ’70s nostalgia grew, certain kitsch fanatics revealed an affection for the debacle A few performers try to give their best — witness Earth, Wind & Fire‘s “Got to Get You Into My Life,” Aerosmith‘s “Come Together,” and Billy Preston’s “Get Back” — but there’s no erasing the fact that this is an absolutely atrocious record, one that was simply beyond saving. There’s really no excuse for such mind-boggling mismatches as George Burns‘ “Fixing a Hole,” Alice Cooper‘s “Because,” Steve Martin‘s “Maxwell’s Silver Hammer,” or all the endless, awkward numbers from the Bee Gees, Peter Frampton, and Frankie Howard. It’s so bad that it’s not even camp.
1. Introducing Sgt. Pepper’s Lonely Hearts Club Band (4:42)
– Sgt. Pepper’s Lonely Hearts Club Band — The Bee Gees and Paul Nicholas (1:56)
– With a Little Help from My Friends — Peter Frampton and The Bee Gees (2:46)
2. Here Comes the Sun — by Sandy Farina (3:45)
3. Getting Better — performed by Peter Frampton and The Bee Gees (2:46)
4. Lucy in the Sky with Diamonds — Dianne Steinberg and Stargard
5. I Want You (She’s So Heavy) — George Martin, Peter Frampton and The Bee Gees, Donald Pleasence, Dianne Steinberg, Paul Nicholas, The Bee Gees and Stargard (6:31)
1. Good Morning Good Morning — performed by Paul Nicholas, Peter Frampton and The Bee Gees (1:58)
2. She’s Leaving Home — Steven Tyler, The Bee Gees, Jay MacIntosh and John Wheeler (2:41)
3. You Never Give Me Your Money — Paul Nicholas and Dianne Steinberg (3:07)
4. Oh! Darling — Robin Gibb (3:21)
5. Maxwell’s Silver Hammer — Steve Martin and the vocal chorus (4:31)
6. Rise To Stardom Suite (5:11)
– Polythene Pam — The Bee Gees (0:38)
– She Came in Through the Bathroom Window — Peter Frampton and The Bee Gees (1:46)
– Nowhere Man — The Bee Gees (1:14)
– Sgt. Pepper’s Lonely Hearts Club Band (Reprise) reprise — Peter Frampton and The Bee Gees (1:33)
1. Got To Get You Into My Life — Earth, Wind & Fire (3:36)
2. Strawberry Fields Forever — Sandy Farina (3:31)
3. When I’m Sixty-Four — Frankie Howerd and Sandy Farina (2:40)
4. Mean Mr. Mustard — Frankie Howerd/Steven Tyler and The Bee Gees (2:46)
5. Fixing a Hole — George Burns (2:25)
6. Because — Alice Cooper and The Bee Gees (2:45)
7. The Death of Strawberry (3:24)
– Golden Slumbers — Peter Frampton (1:39)
– Carry That Weight — The Bee Gees (1:45)
1. Come Together — Aerosmith (3:46)
2. Being for the Benefit of Mr. Kite! – Maurice Gibb, Peter Frampton, The Bee Gees and George Burns (3:12)
3. The Long and Winding Road – Peter Frampton (3:40)
4. A Day in the Life — Barry Gibb and The Bee Gees (5:11)
5. Get Back — Billy Preston (2:56)
6. Sgt. Pepper’s Lonely Hearts Club Band [Finale] — The cast (2:13)
Title: Merry Christmas Mr. Lawrence
Label: Virgin Records
Merry Christmas, Mr. Lawrence (“Merry Christmas on the Battlefield”), also known in many European editions as Furyo, Japanese for “prisoner of war”), is a 1983 British-Japanese drama film directed by Nagisa Oshima, produced by Jeremy Thomas and starring David Bowie, Tom Conti, Ryuichi Sakamoto, Takeshi Kitano and Jack Thompson.
The screenplay by Oshima with Paul Mayersberg was based on Sir Laurens van der Post‘s experiences as a Japanese prisoner of war during World War II as depicted in his works The Seed and the Sower (1963) and The Night of the New Moon (1970).
