Soundtrack: Cinecocktail
Supervisor(s): Paolo Scotti and Daniele De Gemini
Released: 1960s-1970s
Genre(s): 1960's, 1970's, Score, Italian




DOWNLOAD -- Cinecocktail

Keeping up with last week's post from perhaps the best known Italian composer comes a compilation from some lesser known Italian composers. From Italian soundtrack aficionados Paolo Scotti and Daniele De Gemini and straight out of the Beat Records archives, Cinecocktail is a superb collection of 20 easy listening and bossa beauties from 60s and 70s Italian movie soundtracks.

Soundtrack: A Fistful of Dollars & A Few Dollars More
Composer(s): Ennio Morricone
Released: 1964
Genre(s): 1960's, Score, Western




DOWNLOAD -- A Fistful of Dollars

From what initiated an entire genre of classic westerns in the 1960's. Known popularly as Spaghetti Westerns, this film was initially released in Italy in 1964 and released a few years later in the states in 1967. The film immediately took off and from it two Spanish sequels came shorty thereafter.

As one of the first Spaghetti Westerns to be released in the United States, many of the European cast and crew took on American stage names. These included Leone himself ("Bob Robertson"), Gian Maria Volontè ("Johnny Wels"), and composer Ennio Morricone ("Dan Savio").

The film's music was written by Ennio Morricone, credited as Dan Savio. Morricone recalled Leone requesting him to write "Dimitri Tiomkin music" for the film. The trumpet theme is similar to Tiomkin's El Degüello theme from Rio Bravo (1959) (that was called Un dollaro d'onore in Italy) while the opening title whistling music recalls Tiomkin's use of whistling in his Gunfight at the O.K. Corral (1957). Though not used in the completed film, Peter Tevis recorded lyrics to Morricone's theme for the film. As a movie tie-in to the American release, United Artists Records released a different set of lyrics to Morricone's theme called Lonesome One by Little Anthony and the Imperials.

Soundtrack: Kill Bill Vol. 1
Supervisor(s): RZA
Released: 2003
Genre(s): Rock'n'Roll, 1960's, 1970's Score




DOWNLOAD -- Kill Bill Vol. 1

I saw the Kill Bill films back to back at a special screening in Hollywood in 2003. Tarantino spoke in between both films. Its the only time I've ever seen him speak. He was exactly as hilarious and ridiculous as you would think. A total character of himself he obsessed over Uma, he threw excitement out in the crowd on the films that he obsessed with-- his inspirations for both films. One of my favorite moments was talking about his collaboration with the RZA for making the Kill Bill duo. The "Main Title" in Vol. 1 was something the RZA heard in a Vietnamese restaurant in West LA. He was eating dinner and liked it so much that he convinced the restaurant to lend him the actual CD. He called Quentin after dinner and said he "found it".

I found this really cool interview with the RZA. Check out this excerpt:

"It was more of a collaboration. He had an idea and a vision when he wrote the script. I think I was more of somebody that kept it in the guidelines of what he wanted. He was like, here go the eggs, the milk, the cake, the sugar, everything, and I’m going to stir it up. Put this in the oven, watch it, take it out in forty five minutes. Now, am I going to take it out in forty five minutes or am I going to fall asleep? I made sure it got out and if I saw something wrong with it, I fixed it. So when he saw it, he was like, this is cake. ...there was one situation where you see, "Crane and White Lightning", that’s part of the original score, so it’s not really a song. A lot of that stuff is what I use to keep the vibe going between songs. "Crane and White Lightning" is a piece of music that Quentin wanted on the soundtrack, but was originally set for a Metallica track. There’s only one piece of music that I didn’t feel comfortable with when we were done. We lost a sample, I made one Hip Hop beat. I was like I gotta throw one in there. Quentin loved this beat. We rocked with it and it was one of the first things we did. I could've gotten away with it, it was a sample, but so undetectable, so unnoticeable. I wanted to take a chance, but in the movie business you can’t take those kind of chances. I wouldn’t risk nobody else. If it was my movie, I would have taken a chance, but this is Quentin Tarantino’s movie.

Soundtrack: Cinemaphonic Soul Punch
Supervisor(s): David Hollander
Dates Recorded: 1970-1976
Genre(s): Rock'n'Roll, British, Funky, 1970's, Score




DOWNLOAD -- Cinemaphonic Soul Punch

Another amazing comp of spy-thriller funky jams from the Cinemaphonic series. This time Los Angeles-based DJ David Hollander compiles jams from deep in the vaults of rare British action films out of the 1970's. Some of these I've never even heard of, but the jams are fantastic! Released in 2001 this comp is out of print. I feel fortunate to have found it and to share it with you.

