내 Original Soundtrack

Ten previously unissued live recordings from 1970 recorded in Yugoslavia, Romania, and Poland.

Seven collaged suites of brand new Residents music, film dialogue and one or two familiar themes. 'Triple Trouble' the movie will be appearing at film festivals and art house cinemas near you throughout 2022. "From priesthood to plumber: In the wake of his mother's death, an idealistic but emotionally isolated man replaces his belief in God with a faith in fungus…"

This is a tremendous soundtrack. What especially stands out is the inclusion of film dialogue in some of the instrumental tracks. Another neat thing is the "Natural Mystic" version on this album has a nice ambient intro, with bugs and birds chirping as the rhythm kicks in, it really adds to the etheral nature of the track. The track by Human Cargo is a wicked sound-system smasher. Don't pass over this because it has alot of BMW tracks that you already own, there are some bonafide gems on this one. "Mosman Skank" is the original rhythm made famous later by Dennis Brown's seminal 80's cut "Promised Land".

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.