Merry Christmas, Mr. Lawrence O.S.T is a soundtrack album for the 1983 film. All compositions on the album are by Sakamoto except “23rd Psalm”, which is a traditional piece, and both “Ride, Ride, Ride” tracks, by Stephen McCurdy. In addition, David Sylvian contributed lyrics and vocals on “Forbidden Colours“.
The film was entered into the 1983 Cannes Film Festival in competition for the Palme d’Or. Sakamoto’s score also won the film a BAFTA Award for Best Film Music.
1. Merry Christmas, Mr. Lawrence (4:36)
2. Batavia (1:18)
3. Germination (1:49)
4. A Hearty Breakfast (1:22)
5. Before the War (2:15)
6. The Seed and the Sower (5:01)
7. A Brief Encounter (2:22)
8. Ride, Ride, Ride (Celliers’ Brother’s Song) (1:04)
9. The Fight (1:29)
1. Father Christmas (2:07)
2. Dismissed (0:09)
3 Assembly (2:17)
4. Beyond Reason (2:01)
5. Sowing the Seed (1:54)
6. 23rd Psalm (2:02)
7. Last Regrets (1:43)
8. Ride, Ride, Ride (Reprise) (1:05)
9. The Seed (1:03)
10. Forbidden Colours (Vocals by: David Sylvian) (4:42
Title: American Gigolo
Label: Polydor Records
While this soundtrack is arguably most notable for introducing Middle America to Blondie, there is also some interesting incidental music written by legendary producer Giorgio Moroder and performed by Harold Faltermeyer and Keith Forsey — the latter of which may be familiar to some as percussionist for the German prog/art rock collective Amon Düül. There is likewise a vocal contribution from actress/vocalist Cheryl Barnes on “Love and Passion.” The album’s pervading heavily manufactured and synthetically generated atmosphere is convincing in its aural depiction of the shallow decadence portrayed on the screen. It took almost two decades before American Gigolo was issued on CD in North America. The primary impetus for the release was the “extended version” of Blondie‘s “Call Me,” which was unavailable on any Blondie album and was too long — at over eight minutes — to fit onto a single. The song was co-composed by Debbie Harry and Moroder specifically for this project, becoming the second chart-topper for the band, ultimately staying at number one for six weeks in March of 1980. The film’s writer/director Paul Schrader — whose lengthy list of cinematic endeavors include Taxi Driver, Raging Bull, The Last Temptation of Christ, and The Mosquito Coast — is credited on the soundtrack as Moroder‘s collaborator on the up-tempo “Love and Passion.” Vocalist Cheryl Barnes — who may be best-remembered for her role in Milos Forman‘s Hair as “Hud’s girlfriend” — contributes vocals to the mostly forgettable track. The other six instrumentals blend a noir ambience with the utility of background music. The most notable is “Hello Mr. W.A.M” — whose initials stand for Wolfgang Amadeus Mozart — which contains some interesting observations on his Concerto for Clarinet in A Major. Each work contains strong themes that take on lives of their own. This is not surprising given the heady talent behind the compositions and performances. Consumers of movie music will find as much — if not more — to enjoy here than those who are simply looking for “Call Me.”
1. Blondie – Call Me (Theme From American Gigolo) (8:04)
2. Cheryl Barnes – Love And Passion (6:34)
3. Night Drive (3:52)
1. Hello Mr. W.A.M. (Finale) (4:30)
2. The Apartment (4:27)
3. Palm Springs Drive (3:22)
4. Night Drive (Reprise) (2:50)
5. The Seduction (Love Theme) (3:14)
Hair: Original Soundtrack Recording is the soundtrack album from the 1979 musical film Hair.
Label: RCA Records
When Milos Foreman’s film came out, we that were of the Hair generation thought it was about 10 years too late. I felt that way, until I saw it. And saw it again, and again and again. The actors are all at least as good of singers as the original Broadway cast, and some were stars in the making: Beverly D’Angelo, John Savage, and Treat Williams, If musicals hadn’t been mostly passe by the ’80s, they would have had bright careers as musical stars.
