for movie soundtrack enthusiasts and music aficionados, a collection of rare, hard to find, out of print, lost, forgotten and classic movie soundtracks...enjoy!
This exceptional score by James Horner is at times light hearted, dark, ominous and mysterious,but also uplifting and action filled. There are two songs included, Begin the Beguine and When Your Lover Has Gone, which perfectly capture the feeling of the forties, when the film was set. Even for those of us that didn't live during the 30's/40's, the movie is like a period piece you can enjoy that makes the movie come alive. James Horner, in the same tradition that Korngold and Williams have done, brings about the heroic march to underscore the excitement and thrill of a man flying through the air wearing a rocket strapped to his back. Without it, the film might be dull and lifeless. But Horner's 2/4 time drums the strains of athletes entering the arena to compete, or the Roman army marching triumphant up the great Apian Way, and we smile at his success.
Tracklist: Main Title / Takeoff4:30 The Flying Circus6:30 Jenny5:10 Begin The Beguine3:36 Neville Sinclair's House7:20 Jenny's Rescue3:20 Rendezvous At Griffith Park Observatory8:10 When Your Lover Has Gone3:25 The Zeppelin8:00 Rocketeer To The Rescue / End Title6:30
The Austin Powers movies trilogy was big at the box office and made Mike Meyers an International Man of Mystery. The accompanying soundtracks were just as good as the movies with tracks from swinging 60's to the present day with psychedelia, soul, bossa nova, rock and everything in between. A collectors delight and always good to revisit. Here are all three soundtracks in their groovy glory, yeh baby!!
Award-winning producer and artist, Danger Mouse, has curated the soundtrack for Edgar Wright's highly anticipated film, Baby Driver. The soundtrack for the music-heavy film boasts 30 multi-genre tunes in total, including 29 rare tracks and deep cuts, as well as one original song created by Danger Mouse specifically for Baby Driver. The new song is "Chase Me", by Danger Mouse featuring Run The Jewels and Big Boi.
The film is written and directed by Edgar Wright. Baby Driver tells the story of Baby, a talented, young getaway driver (Ansel Elgort) who relies on the beat of his personal soundtrack to be the best in the game. When he meets the girl of his dreams (Lily James), Baby sees a chance to ditch his criminal life and make a clean getaway. But after being coerced into working for a crime boss (Kevin Spacey), he must face the music when a doomed heist threatens his life, love and freedom.
A wild mix of Clash and solo cuts as well as some of Joe's favourite tunes he played on his BBC radio show. Fun to hear Joe Strummer as a DJ. A very good romp through the musical influences that Joe absorbed through his life. Joe's narration explains many of the songs' relevance and you get a good idea of all that went in to influencing the Clash and the Mescalero's music. This music has roots in Americana, rock and Caribbean music and moves along nicely for an excellent listen any time. Joe acts as the DJ, speaking little introductions to various songs by other artists ranging all over the map. Some of the intros are outtakes, like when he first met Mick Jones he thought he looked like Woody Woodpecker. Others are more like actual introductions. It is great to listen to this album from start to end on a road trip or at work or something, because it moves through distinct moods, stays interesting all the time, like a great radio station of some forgotten era when there was such a thing.
The beginning of everything self indulgent and timeless in the post WWII era of the USA. The music was be-bopjazz, the poetry and prose the written word. This album, much like the movie that it accompanies, is a brilliant assessment of the Beat Jazz movement of the late 1950's. It draws on a selection of landmark jazz recordings, arranged in an intelligent and enjoyable progression. From the beginning of the album, you feel it. The music that shaped a generation and continues to shape generations to come. With the first track, which opens the film, we see a young Neal Cassidy and then from track to track, we see the definition of what the Big Beat really was, not one person and not one philosophy. It was like many things in the 1950's, an explosion of sound and color and possibilities. Anyone whose ever even heard of Jack Kerouac or Neal Cassidy will dig this one. 1. Better Get It In Your Soul - Charles Mingus 2. Straight No Chaser - Max Roach Quartet 3. Move - Miles Davis 4. It's A Metaphor - Miles Davis 5. Sugar Blues - Dianne Reeves 6. Shaw 'Nuff - Charlie Parker/Dizzy Gillespie 7. Right Back Where I Started - Charlie Parker/Dizzy Gillespie 8. A Tisket, A Tasket - Ella Fitzgerald 9. Sixteen - Thelonious Monk 10. The Thin Man - Art Blakey And The Jazz Messengers 11. Woody Wagon - Art Blakey And The Jazz Messengers 12. Country Girl - Javon Jackson 13. He May Be Your Man - Dianne Reeves 14. The Wild Stuff - Dianne Reeves 15. Heartbreaker - The Andrews Sisters 16. Budism - Jacky Terrasson 17. The Suicide Suite (Original Score From The Movie) - Red Fish Blue Fish 18. Carry On, My Brother - Red Fish Blue Fish 19. Ride My Heart - Pet
TOGETHER is about a young boy who is a violin prodigy and the soundtrack is one of the most beautiful scores ever released. Some of the selections are absolutely haunting. The movie is moving and insightful as is the music itself. Babeli (aka Li Chuanyun, aka Chuanyun Li or Chuan-Yuan Li, aka 李傳韻) is the violinist heard throughout the film. (He also plays the part of Xiaochun's rival, Tang Rong.) He was 22 when he recorded this score, but he began studying violin when he was only 3-years-old. His beautiful tone is an absolute wonder to listen to.
