for movie soundtrack enthusiasts and music aficionados, a collection of rare, hard to find, out of print, lost, forgotten and classic movie soundtracks...enjoy!
John Williams Greatest Hits 1969–1999 is a compilation of concert suites from various films John Williams has scored between 1969 and 1999. The album contains takes from various orchestras including the London Symphony Orchestra, Boston Pops Orchestra and Skywalker Symphony Orchestra. Disc 1 "Star Wars - Main Title" – 5:44 "E.T. - Flying Theme" – 3:42 "Superman - Main Title" – 4:25 "Indiana Jones and the Temple of Doom - Parade of the Slave Children" – 4:53 "Sugarland Express - Theme" – 3:35 "Jaws - Theme" – 2:31 "Olympic Fanfare and Theme" – 4:28 "Return of the Jedi - Luke and Leia" – 5:02 "The Reivers - Main Title" – 5:13 "The Empire Strikes Back - The Imperial March" – 3:04 "Indiana Jones and the Last Crusade - Scherzo for Motorcycle and Orchestra" – 2:48 "Empire of the Sun - Cadillac of the Skies" – 4:58 "Raiders of the Lost Ark - The Raider's March (End Credits)" – 5:11 "Close Encounters of the Third Kind - Suite" – 9:46 Disc 2 "Saving Private Ryan - Hymn to the Fallen" – 6:10 "Jurassic Park - Theme" – 5:29 "Schindler's List - Theme" – 3:32 "Hook - Flight to Neverland" – 4:41 "Seven Years in Tibet - Seven Years in Tibet" – 7:09 "JFK - Prologue" – 4:00 "Stepmom - The Days Between" – 6:27 "1941 - March" – 4:14 "Home Alone - Somewhere in My Memory – 4:54 "Summon the Heroes" – 6:14 "Rosewood - Look Down, Lord" – 4:12 "Far and Away - Theme" – 5:34 "Born on the Fourth of July - Theme" – 6:20 "Star Wars: Episode I – The Phantom Menace - Duel of the Fates" – 4:14
Milan Records presents a Randy Edelman score - Music from the Motion Picture "Passion Of Mind", showcasing the best moments in music featured on eighteen tracks. Edelman, who gave us such wonderful scores as "Gettysburg" (1993), "The Last of the Mohicans" (1992) and "Dragonheart" (1996), composes a playful, reflective, romantic and tragic score. This serene and stimulating soundtrack reaches emotional levels filled with delicate musical themes interwoven throughout each movement. Each track beautifully highlights this enchanting and musical score. The album inspires the listener into wanting more of the same. Milan Records and Randy Edelman have given us an album that will be greatly enjoyed by any fan of film scores or instrumental music.
Murray Gold, The BBC National Orchestra Of Wales Conducted By Ben Foster – Doctor Who (Original Television Soundtrack) Genre: Electronic, Rock, Stage and Screen Style: Soundtrack, Modern Classical, Score, Pop Rock Year: 2006 Tracklist Doctor Who Theme (TV Version)0:41 Westminster Bridge2:08 The Doctor's Theme1:18 Cassandra's Waltz3:08 Slitheen1:22 Father's Day1:55 Rose In Peril1:40 Boom Town Suite3:02 I'm Coming To Get You1:12 Hologram2:15 Rose Defeats The Daleks2:31 Clockwork TARDIS1:18 Harriet Jones, Prime Minister2:13 Rose's Theme2:14 Song For Ten3:29 The Face Of Boe1:16 UNIT1:44 Seeking The Doctor0:44 Madame De Pompadour3:44 Tooth And Claw3:50 The Lone Dalek4:59 New Adventures2:19 Finding Jackie0:54 Monster Bossa1:37 The Daleks3:01 The Cybermen4:32 Doomsday5:09 The Impossible Planet3:11 Sycorax Encounter1:13 Love Don't Roam3:57 Doctor Who Theme (Album Version)2:36
One of the all-time great Western scores, restored to its original length-that means an additional 10 tracks! A spaghetti-flavored treat for soundtrack collectors! The concluding chapter of director Sergio Leone's epochal Man With No Name trilogy ushered film scorer Ennio Morricone into the pop mainstream courtesy of a hit cover of its main title by American Hugo Montenegro. More importantly, it both showcased the composer's spectacularly inventive range and set him up for even greater triumphs to come with Leone and others. But aficionados of il Maestro Morricone's G,B&U soundtrack knew its original editions contained but the main thematic/musical elements of the spaghetti western epic -- until now. The addition of ten previously unissued cues on this newly remastered edition render the landmark score in its full glory, nearly doubling its running time in the bargain. While some of these new elements are but spare, haunting reworkings of familiar motifs (including Allessandro Allessandroni's trademark guitar riffs and the chilling vocal shrieks the composer used to evoke the howling of coyotes) that help expand its emotional dynamic, others like "Sentenza," "La Missione San Antonio" (a haunting instrumental version of "A Soldier's Story" that effectively presages his elegiac Once Upon A Time in The West and "Il Bandito Monco" significantly add to its expansive scope, firmly restating its claim as Morricone's first true classic. -- Jerry McCulley (Amazon.com)
Original soundtrack to the 2009 blockbuster. Features a score by Harold Kloser and Thomas Wander plus tracks from Adam Lambert ('Time For Miracles') and Filter ('Fades Like A Photograph'). 2012 is the Roland Emmerich-directed film about the end of the world, Starring John Cusack, Amanda Peet and Woody Harrelson, amongst others. Kloser creates a great story with the music, and is a good mix of touching themes and pounding excitement. His style is consistent, and in the same vein as The Day after tomorrow, but totally different in the treatment of this really awesome movie. The visual and auditory components of this movie go very well together. This music fits each and every change of situation perfectly. The music definitely added suspense, depth and imagination quality to the film.
