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‘Atomic’ hit parade

‘80s dazzlers strung together deftly on ‘Blonde’ soundtrack

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Atomic Blonde, gay news, Washington Blade

The ‘Atomic Blonde’ soundtrack is a strong ‘80s hits compilation that works on its own. (Photo courtesy Focus Features)

One of the most anticipated films of the summer is the thriller “Atomic Blonde” starring Charlize Theron as a British spy operating just as the Berlin Wall is about to collapse as the ‘80s wound to a close.

While the movie hasn’t been a major blockbuster, it has performed respectfully and reviews have been mostly favorable. One of its most notable aspects is the deft use of some terrific music from the ‘80s which sets the right vibe for the bygone era in which it is set. Summer movies have traditionally been fertile ground for classic soundtracks, with some even outlasting the movie to which it belongs in pop culture awareness.

That might not be the case with “Atomic Blonde,” but director David Leitch’s song selections make for an awesome nostalgia ride that will delight fans of ‘80s music and will hopefully introduce new audiences to some truly classic tunes.

David Bowie’s “Cat People (Putting Out Fire)” makes yet another high-profile appearance in film, a testament to the song’s gripping cinematic power. It was originally written and recorded for the 1982 film “Cat People” directed by Paul Schrader, and Quentin Tarantino dusted it off for a key sequence in his 2009 wartime thriller “Inglourious Basterds.” It opens the compilation with a brooding intensity that sets the mood.

German artist Peter Schilling’s synth-rock staple “Major Tom” follows, a clever transition from the man who originated the character in “Space Oddity” to the tense and jittery homage that became a surprise hit (Schilling’s only Top 40 appearance in the U.S.) in 1983.

One of the coolest things about the “Atomic Blonde” soundtrack is that Leitch doesn’t just go with obvious choices. There are a few major hits, like George Michael’s sensual chart-topper “Father Figure,” A Flock of Seagulls’ new wave essential “I Ran (So Far Away),” and Til Tuesday’s mournful tale of an oppressive relationship, “Voices Carry,” but there are also lesser-known tracks. Siouxsie and the Banshees’ dramatic “Cities in Dust” is a superb addition, as is Re-Flex’s “The Politics of Dancing,” an edgy electro-rocker that wasn’t a giant hit upon its release in 1984 but still pulses with club-ready energy.

Given that the film is largely set in Germany, Leitch chooses several tracks that harken back to that country’s proud pop music history. Nena’s anti-war fable “99 Luftballons,” set at the Berlin Wall, is always wonderful to hear (as is the new recording by Kaleida, also featured on the soundtrack).

“Der Kommissar,” a song originally released in German by Falco in 1981, is featured as covered by After the Fire, who scored a major U.S. hit with their 1983 English-language version. Several new covers are thrown into the mix, including a searing take on New Order’s “Blue Monday” by HEALTH, and Marilyn Manson’s collaboration with original score composer Tyler Bates on a manic version of Ministry’s industrial epic “Stigmata.”

Movie soundtracks, with few exceptions (“Guardians of the Galaxy,” for instance) no longer enjoy the same massive cultural cachet as in decades past, but there are still great ones to be found thanks to directors who know how to incorporate outstanding music into their films in meaningful ways. “Baby Driver” is arguably the best of the summer so far, but “Atomic Blonde” is right up there with it.

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Music & Concerts

Underdog glorious: a personal remembrance of Jill Sobule

Talented singer, songwriter died in house fire on May 1

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Writer Gregg Shapiro with Jill Sobule in 2000. (Photo courtesy Shapiro)

I’ve always prided myself on being the kind of music consumer who purchased music on impulse. When I stumbled across “Things Here Are Different,” Jill Sobule’s 1990 MCA Records debut album on vinyl in a favorite Chicago record store, I bought it without knowing anything about her. This was at a time when we didn’t have our phones in our pockets to search for information about the artist on the internet. The LP stayed in my collection until, as vinyl was falling out of fashion, I replaced it with a CD a few years later.

Early in my career as an entertainment journalist, I received a promo copy of Jill’s eponymous 1995 Atlantic Records album. That year, Atlantic Records was one of the labels at the forefront of signing and heavily promoting queer artists, including Melissa Ferrick and Extra Fancy, and its roster included the self-titled album by Jill. It was a smart move, as the single “I Kissed A Girl” became a hit on radio and its accompanying video (featuring Fabio!) was in heavy rotation on MTV (when they still played videos).

Unfortunately for Jill, she was a victim of record label missteps. When 1997’s wonderful “Happy Town” failed to repeat the success, Atlantic dumped her. That was Atlantic’s loss, because her next album, the superb “Pink Pearl” contained “Heroes” and “Mexican Wrestler,” two of her most beloved songs. Sadly, Beyond Music, the label that released that album ceased to exist after just a few years. To her credit, the savvy Jill had also started independently releasing music (2004’s “The Folk Years”). That was a smart move because her next major-label release, the brilliant “Underdog Victorious” on Artemis Records, met a similar fate when that label folded.

