| | Simply Irresistible Soundtrack CD (1 Customer Review)
Includes liner notes by Mark Taylor.
Spain,Econoline Crush,Hang Ups Lori Carson,Jennifer Paige,+
Producers include: The Hollowbodies, Andy Goldmark, Donna Lewis, John Wozniak, Gil Goldstein.
Audio Mixers: Don Dixon; Mitch Easter. Simply Irresistible Soundtrack Music | List Price | $16.98 (You save $3.13) | | Category | Rock/Pop Albums, Soundtrack CDs | | Label | Restless | | Orig Year | 1999 | | All Time Sales Rank |  32591  | | CD Universe Part number | 1128268 | | Catalog number | 72993 | | Discs | 1 | | Release Date | Feb 09, 1999 | | Studio/Live | Studio | | Mono/Stereo | Stereo | | Engineer | Don Dixon; Mitch Easter | | Recording Time | 45 minutes | | Additional Info | Original Soundtrack |
Simply Irresistible Soundtrack Songs | 1. | Little King - The Hollowbodies |
| 2. | Busted - Jennifer Paige |
| 3. | Falling - Donna Lewis |
| 4. | Got the Girl (The Boy from Ipanema) - Reiss |
| 5. | Angel of the Forever Sleep, The - Marcy Playground |
| 6. | Take Your Time - Lori Carson |
| 7. | Beautiful Girls - Chris Lloyd |
| 8. | Once in a Blue Moon - Sydney Forest |
| 9. | Parkway - The Hang Ups |
| 10. | Our Love Is Going to Live Forever - Spain |
| 11. | Bewitched, Bothered and Bewildered - Katalina |
| 12. | That Old Black Magic - Jessica |
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The title was a promise to themselves, Wham!'s assurance that they would make it big after struggling out of the gates the first time out. They succeeded on a grander scale than they ever could have imagined, conquering the world and elsewhere with this effervescent set of giddy new wave pop-soul, thereby making George Michael a superstar and consigning Andrew Ridgeley to the confines of Trivial Pursuit. It was so big and the singles were so strong that it's easy to overlook its patchwork qualities. It's no longer than eight tracks, short even for the pre-CD era, and while the four singles are strong, the rest is filler, including an Isley Brothers cover. Thankfully, it's the kind of filler that's so tied to its time that it's fascinating in its stilted post-disco dance-pop rhythms and Thatcher/Reagan materialism -- an era that encouraged songs called "Credit Card Baby." If this dichotomy between the A-sides and B-sides is far too great to make this essential, the way Faith later would be, those A-sides range from good to terrific. "Wake Me Up Before You Go-Go" is absolute silliness whose very stupidity is its strength, and if "Everything She Wants" is merely agreeable bubblegum, "Freedom" is astounding, a sparkling Motown rip-off rippling with spirit and a timeless melody later ripped off by Noel Gallagher. Then, there's the concluding "Careless Whisper," a soulful slow one where Michael regrets a one-night stand over a richly seductive background and a yearning saxophone. It was an instant ...
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John Waters' Cry-Baby goes hand in hand with Hairspray, and is a musical film that will probably appeal more to Waters' fans than fans of musical cinema. There is nothing original or exciting about the music on the soundtrack, as energetic as it is, and its bizarre nature is probably due to the scenes from the film rather than its own oddities. Waters describes it as "music that proved kids knew how to be bad before sex, drugs, and rock & roll," yet there seems to be little separation between those attributes and the concoction of lust and loudness here. Songs like "Doin' Time for Bein' Young" and "High School Hellcats" are no different from rock & roll, except that they sound like weak imitations of songs from Grease. Waters, the master of imitation and suburban insult, may very well have planned it that way. What might have changed everything would be to have Johnny Depp, who stars as Wade "Cry-Baby" Walker, sing the songs himself. He lip-syncs to the voice of James Intveld. Depp, a surprising actor who never shies away from big-handed tasks, should have supplied his own voice, even if he sounded terrible; isn't Waters one of the greatest living admirers of "terrible"? ~ Peter Fawthrop
John Waters' Cry-Baby goes hand in hand with Hairspray, and is a musical film that will probably appeal more to Waters' fans than fans of musical cinema. The music on the soundtrack is energetic and exciting; its bizarre nature is probably due to the scenes from the film rather than its own oddities. Waters describes it as "music that proved kids knew how to be bad before sex, drugs, and rock & roll." ...
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