Birdman of Alcatraz is a 1962 film starring Burt Lancaster and directed by John Frankenheimer. It is about a man named Robert Stroud (Lancaster) who is sentenced to life-imprisonment for murder. While there he develops an interest in birds. In the process, he even develops a cure for bird diseases and publishes a book on the topic. All-in-all, this is a phenomenal movie, and probably Lancaster's best performance ever. The composer of choice for this assignment was Elmer Bernstein, who today is known for scoring films such as; The Man with the Golden Arm, The Magnificent Seven, Walk on the Wild Side, To Kill A Mockingbird, The Great Escape, Ghostbusters, and The Black Cauldron. Bernstein brings a magical score that is subtle and delicate, carefree but still dramatic, a real masterpiece. Favorite cues include; Main Title, Flight, Bird Cart, Cage Preparations, No Cure, Runty Dead, Peggy, Stroud Drunk, Riot, Like A Bird, and End Credits. This is an overlooked masterpiece from early in Bernstein's career. It sits right alongside To Kill A Mockingbird (his finest score ever) as one of his greatest achievements in film scoring. Varese Sarabande released this score in a limited edition of 3,000 copies as part of their CD Club label in 2006.
The haunting, recurring themes of this score help to give the perfect atmosphere to the movie. The music does exactly what it was supposed to do in musically illustrating and complementing the film and setting the mood. John Williams, Yo Yo Ma and Itzhak Perlman do such a superb job of musically interpreting the story. Yo-Yo Ma describes John Williams' score as "poetic and mysterious". It is he who expresses these elements through his cello while violinist Itzhak Perlman provides strategic moments of enchantment. As you listen to this soundtrack it casts a spell over you, and shuts out everything except the music and the emotion. From the innocence of "Going to School" to the drama of "The Fire Scene and the Coming of War" it enchants and pulls you in. Listening to it is almost like meditation.
The Killing Fields (Original Film Soundtrack) was Mike Oldfield’s 10th studio album and soundtrack album to Roland Joffé’s drama film of the same name. Originally released on 26th November 1984, it spawned one single, Étude (Theme From The Killing Fields). Mike Oldfield's first and really only venture into scoring a movie. It is a beautiful score with very emotionally charged music. The strong, unique, and sometimes stirring music covers a range from classical, to metallic, to light rock, to ethnic. Oldfield was reluctant to accept this assignment due to the nature of the film and his peaceful nature. He wanted to let people feel the horror of war, and was very successful. The music he created was powerful, and very ethereal in nature throughout the piece.
Dario Marianelli is an absolute genius and you'll agree when you hear the music from this soundtrack. It is a perfect reflection to the movie and compliments this classic story very well. Performed by pianist Jean-Yves Thibaudet with The English Chamber Orchestra. By listening to this soundtrack you will feel the emotions of the actors on the scene and be able to imagine Jane Austen's greatest work come to life.
Original music composed by Alberto Iglesias and featuring music performed by acclaimed Kenyan percussionist and Real World recording artist Ayub Ogada. Alberto Iglesias' ("La Mala Educacion," "The Dancer Upstairs," "Todo Sobre Mi Madre") lush score evokes the film's compelling African and European landscapes. Alberto Iglesias composed the bulk of the music that accompanies "The Constant Gardener". His score is moody and dark, reflecting the screen adaptation of John le Carré's novel about the death of a British diplomat's wife in Kenya and the surrounding conspiracy. The energy in the "Constant Gardener's" score is punctuated by Ayub Ogada's spirited Kenyan folk music. Iglesia's music contrasts with Ogada's vignette's of poor villagers who are victimized not only by AIDS but also by a truly evil Swiss drug company. The ambiance in the film is a successful amalgam of polished cinema orchestration with the simple, raw power of Afro-Caribbean world music.