This is the (not complete) score from the 1995 film. Elliot Goldenthal creates a dynamic and gothic score that easily belongs in any Batman fan's top ten list. His music ranges from eerie and sinister to over-the-top and boisterous, while still capturing the emotions on the screen and conveying them in a manner that is superior to the film itself. Like much of Goldenthal's resume, this score is very experimental. His work is often compared to other Batman movie composers Danny Elfman and Hans Zimmer, but in my opinion this score outshines them and is an underrated achievement.
This version of the soundtrack to the 2002 Dreamworks animated movie is a combination of the songs written and performed by Bryan Adams and part of the original score written by Hans Zimmer.
Stanley Kubrick's demanding perfectionism in all aspects of the film making process has led to some of the most memorable soundtracks of the modern era. Kubrick's taste for the classics led to his scrapping Alex North's original score for 2001: A Space Odyssey in lieu of the "temporary" tracks he had used for editing, turning Richard Strauss' Also Sprach Zarathustra into an unlikely 20th-century pop icon. For his 1971 adaptation of Anthony Burgess's cautionary future-shocker, Kubrick once again turned to the classics. Malcolm McDowell's protagonist Droog Alex's taste for Beethoven is given a nice tweaking by Moog pioneer Walter (now Wendy) Carlos's synthesized take on the glorious Ninth Symphony. Some have complained that the now-primitive electronics involved give it a dated feel. Disturbingly--and effectively--other-worldly is more like it. Kubrick also imbues repertory standards by Rossini and Elgar with dark, frequently hilarious irony, and makes Gene Kelly's sunny reading of "Singin' In The Rain" the underscore to an all-too-accurate prediction of societal nightmares to come. --Jerry McCulley (Amazon)
Track Listings:
1. Title Music From A Clockwork Orange - Walter Carlos - Walter Carlos
2. The Thieving Magpie (Abridged) - A Clockwork Orange ST - A Clockwork Orange ST
3. Theme from A Clockwork Orange (Beethoviana) - Walter Carlos - Walter Carlos
4. Ninth Symphony, Second Movement (Abridged) - A Clockwork Orange ST D - A Clockwork Orange ST D
5. March From A Clockwork Orange (Ninth Symphony, Fourth Movement, Abridged) - Walter Carlos - Walter Carlos
6. William Tell Overture (Abridged) - Walter Carlos - Walter Carlos
7. Pomp and Circumstance March No.1 - Stanley Kubrick - Stanley Kubrick
8. Pomp And Circumstance March No.4 (Abridged) - Stanley Kubrick - Stanley Kubrick
9. Timesteps (Excerpt) - Walter Carlos Listen Listen - Walter Carlos
10. Overture To The Sun - Terry Tucker
11. I Want To Marry A Lighthouse Keeper - Ericka Eigen - Ericka Eigen
12. William Tell Overture (Abridged) - A Clockwork Orange ST - A Clockwork Orange ST
13. Suicide Scherzo (Ninth Symphony, Second Movement, Abridged) - Walter Carlos - Walter Carlos
14. Ninth Symphony, Fourth Movement (Abridged) - A Clockwork Orange ST - A Clockwork Orange ST
2012 soundtrack featuring the original score by Gustavo Santaolalla alongside songs by Billie Holiday, Charlie Parker, Ella Fitzgerald, Son House and others, plus a spoken word track by Jack Kerouac.
Ingrooves Music Group recently released the official soundtrack to the 2018 film LONDON FIELDS. Based on the international best-seller by Martin Amis, the film stars Amber Heard, Billy Bob Thornton, Jim Sturgess, Theo James and Cara Delevingne. LONDON FIELDS is a tantalizing, ultra-modern murder mystery about a murder that hasn't taken place yet, a darkly comic vision of a world on the brink of collapse in which every character--and society itself--has a rendezvous with death.
