Barnes Review

For the fourth of five recordings made by the classic Ruby Braff-George Barnes Quartet, ten songs by Rodgers and Hart are given melodic, swinging, creative treatment. Cornetist Braff and guitarist Barnes fed off of each other and worked very well together, while rhythm guitarist Wayne Wright and bassist Michael Moore always gave them impeccable support. Highlights of this enjoyable set include "Isn't It Romantic," "Blue Room," "You Took Advantage of Me" and "The Lady Is a Tramp".

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.

Joel Schumacher's 1987 film The Lost Boys capitalized on a temporary lull in horror movies in the late '80s and created a heavily music-video-influenced vampire homage with enough campy humor, heavy metal costumes, and hunky stars to put a fresh spin on the genre. An amusing piece of eye candy spiked by a few creepy moments, the movie, in typical '80s style, relies heavily on the soundtrack to bolster its emotional core. The soundtrack, like the film, works great on the surface – but don't go much deeper. A mix of covers and bombastic '80s pop originals, the songs work best when they concentrate on the horror factor. Echo & the Bunnymen turn in an excellent cover of the Doors' "People Are Strange" that has a bouncier, more melodic touch than the original. Jimmy Barnes and INXS' "Good Times" is an energetic rocker used to personify the party-hardy SoCal atmosphere of the film. The strongest song is the movie's theme, "Cry Little Sister," a goth-influenced midtempo ballad.