2 on the Top R&B/Hip-Hop Albums. Usually, these include excerpts of the score and incidental music, plus songs featured in the films or programs. Likewise, John Barry’s main theme is embedded in the film; its mournful, fragile solo harmonica underscores the pair’s loneliness and detachment as they navigate an unforgiving city. –Doug Nunnally, The worst thing about The Lost Boys soundtrack is that you have to imagine Tim Capello shirtless when you listen to “I Still Believe”. The true soundtrack to cinema. On it, producer-songwriter Babyface assembled an Avengers team of the most powerful and graceful women in R&B, relaying the film’s themes of female empowerment, individuality, and kinship. The de facto theme song of Ghostbusters II thrives from a shivering glaze of New Jack swing, the likes of which wouldn’t sound this polished and this lush until Michael Jackson would go all-in on the genre a couple years later on 1991’s Dangerous. –Alphonse Pierre, The Wicker Man is never what you expect it to be. The soundtrack, by Karen O and the Kids, heightens the magical realism of Jonze’s feature, dealing in simple and resonant melodies that transcend the singsong by O’s vocals, which lend the same agonized lilt to the film’s sparse, simple balladry that she often did to even some of the Yeah Yeah Yeahs’ most biting work. It was very hard to get people to commit their songs in a movie about porn. –Michael Roffman, All good love stories develop their own soundtrack, and the sweet, smoky, long-gestating romance between Sanaa Lathan’s Monica and Omar Epps’ Quincy in Love & Basketball is no exception. In 1992, Seattle’s grunge scene met an American economic boom, and the earnestness of the era translated into a soundtrack with an edifice of deepness but a heart full of jangle. Nonetheless, there are plenty other goodies to sink your teeth into on this album, which may be the most bizarre hodgepodge of musicians assembled for what’s ostensibly an alty ’80s film. Discover more music, concerts, videos, and pictures with the largest catalogue online at Last.fm. Use of and/or registration on any portion of this site constitutes acceptance of our User Agreement (updated 1/1/20) and Privacy Policy and Cookie Statement (updated 1/1/20). I took a big break from doing soundtracks and I’m back in it now. The resurgence of vinyl helps. As Wet Hot American Summer composer Craig Wedren told us years ago, “Times Square totally cracked [the underground] open. Those who were also in high school during that era will probably stare off in the distance to Bic Runga’s “Sway” just as they’ll bop their heads to Blink-182’s Enema of the State gem “Mutt”. –Matt Melis, Very few midlife crises sound this exceptional. The songs for Scott’s band, Sex Bob-Omb, were written by Beck, while Broken Social Scene write and perform as Crash and the Boys. –Sam Sodomsky, Listen: The Velvet Underground, “Oh! Listen Now. Ad Choices. The film is haunted by poetry (Liv Tyler’s Lucy deals with the death of her poet mother), and the soundtrack is similarly obsessed with the beauty of quiet moments and subtle, swaying emotion. Meanwhile, the high-wire choreography of Baby Driver is predated by (among other scenes in Wright’s filmography) a brilliant scene in which Shaun, Ed, Liz, and co. fight off zombies in the Winchester who had been drawn in by a malfunctioning jukebox that wouldn’t stop playing Queen’s “Don’t Stop Me Now”. –Doug Nunnally, Pretty in Pink may not always be at the top of anybody’s John Hughes power ranking, but it’s always a consistent top five, a wild tale of young love that stands as one of his outright funnier movies. It was an introduction to our music, our generation’s music: the early MTV hard rock top 40 and the new wave that was happening between 1979 and 1981.” In other words, a totally essentially time capsule. I think for a while there was a lull where soundtracks weren’t as hot or sexy but now, the music industry’s coming back. Among them, music supervisors are an essential and undersung part of process. Online shopping for Soundtracks from a great selection at Digital Music Store. Wakanda is a zany idea, and in Kendrick and co.’s hands, it almost feels real. I’m like the casting director for music. Paul Thomas Anderson came to me because he wanted to make sure his vision for Boogie Nights was delivered and that he got the songs he wanted. All rights reserved. In the final cut, their sepulchral electronics are only heard in the early scene where the Torrance family navigates the steep roads to their fateful hotel. It accomplishes what most soundtracks only aspire to do: it truly adds something more to the film beyond it. We, at Gaana, have categorised music as per your genre interest. These pieces become essential props, as symbolic as Jack’s typewriter and as alarming as rivers of blood rushing out of elevators, shaping a latticework of horror that feels as eternal as whatever lurks in Room 237. Skip to main content.us. So taken by Dawson’s music was Reitman that he had her re-record instrumentals and humming to use for scenes and commissioned Mateo Messina to use her style as the basis for the scored parts of the movie. There’s Bill Withers bringing the soul on “Use Me”, Elliott Smith matching the tranquility of composer Thomas Newman with “Because”, and the FM jams of The Who (“The Seeker”) and Free (“All Right Now”). You’ve got director John G. Avildsen behind the camera again and his buddy Bill Conti added yet another triumphant score to make everyone believe that an underdog could rise to the top. Crucially, Harry Nilsson’s “Everybody’s Talkin’,” a cover of Fred Neil’s country folk ballad, bookends the film. The rap battles, the backstabbing deadbeat women, the odds stacked against him, and his determination to break free from it all with his music. While Juno MacGuff may dig the raw power of Iggy and his Stooges, having indie vet Kimya Dawson’s soft voice and oddball lyrics floating in during transitions or when Juno’s faced with a difficult moment feels like a far better match. But when the mood breaks, as it must inevitably, you’d be hard-pressed to find better explosions than Stevie Wonder’s “Superstition”. The music that makes your favorite films come to life. It’s funny that this expansion occurs through a historically corny comic book character now owned by Disney, but that odd backdrop isn’t taken for granted. At the time, the whole grunge scene had given way to a more alternative sound with Green Day and Weezer leading the charge. With the Oscars coming up this Sunday, Pitchfork is celebrating with our first Music & Movies week. 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