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The New Moon [11/16]
 

The New Moon [11/16]

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The New Moon [11/16]
"The New Moon [2004 Concert Cast]" (05/02/2005) Soundtracks Original Soundtrack, GhostlightComposer: Sigmund Romberg. Lyricist: Oscar Hammerstein II. Original Soundtrack/City Center Encores!: F. Murray Abraham, Brandon Jovanovich, Rodney Gilfry, Chistianne Noll. After New York's City Center program "Encores! Great American Musicals in Concert"r, a series devoted to semi-staged performances of neglected shows, turned to the 1928 operetta The New Moon in March 2003, Ted Chapin, chairman of the advisory committee, as he says in his liner notes to this album, "discovered there had never been a full recording" of the show. Yet theater historian Kurt G?nzl wrote in his 1990 book The Blackwell Guide to the Musical Theatre on Record, "The score of The New Moon is very much better known than the show itself...." These two seemingly conflicting yet true statements can be resolved by noting that, while the "full" score has not made it to record until now, individual songs have become standards, in particular "Lover, Come Back to Me," "Softly, as in a Morning Sunrise," and "Stouthearted Men." Although it was the hit of the 1928 Broadway season and quickly earned both a London production and a 1930 film adaptation, the work remains best (if not solely) remembered for the second movie version of 1940, which starred Nelson Eddy and Jeanette MacDonald. No legitimate recording of any of the stage or screen versions was released, although unlicensed albums have had limited distribution. Over the years, several record companies have undertaken studio cast versions, the most complete of which was a 1963 LP containing ten tracks released by Capitol Records that featured Gordon MacRae and Dorothy Kirsten (who had appeared in a 1944 stage revival mounted by City Center). Still, amazingly, this one really is the first "full recording" of The New Moon, and it's terrific. Operetta may have fallen out of fashion by the 1930s, and the plot of the show may be, as another theater historian once put it, "involved and farfetched," but here the characterizations are strong and sincere, the singing of the main numbers by leads Christiane Noll and Rodney Gilfry is thrilling, and the infrequently heard comic material is amusing. City Center and Ghostlight Records have done a real service to musical theater fans not only by bringing this score to disc at last, but by doing it so well. ~ William Ruhlmann

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Duets [Original Soundtrack] by Original Soundtrack (CD - 09/12/2000)
 

Duets [Original Soundtrack] by Original ...

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Duets [Original Soundtrack] by Original Soundtrack (CD - 09/12/2000)
"Duets [Original Soundtrack]" (09/12/2000) Soundtracks Original Soundtrack, Hollywood RecordsAudio Mixer: Jon Gass. The original soundtrack to Bruce Paltrow's karaoke drama Duets follows up on the film's premise, collecting the actors' performances of pop favorites. Huey Lewis' "Feelin' Alright," Maria Bello's "I Can't Make You Love Me," and John Pinette's "Copacabana" may not equal the original versions, but they're still entertaining enough in the album's context. Similarly, Gwyneth Paltrow's duets with Babyface ("Just My Imagination (Running Away With Me)") and Lewis ("Cruisin'") are as interesting for their sheer novelty as for the discovery that Paltrow has a surprisingly good singing voice. However, Paul Giamatti's sweetly awkward "Hello, It's Me" and Paltrow's guileless reading of "Bette Davis Eyes" go one step farther, imbuing their performances with the desperation and vulnerability that drives their characters. As with the film, Duets is a personal and occasionally captivating -- if not always successful -- soundtrack. ~ Heather Phares WHEN ACTORS SING could be the title of a surreal reality-based TV show; instead it often turns out to be an all too real phenomenon. Luckily, the soundtrack for the Bruce Paltrow-directed movie comedy about the world of karaoke turns out to be a highly listenable collection of real-life musicians and actors picking up microphones and letting it all hang out vocally. Among the non-singers of the batch who deserve special mention is Paltrow's daughter Gwyneth. Playing the role of daughter to con artist Huey Lewis, her soulful delivery not only meshes well with her fictional pappy on a sweet sounding version of Smokey Robinson's "Cruisin'," but also with Babyface on a duet of the Temptations' "Just My Imagination (Running Away With Me)." Other thespians who come through with flying colors are former ER starlet Maria Bello and Paul Giamatti (aka Howard Stern nemesis Pig Vomit). Bello goes the techno route with the Eurythmics' "Sweet Dreams (Are Made of This)" while taking a considerably mellower tone on the Bonnie Raitt ballad "I Can't Make You Love Me." Juxtaposing Giamatti's straightforward reading of Todd Rundgren's "Hello, It's Me," is a roof raising cover of "Try a Little Tenderness" alongside jazz singer Arnold McCuller.

