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.

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: Marie Antoinette
Supervisor(s): Brian Reitzell
Year: 2006
Genre(s): new wave and post rock

DOWNLOAD -- Marie Antoinette Disc 1
DOWNLOAD -- Marie Antoinette Disc 2

Following two amazing soundtracks for Lost in Translation and The Virgin Suicides, Sofia Coppola again enlisted Brian Reitzell to compile another wonderful audible palette. This record spans two discs and stretches further than any of her other films. 1980s New Wave and post-punk artists such as New Order, The Cure, and Bow Wow Wow represent the music that accounts for the bulk of the soundtrack. Coppola's choice of modern music for use in the film's soundtrack is unusual, as the film itself is set in 18th century France. The soundtrack also contains several period baroque pieces, including works by Antonio Vivaldi, Jean-Philippe Rameau and Domenico Scarlatti.

Soundtrack: Crime + Punishment in Suburbia
Composer/Artist(s): Frank Black, Toadies, Sleater Kinney, Meat Puppets, more
Year: 2000
Genre(s): "Western-Influenced" late 90's Indie Rock

DOWNLOAD -- Crime+Punishment in Suburbia

So this week, I bring one of my favorite 90's soundtracks out of the vault. The compilation is perfect for any Pixies fan. Frank Black and Joey Santiago both contribute original instrumentals in addition to a Pixies' cover (Monkey Gone to Heaven) from Far. The Soundtrack kicks off with classic LCW-era Modest Mouse and also has songs by Sleater Kinney, Meat Puppets, and Guided by Voices. My favorite track on this soundtrack comes from a band called Op8 and their track "Sand". OP8 was the musical collaboration of the multi-instrumentalist Lisa Germano; Howe Gelb, the man behind the rock band Giant Sand; Joey Burns and John Convertino, who later formed Calexico. OP8 only released one record in 1997.

The soundtrack is very western in theme, and the director Rob Schmidt has this to say in the Liner Notes...

"We set out to make a movie about outsiders and kids who secretly suspect that they're outsiders... Music is one of the only places where it's safe to feel things, to be at home. Especially if you're trapped in a house that you can't leave, in a town that you can't escape, music is one of the only places that you can live. It is a Sanctuary. Modest Mouse has an album titled "Lonesome Crowded West". That was the thing we wanted to get across in the soundtrack. A western, suburban wasteland from a teenage point of view. We wanted to bring indie rock, electronica, and old school Western styles of music into the movie and I believe we've done that. Joey Santiago and Frank Black from the Pixies were very important in creating the score. I love them and the work they did on our film. Michael Brook, who scored Affliction was responsible for much of the western flavor in our score."

For me, this soundtrack was the first introduction I had on Modest Mouse. I had heard of them, I had heard them... but I was listening to KSCU in Santa Clara, CA working in a photo lab when I heard the moody and benevolent swings in this classic Modest Mouse track ("Trailer Trash"). It had an immediate impression on me and I ran out to get the Lonesome Crowded West... the rest is history when it comes to what that album did to my musical tastes.

Just for kicks. I found this Modest Mouse show bootlegged July 5, 1998, hear a crazy version of "Trailer Trash" here.

As for the film, I never have seen Crime+Punishment in Suburbia. It looks like a dated film that borrows (and is loosely based on Fyodor Dostoyevsky's "Crime and Punishment") all the nostalgia from the aforementioned films, but perhaps on less of a budget? I don't know... It looks pretty cornball from the youtube clips.

Soundtrack: Diva
Composer/Artist(s): Vladimir Cosma
Year: 1981
Genre(s): Opera, Classical, Pop



DOWNLOAD -- DIVA: Original Motion Picture Soundtrack
download note: file compressed .rar -- if neccesary, mac users can use this program to uncompress it.

A beautiful soundtrack combining opera, classical and some 80s electronics into a compelling palate of sophisticated musical balance. Worked into the plot, tone, pacing and characters, this record is the score or scores for post-new wave French cinema.

DIVA OPERA SCENE


Vladmir Cosma scores and composes a variety of piano ballads, electro-interludes and chillingly sentimental operatic experiments.

The record is fairy easy to find, often I see it randomly in the bargain bins. While the film did very well critically, I think the film only had average success in the states due to the pace and plot. In the film, the protagonist bootlegs a divas operatic masterpiece. The tape itself becomes of value, since the diva has never released a recording. Caught up in a mix of bad luck, the young man has do everything to avoid having the tape fall into the wrong hands.

DIVA SUBWAY CHASE (mini cooper and vespa)



The film was just re-released and re-transfered. It is a stunning film with romantic obsession, action (an amazing moped race!) and conspiracy.

I highly recomend adding the film to your queue and downloading the soundtrack now. For those that have cable, set your tivo--> on TCM next Wednesday January 30th at 8:30am and again at 6:00pm.

Soundtrack: Breakin'2: Electric Boogaloo
Composer/Artist(s): Ollie & Jerry, Firefox, Mike Rags
Year: 1984
Genre(s): 80's Dance



DOWNLOAD -- Breakdance 2: Electric Boogaloo
download note: file compressed .rar -- if necessary, mac users can use this program to uncompress it.

