Jim Carroll Band Jim Carroll (vocals), Brian Linsley (guitar), Steve Linsley (bass), Terrell Winn (guitar), Wayne Woods (drums) Background vocals Brian Linsley, Steve Linsley, Terrell Winn, Wayne Woods, Amy Kanter, Neon, Sally, Jane and Hilary Additional musicians Allen Lanier (keyboards) & Bobby Keys (saxophone) Released: January 3, 1980 Recorded: July-August 1978 Released by: Atco Studios: New York City and California Length: 38:26 Produced by: Earl McGrath Engineering & co producer: Bob Clearmountain Assistant Engineer: Jason Corsaro Mastering: Bob Ludwig Assistant Engineer: Jeffrey Norman Artwork Back cover photography: Michael Halsband Art direction, front cover photography: Annie Leibovitz Art direction: Sandi Young Art direction: Earl McGrath Review: “It's generally imagined that the highest praise one can bestow on a rock songwriter is to say their words read like poetry, but the truth is no more than a handful of notable poets have distinguished themselves as rock songwriters (supposedly a less demanding form), and several have displayed a embarrassing lack of understanding of the popular song form. Jim Carroll is one of the very few authors who convincingly brought his work from the printed word to the rock & roll stage, growing into a passionate and commanding rock singer as well as a tough, intelligent songwriter, and his first album, Catholic Boy, best captures his strengths.” Mark Deming, AllMusic

>Vocal artists: Phil Harris, Maurice Chevalier, Scatman Crothers, Liz English, Gary Dubin, Dean Clark, Robie Lester, Thurl Ravenscroft & The Mike Sammes Singers Additional musicians The Sunset Players Sam Edwards, Dal McKennon, Bill Lee, and Jimmy Macdonald, and others Music and lyrics: Richard M. Sherman & Robert B. Sherman, Terry Gilkyson, Al Rinker & Floyd Huddleston Production Score Composer & Conductor: George Bruns Soundtrack Restoration Producer: Randy Thornton Mixing & Mastering Engineer: Jeff Sheridan Recorded: 1969-1970 Released: December 24, 1970 Released by; Disneyland Record Studios: Sunset Sound Recorders (Hollywood, California, Abbey Road Studios (London, United Kingdom) Length: 37:23 Review: “The fact that the album versions outshine the soundtrack versions in some ways does not mean that they would have worked in the film itself.“ Greg Ehbar, Cartoon Research, August 15, 2015

Elvis Costello & The Attractions Elvis Costello (guitar, vocals), Steve Nieve (keyboards), Bruce Thomas (bass) and Pete Thomas (drums) Music and lyrics by: Elvis Costello and Nick Lowe Released: January 5, 1979 Recorded: August–September 1978 Released by: Radar, Columbia Studio: Eden, London, England Length: 40:05 Production Produced by: Nick Lowe Engineer: Roger Béchirian Artwork: Cover art: Barney Bubbles Review: “This defensive resistance takes the offensive on the following song (the only non-original, written by producer Nick Lowe). Costello leads his band in an overwhelming march anthem. The thick texture is accented by four-beats bass drdumming, and Costello shouts out to those behing him: "As I walk through/This wicked world/Searching for life/In the darkness of insanity. . . /There's only one thing/I want to know./What's so funny 'bout/Peace, love and understanding?" He hurls the question angrily in the face of those who have opted for political indifference or anarchic nihilism. The song surges forward with the momentum of the Rolling Stones, if they had been produced by Phil Spector. With one stroke, Costello clearly separates himself from the punk movement and allies himself with the best elements of the '60s. And he emerges from the album as a major voice of both anger and hope for the '80s. ” Gregory Himes, The Washington Post, May 6, 1979

