As a cultural movement, Miami Vice defined many of the visual aspects of popular entertainment. Michael Mann's classy cop show also put music front and center; in particular, songs which dictated plot, mood, and action. Like most sequels, Miami Vice II doesn't touch the first soundtrack, but still includes the excellent Jan Hammer opening and two other stalwart instruments mixed in with some real oddities. Frustratingly limited liner notes distance the material even more, although Roxy Music's rare "Lover" and the Damned's ...
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As a cultural movement, Miami Vice defined many of the visual aspects of popular entertainment. Michael Mann's classy cop show also put music front and center; in particular, songs which dictated plot, mood, and action. Like most sequels, Miami Vice II doesn't touch the first soundtrack, but still includes the excellent Jan Hammer opening and two other stalwart instruments mixed in with some real oddities. Frustratingly limited liner notes distance the material even more, although Roxy Music's rare "Lover" and the Damned's "In Dulce Decorum" are high points. "The Last Unbroken Heart" is one of those put-us-out-of-our-misery duets that hopefully passed with '80s movies. The sterile commercialism of the period also hurts Gladys Knight and Steve Jones. Jackson Browne as well, seems out-of-place with his socio-"Lives in the Balance." Hard to imagine Browne fans wanting to hear this song out of the context of Browne's own self-contained album. The same applies to the then-ubiquitous Phil Collins, but his mega-hit certainly doesn't hurt this LP. Andy Taylor at least tries to rock out with "When the Rain Comes Down," but ultimately, like so much of '80s music, Miami Vice II comes off hollow and cold. Watching style is one thing, but listening to is it quite another. ~ Doug Stone, Rovi
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