Trouble Man is a soundtrack and twelfth studio album by American soul singer Marvin Gaye, released on December 8, 1972, on Motown-subsidiary label Tamla Records. As the soundtrack to the 1972 Blaxploitation film of the same name, the Trouble Man soundtrack was a more contemporary move for Gaye, following his landmark politically charged album What's Going On.
Before he went on to direct the smash-hit films La La Land and Whiplash, Damien Chazelle began his career with Guy and Madeline on a Park Bench. A jazz musical film written and directed by Chazelle while he attended Harvard, Guy and Madeline tells the story of a young couple, an up-and-coming trumpeter and an aimless introvert, whose relationship falls apart as the glow of their new love fades. Heartbreak, hope and regret follow as the two try to find meaning in their new lives apart from one another. Chazelle was steadfast that a film so focused on the world of jazz and tap would need an excellent score. Luckily fellow Harvard student Justin Hurwitz was recruited to the challenge of composing Guy and Madeline, which he flourished at. Hurwitz meshes the classic big band sound of early 20th century jazz sensibilities with smaller progressive ensemble pieces and lyrics written by Chazelle to delightful results. Now available for the first time, Guy and Madeline shows the early genesis of a Hollywood partnership that would be responsible for multiple modern classics.
FSM returns to the treasures of the Warner Bros. archives (The Omega Man, The Towering Inferno) with a masterpiece by Jerry Goldsmith: The Illustrated Man. The film stars Rod Steiger and Claire Bloom in an adaptation of several short stories by Ray Bradbury, affording Goldsmith the crowning achievement of his work in the anthology format (CBS Radio Workshop, The Twilight Zone), as well as one of his most memorable and original works in the science fiction, fantasy and horror genres.
All This and World War II is a 1976 musical documentary that juxtaposes Beatles songs, performed by a number of musicians, with World War II newsreel footage and 20th Century Fox films from the 1940s. It lasted two weeks in cinemas and was quickly sent into storage. The original intention of the filmmakers was to use actual Beatles music in the film. The decision to use other artists covering Beatles music was made by the film's producers after they realised additional money could be made through a soundtrack album. The decision was a sound one, as the soundtrack actually generated more revenue than the film. The album reached number 23 on the UK album charts, with a total of seven weeks on the chart…
The original score to Alien: Covenant was written by Australian composer Jed Kurzel (The Babadook, Macbeth). Inspired by elements of the original Alien score, Kurzel’s work invokes feelings of isolation and abject horror in the face of an unavoidable mounting catastrophe.
The Grammy-winning trumpeter/composer returns to his jazz-renaissance roots with a set steeped in the glossy hues and tones of New York City at night. Blanchard’s score for the soundtrack of Robert De Niro’s new film captures a late-life crisis with jaunty blues, brooding balladry and svelte modern jazz. The mood-setting themes have strong melodies and rhythmic edge, and with saxophonist Ravi Coltrane stretching out and on-form pianist Kenny Barron leading a classy rhythm section, the jazz is for real. Blanchard pares his playing of excess, and plays beautifully.