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The Spaghetti Western Collection

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Target $11.98 Target is one of those Tom Scott records that gets forgotten about a lot. Certainly it comes from the middle of the 1980s just before the GRP era, when Scott was still leading the Saturday Night Live Band on occasion and looking around for a new sound. It's the sound of a restless musician who gets the pop game, or at least has gotten it and is not sure of where to shift his focus next. The band is big and full of killer players: Harvey Mason, Ernie Watts, Ian Underwood, Victor Feldman, Paul Jackson, Neil Stubenhaus, Jim Horn, Trevor Feldman, Pete Christlieb, and Michael Boddicker, among others. The sound is a tad warmer than what Atlantic was releasing at the time, too. But the material, as good as some of it is -- like the funky title track -- also contains half-hearted pop ballads like "Come Back to Me" with Kenny James on vocals. "He's Too Young," with a fine vocal performance by Maria Muldaur, is marred by a terribly dated -- and it was for the time -- synth drum sound. There is also a truly bizarre moment when Lee Ving, former lead singer of Los Angeles hardcore band Fear raps and plays blues harmonica on "Gotta Get out of New York." Then there's "Lollipoppin'" which, while it contains the same dumb synth drum sound, also has some killer Rhodes by Feldman, synth work by Underwood, and a happening keyboard bassline. The grooving muted horn section on this reading of Dan Peck's "The Biggest Part of Me," has a wonderfully soulful feel with great kit work by Mason. The horn arrangements are in the pocket but restrained, allowing that lithe melody to shine through and, along with the title cut, it's a contender for best tune on the set. The set closes with the stone-gone funky groover "Burundi Bump" by Scott and Feldman with excellent basslines, pulsing Rhodes work, a boatload of percussion, and Mason running the ensemble from his kit; the entire tune is rhythm based. So Target is, ultimately, a mixed bag, a hold-over record that was throwing everything at the wall to see what worked. Interestingly, what did was the basis for Scott's sound at GRP. ~ Thom Jurek, All Music GuidePerformers: Tom Scott - Lyricon, Sax (Soprano), Sax (Tenor), Saxophone, Synthesizer, Wind; Judi Brown - Vocals (Background); Trevor Feldman - Fender Rhodes, Keyboards; Victor Feldman - Fender Rhodes, Keyboards, Percussion, Piano, Synthesizer; Jerry Hey - Flugelhorn, Horn, Trumpet;

On Target $8.99 On Target

The Target $12.55 The Target

Blank It $7.93 Blank It

Blank $24.99 Blank

SPAGHETTI WESTERN DOUBLE SHOT $17.96 RUN MAN RUN: This release of RUN MAN RUN is the first fully uncut version to be released in America. Directed by Sergio Sollima (REVOLVER, VIOLENT CITY), and starring Tomas Milian (TRAFFIC), this brutal, often sadistic, western is an epic political thriller, complete with an Ennio Morricone/Bruno Nicolai score. Milian plays the role of Cuchillo, on the run from bandits, federal agents, bounty hunters, and his fiancee! All are chasing a hidden stash of gold which could potentially fund the Mexican Revolution, and Cuchillo is going to have some running to do if he wants to achieve his target. RUN MAN RUN pulls no punches in getting its overtly political message across, the performances and direction eventually culminating in a bloody finale that will have you on the edge of your seat.MANNAJA: A MAN CALLED BLADE:Presented fully uncut for the first time in America, MANNAJA is a spaghetti western from the twisted mind of infamous Italian director Sergio Martino (TORSO). Maurizio Merli (FATAL CHARMS, FEARLESS) stars as Blade, a ruthless bounty hunter trying to escape from his past misdeeds. A fierce orgy of guns and violence erupts when Blade upsets the residents of a corrupt town, causing numerous standoff's between himself and the local residents. For fans who have awaited this release for many years, the good news is that the infamous 'eyeball torture' scene is fully intact. For newcomers, the mere fact that there is an 'eyeball torture' sequence should give you some idea of the no-holds barred thrills that await you!

Grosse Pointe Blank $13.98 Director George Armitage's Grosse Pointe Blank (which probably should be called John Cusack's Grosse Pointe Blank, since he not only starred in it, but also co-wrote and co-produced it) is set at a ten-year high-school reunion in Grosse Pointe, MI, in the present day, that being the spring of 1996. Thus, ex-Clash member Joe Strummer, credited with the original score, could call upon music dating back to the mid-'80s for songs the characters, now in their late twenties, would know. You might expect, then, that those 1986 graduates would be grooving to, say, Heart's "These Dreams" or "Greatest Love of All" by Whitney Houston. But, of course, Cusack and Strummer are much too hip for such popular fare. Instead, they put together a collection of edgy, British-oriented new wave and alternative rock, mostly from the early and mid-'80s, tracks by the likes of the Clash, the English Beat, the Specials, and the Jam, plus Americans Violent Femmes and Faith No More. Then there are ringers like Johnny Nash's "I Can See Clearly Now," which was a hit in 1972 when the main characters would have been about three years old, and Guns N' Roses' version of "Live and Let Die," which wasn't a hit until 1991. Okay, so this isn't really the music that would have been popular with the 1986 graduating class in Grosse Pointe. Who cares? The soundtrack album works well, including a relaxed "remix" (actually a different version) of Pete Townshend's "Let My Love Open the Door" as well as a new take on Violent Femmes' "Blister in the Sun" called "Blister 2000." Like the movie, which grossed 28 million dollars, the soundtrack album was a modest success, peaking at number 31, which inspired a follow-up collection, More Music From the Film Grosse Pointe Blank. ~ William Ruhlmann, All Music GuidePerformers: Peter Balestrieri - Sax (Baritone), Vocals; Steve MacKay - Sax (Baritone)

Blue Underground Spaghetti Western Collection