Thelma Lousie

The album "Thelma Jones" was released in 1978 and featured the single alongside "I Can Dream" written by Leon Ware, "Lonely Enough To Try Anything", penned by Sam Dees and the popular rare groove tune "How Long", written by Len Ron Hanks and Zane Grey.

"A Woman's Touch" is the seventeenth studio album by singer and songwriter, Thelma Houston. "A Woman's Touch" is an album that consists of her renditions of vintage R&B and Pop songs by male singers such as Luther Vandross, Glen Campbell, Marvin Gaye and Sting. The lead single from the album is "Brand New Day."

Thelma Houston is an extremely gifted vocalist who was rarely given top material at Motown (usually Diana Ross castoffs). In addition to her Grammy-winning, number one smash "Don't Leave Me This Way," all of her other significant Motown singles are included here, such as "Saturday Night Sunday Morning," "If It's The Last Thing I Do," "You've Been Doing Wrong For So Long" and "I'm Here Again". It would also have been nice to have included on this collection her original version of "Do You Know Where You're Going To" which of course Miss Ross later had a major hit with. Ultimately, the Best of Thelma Houston is a good overview of Houston's Motown work, but most of the time it is a frustrating example of mediocre material overcoming a superior talent.

Motown's "The Best of Thelma Houston" covers her late-'70s/early-'80s output for the label, including her hit cover of "Don't Leave Me This Way." A few other covers, including "Jumpin' Jack Flash" and "Me and Bobby McGee," hint at Houston's range as an interpreter; originals like "If It's the Last Thing I Do," "I Want to Go Back There Again," and "Stealin' in the Name of the Lord" show her finesse with lush ballads, quintessential Motown, and gospel-inflected pop, respectively. Along with "Don't Leave Me This Way," tracks such as "Saturday Night, Sunday Morning," "Love Machine," and "I'm Here Again" reflect Houston's sophisticated but fiery take on disco. While the Spectrum collection has a slightly grittier edge to it, this compilation does a fine job of showing the breadth and depth of her Motown work.

When they floored their Thunderbird off a cliff rather than surrender to the law, Thelma and Louise became icons of female rebellion, provoking strong reactions from viewers who felt either empowered or outraged by the duo's transgressions of women's traditional roles. The 1991 film quickly became—and continues to be—a potent cultural reference point, even inspiring a bumper sticker that declares, "Thelma & Louise Live!"
In this insightful study of Thelma & Louise, six noted film scholars investigate the initial reception and ongoing impact of this landmark film. The writers consider Thelma & Louise from a variety of perspectives, turning attention to the film's promotion and audience response over time; to theories of comedy and the role of laughter in the film; to the film's soundtrack and score; to the performances of stars Susan Sarandon and Geena Davis; to the emergence of Brad Pitt as a star and male sex object; and to the film's place in the history of road and crime film genres. Complementing the scholarly analysis is an in-depth interview of screenwriter Callie Khouri by editor Bernie Cook, as well as reviews of Thelma & Louise that appeared in U.S. News & World Report and Time.

La-La Land Records and MGM present a remastered and expanded CD re-issue of renowned composer Hans Zimmer’s (RAIN MAN, GLADIATOR) original motion picture score to the landmark 1991 feature film THELMA & LOUISE starring Susan Sarandon and Geena Davis, and directed by Ridley Scott.