Equally intense but on the opposite side of the Lilith Fair spectrum is Alanis' "Uninvited," a haunting, yawp of a song that drips recrimination and messy relationship drama in every note. While "Angel" is a great song for general sadness, "Uninvited" is the perfect song for when you're sad but also mad at your friends for going to Claire's to get their ears pierced without you.
And then there's the anthem "Iris," long a staple of "Hits of the 80s, 90s, and today" radioland. A moody guitar-heavy alternative classic, "Iris" is the Jordan Catalano of songs. It's cool but also incredibly emo.
This is a song that repeatedly yells at you to not look at it while it stalks around dramatically. Combined, the three singles cover just about every phase of high school crying I could muster. And when they didn't do the trick, Peter Gabriel's mournful ode to death, aptly titled "I Grieve," came galloping to the rescue. While not written specifically for the soundtrack, its inclusion feels seamless, both musically and tonally. Sliding from "Iris" to "I Grieve" the album seems to dare you to not feel something. Or everything.
City of Angels isn't just a comfortable home for sob songs, however. Listening to it again, I was pleasantly shocked at the forthright sexuality of Paula Cole's "Feelin' Love. Combined with Jimi Hendrix' classic "Red House", "Feelin' Love" gives the album a saucy undercurrent that I definitely was not mature enough to get back in the day.
They're great rocking intro and outros to this swirling world of emotion but they're not the ones doing the heavy-lifting. Good to jam to, hard to cry at. Even if you're not interested in staring plaintively out of your teenage bedroom window while having a lot of stuff going on inside, it's hard not to be impressed by the soundtrack to City of Angels. Even Space Jam has some bangers.
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All of them have their rightful place in the pantheon of great albums, but City of Angels pulled off the remarkable feat of being a perfect snapshot of lates angst while also remaining imminently listenable two decades later. It's a classic, plain and simple. Now, if you'll excuse me, my Discman is skipping and it's really got me in my feelings.
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Stone is mysteriously bailed out, but the two hoods catch up with him and nearly blow him up before he neatly turns the tables. Stine has troubles of his own. We learn it was she who shot the producer; Stone has been covering for her all this time. In Hollywood, Stine is approached by a young starlet, Avril, who will be playing Mallory. She begs him to reconsider killing off Mallory near the end. Oolie, meanwhile, has discovered that Alaura is a fortune hunter who has already murdered one rich husband and is planning to do away with this one, once she had eliminated his son, daughter, and doctor.
Stone confronts her at the mansion; they grapple for her gun; shots ring out.
But where does that leave Stine? Gabby has rejected him and his lover, Donna, has been rewriting his script.
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welcome to the city of angels: Travel Guide
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