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Honey by Original Soundtrack (CD - 11/25/2003)
 

Honey by Original Soundtrack (CD - 11/25/2003)

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Honey by Original Soundtrack (CD - 11/25/2003)
"Honey" (11/25/2003) Soundtracks Original Soundtrack, ElektraThis is a Hyper CD, which contains regular audio tracks and also provides a link to the artist's website with the help of a web browser. Original score composed by Mervyn Warren. This is an Enhanced CD, which contains both regular audio tracks and multimedia computer files. Personnel: Nate Dogg (vocals, background vocals); Ghostface Killah, Missy Elliott, Saigon, Trife, Blaque (vocals); Mike Tiger (guitar, keyboards); Carlos Bedoya (keyboards); Mark Ronson (percussion); Warryn Campbell (programming). Audio Mixers: Duro; Scott Kieklak; Jean-Marie Horvat; Tommy Uzzo; Troy Hightower; Bruce Buechner. Recording information: Hit Factory Criteria, Miami, FL; Hit Factory Recording Studios, New York, NY; L.i.t.e. Recording Studios, Long Island, NY; Mirror Image Recorders, New York, NY; Record Plant Studios, CA; Sound on Sound; Studio 24, Burbank, CA; The Grind Factory, Los Angeles, CA. Not surprisingly for a film that looks and plays like a cross between Glitter and Save the Last Dance, Honey's soundtrack features a lot of stylish, danceable hip-hop and urban pop, led by Missy Elliot's "Hurt Sumthin" and Fabolous' "Now Ride," one of the biggest rap hits at the time of the movie's release. Indeed, with the inclusion of tracks like Sean Paul's "Gimme the Light," Nate Dogg's "Leave Her Alone," and Tweet's "Thugman," the soundtrack does almost as good a job of rounding up hip-hop and urban trends in 2003 as that year's Now That's What I Call Music! collections did. Blaque's "I'm Good" and Tamia's "It's a Party" are two of the album's most infectious tracks, while Amerie's "Think of You," Goapele's "Closer," and Yolanda Adams' "I Believe" edge closer to standard urban balladry. Erick Sermon's "React" and Mark Ronson's "Ooh Wee" are a couple of the other hip-hop highlights of this soundtrack, which isn't always inspired but does work well as a kinetic set of hip-hop and urban music. ~ Heather Phares The movie HONEY stars Jessica Alba as an attractive, gritty, hard-working dancer determined to work her way to the top. With that plot, the advanced buzz surrounding the movie compared it to two movies of vastly differing fates, FLASHDANCE and GLITTER, both of which studied performers resolute in their path towards stardom. Both films also had high-profile soundtracks. However, in all of these films and soundtracks, the key distinction is the world in the characters live; where FLASHDANCE concerned a very 1980s rock world, and GLITTER a glamorous ultra-pop world, HONEY lives in the world of hip-hop. The soundtrack for HONEY features an invigorating mix of rap styles, kicking off with a bang as the movie's sharp co-star, Missy Elliott, shows off her primary career on the predictably clever and catchy new track "Hurt Sumthin'." Blaque's "I'm Good" features about as heady a balance of titillation and wit as one can find. The rest of the record includes some excellent hip-hop tracks such as Erick Sermon and Redman's "React," Fabolous's "Now Ride," and from the world of reggae crossover, Sean Paul's instant classic "Gimme the Light."

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More Dirty Dancing by Original Soundtrack (CD - 03/01/1988)
 

More Dirty Dancing by Original Soundtrack (CD - ...

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More Dirty Dancing by Original Soundtrack (CD - 03/01/1988)
"More Dirty Dancing" (03/01/1988) Soundtracks Original Soundtrack, RCA Records (USA)All of the hits from the Dirty Dancing movie were included on the first soundtrack, which leaves More Dirty Dancing as nothing more than a pleasant collection of oldies and faceless MOR adult contemporary pop. ~ Stephen Thomas Erlewine

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The Best of Star Trek, Vol. 2 by Original Soundtrack/Original TV Soundtrack (CD - 08/15/2000)
 

The Best of Star Trek, Vol. 2 by Original ...