A few verses from “Manchester, England” and a small portion of “Walking in Space” have been removed. The film omits the musical‘s songs “The Bed”, “Dead End”, “Oh Great God of Power”, “I Believe in Love”, “Going Down”, “Abie Baby”, “Frank Mills”, and “What a Piece of Work is Man”. The latter five songs were originally recorded for the film, but were eventually cut. They can be found on this album, while the songs “Don’t Put It Down” and “Somebody to Love” are not sung by characters in the movie, they are both used as background or instrumental music for scenes at the army base. A new song written by MacDermot for the film is “Somebody to Love”. There are several other differences from songs in the movie and as they appear on the soundtrack, mainly in omitted verses and different orchestrations.
1. Aquarius (4:47)
2. Sodomy (1:29)
3. Donna / Hashish (4:20)
4. Colored Spade (1:33)
5. Manchester (1:57)
6. Abie Baby / Fourscore (2:43)
7. I’m Black / Ain’t Got No (2:24)
8. Air (1:26)
1. Party Music (3:25)
2. My Conviction (1:47)
3. I Got Life (2:15)
4. Frank Mills (2:39)
5. Hair (2:42)
6. L.B.J. (Initials) (1:07)
7. Electric Blues / Old Fashioned Melody (3:53)
8. Hare Krishna (3:24)
1. Where Do I Go? (2:48)
2. Black Boys (1:11)
3. White Boys (2:35)
4. Walking In Space (6:13)
5. Easy To Be Hard (3:39)
6. 3-5-0-0 (3:49)
1. Good Morning Starshine (2:24)
2. What A Piece Of Work Is Man (1:39)
3. Somebody To Love (4:12)
4. Don’t Put It Down (2:25)
5. The Flesh Failures / Let The Sunshine In (6:04)
Moonraker is the eleventh spy film in the James Bond series, and the fourth to star Roger Moore as the fictional MI6 agent James Bond, and was the third of the three Bond films for which the theme song was performed by Shirley Bassey.
Label: United Artists Records
Catalog# 5C 062-82696
Frank Sinatra was considered for the vocals, before Johnny Mathis was approached and offered the opportunity. Mathis was unhappy about the song and withdrew from the project, leaving the producers scrambling for a replacement. Kate Bush declined, so John Barry offered the song to Bassey within just weeks of the release date. As a result, Bassey made the recordings with very short notice and never regarded the song ‘as her own’ as she had never had the chance to perform it or promote it first. The film uses two versions of the title theme song, a ballad version heard over the main titles, and a disco version for the end titles. Confusingly, the United Artists single release labelled the tracks on the 7″ single as “Moonraker (Main Title)” for the version used to close the film and “Moonraker (End Title)” for the track that opened the film. The song failed to make any real impact on the charts, which may partly be attributed to Bassey’s failure to promote the single, given the last minute decision and the way in which it was quickly recorded to meet the schedule.
The score for Moonraker marked a turning point in Barry’s output, abandoning the Kentonesque brass of his earlier Bond scores and instead scoring the film with slow, rich string passages. Moonraker uses for the first time since Diamonds Are Forever a piece of music called “007” (briefly, and late in track 7, “Bond Arrives in Rio and Boat Chase”), the secondary Bond theme composed by Barry which was introduced in From Russia with Love.
Unusually, the score was recorded in Paris – all of Barry’s previous Bond scores had been recorded at London’s CTS Studios. The film’s production base was in France and it was decided the film would be scored there as well. Like some Bond films, the score for Moonraker has never received an extended release, due to the loss of the original session masters which appear to have been misplaced in France.
1. Main Title – Moonraker (Vocals By Shirley Bassey) (3:05)
2. Space Lazer Battle (2:43)
3. Miss Goodhead Meets Bond (2:43)
4. Cable Car And Snake Fight (3:01)
5. Bond Lured To Pyramid (2:01)
1. Flight Into Space (6:22)
2. Bond Arrives In Rio And Beat Chase (2:34)
3. Centrifuge And Corrine Put Down (2:31)
4. Bond Smells A Rat (2:20)
5. End Title – Moonraker (Vocals By Shirley Bassey) (2:27)
Staying Alive is a 1983 American dance film and a sequel to Saturday Night Fever (1977) starring John Travolta as dancer Tony Manero, with Cynthia Rhodes, Finola Hughes, Joyce Hyser, Julie Bovasso, and dancers Viktor Manoel and Kevyn Morrow. It was directed, co-produced and co-written by Sylvester Stallone.