Composer & Conductor: John Williams Orchestrators: Angela Morley and Herbert W. Spencer Featured Solo Instruments: Large orchestra sections including 3 flutes, 3 trumpets, 3 trombones, harp, piano, celeste, and organ Featured orchestra: The London Symphony Orchestra Released: June 11, 1982 Recorded: March–April 1982 Release by: MCA Studio: MGM Scoring Stage Length: 39:11 Producers: Bruce Botnick and John Williams Mix-down & Recording Engineers: Bruce Botnick and Lyle Burbridge Liner Notes: Steven Spielberg Music Preparation (Copyist): JoAnn Kane Music Service Recording & Mix-Down Engineer: Bruce Botnick Recording Engineer: Lyle Burbridge Film Music Editor: Ken Hall Mastering: Steve Hall Artwork: Cover art by: John Alvin Reviews: “This score includes two perfect songs and three classics that immediately transport you to a particular scene and give you the feels. If you close your eyes, you can easily hear how each instrument helps to tell the story. The use of piano and harps to capture the innocence of the characters, the flutes to capture the crisp fall weather, the bass and drum to capture the suspense of a home being infiltrated, and the sad violins to capture the feeling of loss. The instruments are used so effectively that the simple pieces are just as emotionally weighted as the complex arrangements. Even the highlights maintain their unique emotional quality though they don't sound as complete as some of the other songs. There are a handful of songs that don't sound distinct to this particular movie even though they work well for the scene. Despite not being the top John Williams score, it still gives me chills.” TheTenz.Com “John Williams' score is nothing special. Its languorous orchestration is delivered with a good deal of restraint, to convey the mystery, uncertainty, and sometimes unease of a melodramatic film about the discovery of extraterrestrial life. Indeed at times you'll be wondering if the volume on your stereo has been accidentally lowered, as some sections fall toward the threshold of audibility. Only occasionally does the mood become jubilant or overtly sentimental. It's for the most part unobtrusive background moods for the film's story, more comforting than eerie, whether or not that was the intention. At 75 minutes of running time it's good value, though.” Richie Unterberger, AllMusic

Featured artists Bush, Better Than Ezra, Red Kross, The Refreshments, Fastball, Cake, The Suicide Machines, Eva Trout, Skinny Puppy, Phunk Junkeez, Fat, Caroline’s Spine, Vanessa Daou, Wilber Hirsch & Smooth Diamonds Music and lyrics: Gavin Rossdale, Barry White, Brian Blush, Roger Clyne, Arthur Edwards, and Paul Naffah, Tony Scazlo, Jay Navarro, Dan Lukacinsky, Royce Nunley, and Derek Grant, Paul Andrews, Adrian Rowntree, Gareth Prosser, and Dan Woodgate Production Produced by: Madgroove Remix & Additional Production: David Dorrell, Gavin Rossdale, Hein Hoven, and Nigel Pulsford Executive Soundtrack Producers: Kathy Nelson and Mitchell Leib Music Supervisor: David Was Executive In Charge of Music (Disney Motion Pictures Group): Bill Green Soundtrack Coordinators: Desirée Craig (Hollywood Records), Judy Kemper (Hollywood Records), and Christine Edwards Product Manager: Charlie D'Atri Released: North American Release Date: September 23, 1997 Recorded: 1996-1997 Alternate & European Release Date: November 11, 1997 Studios: B5 Studios and B5 Atomic, Los Angeles, California Length: 55:35 Artwork Cover art by: Fossil Review: “The remainder of the album is a scattering of lesser-known artists, and somehow doesn't fit the flow of the record, especially with the theme song, which wraps up the record. A key, given that it's all different artists, to making a promising soundtrack is flow. And while it’s nice that there is a lot of variety in the sound on this album, there isn't much flow, which in the end takes away from the musical experience.” Shawn Nicholls, AllMusic

Number of doofs: 20 14 men doofed 4 women doofed Greatest goof: Brenda Meeks at the movies! All though, Not Ghostface kills her afterwards! Running time: 88 mins Number of doofs: 20 doofs Number of Whaaaats Ups per minute: 4.4 doofs True that! Golden doof: Buffy Gilmore who loses her pretty little head! She won’t be back for the sequel! Raspberry: Oh my God! They killed Kenny! With a shaky camera death! You bastards! Survivors: Doofy Campbell is too cool for school! He drives off into the sunset with Gale Weathers. Retroactively, Gay Ray, Shorty, Brenda, and Cindy Campbell are in part two. Thank you, deus ex spooflia!

