I've been creatively comatose but I'm back-ish. Will catch up on all my reading I promise :-P xxx
I've been creatively comatose but I'm back-ish. Will catch up on all my reading I promise :-P xxx
Member since:06.07.2006
Reviews:13
Members who trust:9
INTRODUCTION
I only watched Nine And A Half Weeks once and decided I wouldn't bother again. Perhaps I was too young to read between the lines of the movie to fully understand it, or perhaps I just didn't get the whole Mickey Rourke obsession that ensued amongst my friends [one of them almost crashed her car because she thought she had see him in her rear-view mirror]. Whatever the reasons, one thing that stayed with me was the soundtrack. Back then I thought it was pretty awesome, and these days I still enjoy digging it out from my small collection, and listening to it amidst late eighties memories. I have owned this album for quite some time, so I figured a review was in order, just in case one of you might have missed it the first time round [reasons for this might be the fact that you still hadn't started eating solids at the time].
BACKGROUND
Nine and a half weeks was released in 1986 and starred the aforementioned Mickey Rourke as John [quite the man of mystery - very little was ever known about him] and Kim Basinger as Elisabeth [a beautiful assistant in an art gallery]. Their relationship was a very intense one, due mainly to the sex games that John liked to play. This lead to emotional complications for Elisabeth, who in some part seemed almost addicted to the man she knew virtually nothing about, and in most part appeared desperately frustrated with him. Anyway, the soundtrack to this, as you may imagine, tries to reflect the ambience of the movie, but fails. At the time the songs were perfectly adequate because of the era this movie was made in. Today, they might come across a little cheesey, but let's not forget that they are 21 years old, and with this in mind I can add that they aren't as excessively outdated as they might have been. We are talking mild cheddar here, rather than blue vein. I still listen to them now and again, but the fact that I seem to be stuck in the eighties anyway, may be no recommendation!
THE SONGS
I DO WHAT I DO: This was the main theme for the film and was sung by John Taylor [of Duran Duran fame]. The chorus is as follows: I DO WHAT I DO TO HAVE YOU [HAVE YOU], I DO WHAT I HAVE TO DO [I DO, I DO, I DO] This is repeated at least four times, but actually isn't as bothersome as you might expect. John sings this with a great deal of hardness in his voice, with the rythmn coming across as harsh and quite monotonous, and I suspect this is to reflect the sexual tension contained withtin the film. The lyrics denote a certain amount of physical teasing, which appear to conceal more sinister, underlying feelings of obsession. It suited the movie very well as the theme song, as it encompassed the nature of the film in it's entirety. This one definately relates to John's character. PERSONALLY: I like this. The fact that it's repetitive in words and score doesn't make it tiresome, and I think it might not have worked as the principal tune if it hadn't mirrored the essence of Nine and half weeks with it's obsessive lyrics and sounds. John's voice
isn't particularly outstanding here, but I find it easy to listen to despite the heavy message it is supposed to convey. When I first listened to this I found it much darker than I do now, as these days I find it has lost it's intrigue. I rate this as an 8/10 in relation to the entire album. A thumbs up here.
THE BEST IS YET TO COME This was sung by Luba. I had never heard of her before this, and haven't since. Someone must have though, because two of her songs are featured on this album. This is my least favourite of the pair. The chorus is as follows: YOU CAN SAY I'M JUST DREAMING. I'VE ALWAYS BEEN AN OPTIMISTIC ONE. I CAN'T HELP FEELING THAT THE BEST IS YET TO COME [OH OH, OH OH]. A little more light-heartedness here. I have always felt this was a song of dis-illusionment and definately related to Elisabeth. It has positive undertones, and the melody is easy-going and quite relaxed, although Luba's vocals are somewhat deeper than you might expect from a tune like this. She has a comfortable singing voice, but again there is nothing outstanding here, which is probably why I haven't a clue who she is. You can certainly hear the eighties stereotypical genre in this, and for me it is one of most dated of the set, although as I pointed out, only in the mildest form. It does fit the nature of the movie however, as it reflects Elisabeth's hopes and needs in terms of the relationship. PERSONALLY: I don't mind this. It isn't one of the best on the album, but it plays with ease, and you'll probably find yourself knowing the words in no time [guilty]. I never felt the need to sing into my hairbrush with this one though :-) I rate this 6/10. A horizontal thumb here.