With her 2009 album “California Years,” Jill launched her own indie label, Pinko Records, on which she would release two more outstanding full-length discs, 2014’s “Dottie’s Charms” (on which she collaborated with some of her favorite writers, including David Hadju, Rick Moody, Mary Jo Salter, and Jonathan Lethem), and 2018’s stunning “Nostalgia Kills.” Jill’s cover of the late Warren Zevon’s “Don’t Let Us Get Sick” on “Nostalgia Kills” was particularly poignant as she had toured with him as an opening act.

Jill was a road warrior, constantly on tour, and her live shows were something to behold. My first interview with Jill took place at the Double Door in Chicago in early August of 1995, when she was the opening act for legendary punk band X. She had thrown her back out the previous day and was diagnosed with a herniated disc. To be comfortable, she was lying down on a fabulous-‘50s sofa. “I feel like I’m at my shrink’s,” she said to me, “Do you want me to talk about my mother?”

That sense of humor, which permeated and enriched her music, was one of many reasons to love Jill. I was privileged to interview her for seven of her albums. Everything you would want to know about her was right there in her honest lyrics, in which she balanced her distinctive brand of humor with serious subject matter. Drawing on her life experiences in songs such as “Bitter,” “Underachiever,” “One of These Days,” “Freshman,” “Jetpack,” “Nothing To Prove,” “Forbidden Thoughts of Youth,” “Island of Lost Things,” “Where Do I Begin,” “Almost Great,” and “Big Shoes,” made her songs as personal as they were universal, elicited genuine affection and concern from her devoted fans.

While she was a consummate songwriter, Jill also felt equally comfortable covering songs made famous by others, including “Just A Little Lovin’” (on the 2000 Dusty Springfield tribute album “Forever Dusty”) and “Stoned Soul Picnic” (from the 1997 Laura Nyro tribute album “Time and Love”). Jill also didn’t shy away from political subject matter in her music with “Resistance Song,” “Soldiers of Christ,” “Attic,” “Heroes,” “Under the Disco Ball,” and the incredible “America Back” as prime examples.

Here’s something else worth mentioning about Jill. She was known for collaboration skills. As a songwriter, she maintained a multi-year creative partnership with Robin Eaton (“I Kissed A Girl” and many others), as well as Richard Barone, the gay frontman of the renowned band The Bongos. Jill’s history with Barone includes performing together at a queer Octoberfest event in Chicago in 1996. Writer and comedian Julie Sweeney, of “SNL” and “Work in Progress” fame was another Chicago collaborator with Sobule (Sweeney lives in a Chicago suburb), where they frequently performed their delightful “The Jill and Julia Show.” John Doe, of the aforementioned band X, also collaborated with Jill in the studio (“Tomorrow Is Breaking” from “Nostalgia Kills”), as well as in live performances.

On a very personal note, in 2019, when I was in the process of arranging a reading at the fabulous NYC gay bookstore Bureau of General Services – Queer Division, I reached out to Jill and asked her if she would like to be on the bill with me. We alternated performing; I would read a couple of poems, and Jill would sing a couple of songs. She even set one of my poems to music, on the spot.

Jill had an abundance of talent, and when she turned her attention to musical theater, it paid off in a big way. Her stage musical “F*ck 7th Grade,” a theatrical piece that seemed like the next logical step in her career, had its premiere at Pittsburgh’s City Theatre in the fall of 2020, during the height of the pandemic. The unique staging (an outdoor drive-in stage at which audience members watched from their cars) was truly inspired. “F*ck 7th Grade” went on to become a New York Times Critic’s pick, as well as earning a Drama Desk nomination.

In honor of the 30th anniversary of Jill’s eponymous 1995 album, reissue label Rhino Records is re-releasing it on red vinyl. Jill and I had been emailing each other to arrange a time for an interview. We even had a date on the books for the third week of May.

When she died in a house fire in Minnesota on May 1 at age 66, Jill received mentions on network and cable news shows. She was showered with attention from major news outlets, including obits in the New York Times and Rolling Stone (but not Pitchfork, who couldn’t be bothered to review her music when she was alive). Is it wrong to think that if she’d gotten this much attention when she was alive she could have been as big as Taylor Swift? I don’t think so.

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Music & Concerts

Tom Goss returns with ‘Bear Friends Furever Tour’

Out singer/songwriter to perform at Red Bear Brewing Co.

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Singer Tom Goss is back. (Photo by Dusti Cunningham)

Singer Tom Goss will bring his “Bear Friends Furever Tour” to D.C. on Sunday, June 8 at 8 p.m. at Red Bear Brewing Co. 

Among the songs he will perform will be “Bear Soup,” the fourth installment in his beloved bear song anthology series. Following fan favorites like “Bears,” “Round in All the Right Places,” and “Nerdy Bear,” this high-energy, bass-thumping banger celebrates body positivity, joyful indulgence, and the vibrant spirit of the bear subculture.

For more details, visit Tom Goss’s website.

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Music & Concerts

Kylie brings ‘Tension’ tour to D.C.

Performance on Tuesday at Capital One Arena

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Kylie Minogue visits D.C. on Tuesday.

Aussie pop icon Kylie Minogue brings her acclaimed “Tension” world tour to D.C. next Tuesday at 7:30 p.m. at the Capital One Arena. Tickets are still available at Ticketmaster.

The show features songs spanning her long career, from 1987 debut single, “The Loco-Motion,” to “Padam, Padam” from her album, “Tension.”

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