for movie soundtrack enthusiasts and music aficionados, a collection of rare, hard to find, out of print, lost, forgotten and classic movie soundtracks...enjoy!
Three Dollars. It's About Change (Music from the Motion Picture and Novel - Original Score by Alan John) Label: ABC Classics Released: 2005 Tracklist 1–David BowieWe Are The Dead4:55 2–GelbisonKeep It Kleen3:00 3–Joy DivisionTransmission3:34 4–Doris SvenssonWhispering Pines3:49 5–Elvis PresleyWalk A Mile In My Shoes2:01 6–Chet BakerMy Funny Valentine2:17 7–Died PrettySweetheart4:10 8–Ice Nine This Is Noam4:02 9–Jolie HollandDarlin Ukelele4:05 Original Score By Alan John 10–Alan JohnThree Dollars - Titles3:03 11–Alan JohnOde To Joy0:41 12–Alan JohnClaremont's Land0:54 13–Alan JohnFading Light/Crossroads/Overtime3:13 14–Alan JohnThrough With Love1:38 15–Alan JohnAlfred's Money1:38 16–Alan JohnDeadlands2:58 17–Alan JohnAbby0:39 18–Alan JohnIntegrity1:26 19–Alan JohnThe Sacking/Spiraldown/Bin Search3:46 20–Alan JohnThe Bashing/Three Dollars - Coda4:39
Jimmy Buffett was already three well-received albums towards becoming a populist phenomenon when he undertook his only film score (to date), director Frank Perry's 1975 "modern" Western, Rancho Deluxe. The fact that the film's screenwriter, the highly regarded Thomas McGuane, is Buffett's brother-in-law certainly had something to do with his hiring. In this instance, however, the results are decidedly pro-nepotism. Buffett's songs and incidental music for this underappreciated antecedent to the likes of Clint Eastwood's Bronco Billy (including an early version of the hit "Livingston Saturday Night") have a raw honky-tonk swagger that would've done Waylon or Willie proud. More than merely a welcome addition to the Parrothead canon, Rancho Deluxe proves to be an anti-Nashville country classic. --Jerry McCulley (Amazon review)
So, for a boxing movie starring Antonio Banderas and Woody Harrelson you were expecting "Eye of the Tiger" perhaps? Surprisingly, this soundtrack doesn't feature any fist-pumping rock anthems, but rather focuses on sultry, sweaty jams and down-and-out blues that suggest these guys prefer to tango in the ring than land blows. Fishbone serve up "Shakey Ground, " a horn-punctuated groove thing. Kirk Franklin delivers his usual brand of ornate spiritualism with "Gonna Be a Lovely Day." Joe Cocker and B.B.King prefer to spit out the urban blues with plenty of polish on "Dangerous Mood." For a rougher look at the blues, John Lee Hooker's classic "Boom Boom" is presented in all its sloppy precision, while Jimmy Rogers and Linda Jackson crank out pure juke-joint fare. Moby wakes things up with the techno-laden "Machete." Alex Wurman and Jacintha slow things back down with the subtly creeping, gospel-tinged "On the Road" and the closing-time lounge tune "Here's to Life," respectively. --Rob O'Connor (Amazon review)
Tracklist 1Shakey Ground – Fishbone 2Gonna Be A Lovely Day – Kirk Franklin 3Dangerous Mood – Joe Cockerand B.B. King 4Corazón – Los Lobos 5Viva La Música – Gipsyland 6Why Are You So Mean To Me? – Jimmy Rogers 7I Must Tell Jesus – Linda Hopkins 8Boom Boom – John Lee Hooker 9Machete – Moby 10On The Road – Alex Wurman 11Here's To Life – Jacintha
Beyond Silence (German: Jenseits der Stille) is a 1996 German film directed by Caroline Link. The film was nominated for the Academy Award for Best Foreign Language Film at the 70th Academy Awards. The film tells the story of Lara, who grows up as the daughter of deaf parents. Lara herself is hearing and is fluent in sign language. Even as a young child, she serves as an interpreter for her parents in many situations. At Christmas, Lara receives a clarinet from her Aunt Clarissa, an enthusiastic musician. Lara discovers the world of music, where her parents cannot follow her. In the years that follow, Lara is discovered to be a talented clarinet player. The score is based around a few musical themes (i.e. a love theme, a Lara theme, a togetherness theme). However, these themes are dispersed so nicely, there is never the feeling of listening to the same track several times. The music itself is based around the clarinet (the instrument played by the main character, Lara), the oboe, piano and various stringed instruments. The two vocal tracks "I Will Survive" and "You Were On My Mind" are certainly out of place on the album (and in the movie) and not necessary in my opinion.
