OST. "THE COMMITMENTS" MC UK 1991 LP. ORIG EX+
£
18
$
24
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Description
Commitments, The ?– The Commitments (Original Motion Picture Soundtrack)
Label: MCA Records ?– MCA 10286 Format: Vinyl, LP, AlbumCountry: UK Released: 1991 Genre: Funk / Soul, Stage & Screen Style: Soundtrack, Soul
TracklistHide Credits
A1 Mustang Sally Written-By – Bonnie Rice* A2 Take Me To The River Written-By – Al Green, Mabon Hodges* A3 Chain Of Fools Written-By – Don Covay A4 The Dark End Of The Street Written-By – Chips Moman, Dan Penn A5 Destination Anywhere Written-By – Nickolas Ashford, Valarie Simpson* A6 I Can't Stand The Rain Written-By – Ann Peebles, Bernard Miller, Donald Bryant* A7 Try A Little Tenderness Written-By – Harry Woods (2), Jimmy Campbell*, Reg Connelly* B1 Treat Her Right Written-By – Gene Kunz*, Roy Head B2 Do Right Woman Do Right Man Written-By – Chips Moman, Dan Penn B3 Mr. Pitiful Written-By – Otis Reading*, Steve Cropper B4 I Never Loved A Man Written-By – Ronnie Shannon B5 In The Midnight Hour Written-By – Steve Cropper, Wilson Pickett B6 Bye Bye Baby Written-By – Mary Wells B7 Slip Away Written-By – Marcus Daniel, Wilbur Terrell, William ArmstrongCredits
- Producer – Alan Parker (2), Kevin Killen, Paul Bushnell
Review by Stephen Thomas Erlewine [-]
Alan Parker's adaptation of Roddy Doyle's crackerjack novel The Commitments kept its focus on the music -- the classic American R&B and soul the titular workingman band cranked out in pubs across Ireland. As a book and film, The Commitments was all about love of music, so it didn't matter if the soundtrack offered workmanlike versions of oldies the band and audience knew by heart: as long as it was done with some, well, soul, the film would work, and the soundtrack would too. In that sense, the Commitments were a cousin to the Blues Brothers, John Belushi and Dan Aykroyd's tribute to the very same music but where Jake and Elwood managed to hire Stax's house band (such are the perks of stardom) , the group Parker assembled were working Irish musicians. This would seem to lend The Commitments some degree of authenticity and it does to a certain extent, as these guys can crank out familiar favorites without missing a step, but the description of working musicians suggests that there is some grit here, which there's not. After all, this is music for a movie, so it is cleanly produced: the horns have a punch, the guitars are crisp, the drums tight and neat, all the better to showcase the bar band growl of Andrew Strong -- his Otis worship comes out like Rod Stewart crossed with Mick Hucknall -- and Maria Doyle's salute to Aretha Franklin. All of this sounds fine, if a bit generic: these are great songs performed ably and if they're not distinctive, they at least suit the spirit of the film's open-hearted hero worship.
Strictly Graded - RECORD COLLECTOR Grading System.
Grading System: In order to assist everyone who buys and sells rare discs, Record Collector magazine has originated a set of standards for the condition of second-hand records, I have added a (+) or (-) to my gradings where applicable.
MINT: The record itself is in brand new condition with no surface marks or deterioration in sound quality. The cover and any extra items such as the lyric sheet, booklet or poster are in perfect condition. Records advertised as Sealed or Unplayed should be Mint.
EXCELLENT: The record shows some signs of having been played, but there is very little lessening in sound quality. The cover and packaging might have slight wear and/or creasing.
VERY GOOD: The record has obviously been played many times, but displays no major deterioration in sound quality, despite noticeable surface marks and the occasional light scratch. Normal wear and tear on the cover or extra items, without any major defects, is acceptable.
GOOD: The record has been played so much that the sound quality has noticeably deteriorated, perhaps with some distortion and mild scratches. The cover and contents suffer from folding, scuffing of edges, spine splits, discoloration, etc.
FAIR: The record is still just playable but has not been cared for properly and displays considerable surface noise; it may even jump.
The cover and contents will be torn, stained and/or defaced.
POOR: The record will not play properly due to scratches, bad surface noise, etc. The cover and contents will be badly damaged or partly missing.
BAD: The record is unplayable or might even be broken, and is only of use as a collection-filler.
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