Vocal artists Nancy Cartwright, Julie Kavner, Dan Castanella, Harry Shearer and Yeardley Smith Guest artists Dr. John, B.B. King, Joe Walsh, David Johansen (Buster Pointdexter) and Tower of Power and John Sebastian Music and lyrics by: Bryan Loren, Michael Jackson, Charles Barry, Booker T. Jones, William Bell, Al Jean, Jai Windling, Mike Reiss, Matt Groening, DJ Jazzy Jeff, Arthur Herzog Jr., Billie Holiday, Curtis Ousley, James L. Brooks, Jeff Martin & Sam Simon Released: December 4, 1990 Recorded: September 1990 Released by: Geffen Studios: Lion Share Recording Studios (Los Angeles, California, West Hollywood, California), and Record One Studios (Los Angeles, California), Capitol Studios & Larabee Sound Studios, The Warehouse (Philadelphia) Length: 40:13 Produced by: Jeff Boylan, DJ Jazzy Jeff, Bryan Loren & Michael Jackson Associate Producer: Jai Winding Executive Producer: David Geffen Recording Engineers: Guy DeFazio, Paul Grupp, Jesse Kanner, and Richard Cottrell Mixing Engineers: Mick Guzauski and Bryan Loren Mastering Engineer: Wally Traugott Artwork: Matt Groening provided original illustrations for the album Art Direction: Mili Smythe Photography Lester Cohen Designe& Layout: Bill Merryfield Review: “This musical spin-off of the animated television series retained the same skewed-life humor that made the show a hit and tried to instigate a dance craze ("Do the Bartman"). Not really a comedy album, though it certainly contains funny moments ("Look at All Those Idiots," "Deep Deep Trouble"). Despite its smart-ass front, it sneaks in some subversive musical education, too: no album that includes Billie Holiday's "God Bless the Child," Randy Newman's "I Love to See You Smile" and a parody of King Curtis's "Memphis Soul Stew" (redone as "Springfield Soul Stew") can be all bad.” Brian Mansfield, AllMusic

Michael Jackson: Lead & background vocals, vocal arrangements, rhythm arrangements, percussion Additional musicians Bill Bottrell (keyboards, synthesizers, drum programming), Teddy Riley (keyboards, synthesizers, drum programming) Keyboards, Synths & Programming: Teddy Riley, Bill Bottrell, Greg Phillinganes, David Paich, Steve Porcaro, John Barnes, Brad Buxer, Kevin Gilbert Drums & Percussion: Jeff Porcaro, Bruce Swedien, Teddy Riley Strings & Horn Arrangements: Marty Paich, George del Barrio Bass: Louis Johnson, Terry Jackson, Bill Bottrell Background vocals Bill Bottrell, Heavy D. , Stéphanie of Monaco, Siedah Garrett, Wreckx-N-Effect & L.T.B. (Let's Talk About) & Teddy Riley, Andraé Crouch, Sandra Crouch String arrangement: Cleveland Orchestra Guest lead and rhythm guitarist: Slash Music and lyrics: Michael Jackson, Teddy Riley, Bill Bottrell, Bruce Swedien, René Moore, Bernard Belle, Siedah Garrett, Glen Ballard, Buz Kohan, Larry Grossman, Aqil Davidson, and Marty Paich Studios: Record One (Sherman Oaks, Los Angeles), Westlake (Los Angeles,)Larrabee (North Hollywood, Los Angeles), Record Plant (Los Angeles, Ocean Way (Hollywood)Smoketree Ranch (Chatsworth, Los Angeles, Toad Hall (Pasadena, California) Release: November 21, 1991 Recorded: June 1989 - October 1991 Studio: Epic Length: 76:47 Production Executive Producer: Michael Jackson Produced by: Michael Jackson, Bill Bottrell, Bruce Swedien & Teddy Riley & Rene Moore Recording Engineers: Bruce Swedien, Bill Bottrell, Teddy Riley, Matt Forger, Jean-Marie Horvat, Thom Russo Mastering Bernie Grundman Artwork: Cover art by: Mark Ryden Music video guests: Tyra Banks, John Landis, Macualy Cuokin, Nancy Cartwright, George Wendt, Another Bad Creation Review: “Forsaking Quincy Jones for, among others, new jack swing king Teddy Riley, Jackson’s first ’90s album reveals a grittier, funkier outlook, marked by flashes of lyrical darkness and paranoia. Still, four top 10 singles, including ”Black or White” and ”Remember the Time,” proved his continued ability to craft a hit.” Leah Greenblatt, July 3, 2009