When noted Dutch director Paul Verhoeven moved to Hollywood in the mid-'80s, few could have guessed he would embrace the prevailing action film culture with such unabashed enthusiasm. The assaultive, pulp-on-steroids sensibility of Robocop made it a huge success, but came injected with critiques of American TV and pop culture that were often wrapped in the muscular irony of Basil Poledouris' driving, synth-pumped orchestral score. This new edition of the modern sci-fi classic underscores the point with bonus tracks of the film's jangly TV news and commercial parodies, but it's still the industrial crunch of Poledouris' back-to-the-future neo-modernism that take center stage on this digitally remastered deluxe edition. Powered by an aggressive performance by a then-newly reformed Sinfonia of London and recorded at legendary Abbey Road (the score's frequent metallic percussion is the studio's fire extinguisher being struck with a hammer), Poledouris' music manages to evoke themes of sacrifice and redemption that are as old as the Bible, yet infuse them with a cold detachment that suggests a future of uncertain humanity. --Jerry McCulley (Amazon review)
Robert Duvall's triple-threat (producer/writer/director) 1997 film about a fundamentalist Texas preacher whose fiery spirituality and good works are nearly unraveled by his decidedly human lusts is remarkable for a number of things--the star's non-judgmental approach to Christianity undercuts easy stereotyping and his choice in music nicely smudges the modern, artificially drawn boundaries between country and gospel. It's a collection of music that shows what rich diversity there is in music that's been largely marginalized by mainstream marketeers. Highlights include Lyle Lovett's rousing "I'm a Soldier In the Army of the Lord," "In the Garden" by Johnny Cash, and The Carter Family returning to their roots on "Waitin' On the Far Bank of Jordan". --Jerry McCulley (Amazon review) 1. I Will Not Go Quietly - Steven Curtis Chapman 2. Two Coats - Patty Loveless 3. I'm A Soldier In The Army Of The Lord - Lyle Lovett 4. Softly & Tenderly - Rebecca Lynn Howard 5. There Is A River - Gaither Vocal Band 6. In The Garden - Johnny Cash 7. I Love To Tell The Story - Emmylou Harris, Robert Duvall 8. Waitin' On The Far Side Banks Of Jordan - Carter Family 9. Victory Is Mine - Sounds Of Blackness 10. There Is Power In The Blood - Lari White 11. There Ain't No Grave (Gonna Hold My Body Down) - Russ Taff 12. I'll Fly Away - Gary Chapman, Wynonna 13. Softly & Tenderly (Reprise) - Dino Kartsonakis
Thomas Newman, one of the finest film score composers of our day, did some of his finest work with Meet Joe Black. Mr. Newman is particularly adept with scoring for large orchestra, especially the string section. With the orchestra he often mixes electronic sounds and exotic instruments, not in some gimmicky way but so seamlessly that there's no way to tell exactly what you're hearing. His forte is large-scale, adagios, slowly played by seemingly endless strings to create moods of melancholy, tenderness or triumph. In the case of this score he also has created themes that hint at the vastness and mystery of the universe, something totally appropriate to the film itself. The music of Meet Joe Black is mostly of a sweeping nature, the large orchestral forces totally engulfing the listener in long passages without any apparent pauses, the kind of music one might listen to when looking at a starry sky deep at night. But there's more than that. The "Everywhere Freesia" section plunges the listener into the world of English Pastoral music for a few minutes of delightful reverie. "Fifth Avenue" is a jaunty dancelike piece that features an almost Klezmer-style clarinet. The Finale (That Next Place) is a resoundingly triumphant movement, full of resolution and ending with a gigantic flourish of horns and strings worthy of a Bruckner symphony. The soundtrack works very well as a stand alone and can be enjoyed without any knowledge of the film. In addition, it varies it's themes often enough and its tracks are long enough to make it easily listenable. ...(Amazon review)
Composer Mark Isham's growing shelf of soundtracks shows a range from orchestral tone poems to ambient soundscapes and shrewd combinations of score and source music cues. But the trumpeter and synthesizer sculptor remains an ardent Miles Davis fan, his penchant for serene horn lines and cool backdrops consistent since his days with the '70s acoustic fusion band Rubisa Patrol and in Van Morrison's band. Isham's long relationship with director Alan Rudolph provides a plum opportunity in the bittersweet context of this romantic feature, and Isham responds with this suave program of cool jazz originals abetted by a stellar band. Charles Lloyd's ripe tenor, Gary Burton's shimmering vibes, Geri Allen's delicate piano, and Sid Page's violin trade spare lines across the drums and bass of Billy Higgins and Jeff Littleton respectively, for a set that stands on its own as atmospheric, intelligent jazz. --Sam Sutherland
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
