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.
Terminator Salvation.
2009, Warner Bros.
Danny Elfman.
Reprise/Warner, CD, 2009, 9362-49757-0 Rating:
Danny Elfman’s first attempt at tackling the Terminator is a far more cohesive and entertaining effort than that of Brad Fidel who scored the first two movies. Whereas Fidel’s work was effective within the confines of the story, it failed, apart from the arresting main theme, to sustain as a stand-alone score. There are no such problems this time around. As is the case with the majority of Elfman’s work to date, robust themes and strong melodies take TS beyond the parameters of its, rather limited, dumb action movie status and into more interesting territory. ‘Opener’ manages to combine the rhythmic thudding of the approach of the machines with the heroism of Connor and crew as they battle to save mankind. ‘The Harvester Returns’ is one of the most infectious all-out action cues heard in a long time, shot through with horn and electronica; ‘Final Confrontation’, another actioner, barely leaves you time to draw breath as it pounds its way towards a sudden climax. Meanwhile, ‘Broadcast’, begins with a simple yet effective acoustic element that adds a gentler dimension to the proceedings and takes precedence in ‘Fireside’. On the down side, Rooster’s ‘Alice In Chains’ hints at just how dull the album could have been if left to Warner’s marketing men. While director McG’s film may have failed to wow die-hard Terminator fans, Elfman’s score could just be the salvation they were looking for. Terminator Salvation Movie Review. Review: Tim Mowbray.
Track Listing:
1. Opening.
2. All Is Lost.
3. Broadcast.
4. The Harvester Returns.
5. Fireside.
6. No Plan.
7. Reveal/The Escape.
8. Hydrobot Attack.
9. Farewell.
10. Marcus Enters Skynet.
11. A Solution.
12. Serena.
13. Final Confrontation.
14. Salvation.
15. Rooster (Alice In Chains).
Alien
1979, 20th Century Fox
Jerry Goldsmith
Silva Screen, CD, 1988, FILMCD 003 Rating:
One of the most effective sci-fi horror films ever made, ‘Alien’ kick-started Sigourney Weaver’s career, spawned three main sequels and countless imitations. Though the creature bursting from the chest of John Hurt’s character, Kane, has become one of its defining moments, its claustrophobic direction by Ridley Scott and top notch editing by Terry Rawlings make a simple creature feature into something far superior. Jerry Goldsmith’s score is equally effective, though large chunks weren’t used in the final print of the film, including the entire end title sequence, replaced by Howard Hanson’s Symphony No. 2 ‘The Romantic’. This aside, it is difficult to fault ‘Alien’ as a stand alone horror score. Apart from the atmospheric ‘Main Title’, expanded upon in ‘The Droid’, ‘The Landing’ and ‘End Title’. that lulls the listener into a false sense of security, most of the cues are cold, hard horror that barely let-up until the final note is struck. Percussive effects that mimic the alien threat are pretty disturbing, particularly in ‘Face Hugger’ and ‘The Recovery’. ‘Breakaway’ is a powerful, melodic cue driven by brass that is filled with intention and urgency; while ‘The Alien Planet’ builds from a sense of isolation to one of immediate threat. Whether Ridley Scott’s preferred composer, Isao Tomita, known for his re-workings of Holst’s ‘The Planets’ among others, could have done any better we will never know, but Goldsmith’s effort remains exciting, unsettling and highly original. Alien Movie Soundtrack. Review: Tim Mowbray.
