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Artist:
Olivia Newton-John
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John Travolta
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Stockard Channing
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Frankie Valli
20th anniversary edition of the hit soundtrack featuring thedisc with an enhanced CD-ROM component & all 24 of the original audio tracks, including the hits 'Grease', 'Summer Nights', 'Greased Lightnin'', 'Hopelessly Devoted To You' & 'You're The One That I Want'. 1998 Polydor reissue of the original 1978 album.
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Artist:
Martin Charnin
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The best soundtracks are like movies for the ears, and O Brother, Where Art Thou? joins the likes of Saturday Night Fever and The Harder They Come as cinematic pinnacles of song. The music from the Coen brothers' Depression-era film taps into the source from which the purest strains of country, blues, bluegrass, folk, and gospel music flow. Producer T Bone Burnett enlists the voices of Alison Krauss, Gillian Welch, Emmylou Harris, Ralph Stanley, and kindred spirits for performances of traditional material, in arrangements that are either a cappella or feature bare-bones accompaniment. Highlights range from the aching purity of Krauss's "Down to the River to Pray" to the plainspoken faith of the Whites' "Keep on the Sunny Side" to Stanley's chillingly plaintive "O Death." The album's spiritual centerpiece finds Krauss, Welch, and Harris harmonizing on "Didn't Leave Nobody but the Baby," a gospel lullaby that sounds like a chorus of Appalachian angels. --Don McLeese
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Ennio Morricone's Academy Award-nominated score captures the conflict between 18th-century Jesuit missionaries trying to convert the native Indians, and the slavers who want to destroy them. In keeping with the serious subject matter and epic scope of Roland Joffé's film, the score is by turns grave, lyrical, and tense. Ever inventive, Morricone mixes liturgical chorales, native drumming, and Spanish-influenced guitars, often in the very same track, to capture the drama of the culture clash. His trademark lyricism also comes through, notably in the beautiful themes for "Gabriel's Oboe" and "The Mission." Not as over-the-top as his well-known spaghetti Western scores, The Mission shows Morricone at his dramatic best. --Heidi MacDonald
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Artist:
Vince Guaraldi Trio
Original soundtrack recording of the CBS television special recorded in 1965, tracks include 'O Tannenbaum', 'What Child Is This', 'My Little Drum', 'Linus and Lucy', 'Christmas Time Is Here' (instrumental), 'Christmas Time Is Here' (vocal), 'Skating', 'Hark, The Herald Angels Sing', 'Christmas Is Coming', 'Fur Elise', 'The Christmas Song' & 'Greensleeves'. Fantasy Records. 1988.
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Artist:
Various Artists - Soundtracks
Writer-director Cameron Crowe (Jerry Maguire, Say Anything, Singles) was a teenager when Rolling Stone magazine sent him out to write cover stories in the 1970s. Nearly 30 years later, Crowe tells the tale in satisfying fashion and extensive detail with Almost Famous, accompanied by a soundtrack that accurately reflects the time of his trial by fire. Led Zeppelin have never before licensed a performance to a soundtrack, so "That's the Way" earns the distinction. A live version of Lou Reed's "Waiting for the Man" performed by David Bowie in 1972 typifies the emerging underground glam movement. Classic rock from Simon & Garfunkel, Rod Stewart, Elton John, and Yes fill things out. Cat Stevens's "The Wind" is rescued from the Timberland commercial. Nancy Wilson of Heart contributes the original score (one track, "Lucky Trumble," featured here) and a track by the fictitious hard-rock band Stillwater, whose "Fever Dog" sounds like a lost track from the hard-rock-guitar wars of the 1970s. Add in tracks by garage-rock faves the Seeds, soul strutter Clarence Carter, and Southern rockers Lynyrd Skynyrd and the Allman Brothers Band and you've got an expansiv...
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Artist:
Various Artists - Soundtracks
For those of us who grew up in the '70s, this drive-in compilation of '50s and '60s rock and doo-wop, complete with Wolfman Jack introductions, was our introduction to this music. There are 41 jukebox hits here, and every one of them is a classic of its time (although two tracks--"At the Hop" and "She's so Fine" are covers by the revival band Flash Cadillac & the Continental Kids). In his 1973 movie, director George Lucas used the music (and the presence of mysterious deejay Wolfman) as the AM-radio soundtrack to one night in suburban California, 1962. The idea was to capture and sustain an end-of-summer, end-of-innocence mood that's in the air throughout the picture-- not as a shortcut to establishing a period (as in Robert Zemeckis'Forrest Gump). There's an awful lot of spontaneous energy in these tunes--from Chuck Berry and Buddy Holly, to the Platters and the Clovers and the Del-Vikings, to the Crests and the Beach Boys--and also just a hint of melancholy that goes down very nicely with a burger, shake, and fries. --Jim Emerson
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Artist:
Trevor Jones
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Randy Edelman
This is a production rife with odd pairings: English actor Daniel Day-Lewis joining up with the Mohawks; James Fenimore Cooper adapted by Michael Mann; disparate composers Trevor Jones and Randy Edelman teaming up. This last pairing seems a suspicious attempt to endow the score of this modern film adaptation of a junior high school literary evergreen with both a golden age of Hollywood dramatic bent (Jones) and a '90s-slick guitar-muzak veneer (Edelman). A strange amalgam that doesn't quite work. --Jerry McCulley
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