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The Best of Star Trek, Vol. 2 by Original Soundtrack/Original TV Soundtrack (CD - 08/15/2000)
"The Best of Star Trek, Vol. 2" (08/15/2000) Soundtracks Original Soundtrack, GNP/Crescendo

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Chronicles Of Naria: The Lion, The... [12/6]
 

Chronicles Of Naria: The Lion, The... [12/6]

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Chronicles Of Naria: The Lion, The... [12/6]
"The Chronicles of Narnia: The Lion, the Witch and the Wardrobe [Original Soundtrack]" (12/13/2005) Rock & Pop Original Soundtrack, Walt DisneyPersonnel: Alanis Morissette, Lisbeth Scott, Tim Finn (vocals); Imogen Heap (keyboards, programming); Toby Chu, Stephen Barton (programming). Audio Mixers: Manny Marroquin; Joel Iwataki. Recording information: Abbey Road Studios;London; Phantom Studios; Todd AO Scoring Stage; Los Angeles. Editors: Bryan Elliott Lawson; Adam Milo Smalley. Featuring Harry Gregson-Williams's inspired score, THE CHRONICLES OF NARNIA also includes original songs performed by Alanis Morissette, Imogen Heap, and Tim Finn. Composer Harry Gregson-Williams (Kingdom of Heaven, Man on Fire, Spy Game) takes on the magical world of C.S. Lewis' Narnia, infusing director Andrew Adamson's big screen adaptation with predictable wonder and reliable bravado. Williams, who also worked on Adamson's two Shrek films, keeps things moving with the help of longtime collaborators Lisbeth Scott (vocals) and Hugh Marsh (electric violin), both of whom provide The Lion, the Witch and the Wardrobe with some of its key emotional moments. Williams' dramatic choral arrangements do their best to emphasize childhood awe, and the Celtic-tinged character motifs evolve naturally, but the overall effect is that of any fantasy film. Lord of the Rings comparisons aside, Williams' Narnia holds little in the way of power, and with source material that carries as strong an undercurrent of seriousness beneath its storybook exterior as Tolkein's, the whole affair comes off as a noble yet empty gesture. ~ James Christopher Monger

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Gettysburg by Original Soundtrack/Randy Edelman (Film Scores) (CD - 09/28/1993)
 

Gettysburg by Original Soundtrack/Randy Edelman ...

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Gettysburg by Original Soundtrack/Randy Edelman (Film Scores) (CD - 09/28/1993)
"Gettysburg" (09/28/1993) Soundtracks Original Soundtrack, MilanAll music written by Randy Edelman. Original score composed by Randy Edelman. This fifth anniversary edition of the GETTYSBURG soundtrack includes 60 minutes of previously unreleased music. Includes liner notes by Ted Turner. All music written by Randy Edelman. Gettysburg was an ambitious epic detailing one of the most famous battles in the American Civil War. Appropriately, the soundtrack is grand, dramatic, and stirring. In fact, the incidental music works better as an individual entity than most soundtracks and is arguably more compelling than portions of the overly long movie. ~ Stephen Thomas Erlewine It seems a little strange to be celebrating a fifth anniversary, especially for a movie that was a box office disappointment and earned only a following so small that it could be barely called a cult. Strangely enough, a bigger cult formed around Randy Edelman's score, and that explains the release of Gettysburg: Special Fifth Anniversary Deluxe Commemorative Edition, a double-disc set packaged like a book that features new liner notes, unreleased photos, the Gettysburg Address as read by Jeff Daniels, and over an hour of unreleased music. For true fans of the score and film, this is absolutely essential, but for anyone curious about the music, the original single-disc remains the best way to become acquainted with this wonderful score. ~ Stephen Thomas Erlewine

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Star Trek: The Motion Picture [20th Anniversary Collectors Edition] by Original Soundtrack/Jerry Gol
 

Star Trek: The Motion Picture [20th Anniversary ...

