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(If you think about it, Alvin promising “sweet delight” really foreshadows that whole Richard Gere gerbil urban legend.Tiffany Valentine, a former lover and accomplice of serial killer Charles Lee Ray, bribes a police officer into giving her the dismembered parts of a children's doll-which Ray's soul inhabited-from an evidence locker before murdering him. Blondie and Moroder will both appear in this column again.īONUS BEATS: Previous chart-toppers Alvin & The Chipmunks covered “Call Me” on their 1980 album Chipmunk Punk. That album could’ve probably been amazing, but no matter. There was talk of Blondie recording a whole album with Moroder after the single’s success, but Moroder found working with the band too messy. It’s an immaculately designed work of engineering - an ideal pairing of European precision and American muscle. It fully established Blondie as chart dominators, and it announced Moroder as someone who could thrive in the period after disco, especially when his sounds were paired with Hollywood imagery. The song became the year’s biggest single. It whips you along into the sleazy neon future.Īmerican Gigolo was a mild success upon arrival, but “Call Me” turned out to be the real star of the movie. “Call Me” isn’t disco, and it damn sure isn’t punk.
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But there are also feverish guitar-fuzzbombs everywhere, and Harry goes full werewolf, cranking her intensity up all the way. It hurtles forward, and yet Moroder weaves bittersweet synth melodies into all the bombast. The track is sleek and efficient, a mechanistic marvel. It’s a clear collaboration between Moroder and Harry, one that finds an ideal midway point between their sounds. Harry could’ve released it as a solo track. The other members of Blondie don’t have a whole lot to do with “Call Me,” though we shouldn’t discount the boys in the band all yelling the title phrase on the chorus. Immediately thereafter, Harry went home and wrote the lyrics to “Call Me.” She was writing from the perspective of the Richard Gere character - always on call and available for love, at a price. The first time Debbie Harry heard that music, she was at Paul Schrader’s hotel, watching a rough cut of American Gigolo on video.
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“Call Me” is Moroder’s American Gigolo score transformed into a pop song, something Moroder knew how to accomplish. “Sunday Girl” peaked at #27.) It would take a team-up with a real disco master to bring Blondie back to the top. But Blondie’s follow-ups were only minor hits. “Heart Of Glass,” had been Blondie’s first Billboard Hot 100 hit, and it made them into stars. Neither Blondie nor producer Mike Chapman had any idea how to make Moroder-style disco, so they essentially taught themselves, and they wound up making something unforgettable. So Moroder turned to Debbie Harry, the leader of the New York punk band whose first #1 single had been a loose attempt at Moroder’s detached disco depravity.Ī year earlier, Blondie had hit #1 with “ Heart Of Glass,” a shimmering blank-faced quasi-disco jam. Moroder wanted Stevie Nicks to sing the opening number, but Nicks’ contract wouldn’t allow her to work with Moroder. Moroder’s years of collaboration with Summer were winding down by 1980, and he figured that this opening number should be a rock song. Moroder had composed the score, a hard-pulsing disco-rock thump not too distant from what he’d done with Donna Summer on the Bad Girls album. We can see that aesthetic at work in that opening scene. The project would lead Moroder to years of collaboration with the young producer Jerry Bruckheimer, the former ad executive who would quickly perfect a very ’80s blockbuster aesthetic. He was a natural to score American Gigolo, the story of this blank-faced sex worker getting in over his head. Moroder’s sound, chilly and distant and futuristic, resembled nothing else in pop music or in film. Moroder scored Midnight Express, his first film, in 1978, and he won an Oscar for it. He’d also begun to change the way Hollywood sounded. They, and the song that accompanies them, will linger.īy 1980, Giorgio Moroder had conquered pop music, helping transform his longtime collaborator Donna Summer into the biggest star of disco’s final boom period. And yet those first few frames are what we remember. Schrader only establishes this glamorous image to break it down, to reduce it to atoms. We’ll see him beaten and bedraggled, framed for murder and fighting for his life. Schrader was, and is, a misanthropist to the core, and this fashionable facade will turn out to be a thin shell.
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This is the opening of American Gigolo, the 1980 film from Taxi Driver screenwriter Paul Schrader.