The ultimate classic! I know it reaches many of our top 10's here on the 'ledger. If you haven't seen it. Go get it today. With it's simplistic plot, incredible music and positive messages, Breakin'2 is an 80's classic that will have you moving along.




This soundtrack features Ollie & Jerry back behind the board (they also scored Breakin'), but this time with a wider variety of musicians and capabilities. I also stumbled across some hilarious Breakin'2 trivia over at The 80's Movie Rewind -- and thought I would further research some it with references. I found all these videos quite amazing...

BREAK DANCE HISTORY
The history of the "Breakin'" movies and breakdancing goes back to about 1974. A very young Michael Jackson appeared on television doing a dance he invented called "The Robot" to the Jackson 5 hit "Dancing Machine".



In the summer of 1977, another powerful influence came along, Shields and Yarnell, who were two very talented mimes. They were first seen performing in San Francisco's Union Square, and went on to make a number of guest appearances on television, culminating in their own summer show in 1977.



They did their own version of The Robot, moving only one part of their body at a time, and gliding across the floor like they were on wheels. Many people who were watching the show saw not only Mime, but Dance. Life was given to the new Robot dance style, and more and more people started doing it. In 1977, four young Mimes saw Shields and Yarnell perform on television.



They were very impressed with what they saw. They read as many books about Mime out of the New York library as they could, and videotaped all of their shows. They formed the first Electric Boogie dance group called The Harlem Pop Lockers. They were originally discovered on their way home from a movie in Greenwich village. They weren't performing at that time, just messing around, but they were an immediate success, and went on to perform on television, dance clubs, and even did a video for German MTV. By the time the Harlem Pop Lockers were formed the Electric Boogie had added the "Float" move.

The Back Float or "Moonwalk" was first made famous by James Brown, then Jeffrey Daniels of Shalimar in the early 80's, and most memorably by Michael Jackson. In truth, it was Jeffrey Daniels dancing on the television show "Soul Train" that was most responsible for it's success. He was such a good dancer that when he did it, everyone wanted to do it.



Other influences have been prevelant in the growth of the Electric Boogie and the big Californian influence was Boogaloo Sam and Poppin Pete (who appreared in the first Breakin' Movie). In 1977, the Solomon brothers came to Long Beach from Fresno and danced at the Noah's Ark club and Hutch Youth Club downtown. Soon, they had started the west coast poppin sensation. INCREDIBLE...



The late 70's and early 80's also saw big advancements in the fields of electronics and computers, and as a result, the dance style being very futuristic, lent itself perfectly to the times. By the end of 1984, thanks in part to the "Breakin'" films, Breakdancing suddenly became a dance craze and spread to every major city. Now it can be seen in films, music videos and commercials.

BREAKIN'2 TRIVIA:
- Sabrina García, Turbo's love interest, only appeared in this movie and "Body Rock" in 1984. Siskel & Ebert hated this movie.



- Ozone and Turbo (Adolfo Quinones and Michael Chambers) appeared in another video, Chaka Khan's "I Feel For You" (1984). I think this video might show the true affection between the two dancers.



- The young children dancers (flourescent shirts) in and around the hospital and miracles scenes. Some of the teens are from 2 of the West Coast largest dance groups. The children were from "The Rockin Wizards" The others were from the Inland Empires "Breakmasters" managed by Linda Gay - ex-Chip & Dales manager. They were some of the REAL best dancers in Southern California. Too bad the movie had them their for extras not like "Beat Street" where the real breakers were brought in.. to keep it real.. At that time there were two of the East Coast big time dancers from the group "the incredible body mechanics" they were "Tiny" & "Flash" they were better than your average west coast breakers, at that time new york breakers had a great edge.

- The ceiling dancing idea and set was reprised by Lionel Richie in his hit single and album entitled "Dancing on the Ceiling". Coming in 1986, 3 years after the incredible success of his "Can't Slow Down" album.



- Lionel and the Breakin' dancers had become firm friends with Turbo and Ozone (Adolfo 'Shabba-Doo' Quinones and Michael 'Boogaloo Shrimp' Chambers) appearing as featured dancers in his "All Night Long" music video.


BREAKIN' 2 LOCATIONS-- maybe for my next L.A. visit?

- Under this bridge is the "dance-off" fight scene between dance gangs. To get under the bridge use lorena street. According to LA Almanac The 390 ft structure was built in 1928 and is "One of the most graceful of the open spandrel arch bridges designed in 1920’s."


- The park used for the scene where Turbo meets Lucia is Hollenbeck Park in Boyle Heights, also on 4th street of the 5 freeway in Los Angeles. It looks like a beautiful park historically.


- The Miracles building exists!!! It is located on Euclid St and Calle Pedro Infante St, in Bolyle Heights. It is now called La Casa del Mexicano Theater -- and from what little info I have found, there are hispanic dance and drama groups from East LA that perform there sporadically. Seems like this would be the ultimate Breakin' 2 Location to visit.


As for those that are wondering about Miracles in the movie itself, observe...


-AND lastly.... Michael 'Boogaloo Shrimp' Chambers is alive and well he has a MYSPACE and just became my friend. ;)