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Star Trek: The Motion Picture [20th Anniversary Collectors Edition] by Original Soundtrack/Jerry Gol
"Star Trek: The Motion Picture [20th Anniversary Collectors Edition]" (01/26/1999) Soundtracks Original Soundtrack, Legacy RecordingsThis 20th anniversary edition of STAR TREK: THE MOTION PICTURE is packaged in a holographic slipcase and contains a total of 11 previously unreleased tracks. It includes a bonus disc entitled INSIDE STAR TREK, originally released in 1976, which features interviews with Gene Roddenberry, Isaac Asimov and members of the original cast. STAR TREK: THE MOTION PICTURE Original score composed and conducted by Jerry Goldsmith. Producer: Jerry Goldsmith. Engineer: John Neal. INSIDE STAR TREK: Producers: Ed Naha, Don Devito. Engineers include: Russ Payne, Bob Schoppe, Stan Tonkel. Reissue producers: Didier C. Deuthsch, Darcy M. Proper. Digitally remastered by Darcy M. Proper (Sony Music Studios, New York, New York). Personnel: William Shatner (vocals). Recording information: 20th Century Fox Music (05/1976-03/1998); Columbia Recording Studios, Santa M (05/1976-03/1998); New York, NY (05/1976-03/1998); United Western Studios, Los Angeles, CA (05/1976-03/1998). Unknown Contributor Role: Gene Roddenberry. In 1999, the Legacy label reissued Jerry Goldsmith's lauded score to STAR TREK: THE MOTION PICTURE. Not only did the meticulously packaged release feature the lush pieces originally presented on the '79 soundtrack, it also offered up more than 20 minutes of previously unreleased material. The album's crowning achievement, of course, is the majestic "Main Title," which is immediately recognizable due to its prominent use in this first film, in the original television series, and in other subsequent STAR TREK movies and TV shows. Each composition reveals Goldsmith's ability to both reflect and heighten the drama unfolding on the screen, whether it's the ominous, percussive "Klingon Battle" or the tense yet dreamy "Spock's Arrival." Along with John Williams's work on the original STAR WARS, this album is one of the preeminent sci-fi scores, and is a must-have for Trekkies and fans of Goldsmith's bold compositions. This 20TH ANNIVERSARY COLLECTOR'S EDITION also contains a bonus disc that includes STAR TREK musings by creator Gene Roddenberry and the one and only William Shatner, among others. Jerry Goldsmith's music, alternately eerie and savage, was the best part of the movie. It still holds up. ~ Bruce Eder Issued in 1999 after some considerable delay (and heavily available as a promo before that), this double-CD set corrects a lot of the mistakes that were made on the original LP and CD releases. For starters, there are about 20 more minutes of music from the film here -- Columbia Records obviously wanted to hold the original LP release to one disc, but they still could have gotten most, if not all, of the extra material on. The additional music isn't anything profound, because all of the major thematic material was represented on the original LP and its CD equivalent -- it's mostly just more of the Vejur oscillations over dark orchestral chords, but anything that gets more Jerry Goldsmith music into print is intrinsically OK. Indeed, listening to the full score here, it is more apparent than ever just how important Goldsmith's score was to the lethargically paced, deeply troubled film -- almost all of the majesty, excitement, and mystery that the screen was supposed to present actually resides in the music, and Goldsmith probably deserved an Academy Award, not just a nomination, for his contribution to this movie. Additionally, one of the new tracks, "Spock's Arrival," may be the closest that Goldsmith has ever come to writing serious music in a pure Romantic idiom; this could have been the work of Rimsky-Korsakov or Stravinsky -- it's that good. And all of the music has been remastered in state-of-the-art 20-bit sound, so the previously available parts of the score sound deeper and brighter -- one also gets echoes of his score for Alien amid the sweeping orchestral passages. The second disc is given over to the reissue of the mid-'70s Inside Star Trek LP, which was a Columbia release -- it's mostly talk by creator/producer Gene Roddenberry with William Shatner, Leonard Nimoy, DeForest Kelley, James Doohan, and Nichelle Nichols, wit

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About Last Night by Original Soundtrack (CD - 11/07/1988)
 

About Last Night by Original Soundtrack (CD - ...

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About Last Night by Original Soundtrack (CD - 11/07/1988)
"About Last Night" (11/07/1988) Soundtracks Original Soundtrack, EMI Music DistributionComposer: John Oates. Personnel: J.D. Souther, Jermaine Jackson, John Waite, Michael Henderson , Nancy Shanks, Paul Davis, Sheena Easton, Bob Seger (vocals); Rick Iantosca (various instruments, programming). Unknown Contributor Roles: The Del-Lords; John Wiate; Neil Portnow; Jermaine Jackson; Nancy Shanks; Sheena Easton.

