This site was conceived as a side project by a "tekkie" friend of mine who suggested I use my journalistic experience to write about something I love. We bandied about some ideas before settling on this one - largely because I had collected movie soundtracks for much of my life and thought I could write about them. We wanted the site to be user friendly, well-written and reliable.
Over time, I hope to attract other writers keen to contribute to the site, who don't mind foregoing the financial benefits they may be used to in the short-term for something that may, or may not, be profitable further down the line.
The gradual demise of the cd format, re-emergence of vinyl, along with the expansion of blu-ray dvd and downloads translate to an ever-changing market place; despite this, most of us still buy cd's and dvd's and I hope that you will use the Amazon links on this site to buy online.
We have also included mini YouTube video links that accompany the reviews, so that you can listen to your favourite theme music while watching a related trailer or clip from the movie; because film is a visual medium, there seems no better way of presenting it.
Finally, a note on the type of soundtracks featured. Though purists generally view albums such as "Top Gun", "Flashdance" and others like them, as unworthy of coverage on a film soundtrack site, preferring instead to focus on orchestral scores, we have taken the view that these albums have earned their place based on their continued saleability and affection with a large section of cinema-goers. We wanted to reach as broad an audience as possible and have developed the site with this in mind, without forgetting those fans for whom composers such as Bernard Herrmann and Jerry Goldsmith, among many others, are considered on a par with the master composers. We hope you can find your best movie soundtracks on this site.
Close Encounters Of The Third Kind Soundtrack Collector's Edition CD
Close Encounters Of The Third Kind Collector’s Edition Movie Soundtrack.
1977, Columbia.
John Williams.
Arista, CD, 1998, 07822-19004-2 Rating:
Despite being known for its enduring five note alien greeting, and the tacky disco version included on the original soundtrack album, ‘Close Encounters’ remains a slow-burner when compared to many of John Williams’ blockbuster scores. In some ways this is a good thing; Williams has been accused of being too populist and obvious. Still, fans of Williams’ work for ‘Raiders Of The Lost Ark’ and ‘Jaws’ may find this harder going, largely because the first segment of the film concerns itself with the suggestion, rather than the reality, of alien life, resulting in a score that rings with dissonance and atonality. While this may work in the film, in a stand-alone score it is an obstacle that may put the more casual listener off. The second half presents more definite findings, including some strong action segments, interpolated with suspense cues. The strongest parts of the score however remain ‘Let There Be Light’, in which Williams builds up to a striking opening statement, similar to that of Bernard Herrmann’s ‘Cape Fear’ and the closing suite, including an end title sequence not used in the film. While there may have been a stronger case for leaving out some of the less effective earlier cues in favour of a more concise experience, this Special Edition at least gives the listener value for money; for those who want the choice cuts however, one of John Williams’ own re-recorded suites from the film would provide the essential elements without the, sometimes unnecessary extras. Close Encounters Of The third Kind Special Edition Movie Soundtrack.
Review: Tim Mowbray.
Track Listing:
1. Opening : Let There Be Light.
2. Navy Planes.
3. Lost Squadron.
4. Roys First Encounter.
5. Encounter At Crecendo Summit.
6. Chasing U.F.O.s.
7. False Alarm.
8. Barrys Kidnapping.
9. The Cover-Up.
10. Stars And Trucks.
11. Forming The Mountain.
12. T.V. Reveals.
13. Roy And Gillian On The Road.
14. The Mountain.
15. Who Are You People?
16. The Escape.
17. The Escape (Alternate Cue).
18. Trucking.
19. Climbing The Mountain.
20. Outstretch Hands.
21. Lightshow.
22. Barnstorming.
23. The Mothership.
24. Wild Signals.
25. The Returnees.
26. The Visitors / Bye / End Titles : The Special Edition.
This well crafted psychic chiller, starring Donald Sutherland and Julie Christie, about a couple whose grief for their dead daughter is derailed by a psychic’s disturbing premonitions, is an atmospheric tour de force of visual tricks and twists. Pino Donaggio’s beautifully understated score largely hangs on the simplicity and versatility of its main theme (‘John’s Theme’) which features first as a childlike motif at the beginning of the film (‘John’s Theme: Children Play’) before maturing into a fully fledged love theme (‘John’s Theme: Love Scene’). Donaggio’s trademark staccato strings, here combined with woodwind, percussive and some electronic effects, as the horror elements kick-in, (‘Christine Is dead’) are given a less glossy, pre-Brian De Palma edginess (Donaggio composed scores for many of the director’s slick thrillers, including ‘Body Double’, ‘Carrie’ and ‘Dressed To Kill’) that plays well alongside the film’s decaying Venetian settings. Though most of the score is written to convey the thoughts and feelings of Sutherland’s character, who takes a more integral role in the story, cues written from Laura’s (Christie) perspective are beautifully judged, with soft strings and Spanish guitar. An atmospheric and extremely European sounding score with plenty of panache. Don’t Look Now Movie Soundtrack. Review: Tim Mowbray.
Track Listing:
1. John’s Theme (Children Play)
2. Christine Is Dead
3. Candles for Christine
4. John’s Theme (Love Scene)
5. Strange Happenings
6. John’s Theme (Laura Leaves Venice)
7. John’s Vision (Laura’s Theme)
8. Searching for Laura (Laura’s Theme)
9. Through the Streets of Venice
10. Laura Comes Back
11. Dead End
12. Laura’s Theme (The Last Farewell)
Car Wash.
1976, Universal.
Norman Whitfield/Various.
MCA, CD, 1996, MCD 11502. Rating:
Set in a downtown L.A. car wash, Joel Schumacher’s lively screenplay is largely a device used to link musical numbers, in this comedy populated by a disparate group of engaging oddballs. The director broke with cinematic convention by recording the soundtrack before filming in order to ensure visual continuity, while R&B songwriter and Producer, Norman Whitfield who penned ‘I Heard It Through The Grapevine’ for Marvin Gaye, formed the band ‘Rose Royce’ specifically for the film; the band perform the songs, including the well known title tune, with its infectious opening guitar riffs and ‘I Wanna Get Next To You’, both of which reached number one in the Billboard Top 100 in 1976. Re-issued in 1996, the soundtrack is a fond reminder of just how a good tune and a few laughs can make something good into something special; the songs may not be as impressive as those recorded by some of Whitfield’s roster of Motown stars including Stevie Wonder, Glady’s Knight and The Temptations but they stand up well away from the parameters of the story. However, it is the clutch of instrumental tracks, ‘Yo Yo’, ‘Sunrise’ and ‘Righteous Rhythm’, towards the end of the album with their atmospheric, multi-layered grooves that lift ‘Car Wash’ out of the disco and onto a more sophisticated level. Dialogue from the film performed by Richard Pryor as ‘Daddy Rich’ adds a touch of social commentary to what is essentially a good R&B/disco album that hints at greatness. Car Wash Movie Soundtrack. Review: Tim Mowbray.
Track Listing:
1. Car Wash.
2. 6 O’Clock DJ (Let’s Rock).
3. I Wanna Get Next To You.
4. Put Your Money Where Your Mouth Is.
5. Zig Zag.
6. You’re On My Mind.
7. Mid Day DJ Theme.
8. Born To Love You.
9. Daddy Rich.
10. Richard Pryor Dialogue/Rich Reprise.
11. You Gotta Believe.
12. I’m Going Down.
13. Yo Yo.
14. Sunrise.
15. Righteous Rhythm.
16. Water.
17. Crying.
18. Doin’ What Comes Naturally.
19. Keep On Keepin’ On.
