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The Music of Smash & Smash: Season 1 "Shake It Out" Florence + the Machine — Karen 6. "Chemistry" No The Music of Smash & Smash: Season 1 "Brighter Than the Sun" Colbie Caillat — Karen 7. "The Workshop" No The Music of Smash & Smash: Season 1 "Everything's Coming Up Roses" Gypsy — Leigh Conroy: 7. "The Workshop" No The Music of Smash ...
The album was released in standard and deluxe versions. [4] The standard version featured 13 tracks, consisting of seven covers and six original songs (all written by Marc Shaiman and Scott Wittman, with the exception of "Touch Me", which is written by Ryan Tedder, Brent Kutzle, Bonnie McKee and Noel Zancanella).
The Soundtrack features songs from both season 1 and season 2. The 22 original songs make up the musical, complete with liner notes detailing the plot of Bombshell. [6] On January 6, 2013 the 22 tracks that would make the final cut were revealed online. [7] Three days later on January 9 the release date of the soundtrack was revealed. [8]
Hit List was created for season two of Smash, intended to be a rival production to Bombshell, the Marilyn Monroe biographical musical created for season one. Drew Gasparini, Joe Iconis, Andrew McMahon, Benj Pasek and Justin Paul, Marc Shaiman and Scott Wittman and Lucie Silvas created the material for the fictional musical. [1]
The artist offered premiered 10 songs -- some his own, some covers of tracks popularized by contemporaries -- in front of a packed crowd at SeatGeek Stadium in suburban Bridgeview.
The 80s Pop Culture Box (Totally) is a seven-disc, 142-track box set of popular music hits of the 1980s. Released by Rhino Records in 2002, the box set was based on the success of Have a Nice Decade: The 70s Pop Culture Box, Rhino's box set covering the 1970s. Original release sets had a 3D rubber cover. Later releases had a flat, printed cover.
Smash: The Singles 1985–2020 received a score of 95 out of 100 on review aggregator Metacritic based on five critics' reviews, indicating "universal acclaim". [6] Uncut felt that the album "demonstrates that PSB are without peer as exponents of the pop single", while Mojo stated that it "re-contextualises them as an act who wrecked glorious havoc on their unchanging musical parameters for ...
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