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Ocean's Eleven by Original Soundtrack (CD - 12/04/2001)
 

Ocean's Eleven by Original Soundtrack (CD - ...

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Ocean's Eleven by Original Soundtrack (CD - 12/04/2001)
"Ocean's Eleven" (12/04/2001) Soundtracks Original Soundtrack, Warner Bros. Records (Record Label)Original score by David Holmes. Personnel: Chris Dawkins (guitar); Steve Tavaglione (flute, saxophone, EWI); Ron King (trumpet); Stephen Hilton (keyboards, programming); Jim Watson, Scott Kinsey (keyboards); Brad Dutz (vibraphone, percussion); Dave Carpenter, Robert Hurst (double bass, electric bass); Zach Danziger (drums, percussion); Hugoth Nicolson (percussion). Recording information: The Studio At The Sunset Marquis, West Hollywood, CA. Photographer: Bob Marshak. Arrangers: David Holmes; Lucien Cailliet. While the 1998 crime caper OUT OF SIGHT was the first film to bring together a suave George Clooney character, the maverick vision of director Steven Soderbergh, and the lively compositions of Irish electronica artist David Holmes, the 2001 remake of OCEAN'S ELEVEN perfected--and popularized--the collective aesthetic of those elements. The soundtrack to the hugely successful heist flick deftly blends snippets of ELEVEN's dialogue and vintage pop tracks--most notably Percy Faith's swooning, elevator-ready "Theme for Young Lovers" and an energetic remix of Elvis Presley's "A Little Less Conversation"--with Holmes's groove-oriented, 1970s-inspired originals, resulting in an album that successfully captures the mischievous verve of the movie, particularly on the cool, calculated, and exceptionally funky "Boobytrapping." Steven Soderbergh's re-imagining of the Rat Pack Vegas caper Ocean's 11 features an appropriately stylish soundtrack that mixes David Holmes' original score with a diverse range of additional songs. Like the film itself, Holmes' pieces are hip, but still have widespread appeal. Slinky, slightly edgy pieces such as "Boobytrapping," "Ruben's Inn," and "Gritty Shaker" are equally inspired by the tense cool of Lalo Schifrin and the street-smart style of Curtis Mayfield and Isaac Hayes' Superfly and Shaft soundtracks. Aside from a few breakbeats and the odd synth riff, Holmes downplays the overtly electronic element of his music, focusing instead on funky basslines, vibes, strings, wah-wah guitars, and lively percussion for a sleekly organic sound. On tracks like the dreamy, mysterious "Tess" and the organ-driven, psych-rock-inspired "69 Police," Holmes departs from the funk- and spy-influenced sound of the rest of the score, giving it some breadth as well as depth. The soundtrack's additional material complements Holmes' work, either by contrasting it, in the case of Percy Faith's so-square-it's-hip "A Song for Young Lovers" or DeBussy's languid "Claire de Lune," or reflecting it, as the ultra-hip hip-hop of Handsome Boy Modeling School's "The Projects" and Elvis Presley's sexy, tough-talking "A Little Less Conversation" do. Arthur Lyman Group's "Caravan" and Quincy Jones' "Blues in the Night" also trace back the vintage influences on Holmes' work and capture the film's witty, dynamic feel. While it's not quite as immediate as the Snatch soundtrack or as groundbreaking as the Dust Brothers' Fight Club score, Ocean's 11 is a tight, kinetic collection of film music that's just as enjoyable outside of the movie's context. ~ Heather Phares

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The Witches Of Eastwick [6/27]
 

The Witches Of Eastwick [6/27]