Soundtrack: Vigilante! Cult Film Soundtracks
Composer(s): Roy Budd
Released: 1971-1977
Genre(s): Funky, Score, Jazz




DOWNLOAD -- Vigilante! Cult Film Soundtracks

Feeling funky this month. I think things are going to stay in the 1970's. Roy Budd is the man. Scoring nearly 50 films, he is best known for his Jazz-Influenced Funk which he sprinkles amongst large anthems that you could rob a bank or get in a car chase to.

Check out Roy Budd playing his classic theme for the superb 1971 Mike Hodges/Michael Caine film, 'Get Carter'... so cool!

Soundtrack: Cinemaphonic: Electro Soul
Supervisor(s): RZA
Released: 2003
Genre(s): 1970's Score




DOWNLOAD -- Cinemaphonic: Electro Soul

Highly enjoyable listening. Pretty downbeat and not very aggressive, this comp really covers easy listening soul and funk. Now you know where David Holmes came up with those Oceans 11 Grooves.

A killer selection of grooves culled from the archives of the Major/Valentino Records library. Features tracks from notable artists like Jonny Hawksworth (British soundtrack and library music composer), Mario Nascimbene (Italian soundtrack composer) and Walter Murphy (Composed "A Fifth of Beethoven" for the "Saturday Night Fever" soundtrack).

Soundtrack: Iam Sam
Composer(s): The Beatles (all Cover Songs)
Released: 2001
Genre(s): Rock'n'Roll, Score



DOWNLOAD -- Iam Sam

Soundtrack: Death Proof
Supervisor(s): Quentin Tarantino
Released: 2007
Genre(s): Funky, Score, Classical, Rock'n'Roll




DOWNLOAD -- Death Proof

A Soundtrack of Soundtracks. From Morricone to Jack Nitzsche, Tarantino compiles another homage of goodies. Only this time, suspense weighs in even heavier.

Soundtrack: Vanilla Sky
Supervisor(s): Cameron Crowe
Released: 2001
Genre(s): Score, Rock'n'Roll, Electronic




DOWNLOAD -- Vanilla Sky

This film hit home for me in so many ways. Whether its all the pop-culture references, the after-life concept of a Radiohead song opening the film, Vanilla Sky is a wonder of story mixed with amazing direction, acting and of course, music! As with most of Cameron's films, he mixes in the "classics" with the "new-classics". In this case its an homage to Dylan and the first notes Sigur Ros got in a major motion picture. Sigur Ros was never the same since their first tour in America and shortly thereafter two songs in this film. But it's not just the music that makes this film nostalgic and a love of mine. It's those moments where Crowe puts in his personal touches (something the original film could never do). It's Townshend's shattered guitar in the apartment, it's the replication of the Positively 4th Street photo or even that scene where the main character faces his own life's dilemma (wouldn't only it be fitting that Sigur Ros is playing?). A wonderful compilation for a wonderful film.

My favorite Cameron Crowe quote in regards Soundtracks:

“Films are just something you have to do, you know, to promote the soundtracks and keep the suits at the studios happy.”

Soundtrack: Oceans 13
Composer(s): David Holmes
Released: 2007
Genre(s): Electronic, Funky, Score




DOWNLOAD -- Oceans 13

The Final Film?

As a teenage DJ from Belfast who tinkered with the odd flux of "ambient" music in the early 90's, David Holmes didn't seem like the "go-to-guy" for what became a trio of films for Steven Soderbergh. The funk-driven, hammond-blasting, hustle-production value of Holmes scoring seems fitting for Soderburg's caper-cool-guy flicks. However, it was actually an introduction from Danny DeVito that landed David Holmes his first gig scoring Soderburg's other dude-centric flick Out of Sight.

FROM "indieLondon":
What was the biggest challenge of the Ocean’s 13 soundtrack? David Holmes: It was quite difficult because we were going back to Vegas and we didn’t want to replicate what I’d done on Ocean’s 11. I guess 13 is an amalgamation of 11 and 12 but with a very live sound. I wanted it to sound like a band was playing constantly. I wanted it to be very tight, to sound modern yet with some swing to it, and I wanted to use a lot of different instruments this time.

Soundtrack: Oceans 12
Composer(s): David Holmes
Released: 2004
Genre(s): Electronic, Funky, Score




DOWNLOAD -- Oceans 12

The Final Film?