Genre: Electronic, Classical Style: Trip Hop, Breaks, Score, Downtempo, Contemporary Year: 1999 Craig Armstrong proved with his Romeo and Juliet score that he can seamlessly mix several genres of music together to create a singular sonic experience. Many have complained that the modern sound of Plunkett and Macleane completely contradicted the movie's pre-industrial revolution setting. But it works in ways a period score would fail.
There's something here for everyone who uses a movie score for imagination fuel. Plunkett and Macleane is full of tension, booming bass, orchestra, angelic voices, nervous sound effects and haunting ambience, and exciting 'driving' pieces that are sure to get your blood flowing. (Amazon review by Inspector Gadget)
Various – Buffy The Vampire Slayer: Radio Sunnydale - Music From The TV Series Tracklist –The BreedersBuffy Main Title Theme1:12 –The Dandy WarholsBohemian Like You3:33 –Nikka CostaEverybody Got Their Something4:20 –Christophe BeckDead Guys With Bombs2:55 –DevicsKey3:29 –Lunatic CalmSound Of The Revolution4:03 –Dashboard ProphetsBallad For Dead Friends4:14 –Angie HartBlue2:49 –Aimee MannPavlov's Bell4:26 –Alison KraussThat Kind Of Love3:44 –AberdeenSink Or Float3:27 –Patty MedinaStill Life4:27 –LaikaBlack Cat Bone4:25 –Man Of The YearJust As Nice2:59 –Melanie DoaneI Can't Take My Eyes Off You3:55 –Fonda The Sun Keeps Shining On Me4:07 –Halo FriendliesRun Away3:02 –Emiliana TorriniSummerbreeze3:40 –Cibo MattoSugar Water4:30 –Rob DuncanThe Final Fight (Original Score)4:02 –Nerf HerderBuffy The Vampire Slayer Theme1:03
The soundtrack to this Coen brothers movie from 2004 is a collection of old time spirituals, gospel hymns and quartet songs done by a mix of classic and contemporary artists including Pastor Donnie McClurkin, Rosie Stone(of the Sly and the Family Stone), Blind Willie Johnson, The Soul Stirrers and The Swan Silvertones. A real treat for lovers of roots music and deftly produced by the legendary T-Bone Burnett. –The Soul StirrersCome, Let Us Go Back To God2:50 –Nappy RootsTrouble Of This World (Coming Home)3:48 –The Venice Four With Rose Stone And The Abbot Kinney Lighthouse ChoirLet Your Light Shine On Me6:43 –Nappy RootsAnother Day, Another Dollar3:48 –The Soul StirrersJesus I'll Never Forget2:36 –Nappy RootsTrouble In, Trouble Out4:04 –Bill Landford & The LandfordairesTrouble Of This World2:45 –Donnie McClurkinCome, Let Us Go Back To God4:33 –Rosewell Sacred Harp Quartet*Weeping Mary2:41 –Little Brother Sinner4:25 –Bill Landford & The LandfordairesTrouble, Lord I'm Troubled2:58 –Donnie McClurkinYou Can't Hurry God2:26 –The Soul StirrersAny Day Now2:28 –Rose Stone With The Venice Four And The Abbot Kinney Lighthouse ChoirTrouble Of This World2:55 –Claude Jeter* And The Swan SilvertonesA Christian's Plea2:23 –Blind Willie JohnsonLet Your Light Shine On Me3:07 –The Venice Four With Rose Stone And The Abbot Kinney Lighthouse ChoirLet The Light From The Lighthouse Shine On Me1:42
Composed, orchestrated and conducted by the award-winning Carter Burwell, the Twilight score is a must-have companion to the movie experience. Burwell is a renowned composer who is well known for his work on most Coen Brothers films, including The Big Lebowski, Fargo, Burn After Reading, plus films including Being John Malkovich, Gods and Monsters, and more. Carter Burwell paints the vivid and complex story of Twilight through these masterful compositions. The same handful of melodies pervade nearly every piece, but subtle changes in key, rhythm, dynamic and instrumentation turn them into something new and unique to each song. The almost tribal drive of the drum rhythms communicate well the primal undercurrent in the story, while beautiful and mysterious melodies vividly highlight the intensity as well as the "forbidden" element to Edward and Bella's love. The darker pieces dedicated to the bad vampires skillfully communicate the one, most important thing about these antagonists: Danger. Burwell is excellent, and composed a score PERFECTLY FIT to the story of Twilight. This score by Carter Burwell does not disappoint. It is hauntingly beautiful, delicate, expressive music composed truly with the theme of the movie in mind. You almost feel transported to the town of Forks (covered in low clouds, mist and fog) - the music is really that powerful.
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)
