Another of John Barry's smouldering, moody thriller scores (Body Heat etc.), the kind of thing he does with a good deal of charm and edgy romanticism. Naturally for his legion of admirers this will be a most welcome treat, although to be entirely frank it is not one of his most distinctive soundtracks. While it hits all of the expected marks with the required poise and professionalism it also lacks freshness and at times sounds a little too much like recycled material (which with this composer admittedly always remains polished and likeable). Given these general musings and vague criticisms we are still left with a valuable addition to the wealth of John Barry work now available, something that is to be appreciated and I am certainly not complaining. (MWI)
Featuring, 'Gold,' the Golden Globe nominated original song from Iggy Pop, (which was produced by DangerMouse). The rest of the album consists of previously released popular music from the era that Gold is set in. Artists include; New Order, The Pixies, Television, Kish Bashi, (performing Talking Heads), The Isley Brothers and Richard and Linda Thompson.
When veteran film composer Mychael Danna entered 2006, he probably thought his tradition-drenched, Renaissance-inspired score to this film about the opening chapter of "the greatest story ever told" would be heard by more people than the quirkier one he wrote for Little Miss Sunshine. But Sunshine was a Best Picture Oscar nominee and this one proved to be just a reasonably popular Jesus story. Recorded in Los Angeles, The Nativity Story score artfully blends native Middle Eastern instruments like Persian and Turkish ney flutes with more traditional pre-Baroque European ones like the viola de gamba, vielle, harp, and recorders. Danna's dual intent seemed to be to ground the story in its geographical roots while also underscoring the power the story had over the Western world in subsequent centuries.
The original soundtrack for Neil LaBute's Nurse Betty features innocent, classic pop songs that capture the sweetly delusional state of the film's title character. Jula De Palma and Pink Martini's versions of the lighthearted standard "Whatever Will Be, Will Be (Que Sera Sera)" bookend songs like Ricky Nelson's "Poor Little Fool," Ann-Margret's "Slowly," and Della Reese's "Don't You Know," and selections from Rolfe Kent's quirky original score complete this enjoyable companion to one of 2000's most unique films.