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The Witches Of Eastwick [6/27]
"Witches of Eastwick [Collector's Choice]" (06/27/2006) Rock & Pop Original Soundtrack, Collectors' Choice MusicComposer: John Williams . Liner Note Author: Jeff Bond. Recording information: 20th Century Fox Studios. The Academy Award-nominated The Witches of Eastwick captures composer John Williams at his most rapturous and playful, brilliantly communicating the sinister seductiveness of the Devil (played by Jack Nicholson) as he wreaks romantic havoc on the desperate housewives of a picturesque New England hamlet. Williams' score is romantic yet dark, its swelling strings underlined by a vague but palpable sense of menace. At the same time, however, The Witches of Eastwick is an archly comedic effort, embracing everything from wry satire to pure camp. (At one point in the film, Nicholson's Daryl Van Horne even whistles his own Williams-penned theme song.) Taken as a whole, it represents Williams' most complete and imaginative comedic score, with none of the heavy-handed whimsy of better-known works like Home Alone. ~ Jason Ankeny The Academy Award-nominated The Witches of Eastwick captures composer John Williams at his most rapturous and playful, brilliantly communicating the sinister seductiveness of the Devil (played by Jack Nicholson) as he wreaks romantic havoc on the desperate housewives of a picturesque New England hamlet. Williams' score is romantic yet dark, its swelling strings underlined by a vague but palpable sense of menace. At the same time, however, The Witches of Eastwick is an archly comedic effort, embracing everything from wry satire to pure camp. (At one point in the film, Nicholson's Daryl Van Horne even whistles his own Williams-penned theme song.) Taken as a whole, it represents Williams' most complete and imaginative comedic score, with none of the heavy-handed whimsy of better-known works like Home Alone. ~ Jason Ankeny

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Shot at Glory by Original Soundtrack/Mark Knopfler (CD - 04/30/2002)
 

Shot at Glory by Original Soundtrack/Mark ...

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Shot at Glory by Original Soundtrack/Mark Knopfler (CD - 04/30/2002)
"Shot at Glory" (04/30/2002) Soundtracks Original Soundtrack, Warner Bros. Records (Record Label)Original score composed by Mark Knopfler. Performers include: Catriona Macdonald (fiddle); Billy Jackson (whistle, harp, bodhran); Iain MacInnes (bagpipes); Chris White (soprano & tenor saxophone); Steve Sidwell (flugelhorn); Lain Lowthian (piano accordion); Guy Fletcher (keyboards); Danny Cummings (percussion). Mark Knopfler has the luxury of being selective about soundtrack work, and this is only his tenth film score in 17 years. It may be that he waits for films that can benefit from his approach, which is generally a lighter version of what he used to write and perform for Dire Straits and what he does on his solo albums. The soundtrack albums of his films usually are so closely identified with him that it's a dilemma where to shelve them in the record store, and this one is no exception; it is billed on the cover as "a Mark Knopfler soundtrack." The music will come as no surprise to anyone who's seen and heard such previous Knopfler soundtracks as those for Local Hero and The Princess Bride. There are some Scottish themes in keeping with the movie's setting (it's one of those sports films about a hapless team that somehow reaches a championship), a couple of slow-moving instrumentals in which Knopfler fingerpicks an acoustic guitar, and three vocal tracks. "He's the Man" sounds like it could fit on a Dire Straits or Knopfler solo album, with its rocking tune; "Say Too Much" is a jazzy number with trumpet and saxophone solos, but minimal lyrics; and "All That I Have in the World" is a tender ballad. Chalk up another Mark Knopfler soundtrack that finds him repeating himself, however pleasantly. ~ William Ruhlmann

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The Proposition
 

The Proposition

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The Proposition
"The Proposition [Original Soundtrack]" (11/29/2005) Rock & Pop Original Soundtrack, Mute RecordsComposers: Nick Cave; Warren Ellis. To accompany the film adaptation of his own screenplay for the outback Western THE PROPOSITION, revered Australian singer/songwriter Nick Cave enlisted his occasional Bad Seeds bandmate, Warren Ellis, to create the moody score. Given the movie's dark, gritty tone, these compositions are appropriately haunting and elegiac, with Ellis's plaintive violin lines meshing hypnotically with Cave's spare piano work and occasional vocal contributions. A darkly beautiful album that will appeal to Nick Cave fans as well as fans of Ellis's other group, the Dirty Three, this evocative soundtrack makes for a fascinating example of musical storytelling.

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Greenwillow by Original Broadway Cast (CD - 05/23/1995)
 

Greenwillow by Original Broadway Cast (CD - ...

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Greenwillow by Original Broadway Cast (CD - 05/23/1995)
"Greenwillow" (05/23/1995) Soundtracks Original Cast, DRG (USA)Principal cast includes: Anthony Perkins. All songs written or co-written by Frank Loesser. All tracks have been digitally remastered. The original Broadway cast recording of the Frank Loesser musical (perhaps his least well known, but still imbued with his musical talent), starring Anthony Hopkins. ~ William Ruhlmann

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Fame [Original Cast Recording] by 1999 Original Cast (CD - 02/16/1999)
 

Fame [Original Cast Recording] by 1999 Original ...

