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"The One" (12/11/2001) Soundtracks Original Soundtrack, Varese Sarabande (USA)Original score composed by Trevor Rabin. Engineers include: Steve Kempster, Paul Linford, Trevor Rabin.

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"The Opposite of Sex" (11/24/1998) Soundtracks Original Soundtrack, DaringOriginal score composed by Mason Daring.

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"You've Got Mail" (03/09/1999) Soundtracks Original Soundtrack, Varese Sarabande (USA)Orriginal score composed by George Fenton.

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"Shrek" (12/04/2001) Soundtracks Original Soundtrack, Varese Sarabande (USA)Original score composed by Harry Gregson-Williams and John Powell. Producers: Harry Gregson-Williams, John Powell. Recorded at Abbey Road Studios, London, England.

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"Ice Age" (05/14/2002) Soundtracks Original Soundtrack, Varese Sarabande (USA)Original score composed by David Newman.

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"Girl, Interrupted" (01/18/2000) Soundtracks Original Soundtrack, TVT (USA)Original score composed by Mychael Danna. Includes liner notes by Jim Mangold.

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"Conspiracy Theory" (08/12/1997) Soundtracks Original Soundtrack, TVT (USA)Original score composed by Carter Burwell.

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"Ghost Ship" (10/29/2002) Soundtracks Original Soundtrack, Varese Sarabande (USA)Original score composed by John Frizzell.

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"Gladiator (2000)" (04/25/2000) Soundtracks Original Soundtrack, Decca (USA)Original score composed by Hans Zimmer and Lisa Gerrard. GLADIATOR was nominated for the 2001 Grammy Award for Best Score Soundtrack Album for a Motion Picture, Television or Other Visual Media. The combination of the prolific Hans Zimmer and Lisa Gerrard is an ingenious one. He's set lush musical backgrounds to everything from comedies (I'LL DO ANYTHING), to period pieces (DRIVING MISS DAISY), to blockbuster war flicks (THE THIN RED LINE); she's one of the duo comprising Dead Can Dance, perhaps the most singular popularizers of ancient music of the '80s and '90s. Zimmer and Gerrard contribute a thrilling, boisterous score. These stirring, magnificent pieces are vital to such epics as GLADIATOR, which depend on them to rouse audiences into fits of passion, to suck them into the action, to involve them in every bloody battle, to bask in the hero's triumphs, to gasp at his possible defeat. The music in GLADIATOR expertly evokes an ancient time with a mixture of majestic, classical themes, and folk music of the ages. Fans of the movie will revel in reliving the grandeur of this powerful cinematic production.

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"The Passion of the Christ" (02/24/2004) Soundtracks Original Soundtrack, Integrity (USA)Original score composed by John Debney. Director Mel Gibson's THE PASSION OF THE CHRIST, a graphically violent depiction of Jesus' last hours on earth, ignited a whirlwind of controversy in 2004. While there's no discernible riot-inciting content in John Debney's orchestral score for the film, it nevertheless invokes plenty of raw emotion. Debney takes a different approach than that of Gibson, who had the characters deliver their lines in Latin and Aramaic and kept things as period-perfect as possible. For his part, Debney takes a more modernistic approach, freely incorporating electric and electronic instruments into his score (not that string orchestras were exactly abundant in the age of Jesus either). The composer constructs an aural landscape alternately magisterial, foreboding, and elegant, but always fully intense enough to match up to the harrowing last hours of Jesus as portrayed in the film.

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"The Devil's Rejects [PA]" (07/19/2005) Soundtracks Original Soundtrack, La-La Land RecordsComposer: Tyler Bates. This follow-up to writer/director Rob Zombie's cult horror film HOUSE OF 1000 CORPSES finds three killers from that movie on the run from the police. Rather than filling THE DEVIL'S REJECTS soundtrack with his own ghoulish metal and other like-minded rock, Zombie throws a musical curveball here by offering up an expertly selected set of blues, country, and classic rock. The Allman Brothers Band perfectly establishes the tone with the urgent "Midnight Rider," featuring the appropriate refrain "I'm not gonna let 'em catch me." Zombie showcases three spare, folk-like tunes by the underrated singer/songwriter Terry Reid, all of which come from the British performer's 1976 album SEED OF MEMORY. In addition to vintage country (Buck Owens & His Buckaroos' redemptive "Satan's Got to Get Along Without Me") and blues (Otis Rush's searing "I Can't Quit You Baby"), Lynyrd Skynyrd's ever-requested "Free Bird" serves as a highly unusual counterpoint to a pivotal scene in the bloody thriller, ensuring that listeners will never hear the Southern-rock chestnut the same way again.

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"The Lion In Winter" (09/25/2001) Soundtracks Original Soundtrack, Silva AmericaThis is a digital recording of the complete 1968 score for THE LION IN WINTER. Original score composed by John Barry. Performed by The City Of Prague Philharmonic; Crouch End Festival Chorus; Nic Raine, David Temple (conductor). Recorded at Smecky Studios, Prague, Czechslovakia and Sony Music Studios, London, England in April 2001. Includes liner notes by Terry Walstrom. All tracks have been digitally remastered using HDCD technology.

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"The Punisher" (06/15/2004) Soundtracks Original Soundtrack, La-La Land RecordsComposer: Carlo Siliotto.

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"Underworld" (10/14/2003) Soundtracks Original Soundtrack, Lakeshore RecordsOriginal score composed by Paul Haslinger.

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"The Hours" (12/10/2002) Soundtracks Original Soundtrack, Nonesuch Records (USA)Recorded at Abbey Road Studios, London, England. Includes liner notes by Michael Cunningham. THE HOURS was nominated for the 2004 Grammy Award for Best Soundtrack Album For A Motion Picture, Television Or Other Visual Media. Composer: Philip Glass. One of America's best-known composers, Philip Glass may be widely regarded as a minimalist, but he demonstrates his strength as a storyteller with his soundtracks, and THE HOURS is no exception. Onscreen, it doesn't seem possible to find a more perfect accompaniment to Michael Cunningham's lovely story with searing tragic elements and bottomless yearning. On its own, however, the album feels lighter and more promising, a reminder again of Glass's resourcefulness and penchant for melody. Pianist Michael Riesman and the Lyric Quartet enhance the classical tone of some of these pieces. "Morning Passages" and "Unwelcome Friend" have lovely piano solos that move grandly enough alone, but then are suddenly and delightedly joined by Glass's signature, blissfully sparse, but warm strings. "I'm Going to Bake a Cake," and "The Kiss" are reminiscent of Glass's more contemporary compositional style, three repeated arpeggios and only slightly shifting block chords. As ever, what saves these pieces from feeling repetitive is Glass's feel for romance and the dramatic arc.

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"Romeo & Juliet (1968)" (06/25/2002) Soundtracks Original Soundtrack, Silva AmericaThis complete score to the 1968 version of ROMEO & JULIET was re-recorded by The City Of Prague Philharmonic Orchestra And Chorus. Original score composed by Nino Rota. Includes liner notes by Nino Rota, David Wishart and James Fitzpatrick. All tracks have been digitally mastered using HDCD technology.