Back catalogue: Soundtracks

Review: An iconic soundtrack to a classic blaxploitation flick, JJ Johnson and Martha Reeves & The Sweet Things turned a collective head when they simultaneously composed their core themes for Willie Dynamite, directed by obscure director Gilbert Moses. This ineluctable screen treat stars Roscoe Orman and Diana Sands in a quintessential portrayal of early '70s New York pimping, with the central character's foibles giving rise to a latent conscience when he comes into contact with a young social worker. As is often the case with the blaxploitation genre, Willie Dynamite begins with the lead character cruising down the streets of New York in some kind of fancy car, and 'tracked by the central theme: the theme of Reeves' 'Willie D' is clear as day, lyrically portraying D's hustle as 'magic', "never treating two girls the same", "it's no different from any other industry". 'Keep On Movin' On' contrasts this with a note of modesty, signaling the movie's inevitable tonal shift; nor should you miss the B-side instrumentals 'Willie Chase' and 'Parade Strut'.

Review: In the mid-80s, Svitlana Okhrimenko, Oleksandr Kohanovs'kyi, and Tamila Mazur, students at the Reinhold Glier Kyiv Academy of Music, formed the foundation of Cukor Bila Smert. Their blend of music and camaraderie led to the addition of Eugene Taran, who further helped shape the band's vision. Dubbed Sugar - White Death, their ironic moniker challenged media sensationalism and amidst endless musical exploration, they crafted two albums in 1988 and 1989. The band's unique "sugar calypso sound" emerged, a blend of Kohanovs'kyi's music and lyrics by Okhrimenko and Taran. A significant studio session in 1990 yielded tracks featured on the Mannered Music compilation which sparked international interest. Their journey concluded in 1993 with the release of "Selo" by Koka Records, and now some of the best bits make it onto this new collection.

Review: Over the course of his long and successful career, Ennio Morricone composed many dance songs in step with the fashions of the late 60s and early 70s. These were themes not necessarily directly connected with his films' synopses, but which were nonetheless played in disco clubs, on jukeboxes, turntables and on the radio. This collection contains a selection of pieces such as the brilliant main theme from Grand Slam (1967); the shake rock (opening credits) from Dario Argento's classic Four Flies On Grey Velvet (1971) the danceable from the noir film Violent City (1970); the beat version of the opening credits of 'Pioggia Sul Tuo Viso' by the Sorrows, from How I Learned to Love Women (1966); 'Per Vittorio (Bossa)', an elegant bossa nova with flute and percussions from The Success (1963); the tribal shake from I Cantori Moderni, which winks at the dies irae from Garden of Delights (1967); 'Scuola di Ballo al sole', a wild surf piece from the Hawks and the Sparrows (1966); the supreme bossa nova from One Night at Dinner (1969) with the super iconic voice of Edda Dell'orso; the shake music of "'Ostinazione al Limone from What Have you Done to Solange? (1972); and 'Donnabossa' from Full Hearts and Empty Pockets (1964), a delicate bossa nova piece with a prominent harpsichord.

Review: Martin Scorsese's Martin Scorsese Presents The Blues series may not be the Academy Award-winning director's most famous contribution to popular culture, but the PBS documentary film saga, in which the legendary director takes us on a journey through the development of a sound he holds dear to his heart, is well worth looking for. Featuring luminaries such as John Lee Hooker, Lightnin' Hopkins, Muddy Waters, and more, each episode welcomes a different filmmaker, allowing them to refocus on artists they love. For this album spin-off, we centre attention on the mighty Stevie Ray Vaughan, one of the most influential of all blues musicians who tragically died at the age of 35 in a helicopter crash. Although far younger than many of the greats he's often listed alongside, his exceptional abilities on the guitar, and often unique sonics, set him apart from almost anyone else, alive or dead. Listen to what we mean here.