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Fame [Original Cast Recording] by 1999 Original Cast (CD - 02/16/1999)
"Fame [Original Cast Recording]" (02/16/1999) Soundtracks Original Cast, DRG (USA)Principal cast includes: Gavin Creel (Nick Piazza); Jennifer Gambatese (Serena Katz); Jose Restrepo (Joe Vegas); Natasha Rennalls (Carmen Diaz); Dioni Michelle Collins (Mabel Washington); Am Ehrlich (Grace Lamb). Recorded at Manta Eastern Sound, Toronto, Canada on December 11 & 12, 1998. Fame began life in 1980 as a movie tracing the lives of a group of students at a performing arts high school in New York City, from acceptance to graduation. The film was a hit, with a million-selling soundtrack album featuring a Top Ten hit in the title song. Then came Fame, the TV series, which ran on network television from 1982 to 1983. Now, here is Fame: The Musical (so far, a national touring company, but not yet a Broadway show), retelling the story with a full musical score (the film had only a few songs) by composer Steve Margoshes and lyricist Jacques Levy. Margoshes is true to the early-'80s era, filling his score with synth-based dance pop crossed with typical Broadway-style choral music. Some of the material resists musicalization, notably comic character Joe Vegas' "Can't Keep It Down," a song about his uncontrollable erection, and street dancer Tyrone Jackson's confessional "Tyrone's Rap." Since the characters are mostly supposed to be teenagers with ambitions to become performers, there is an inevitable surfeit of na?ve, hopeful material, some of which might have been better rendered in dialogue. Still, the whole score draws its inspiration from the title song, which has been borrowed from the film, and parts of it are similarly stirring. The cast of unknowns is good, but none stand out. ~ William Ruhlmann

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Pirates Of The Caribbean by Original Soundtrack/Klaus Badelt (CD - 07/22/2003)
 

Pirates Of The Caribbean by Original ...

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Pirates Of The Caribbean by Original Soundtrack/Klaus Badelt (CD - 07/22/2003)
"Pirates Of The Caribbean" (07/22/2003) Soundtracks Original Soundtrack, Walt DisneyOriginal score composed by Klaus Badelt. Composer: Glen Lajeski. Personnel: Heitor Teixeira Pereira (guitar); Martin Tillman (cello); Fred Selden (flute); Emil Richards (percussion). Audio Mixers: Salmm "Scallywag" Andrew; Alan Meyerson. The soundtrack for Pirates of the Caribbean was originally composed by Alan Silvestri, who left the project prior to the film's release. Credited to Klaus Badelt, a prot?g? of Hans Zimmer, it was hastily assembled at the last minute, resulting in a paint-by-numbers exercise in big studio fluff that required the work of several unnamed composers. Badelt and his mysterious co-conspirators have created a schizophrenic pastiche of Hollywood excess -- much like the film itself -- disguised as a traditional score. The swashbuckling is propelled by an instantly unmemorable -- albeit rousing -- motif that contains bits of every action score in existence. "Fog Bound" starts off with a sprightly Celtic flair before dissolving into a generic Jerry Bruckheimer wash of keyboard strings and synthetic flute patches. This is the case for much of the record, resulting in inspired flashes of creativity here and there. ~ James Christopher Monger An adventure movie in the grand old style, albeit a modern one featuring the quirky talents of Johnny Depp, the 2003 film PIRATES OF THE CARIBBEAN seems tailor-made for a good old-fashioned orchestral film score. Fortunately, that's just what composer Klaus Badelt gives it. You'll find no pop-group promotional tie-ins here, just plenty of evocative mood music that captures the drama and panoramic vistas of this summer blockbuster.

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The Royal Tenenbaums [Expanded] by Original Soundtrack (CD - 07/02/2002)
 

The Royal Tenenbaums [Expanded] by Original ...