The LONDON FIELDS score is written and produced by Adam Barber. Currently living in Los Angeles, his work ranges from film and television, to concert works and collaborations with Indy Artists such as Meghan Toohey from The Cold and Lovely and performing in the Doom Metal group, The Stoning. Other current work includes original music work for the technology not-for-profit MOBI consortium and an independent horror film titled, Extremity. In addition to scoring LONDON FIELDS, Adam is the executive music producer, music supervisor and music editor of the film. From beginning to end, LONDON FIELDS is punctuated by his hybrid use of traditional orchestral elements juxtaposed with electronica and traditional jazz quartet. For London Fields, Adam tracked strings in Budapest with Budapest Scoring and recorded the film’s smaller jazz-influenced ensemble in Los Angeles between his home studio and Grammy Artist Jeff Lorber’s Enchanted Way Studio’s in Pacific Palisades. The score mixer is Brad Haehnel. Throughout the score, Adam creates lush synth textures, rich with orchestral strings and performs on various instruments including electric bass, piano, Wurlitzer, marimba and vibes. Some of the score’s electronic and keyboard textures feature music software by the company Arturia, in particular, the Filters, Buchla Easel V and authentic sounding Wurli V. While recording, Adam tracked as much as possible, the featured instrumentalists, his Rhodes Mark II Stage piano and Rhodes Bass Piano, through Ruper Neve Design’s Shelford Channel Strips; his favorite pre-amp and DI. Featured instrumentalists are: Paul Morin on double bass, Wes Smith on tenor, baritone saxaphone and clarinet, Perice Pope on flugelhorn and trumpet with harmon mute and Gary Novak on drums.
Marty's review: the soundtrack to London Fields is a very powerful and creative mix of various musical genres from jazz to classical to electronica. Composer Adam Barber has used an array of instruments and musicians to convey multiple images in a soundscape that is highly listenable as a standout album.
Casablanca is a 1942 American romantic drama film directed by Michael Curtiz based on Murray Burnett and Joan Alison's unproduced stage play Everybody Comes to Rick's. The film stars Humphrey Bogart, Ingrid Bergman, and Paul Henreid; it also features Claude Rains, Conrad Veidt, Sydney Greenstreet, Peter Lorre, and Dooley Wilson. Set during contemporary World War II, it focuses on an American expatriate who must choose between his love for a woman and helping her and her husband, a Czech Resistance leader, escape from the Vichy-controlled city of Casablanca to continue his fight against the Nazis. Although Casablanca was an A-list film with established stars and first-rate writers, no one involved with its production expected it to be anything other than one of the hundreds of ordinary pictures produced by Hollywood that year. Casablanca was rushed into release to take advantage of the publicity from the Allied invasion of North Africa a few weeks earlier. It had its world premiere on November 26, 1942, in New York City and was released nationally in the United States on January 23, 1943. The film was a solid if unspectacular success in its initial run. Exceeding expectations, Casablanca went on to win the Academy Award for Best Picture, while Curtiz was selected as Best Director and the Epsteins and Koch were honored for writing the Best Adapted Screenplay—and gradually its reputation grew. Its lead characters, memorable lines, and pervasive theme song have all become iconic, and the film consistently ranks near the top of lists of the greatest films in history.
The music was written by Max Steiner, who was best known for the score for Gone with the Wind. The song "As Time Goes By" by Herman Hupfeld had been part of the story from the original play; Steiner wanted to write his own composition to replace it, but Bergman had already cut her hair short for her next role (María in For Whom the Bell Tolls) and could not re-shoot the scenes which incorporated the song, so Steiner based the entire score on it and "La Marseillaise", the French national anthem, transforming them as leitmotifs to reflect changing moods. Even though Steiner didn't like "As Time Goes By", he admitted in a 1943 interview that it "must have had something to attract so much attention." The "piano player" Dooley Wilson was a drummer, not a trained pianist, so the piano music for the film was played offscreen by Jean Plummer and dubbed. Particularly memorable is the "duel of the songs" between Strasser and Laszlo at Rick's cafe. In the soundtrack, "La Marseillaise" is played by a full orchestra. Originally, the opposing piece for this iconic sequence was to be the "Horst Wessel Lied", a Nazi anthem, but this was still under international copyright in non-Allied countries. Instead "Die Wacht am Rhein" was used. The "Deutschlandlied", the national anthem of Germany, features in the final scene, in which it gives way to "La Marseillaise" after Strasser is shot.