>Michael Jackson (lead vocals and background vocals) Christopher Currell (Synclavier & programming), Paul Jackson Jr., David Williams, Ed Gale, Dann Huff, and Steve Stevens (guitars) Nathan East (drums), Keyboard & Synthesizers: Glen Ballard, Greg Phillinganes, John Barnes, Michael Boddicker, David Paich and Steve Porcaro (Keyboards and sythesizers) Jimmy Smith (Hammond organ), John Hey (trumpets), Gary Grant (trumpets), Larry Williams (saxophone), Kim Hutchcroft (sazaphone), Stevie Wonder (synthetizer) John "J.R." Robinson, Paulinho da Costa, Leon "Ndugu" Chancler, and Ollie E. Brown (Percussion), Background vocals Siedah Garrett, Stevie Wonder, The Winans & The Andraé Crouch Choir Music and lyrics by: Michael Jackson, Glen Ballard, Siedah Garrett, Terry Bitten & Graham Lyle Released: August 31, 1987 Recorded: January 1985 – July 1987 Released by; Epic Studio: Westlake (Los Angeles,,California) Length: 43:28 (LP version), 48:08 (CD version) Production Producer: Quincy Jones Co-Producer: Michael Jackson Recording & Mixing Engineer: Bruce Swedien Mastering Engineer: Bernie Grundman Cover art: Sam Emerson Review: “ How to follow an untoppable blockbuster? Jackson took his time. But ultimately, he delivered, offering immediate radio jams (”Bad,” ”The Way You Make Me Feel”), stirring ballads (”Man in the Mirror,” ”I Just Can’t Stop Loving You”), and other experiments (”Smooth Criminal,” ”Dirty Diana”) amid a few lesser but still worthwhile album cuts. B+” Leah Greenblatt, Entertainment Weekly, July 3,2009

Number of doofs: 20 14 men doofed 4 women doofed Greatest goof: Brenda Meeks at the movies! All though, Not Ghostface kills her afterwards! Running time: 88 mins Number of doofs: 20 doofs Number of Whaaaats Ups per minute: 4.4 doofs True that! Golden doof: Buffy Gilmore who loses her pretty little head! She won’t be back for the sequel! Raspberry: Oh my God! They killed Kenny! With a shaky camera death! You bastards! Survivors: Doofy Campbell is too cool for school! He drives off into the sunset with Gale Weathers. Retroactively, Gay Ray, Shorty, Brenda, and Cindy Campbell are in part two. Thank you, deus ex spooflia!

