Original Soundtrack

Speedzone

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    7
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AllMusic Review by

This is a very interesting soundtrack to what was supposed to be the film "Spring Break 3" and ended up getting renamed Speedzone with actors Brooke Shields, the Smothers Brothers, John Candy, Peter Boyle, and others. Boston band Splash -- veterans of that scene managed and produced by J.D. Worthington, the pseudonym for the same individual who originally managed Boston band Mass -- open up the disc. Somehow Worthington (aka Ron Pasquelino) managed to sign the group to Grudge Records, a New York label distributed by BMG. Simultaneous with this soundtrack, the band Splash -- featuring the Evangelista Brothers (changed to the Evans Brothers by Worthington) -- released an album called Spring Break, which also has "Dizzy Miss Lizzy" as its opening track. The Larry Williams tune made famous by the Beatles is terrific here; it jumps off the soundtrack and starts things right. "Roll Away" does not sound like Felix Cavaliere of the Rascals, but it is, and the song would have been appropriate for the soundtrack to Beverly Hills Cop. Everything here sounds very '80s, from Ross Vannelli's production of James House's "Born to Race" to that producer's work behind Rocky Burnette on "Perfect Crime," which really could have been on the Beverly Hills Cop soundtrack. That Vannelli gets two of the ten tracks is interesting, as David Wheatley is given the credit in the film for the music. His instrumental "Tiffany's Theme," with saxophone by Moe Koffman, is elegant enough following Denny Colt's decent "Good Guys Are Hard to Find." The stunner here is Richie Havens doing an original which is up-tempo, dancey, and not what you'd expect to hear from Havens. It's one of the best tracks and should have been on theBeverly Hills Cop II soundtrack. Though released in 1989 everyone here seems to have taken cues from Glenn Frey's 1985 work. Rocky Burnette may have made his name at the beginning of that decade, with Richie Havens hitting ten years prior, but Will to Power was hot at this point, the song on this album coming right in between their 1988 and 1990 chart hits. Somehow this very decent work got lost in the shuffle that is the record biz, but it's quality product on a small BMG imprint and deserves a bit more attention. Charlie Karp & the Name Droppers sound like John Cougar Mellencamp while Omar & the Howlers conclude the disc with their rewrite and update of an old Fleetwood Mac idea which comes off like a reprise of"Dizzy Miss Lizzy." Competent and entertaining, this album is a sleeper and a must for fans of Cavaliere and Richie Havens.

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