Soundtrack

The soundtrack to Robert Wise’s film version of Rodgers & Hammerstein’s The Sound of Music is being reissued across multiple formats, with a super deluxe edition offering “every musical element” from the film and a Dolby Atmos Mix.
The musical features classics such as as ‘My Favourite Things’, ‘Do-Re-Mi’, ‘The Sound of Music’ and ‘Edelweiss’ and Robert Wise walked away with Best Picture and Best Director Oscars (being director and co-producer) at the 1966 Academy Awards.
The new reissue is led by a 4CD+blu-ray super deluxe which features over 40 previously unreleased tracks, including 11 never-before-heard alternate takes and instrumentals of each song for that singalong-a-Sound-of-Music experience. The blu-rays capacity allows it to deliver the full score in hi-res stereo audio and well as a Dolby Atmos Mix of the 16-track original soundtrack.

Released in 1971, GET CARTER all but defined a new breed of gritty British gangster film, portraying career criminals in a more brutal yet three-dimensional fashion (a style later adopted to great effect by TV series The Sweeney). Directed by Mike Hodges and starring Michael Caine, the film has grown in stature over the years - fuelled in great part by the amazing soundtrack by British jazz maestro Roy Budd. From the opening bars of the 'Get Carter' theme, the music underpins the tense drama, endorsing an atmosphere which was both thoroughly British while also reflecting the more sophisticated urban landscapes portrayed in ground-breaking US films like The French Connection.

The Muppet Movie[Original Motion Picture Soundtrack] Review by Darryl Cater
The genre of the movie musical is commonly said to have died in the early 1970s, but some of these songs belong in the canon of great musical tunes. Their authors, Paul Williams and Kenny Ascher, received Oscar nominations both for the entire song score and for the unlikely radio hit "Rainbow Connection," which Kermit the Frog sings with all the dreamy wistfulness of a short green Judy Garland. Actually, "Rainbow Connection" serves the same purpose in this film that "Over the Rainbow" serves in The Wizard of Oz, with nearly equal effectiveness: an opening establishment of the characters' driving urge for something more in life. "Moving Right Along" and "I Hope That Something Better Comes Along" achieve a Cole Porter-esque cleverness. The poignant nostalgia of "I'm Going to Go Back There Someday" is enough to make the listener forget it's being sung by a blue piece of felt. There are a few mediocre moments, but most of Williams and Ascher's songs are better than the movie itself.

West Side Story [1961] [Original Motion Picture Soundtrack] Review by Richie Unterberger
The soundtrack of the West Side Story film is deservedly one of the most popular soundtrack recordings of all time, and one of the relatively few to have attained long-term popularity beyond a specialized soundtrack/theatrical musical audience. (It is an entirely different recording, it should be emphasized, from the original Broadway cast recording, which was also a massive-selling album.) Its widespread impact could be attributed to a few factors: the wide range of compositional and orchestral styles, from cool swing jazz and shades of Latin pop to classical; the universality of the storyline, pitting underdog lovers against the world; and an assortment of songs that goes well beyond the sentimental love odes that are the staples of musicals (though it has some of those, too), including some downright tough posturing and sardonic social commentary.

Pirates of the Caribbean: Soundtrack Treasures Collection is a collection of soundtrack albums from Walt Disney's Pirates of the Caribbean trilogy along with some exclusive extra features including several suites of never-before-released music and a bonus DVD containing videos from behind the scenes, making of the music and interviews with composer Hans Zimmer. The set was released on December 4, 2007.

Sdban Records, the renowned independent groove & jazz label behind Funky Chicken, Hip Holland Hip, and Discophilia Belgica, is thrilled to announce the upcoming release of its latest compilation album, "The Belgian Soundtrack: A Musical Connection of Belgium with Cinema." Packed with the finest soundtracks boasting an unmistakable Belgian connection, this compilation takes listeners on a captivating journey through a collection of cinematic hidden gems from the early sixties to the late seventies. Curated by the passionate duo Robin Broos and Tom ‘Pélé’ Peeters, known for their profound appreciation of obscure soundtracks, "The Belgian Soundtrack" showcases the exceptional talents of both local and internationally acclaimed composers and musicians. From obscure finds composed by lesser-known artists to Hollywood scores performed by world-renowned musicians, this compilation offers a vibrant blend of tracks, including the occasional contribution from renowned international artists who have lent their musical prowess to Belgian films.

The hotly-anticipated Saw X arrives in theaters on September 29, and Bloody Disgusting is excited to announce that Saw X – Original Motion Picture Soundtrack is also on the way. Featuring original music by Saw mainstay Charlie Clouser, Lakeshore Records will release the soundtrack digitally on September 29, and we’ve got the first single for you today.

She's Having a Baby [Original Motion Picture Soundtrack] Review by William Ruhlmann
She's Having a Baby was the last in a series of 1980s coming-of-age movies written and usually directed by John Hughes, following Sixteen Candles (1984), The Breakfast Club (1985), Pretty in Pink (1986), Ferris Bueller's Day Off (1986), and Some Kind of Wonderful (1987). In the earlier films, Hughes had focused on high school, but She's Having a Baby traced the lives of a young couple from marriage to the birth of their first child. It was a comedy-drama examining American middle-class mores in the '80s, and Stewart Copeland's score matched its tone, while such musical inclusions as the male lead character's labored attempt at procreation to the tune of Sam Cooke's "Chain Gang" added humorous elements.

Quentin Tarantino soundtracks are often as deliriously exciting as the films themselves and Death Proof is no exception to the rule. His half of the exploitation double-bill Grindhouse concerns a serial killer called Stuntman Mike who offs girls with his indestructible car – a blend of no less than three B-movie staples that provides a perfect vehicle for a perfect soundtrack, which Death Proof comes pretty close to being. Given the inspirations behind this stylized exploitation flick, it should come as no surprise that this soundtrack also borrows heavily from the '60s and '70s, digging up a bunch of forgotten soul, pop, rock, surf, and soundtrack songs that aren't commonly heard. There are some familiar names here – whether it's composers Jack Nitzsche and Ennio Morricone or soul singers Joe Tex and Eddie Floyd – but the closest this comes to familiar territory is T. Rex's glam staple "Jeepster" and maybe Smith's one-shot wonder "Baby It's You." But the pleasure of this soundtrack is precisely how all these little-known songs create their own fantastical spin on the late '60s and '70s, just like how Tarantino does it within the film itself. According to this, it was a time when the Coasters turned "Down in Mexico" into spacey, funky doo wop, when Dave Dee, Dozy, Bich & Tich turned out fizzy pop pleasures like "Hold Tight" and when Pacific Gas & Electric turned "Staggolee" into a psychedelic pimp. Thow in a down-n-dirty Willy DeVille number and the girl power of April March's "Chick Habit," and this is turns into an addictive record – one that's perfect for long, dark drives or just about any other kind of good time you could name.

The Hot Spot [Original Soundtrack] Review by Eugene Chadbourne
A return look and listen to this historical and breathtaking collaboration between two of the great figures of modern music should naturally be prefaced by a few key facts. Although this album presents itself as the soundtrack to the film The Hot Spot, like many such releases it bares little relation to the music that was actually used in the film – not that much of this music was actually used.