SLAVE TO LOVE: Many of you may know this memorable tune, sung by Brian Ferry and will need no introduction. For those that aren't familiar with it [you pupsters lol], here is the chorus: SLAVE TO LOVE [OH], SLAVE TO LOVE. SLAVE TO LOVE [AND I CAN'T EXPLAIN] I'M A SLAVE TO LOVE. Well yes, that doesn't tell you much, but it's a classic. Trust me. This could relate to either character in my opinion, as it was clear they were both addicted to the affair in their own ways. This a sensuous tune with vocals to match. I find Brian Ferry sings with a 'purr-like' quality, which in this case runs very smoothly with the fleshy and seductive ooze contained within the music. In my view it is a song of longing, and perfectly matched with the movie. It's on the edge of the cheeseboard though, as it certainly seems to have stood the test of time. PERSONALLY: Has never been a favourite, although I don't dismiss it. Is probably featured on a variety of 'smoochin' albums, as it's perfectly suited for a slow dance and a snog under dim lights. I'm not admitting to anything here, but I listen to it with a certain degree of affection. A small degree. It's probably negligible in mathematical terms. I rate this 7/10. An upward forty-five degree thumb here.
BLACK ON BLACK: This was sung by Dalbello [another mystery in my book of unknown performers] and the chorus is as follows: SO VERY STRA[YEE]ANGE, BLACK ON BLACK [LA LA LA LA LA, LA LA LA LA LA, ETC...]. The coldest of tunes, and vocalised with a forced amount of hardness. Infact, I would go so far as to say that Dalbello sounds as though she may be trying to sing whilst on the toilet during a rather laboured [and stubborn] event. Again, this has a repetitive and monotonous sound, but unlike I DO WHAT I DO, it does tend to drone on and become very tiresome, rather quickly. Gets on my bleeding nerves actually. It trys to come across as rebellious and unemotional, and succedes in appearing contrived and downright boring. This probably relates to Elisabeth, as she discovers more sinister sides to her man, but to be honest it doesn't gel well with the movie, but that's my opinion. PERSONALLY: As you've guessed, I don't like this very much. I do tend to skip it when I'm listening to the album, and can't say I know where it belongs in terms of era and type. The bin probably. Hideous. I rate this 1/10. A firm thumbs down here.
EURASIAN EYES: Sung by Corey Hart [I don't know, I don't know!], the chorus is thus: [Small pointer: Try as I might, I can't for the life of me understand what the blighter is saying, as most of the chorus is strung together with slurred vocals. Should have come with the lyrics printed inside! All I can make out is the following--->] BLAH BLAH BLAH, I CAN ONLY SEE YOUR EURASIAN EYES, BLAH BLAH BLAH, I CAN ONLY SEE YOUR EURASIAN EYES. Before you tell me I shouldn't have been so lazy and gone in search of the words on the net, I would just like to say that this is supposed to be a review of how I interpret the songs, and that's precisely how I interpret the chorus to this one! Sludgy. Despite my misgivings about certain unclarities, this is actually a very pleasant tune. It is soft, but not excessively downbeat, especially during the chorus. Corey Hart's voice is mediocre, but well matched to the beat, and you know exactly what he's singing about during the verses, so that's ok lol. There is certainly an eighties feel about this, and you couldn't possibly misplace it in terms of when it was written and performed. I believe it relates to John, and reveals perhaps a few of those feelings he keeps hidden during the movie, although Kim Basinger doesn't strike me as having Eurasian eyes, so maybe I'm wrong. It happens all the time, so no sweat. I class this as 'easy-listening', although it does try to convey a deeper message. Unfortunately it fails somewhat, and falls short of stirring the emotions it's attempting to browbeat. Perhaps Corey should have laid of the Pimms before recording this one. PERSONALLY: I do like this, and it is easily one of nicest tunes on the album. It tends to stick in your head though, and you may find yourself humming it subconsciously. There's nothing wrong with that, but be prepared for the same dialogue with your mates:
'What's that song you've been humming all day?' 'Eurasian Eyes' 'Your a what?'
I rate this 8/10. A thumbs up again.
YOU CAN LEAVE YOUR HAT ON: Another memorable song, by Joe Cocker. Some of you may recall this one too. I shouldn't bother with the chorus really, but for continuity's sake, here it is: YOU CAN LEAVE YOUR HAT ON. YOU CAN LEAVE YOUR HAT ON. YOU CAN LEAVE YOUR HAT ON. Erm...yes, well. This needs no speculation in relation to the film, as it's the background music for Kim Basinger's strip [with a hat
Pictures of Nine And A Half Weeks - Original Soundtrack
Mickey Rourke Then...