Track Listing:
1. Main Title.
2. Face Hugger.
3. Breakaway.
4. Acid Test.
5. The Landing.
6. The Droid.
7. The Recovery.
8. The Alien Planet.
9. The Shaft.
10. End Title.
Other Versions Available:
Silva Screen, LP, 1987, Film 003 Rating:
Side One:
1. Main Title.
2. Face Hugger.
3. Breakaway.
4. Acid Test.
5. The Landing.
Side Two:
6. The Droid.
7. The Recovery.
8. The Alien Planet.
9. The Shaft.
10. End Title.
Alien Complete Soundtrack CD
Intrada, CD, 2007, MAF 7102. Rating:
This exciting two disc special edition incorporates Goldsmith’s original score in its entirety, including plenty of rescored alternate cues, along with the original soundtrack album (see above). Ridley Scott’s decision not to use certain sections of the score, most notably, the closing credit sequence, and to replace others with Goldsmith’s Oscar nominated music from ‘Freud’, against his wishes, caused rancour at the time, but listening to the music side by side, Goldsmith’s rescored ‘Main Title’, used in the film, with its unsettling noises and cold dissonance makes for a superior opener against the original, more thematic material. Though the original album is a strong, cohesive representation, the complete score is a far more varied offering, incorporating many of Goldsmith’s gentler, ‘spaces capes‘, such as the beautiful ‘Hyper Sleep’. Extensive liner notes, stills from the movie and a cue by cue breakdown make this an essential buy.
Alien: Complete original motion Picture Soundtrack. Review: Tim Mowbray.
Track Listing:
The Complete Original Score.
1. Main Title.
2. Hyper Sleep.
3. The Landing.
4. The Terrain.
5. The Craft.
6. The Passage.
7. The Skeleton.
8. A New Face.
9. Hanging On.
10. The Lab.
11. Drop Out.
12. Nothing To Say.
13. Cat Nip.
14. Here Kitty.
15. The Shaft.
16. It’s A Droid.
17. Parker’s Death.
18. The Eggs.
19. Sleepy Alien.
20. To Sleep.
21. The Cupboard.
22. Out The Door.
23. End Title.
The Rescored Alternate Cues.
24. Main Title.
25. Hyper Sleep.
26. The Terrain.
27. The Skeleton.
28. Hanging On.
29. The Cupboard.
30. Out The Door.
Disc Two.
The Original 1979 Soundtrack Album (see entry above).
Tracks 1-10.
Bonus Tracks.
11. Main Title (film version).
12. The Skeleton (alternate take).
13. The Passage (demonstration excerpt).
14. Hanging On (demonstration excerpt).
15. Parker’s Death (demonstration excerpt).
16. It’s A Droid (unused inserts).
17. Eine Kleine Nachtmusik (source).
X-Men Origins: Wolverine
2009, 20th Century Fox
Harry Gregson-Williams
Verese Sarabande, CD, 2009, VSD 6967 Rating:
Wolverine should have been a sure fire hit; one of the most popular of the X-Men characters with a shadowy psyche and metallic claws, what is there not to like in Superhero terms? Unfortunately, neither Hollywood A-lister, Hugh Jackman, or seasoned composer Harry Gregson-Williams, can breathe enough life into this animal to make it worth howling about. Both the film and the score suffer from a rather uninspiring lack of originality that has pervaded the entire project, from Jackman’s less than wild Wildman to Gregson-Williams uneventful scoring. Though the opening cue, ‘Logan Through Time’ starts the score off well, buoyed by a strong melody and a fair amount of bite, this fails to sustain things, quickly tapering off into a series of uninspiring cues. While this may have been a passable television score, though not to the level of Michael Giacchino’s work on ‘Lost’, Gregson-Williams’ impressive back catalogue suggests that he is capable of a lot better. Unfortunately, the only impression Wolverine leaves on the listener is one of disinterest. Clawless. X-Men Origins Wolverine Movie Soundtrack.
Track Listing:
1. Logan Through Time.
2. Special Privileges.
3. Lagos, Nigeria.
4. Wade Goes To Work.
5. Kayla.
6. Victor Visits.
7. Adamantium.
8. Agent Zero Comes For Logan.
9. Logan Meets Gambit.
10. To The Island.
11. Deadpool.
12. The Towers Collapse.
13. Memories Lost.
14. “I’ll Find My Own Way”.