Mötley Crüe Vince Neil (lead vocals), Mick Mars (electric and acoustic guitars, backing vocals), Nikki Sixx (bass, bass pedals, backing vocals), & Tommy Lee (drums, Simmons drums, backing vocals) Additional performer Alister Fiend (narration on "In the Beginning") Released: September 26, 1983 Recording: 1983 Released by: Elektra Studios: Sterling Sound, New York & Cherokee Studios, Hollywood, California Length: 34:57 Production Production: Tom Werman Engineering: Geoff Workman Assistant Engineering: Doug Schwartz Mastering: George Marino Artwork: Bob Defrin Reviews: “It's hardly news that this platinum product is utter dogshit even by heavy metal standards; under direct orders from editors who don't know Iron Maiden from Wynton Marsalis, my beleaguered colleagues on the dailies have been saying so all year, and every insult goes into the press kit. Still, I must mention Mick Mars's dork-fingered guitar before getting to the only truly remarkable thing about this record: a track called "Ten Seconds To Love" in which Vince Neil actually seems to boast about how fast he can ejaculate (or as the lyric sheet puts it, "cum"). And therein, I believe, lies the secret of their commercial appeal--if you don't got it, flaunt it. Follow-up: "Pinkie Prick." D” Robert Christgau, Village Voice, June 12, 1983 “Without this album, a lot of the great hair metal bands wouldn't have come about. Theatre of Pain was more of their glam look, but Shout at the Devil was such a great record. It was fuckin' sick. They set the bar. People looked at that and said, “Fuck, we gotta dress up cool, man.” Satchel, Steel Panther

Mötley Crüe Vince Neil (lead and backing vocals, harmonica), Mick Mars (all electric, acoustic and slide guitars, backing vocals), Nikki Sixx (bass, synthesizers, backing vocals) & Tommy Lee (drums, percussion, piano, backing vocals) Additional musicians Jay Winding (keyboards), Mickey Raphael (Harmonica), Max Carl, John Batdorf (backing vocals), Tom Werman (percussion) Music and lyrics by: Nikki Sixx, Tommy Lee, Mick Mars & Vince Neil, Cub Koda & Michael Lutz Production Produced by: Tom Werman Engineering, mixing: Duane Baron Assistant Engineers: Paul Wertheimer, Mark Wilczak, Matt Brady, Alex Woltman, Brian Scheuble Cover art: Cover art by: Bob Deffrin Released: June 21, 1985 Recorded: January 1985 Released by: Elektra Studios: Pasha (Hollywood, Cherokee (Hollywood, Record Plant West (Hollywood) Length: 35:15 Review “Overall, the guitar riffing sounds less heavy metal and more pop-metal; similarly, the sound of the record is slicker and more arranged, polished for mainstream acceptance and airplay. A higher percentage of dull filler has crept into the songwriting, but there are still enough high points to rescue the album's momentum. [In 1999, the Crüe remastered and reissued Theatre of Pain on their own Motley/Beyond label with five bonus tracks: demos of "Home Sweet Home," "Keep Your Eye on the Money," and "City Boy Blues," plus rough mixes of "Smokin' in the Boys' Room" and "Home Sweet Home" (the latter an instrumental).]” Steve Huey, AllMusic

Annie (Lead vocals) Produced by: Richard X Lead production and mixing: Timo Kaukolampi Co producer: Torbjørn Brundtland Producer and arranger: Erot (Tore Andreas Kroknes) Mixing engineering and additional production: Yngve Sætre Artwork Photography: Magnus Unnar Art design: Big Active Released by: 679 Recordings Recorded: 1999-2004 Released: September 28, 2004 (Norway), June 7, 2005 Studio: Duper Studio (Bergen, Norway), Miloco Studios (London, UK), Bloomy-Productions & Duber Studios Length: 46:00 Reviews: “Few genres got a bigger boost from file-sharing in the early years of this decade than danceable European pop music...Annie, an enigmatic Norwegian bombshell with a sweet wispy voice and a taste for slick neo-'80s production, was the first of these acts to make it big.” Pitchfork, October 2, 2009