Songs are ranked based on an inverse point system, with weeks at No. This ranking is based on actual performance on the weekly Billboard Hot 100 chart. Here’s a look back at the 65 biggest Hot 100 hits that arose from being featured on the silver screen. Though not everyone has seen the film, people of all generations can recognize its massive single: Whitney Houston’s smash cover of Dolly Parton’s “I Will Always Love You.” John Travolta’s 1977 classic disco film Saturday Night Fever produced several of the Bee Gees’ biggest hits - including “Stayin’ Alive” and “Night Fever.” And let’s be honest: Damn near no one has heard of Ready to Wear from Robert Altman (the iconic director of Gosford Park, Nashville, M*A*S*H), but if Ini Kamoze’s “Here Comes the Hotstepper” comes on, you’ll at least be singing along to the naaaa na na na naaaaas. The biggest example of this undoubtedly comes from 1992’s The Bodyguard. Not only that, many songs written for films have stood on their own, with the popularity of some eclipsing the movies that inspired them. Whether a film is a tear-jerking drama, an action-packed thriller or a side-splitting comedy, the right song at the right moment will always elevate the impact of a scene. The seven fully instrumental tracks of Dead Man are Neil Young at his purest, like a rare electronic voice phenomenon recording of Young’s musical spirit as it rumbles and bends and intersects with the material plane.Movies and music have been a natural combination ever since sound was first added to moving images. For an artist so famously committed to spontaneity and chasing idiosyncratic muses, including making films of his own, it’s authentically shocking that the now 73-year-old Young has never gone further down this path. The form of these compositions remains ambiguous, give or take moments when notes begin to connect into melodic fragments that sound viscerally like Young, accidental shards of musical personality on display. 5,” filled indelibly with Young’s favorite gestures as a guitarist: aching chord voicings, fuzztones, and spiky colors that open into broader fields of sound as ideas return and change shape. 6.” The centerpiece is the 14-and-a-half minute “Dead Man, No. It ends with a 30-second melodic coda that sounds like what the narrator of Young’s 1975 “ Albuquerque” might be hearing in their head driving through the New Mexican desert.Įach of Dead Man’s tracks offers subtly different strategies, from the dream swirl of “Organ Solo” to the sustained ghost tones and scandalously indulgent two-note solo of “Dead Man, No. 1,” Young’s guitar scratches a fluttering, almost-steady pulse while muted chords flicker, disappearing before they can resonate and reveal themselves. ![]() While Arc might be louder, Dead Man is perhaps even further out, pushing beyond songs and rhythms and noise, and building from the new logic of the world beyond. Young’s closest companion to Dead Man, perhaps even a prequel of sorts, is 1991’s Arc, a 35-minute extended edit of Crazy Horse’s live feedback jams. (These buzzkills, of course, can be bypassed on mediums other than vinyl.) Though they provide an emotional structure for the music and are unquestionably atmospheric sound-art, they’d be buzzkills even without Johnny Depp, interrupting perhaps the purest guitar playing of Young’s discography. 6,” plus “Organ Solo.” They alternate with another half-dozen dialogue-based tracks, Young’s guitar pushed to the background while bits of the movie come up, largely featuring Johnny Depp, who reads the poetry of William Blake. With the tracks unnamed on their original release, the high fidelity Neil Young Archives site now titles the half-dozen instrumentals as “Dead Man, No. Young creates a vocabulary of sound as if he’d been improvising movie scores for decades-a landscape of stark, expressive solo guitar to match Jarmusch’s psychedelic black-and-white Western. A new reissue returns the spotlight to arguably the most satisfying oddity of Young’s half-century career, too committed to be dismissed as a novelty. In a catalog that has ranged from the 1982 vocoder-touched Trans to the 2003 eco-rock opera Greendale, Dead Man remains the only release of its kind. ![]() But it took more than two decades for Young himself to make an album of solo electric guitar music, his 1996 soundtrack to Jim Jarmusch’s Dead Man.
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