Title: Staying Alive
Label: RSO Records
The title comes from the Bee Gees song “Stayin’ Alive“, which was used as the theme song to Saturday Night Fever and is also played during the final scene of Staying Alive. It also goes hand-in-hand with Tony’s new lifestyle, in which he is barely surviving as he pursues his dream of making dancing his career. This is along with Homefront, one of only two films which Stallone has written without being the star (although he does have a cameo).
The soundtrack was released in 1983 and is mainly performed by the Bee Gees. Five new Bee Gees songs took up the first side, with side two featuring various artists performing songs mostly written by Frank Stallone, brother of the film’s director Sylvester.
The LP was the final soundtrack, and the final songs, by the Bee Gees released under RSO.
1. Bee Gees – The Woman In You (4:01)
2. Bee Gees – I Love You Too Much (4:27)
3. Bee Gees – Breakout (4:41)
4. Bee Gees – Someone Beloning To Someone (4:24)
5. Bee Gees – Life Goes On (4:23)
6. Bee Gees – Stayin’ Alive (Edited Version) (1:30)
1. Frank Stallone – Far From Over (3:53)
2. Tommy Faragher – Look Out For Number One (3:19)
3. Cynthia Rhodes – Finding Out THe Hard Way (3:30)
4. Frank Stallone – Moody Girl (4:069
5. Tommy Faragher – (We Dance) So Close To The Fire (3:43)
6. Frank Stallone & Cynthia Rhodes – I’m Never Gonna Give You Up (3:32)
“Xanadu” is the soundtrack of the 1980 musical film of the same name, featuring the Australian singer Olivia Newton-John and the British group Electric Light Orchestra (ELO).
Label: JET Records
Catalog# JET LX 526
On this original LP release featured, on side one the songs of Newton-John, and on side two the songs of ELO.
Although the film was a critical and commercial disappointment, the soundtrack was a worldwide success and received positive reviews from music critics.
The hit singles “Magic” and “Xanadu”, peaked at number one in the U.K. and U.S. The soundtrack featured songs on side one by the film’s star, Olivia Newton-John, written by her long-time producer, John Farrar.
The songs on side two were written and performed by ELO. The title track which closed side two featured Newton-John as lead vocalist.
The Newton-John side also featured Cliff Richard, The Tubes and Gene Kelly.
Lead-off “Magic” remains a fine single. “Suddenly,” a duet ONJ ekes out with British luminary Cliff Richard, seems better than most love themes. The sudden appearance of the Tubes almost saves the doomed swing/rock hybrid “Dancin,” but the two styles should never meet.
The second half glows from the Electric Light Orchestra, soaring at its commercial height, escaping this crippling fairy tale fairly untarnished with three more hit bits: “I’m Alive,” “All Over the World,” and the Olivia Neutron Bomb showcase title track.
“Don’t Walk Away” and “The Fall” stand as two of Jeff Lynne’s finest, thus the flip nukes the front which should stay stuck to the theater floor.
1. Olivia Newton-John – Magic (4:25)
2. Olivia Newton-John With Cliff Richard – Suddenly (4:03)
3. Olivia Newton-John With Tubes, The – Dancin’ (5:14)
4. Olivia Newton-John – Suspended In Time (3:52)
5. Olivia Newton-John With Gene Kelly – Whenever You’re Away From Me (4:15)
1. Electric Light Orchestra – I’m Alive (3:46)
2. Electric Light Orchestra – The Fall (3:34)
3. Electric Light Orchestra – Don’t Walk Away (4:48)
4. Electric Light Orchestra – All Over The World (4:04)
5. Electric Light Orchestra & Olivia Newton-John – Xanadu (3:30)