on]. If you know Joe Cocker, then you'll be familiar with his raspy vocals, which are ideal for this tune. It's perfect strip tease material, and eminates the right degree of sensuality, sleaze, mischief and desire. It pulses ahead with a slow, but smooth rythmn, and Joe's vocals give it a nice little 'dirty' edge, making it just right for the chosen scene, and possibly your own piece of pre-fornication. It's perfect for the film. No cheese here, but perhaps a cracker or two :-) PERSONALLY: I love this. It's my favourite of the lot. It's fun, and just a wee bit naughty and Cocker is a great singer, so you really can't go wrong. I rate this 9/10. An erect thumbs up.BREAD AND BUTTER: Sung by Devo [I give up], with the following chorus: I LIKE BREAD AND BUTTER. I LIKE TOAST AND JAM. THAT'S WHAT BABY FEEDS ME. I'M HER LOVING MAN. Again, we know where this fits into the movie. It's the background music for the scene where John blindfolds Elisabeth and feeds her all manner of goodies [and baddies] from the fridge. This is a whimsical tune and has very playful undertones. It can be quite stale during the verses though, as it has a tendency to list a whole variety of food, rather than sing about it. The chorus comes to life however, as the vocals are extremely high-pitched, although you are in no doubt they belong to a man. This wasn't meant to be a chart-topper [at least I hope not], and could be perceived as either horrendous or amusing. It certainly has it's place within the movie, and illustrates it's accompanying scene with the intended sense of fun. PERSONALLY: What can I say? It's daft and badly sung, and I subscribe to the horrendous opinion. It still isn't as awful as BLACK ON BLACK though. I rate this 2/10. A thumbs down I'm afraid.
THE CITY NEVER SLEEPS You may not be familiar with the song, but I'm sure you will have heard of the Eurythmics, who are responsible for this track. No? Annie Lennox perhaps? Anyway, here is the chorus: ALL SO FAINT I CAN ALMOST HEAR THEM BREATHING. AND IF I LISTEN IN, I HEAR MY OWN HEART BEATING. This has soft and breathy vocals, and the whole character of the song is subdued and moody. It almost seems to float through the air as you listen, and contains strong suggestions of heartache, even if the words don't add up to this. Annie Lennox is a superb singer and does the tune justice, as she manages to convey all the underlying sentiments with her exceptional voice. It attempts you haunt you with it's whispered background vocals and eerie sounds, and although it used to hit the mark when I first bought the album, I just find it relaxing now. Not particularly eighties though. Could get away with the 1995 at least. This certainly relates to Elisabeth's character. PERSONALLY: A fine song, with great talent attatched to it. Not something I would listen to independantly of the soundtrack, but a worthwhile addition nontheless. I rate this 7/10. A slightly angular thumbs up.
CANNES: No lyrics here. Just a musical abomination by Stewart Copeland. It seems to be a mixture of pipes and every other instrument or sound that doesn't go with them. It becomes confusing and then irritating, and has no business being on any album, anywhere. The beat [I use the term loosely] is the same throughout and drills into your skull until you're reaching for the anadin extra. On par with BLACK ON BLACK. PERSONALLY: It's dull and dreadful. I rate this 1/10. Thumbs definately down.
LET IT GO: The final song on the album, and Luba's second track. The better of the two. And the chorus is: LET IT GO. LET IT FREE YOUR BODY, LET IT MOVE YOUR SOUL. LET IT GO [OH NO], WE ARE MADE, WE ARE NOT BORN. This has just a pinch of latino about it, and is quite upbeat and fast. Luba's vocals certainly seem to accelerate considerably in parts, and it's something you could easily dance to if pie-eyed enough. This is a bubbly tune, and the words are directed towards encouragement [just LET IT GO! lol] and have a positive feel. This time, the deeper voice matches the rythmn and overall, I can say it's a rather pleasant melody, albeit another reminder of those ra-ra skirts, leg warmers and back-combed hairstyles. This is one for Elisabeth's character. It's a good ending to the whole Nine And A Half Weeks soundtrack experience, and you're left with the knowledge that you'll definately be listening to this album again. This time next year. PERSONALLY: I like this. It has a bum-shaking vibe, and could be just the right song for dancing with the mop whilst cleaning the kitchen floor. [I don't do this - honestly]. I rate this 8/10. A final thumbs up here.
IN CONCLUSION: I favour the majority of the songs on this soundtrack, and enjoy listening to it once in a while. Some of it is typically old school, but don't let that put you off, even if you're not a huge fan of eighties music. You might be pleasantly surprised. I recommend it, especially to those who are stuck in the same musical era as me, as it will stir the odd memory, even if the songs are new to you. There's just something about the genre that ignits those flashbacks you see lol. To the pupsters, I say give it a whirl. You don't have to let your mates know about it , do you!
EXTRA INFO: I have seen this on CD at Amazon for £4, so get surfing! There are no special features here though. Just the song titles and the usual associated names.
How helpful would this review be to a person making a buying decision? Rating guidelines
Whilst I don't have the soundtrack I do have the film (the shame of it). I may have to inflict it on myself so that I can listen to the soundtrack as I definitely was too young to appreciate it the last time I watched it. Another very enjoyable review which is making me feel my age. :-)
I Do What I Do... (Theme From 9 1/2 Weeks) (John Taylor) The Best Is To Come (Luba) Slave ... more
To Love (Bryan Ferry) Black On Black (Dalbello) Eurasian Eyes (Corey Hart) You Can Leave Your Hat On (Joe Cocker) Bread And Butter (Devo) The City Never Sleeps (E...
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