Ry Cooder's soundtrack for The Long Riders received a top-notch treatment from Warner Bros. (Japan), who not only did an excellent remastering job, but backed it up with English lyrics to the songs, notes, and a Japanese insert. Cooder was in fine form with this score, using original material, unusual and anachronistic instruments (saz, tamboura, electric guitar), and elements of traditional songs from the Civil War period. As a result, the album can be appreciated as a unique entity, away from the film – and bonded to the film, the music provides grace and power to the onscreen events.
Even though he came from the theater himself, Bob Fosse, when he came to make a film of Harold Prince's musical Cabaret, did what most movie directors do, taking the 15-song score and cutting two-thirds of it to leave five songs – "Wilkommen," "Two Ladies," "Tomorrow Belongs to Me," "If You Could See Her," and "Cabaret." (In addition, "Sitting Pretty" was performed instrumentally and "Married" in German.) He then allowed the show's songwriters, John Kander and Fred Ebb, to add material to emphasize the film's two musical stars, "Mein Herr" and "Maybe This Time" for Liza Minnelli and "Money, Money" for Minnelli and Joel Grey…
1997 CD issue of the Italian Prog Rock band's soundtrack to director Dario Argento's 1985 horror masterpiece including 11 bonus tracks. Best known for their work on horror film soundtracks like 1979's Dawn Of The Dead, Goblin's work on Argento's films are often cited as their best.
Every so often, a piece of music comes along that defines a moment in popular culture history: Johann Strauss' operetta Die Fledermaus did this in Vienna in the 1870s; Jerome Kern's Show Boat did it for Broadway musicals of the 1920s; and the Beatles' Sgt. Pepper's Lonely Hearts Club Band album served this purpose for the era of psychedelic music in the 1960s…
A memorable soundtrack, the result of the association that Stanley Kubrick made between the spinning motion of the satellites and the dancers of waltzes, which led him to use "The Blue Danube" waltz by Johann Strauss II, and the symphonic poem "Also sprach Zarathustra" by Richard Strauss, to portray the philosophical concept of the Übermensch in Nietzsche's work of the same name.
This film version of the Leonard Bernstein/Stephen Sondheim score of a modern, urban Romeo and Juliet spent more weeks at #1 in the charts (54) than any other album in history. It is an effective rendition of the score, featuring Natalie Wood, Richard Beymer, Russ Tamblyn, Rita Moreno, and George Chakiris, and features all of the show's important songs, among them "Something's Coming," "Maria," "Tonight," and "Somewhere."( William Ruhlmann - AllMusic Guide )
If you don't have eclectic taste in music, soundtracks can present a problem. Sometimes a soundtrack will focus on one style of music exclusively, but most of the time, a director will use any types of music he/she finds useful – regardless of genre.