Released in 1971 and hailed as the most impressive work by a young American director since Citizen Kane, Peter Bogdanovich's Last Picture Show is an elegiac study of life amid the dust and loneliness of a dying town. An account of adolescents coming of age filmed under a vast, empty Texas sky. The film has no conventional score. All of the music is from the period between November 1951 and October 1952 when the film is set and linked to each scene. It is played on home radios, car radios, truck radios, 45 rpm players, jukeboxes, and at a community Christmas dance. The Hank Williams song, heard on the radio in Sonny's old truck in the opening scene, 'Why Don't You Love Me (Like You Used to Do)?' sets the tone for the music as well as the movie. All of the songs featured in the film are collected together in this edition. 1. Why Don't You Love Me (Like You Used to Do)-Hank Williams 2. Cold, Cold Heart -Hank Williams 3. Bouquet of Roses -Eddy Arnold 4. Hey, Good Lookin' -Hank Williams 5. Rose, Rose, I Love You -Frankie Laine 6. Slow Poke -Pee Wee King 7. Anything That's Part of You -Eddy Arnold 8. A Fool Such As I -Hank Snow 9. Shrimp Boats -Jo Stafford 10. Cold, Cold Heart -Tony Bennett 11. The Thing -Phil Harris 12. Lovesick Blues - Hank Williams 13. The Wild Side of Life -Hank Thompson 14. Kaw-Liga - Hank Williams 15. Please, Mr. Sun -Johnnie Ray 16. Give Me More, More of Your Kisses -Lefty Frizzell 17. Half As Much - Hank Williams 18. Wish You Were Here -Eddie Fisher 19. Solitaire -Tony Bennett 20. Wheel of Fortune -Kay Starr 21. Blue Velvet -Tony Bennett 22. You Belong to Me - Jo Stafford 23. My Son Calls Another Man Daddy -Hank Williams 24. Can't Help It (If I'm Still in Love with You) -Hank Williams 25. Back Street Affair - Webb Pierce 26. Faded Love - Bob Wills and His Texas Playboys 27. Jambalaya (On the Bayou) -Hank Williams 28. It's in the Book -Johnny Standley
The soundtrack for Zero Effect is an important part of the movie's atmospherics. It's an eclectic mix of soulful pop and jazz selections. The album portrays a real-life quality that most soundtracks don't have. A good combination of both energy-filled tracks as well as deep emotional ones.
This is a big symphonic heroic and adventurous score performed with might and power. The London Metropolitan Orchestra simply excels in this score. David Newman uses soaring brass fanfares, a knockout heroic theme, some romantic material, and action music that simply blows you away. The first two tracks are ominous in nature and start things off on the creepy side with pounding jungle drums and an all male chorus. That all changes however, with "The Phantom" which showcases the heroic main theme with powerful action music. The theme itself is a 7 note brass motif that perfectly captures the hero of the film. "The Escape" is another impressive action cue with bold brass and driving percussion. "The Museum" is a dark and ominous track, while "Flying to the Island" is the exact opposite of that, with a soaring orchestral sound. The love theme is found in "Must Be the Humidity" which is a sweeping, epic motif played mainly on strings. Another instrument that is used throughout this score is the pan flute, played by Tony Hinnigan and Mike Taylor, which gives the sound an ethnic feel. The last track, "Escaping the Island", is an 8 minute brass finale that really burns. Anyone who is a fan of action adventurous symphonic music or David Newman will definitely enjoy this score.
The score from Tony Gatlif's 2004 film, "Exils", about Roma people. In this distinctive film we meet a young French couple: he is ethnically French, she is Arab, but both had Algerian ancestors, and the movie follows them after they spontaneously decide to abandon Paris and investigate their roots. The couple are presented in the film as very sensual, and the music and images that surround (and define) them are shared also by the viewer. The film touches on some interesting ideas, notably the not always chosen trade-off between freedom and belonging, and ends with a remarkable extended sequence depicting an Arab ritual of personal abandonment that bears comparison to (and is in fact more disturbing than) anything from 'The Exorcist'. The soundtrack utilises Roma Gypsies music as per previous Tony Gatlif productions like Latcho Drom. Exciting and exotic, the music takes you on a world music journey that entices and delights.
Released in 1992, Waits's soundtrack to Jim Jarmusch's quirky Night on Earth is built around a recurrent theme reminiscent of Rain Dogs and manipulated into moods that reflect the cities in which the movie's various stories are told. Banjo and accordion are used to great effect to evoke the three European cities. Elsewhere, marimba and other percussion that Tom Waits was using on his "official" recordings at the time are well suited to the darkness and humor in Jarmusch's stories. The two new songs written by Waits and partner Kathleen Brennan stick to the same instrumental blueprint, but have little to commend them to a place in the pantheon of Waits's songs. 1. Back In The Old World (Gypsy) 2. Los Angeles Mood (Chromium Descensions) 3. Los Angeles Theme (Another Private Dick) 4. New York Theme (Hey Can You Have That Heart... 5. New York Mood (A New Haircut And A Busted Lip) 6. Baby I'm Not A Baby Anymore (Beatrice Theme) 7. Good Old World (Waltz) 8. Carnival (Brunello Del Montalcino) 9. On The Other Side Of The World 10. Good Old World (Gypsy Instrumental) 11. Paris Mood (Un De Fromage) 12. Dragging A Dead Priest 13. Helsinki Mood 14. Carnival Bob's Confession 15. Good Old World (Waltz) 16. On The Other Side Of The World (Instrumental)