As a teenage DJ from Belfast who tinkered with the odd flux of "ambient" music in the early 90's, David Holmes didn't seem like the "go-to-guy" for what became a trio of films for Steven Soderbergh. The funk-driven, hammond-blasting, hustle-production value of Holmes scoring seems fitting for Soderburg's caper-cool-guy flicks. However, it was actually an introduction from Danny DeVito that landed David Holmes his first gig scoring Soderburg's other dude-centric flick Out of Sight.

FROM "indieLondon":
Q. What’s it like working with Steven Soderbergh?
David Holmes: It’s amazing. He’s so laid back, very direct and yet very open minded and very down to earth. He treats you with respect, he listens to you and lets you create and enjoy yourself – and that fills you with confidence. I think he creates an atmosphere for you to work in that he’d like to work in himself. He understands the process of working on something so big, so the last thing he wants to do is put you under pressure because he knows what that’s like. We have a very one to one relationship and it’s a joy.

Soundtrack: Oceans 11
Composer(s): David Holmes
Released: 2001
Genre(s): Electronic, Funky, Score




DOWNLOAD -- Oceans 11

As a teenage DJ from Belfast who tinkered with the odd flux of "ambient" music in the early 90's, David Holmes didn't seem like the "go-to-guy" for what became a trio of films for Steven Soderbergh. The funk-driven, hammond-blasting, hustle-production value of Holmes scoring seems fitting for Soderburg's caper-cool-guy flicks. However, it was actually an introduction from Danny DeVito that landed David Holmes his first gig scoring Soderburg's other dude-centric flick Out of Sight.

FROM "indieLondon":
Q. What’s it like working with Steven Soderbergh?
David Holmes: It’s amazing. He’s so laidback, very direct and yet very open minded and very down to earth. He treats you with respect, he listens to you and lets you create and enjoy yourself – and that fills you with confidence. I think he creates an atmosphere for you to work in that he’d like to work in himself. He understands the process of working on something so big, so the last thing he wants to do is put you under pressure because he knows what that’s like. We have a very one to one relationship and it’s a joy.
And you first got together for the soundtrack for Out Of Sight, after Danny DeVito recommended you…
David Holmes: Well, it was actually Jersey Films. Steven was looking for something new for the soundtrack and so I went and met with him and then went to a screening of the film. After watching the movie, I had very strong ideas about what I wanted to do and he responded very positively to them. He was no different back them to what he’s like now. He’s still really laidback and if he thinks it’s a good idea, he’ll tell you and that gives you confidence and freedom.

Stand By Me

Soundtrack: Stand By Me
Supervisor(s): Buddy Holly, The Coasters, The Del Vikings & More
Released: 1986
Genre(s): Oldies, Rock'N'Roll




DOWNLOAD -- Stand by Me

Rob Reiner's classic nostalgic friendship film is a perfect playlist companion to last weeks American Graffiti soundtrack. Short and Sweet, this 10-Song set is a perfect 1958 Radio set.

Soundtrack: American Graffiti
Supervisor(s): Wolfman jack
Released: 1973
Genre(s): Oldies, Rock'N'Roll



DOWNLOAD -- American Graffiti pt1

DOWNLOAD -- American Graffiti pt2

Shot in just 29 days on a shoestring budget, American Graffiti vaulted 28-year-old George Lucas to directing stardom. His bittersweet coming-of-age story influenced dozens of teen angst films to come, and many of his young, mostly unknown cast members went on to stardom.This is a great '60s sound track and a poignant turn by Wolfman Jack as himself, American Graffiti is a funny, sweet, nostalgic slice of American pie.

Soundtrack: Superman III
Composer(s): Ken Thorne, Giorgio Moroder, John Williams
Released: 1983
Genre(s): 1980s, Score


DOWNLOAD -- Superman III

Not the first film, nor it's exterrestrial-trio-in-black-bad-guys sequel, but the 3rd of the Superman series. Just as one-off as the film itself, this film score has the grandiose synergy that only the THIRD film of the adventurous Superman series could have.

Soundtrack: Fight Club
Composer(s): Dust Brothers
Released: 1999
Genre(s): electronic, score




DOWNLOAD -- Fight Club

Sandwiched between their busiest years as producers (Hanson's "MMMbop" and Santanas Supernatural), the Dust Brothers dug deep into their crates and pulled every synthesizer they had to create this electronic soundtrack for David Fincher's 1999 Shock-Thriller Fight Club. The songs range from low to high-tempo, fuzzing, buzzing and whining from anthem to anthem on this fairly upbeat record that perfectly dates the end of the 20th Century. This compilation is made up of 2-Discs, expanded from the version originally released.