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The Royal Tenenbaums [Expanded] by Original Soundtrack (CD - 07/02/2002)
"The Royal Tenenbaums [Expanded]" (07/02/2002) Soundtracks Original Soundtrack, Hollywood RecordsOriginal score composed by Mark Mothersbaugh. Producers: Mark Mothersbaugh, Robert Casale. Recorded at Mutato Muzika, West Hollywood, California. Includes liner notes by Wes Anderson. Original score composed by Mark Mothersbaugh. Producers: Mark Mothersbaugh, Robert Casale. Recorded at Mutato Muzika, West Hollywood, California. Includes liner notes by Wes Anderson. Composers: Glen Lajeski; Mark Mothersbaugh. Personnel: Mark Mothersbaugh (guitar, celesta, organ); Lavant Coppock, Michael Miller (guitar); Marcia Dickstein (harp); Julie Gigante, Jim Sitterly, Charlie Bisharat, Endre Granat (violin); Pamela Goldsmith, Brian Dembow (viola); Miguel Martinez, David Speltz (cello); Rick Baptiste (piccolo, trumpet); Jonathan Clark (woodwinds); Bruce Fowler (trombone); Chris 'Niser' Guardino (piano, celesta, harpsichord, organ); Lawrence Dominello (piano); Chet Swiatkowski (harpsichord); Richard Ruttenberg (keyboards); Gordon Peeke, Tom Brechtlein (drums); Martin Flores (percussion). Recording information: Mutato Muzika, West Hollywood, CA. Where the soundtrack to Rushmore captured that film's mix of brash and bittersweet through British Invasion obscurities and Mark Mothersbaugh's playfully poignant score, the music for The Royal Tenenbaums -- Wes Anderson's tale of a prodigal patriarch and the brood of child geniuses he left behind -- evokes the film's shabbily genteel New York through vintage folk-pop, classic punk, and a Mothersbaugh score that gives the delicacy of his earlier scores a newfound maturity. Two of the most affecting songs from Nico's Chelsea Girl, "These Days" and "The Fairest of the Seasons," bookend the soundtrack as beautifully concise meditations on, respectively, regret ("Please don't confront me with my failures/I had not forgotten them") and hope ("Do I stay or do I go?/And maybe try another time?"). In between, the music ranges from Elliott Smith's quietly devastating "Needle in the Hay" to the manic energy of the Ramones' "Judy is a Punk" and the Clash's "Police and Thieves" to the hazy glow of Bob Dylan's "Wigwam," each track adding to the album's strangely timeless but emotionally direct atmosphere. Mothersbaugh's score and the compiled music complement each other perfectly, with the velvety, Baroque feel of Nick Drake's "Fly" and the Velvet Underground's "Stephanie Says" mirrored in "Mothersbaugh's Canon" and the Vince Guarladi Trio's sparkly "Christmas Time Is Here" echoed by "I Always Wanted to Be a Tenenbaum" and "Sparkplug Minuet." Ravel's "String Quartet in F Major (Second Movement)" and Mothersbaugh's "111 Arthur Avenue" and "Lindbergh Palace Hotel Suite" complete this elegant yet slightly skewed soundtrack. Nearly as clever and nuanced as the film itself, The Royal Tenenbaums is also a moving, well-rounded album in its own right. ~ Heather Phares Like his screen-writing brethren Cameron Crowe, Quentin Tarantino, and David Chase, filmaker Wes Anderson uses music as an integral part of his work. For THE ROYAL TENENBAUMS soundtrack, Anderson re-teams with Devo founder Mark Mothersbaugh for a mix of original instrumentals and semi-obscure cuts reminiscent of the duo's prior collaboration on the music for RUSHMORE. For this bittersweet black comedy centered on the dysfunctional relationship between the children and parents of the Tenenbaum brood, some of rock's moodiest performers were tapped. The soundtrack is bookended by a pair of Jackson Browne covers given a characteristically Teutonic reading by Nico ("These Days," "The Fairest Of The Seasons"). In between, Anderson throws in material by Elliot Smith (a jittery "Needle in the Hay"), Nick Drake (the gloomy "Fly"), and the Velvet Underground (the sparkling "Stephanie Says"). Other artists setting the mood are The Ramones with their chugging "Judy Is A Punk," Emmitt Rhodes (pop nugget "Lullaby"), and The Clash (their rock steady cover of Junior Murvin's "Police & Thieves"). Mothersbaugh's original score also impresses whether he's dabbling with raga on "Pagoda's Theme" or mixing reggae and baroque classical music within the bars of "Lindbergh Pla

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