Soundtrack: Extraits Des Bandes Originales Des Films De Jacques Tati
Composer(s): Jean Yatove, Alain Romans, Franck Barcellini, Francis Lemarque, James Campbell
Released: 1989
Genre(s): french, jazz, score



DOWNLOAD -- Tati OST Compilation

I watched Play Time for the 40th time this weekend and absolutely love the score. This compilation is comprised of Tati's finest films. If you're looking for an upbeat summer drive or trip to the beach, just put this wonderful compilation on.

Soundtrack: Le Cinema De Francois Truffaut
Composer(s): Georges Delerue
Released: 1960s
Genre(s): french, score

DOWNLOAD -- Le Cinema De Francois Truffaut

Following last weeks Tati post, I thought I'd keep things french and put up this record from composer Georges Delerue, who scored several films for the fantastic François Truffaut. This album features music from:

• Tirez sur le Pianiste
• L'Amour à Vingt Ans
• La Peau Douce
• Une Belle Fille comme Moi
• La Nuit Américaine
• L'Amour en Fuite
• Le Dernier Métro
• and others

from Georges Delerue's Official Website...

"To me, film music is a question of grammar. If you can accept the comparison between film and the novel, I add music to my picture when I change the tense from Present to Imperfect."That, in a nutshell, was how François Truffaut clarified his approach to film music, an approach confirmed in a long career he shared with Georges Delerue. To replace his real family, Truffaut manufactured another for himself, a cinema-family in which Georges Delerue appeared as the composer-brother. Their common denominator was stubbornness : in taking their own destinies in hand, and in slipping the moorings that tied them to social backgrounds and the drabness of their childhoods. By the time he was seventeen, Delerue was completely fulfilling himself in an apprenticeship as a composer. "If music hadn't entered my life, he confided, I'd be a labourer today. The Conservatoire in Roubaix quickly became a dream, a means of escape, The means to have an intense life". Escape, emancipation, maturing through art : Truffaut and Delerue were made to work together. In the course of these films, Georges Delerue voyaged among the different genres summoned up by Truffaut : adaptations of thrillers, tales of loving passion, the sentimental adventures of Antoine Doinel, and explorations of goings-on behind the scenes. Musically speaking, Truffaut inclined towards the whimsy of Charles Trenet, or the baroque, or scores from Hollywood's Golden Age. "Generally, François had a passion for film music", underlined Delerue. "He had a rather large collection of records from the great MGM era, with all those never-ending musical endings".* Delerue quickly grasped the filmmaker's tastes and gauged just how far he could go.

Soundtrack: The Last Waltz
Composer(s): The Band
Released: 1976
Genre(s): classic rock, concert film



DOWNLOAD -- the Last Waltz p1
DOWNLOAD -- the Last Waltz p2
DOWNLOAD -- the Last Waltz p3

Beginning with a title card saying "This film should be played loud!" the concert documentary is an essay on The Band's influences and their career. The group – Rick Danko on bass, violin and vocals, Levon Helm on drums, mandolin and vocals, Garth Hudson on keyboards and saxophone, Richard Manuel on keyboards, percussion and vocals, and guitarist-songwriter Robbie Robertson – started out in the late 1950s as a rock and roll band led by Ronnie Hawkins, and Hawkins himself appears as the first guest. The group backed Bob Dylan in the 1960s, and Dylan performs with The Band towards the end of the concert.
Rick Danko performs in the concert with a Gibson Ripper bass. Various other artists perform with The Band: Muddy Waters, Paul Butterfield, Neil Young, Joni Mitchell, Van Morrison, Dr. John, Neil Diamond and Eric Clapton. Genres covered include blues, rock and roll, New Orleans R&B, Tin Pan Alley pop, folk and rock. Further genres are explored in segments filmed later on a sound stage with Emmylou Harris (country) and The Staple Singers (soul and gospel).

This 4-disc compilation is the complete recordings. See the comments for track listing.

Soundtrack: Being John Malkovich
Composer(s): Carter Burwell
Year: 1999
Genre(s): classical


DOWNLOAD -- Being John Malkovich

Here is a really beautiful "minimalist" score by Carter Burwell from Spike Jonze's 1999 film Being John Malkovich. Like the film, the score captures moments of sadness, intensity and awkwardness into a fairly dramatic package. The lingering string arrangements, solo piano and at minimized percussion compliment the dark style of the film. Great for a lonely night or a rain storm.