/ Soundtracks

It's a doubly monumental day for soundtrack collectors, with two hotly-anticipated expansions of monumentally popular soundtracks unleashed today by La-La Land Records. The first almost doesn't need an introduction - so excited have we been at Second Disc HQ, long before and after its advance announcement - but John Williams' score to Steven Spielberg's Hook is the first bounty of the day. Spielberg's fantastical sequel to James M. Barrie's immortal Peter Pan - where the onetime boy who

Intrada's latest releases were supposed to be a double shot of Disney, but changes in the label's schedule have yielded just one new title for this week: the first release of the multifaceted score to 1991's live-action Disney flick White Fang. Based on Jack London's novel of the same name, White Fang told the tale of a Yukon explorer (Ethan Hawke) and the wolfdog he befriends. The acclaimed film's music was conducted primarily by two very different composers: an orchestral old hand in Basil

A hundred years ago, it was the largest maritime disaster in history. Fifteen years ago, it was the highest-grossing film of all time and the last massive soundtrack on the pop charts. Now, Sony Classical brings the soundtrack to James Cameron's Titanic back to the surface in a major way with two collector's editions of the popular album. On paper, Titanic would have been your average romantic tearjerker: lower-class boy woos upper-class girl to the displeasure of her wealthy suitor. But that

And the next 200 starts today. La-La Land Records has announced their latest release, partnering with Sony Music for a long-in-development expansion of Dimitri Tiomkin's score to The Fall of the Roman Empire. The epic, Samuel Bronston production, which starred Alec Guinness and Christopher Plummer as Marcus Aurelius and his son Commodus during the last days of the Roman empire, is notable for three unique traits: its standing among its contemporary sword-and-sandal epics for its intelligent

Film Score Monthly's 247th title (three more to go, folks!) is a keeper: the third-to-last score by Bernard Herrmann, for the 1974 horror flick It's Alive! The score to the Larry Cohen film about a murderous infant (effects of which were designed by a young Rick Baker!) was part of a Herrmann renaissance; the composer had moved to England after a falling-out with Alfred Hitchcock over the score to Torn Curtain, but was championed and utilized by a younger crop of directors, including Francois

Johnny Mathis, Robert Goulet and Engelbert Humperdinck sang it.  Ella Fitzgerald sang it.  Claudine Longet even sang it in its original French!  The song was “A Man and a Woman,” or “Un Homme et une Femme,” from the 1966 film of the same name.  The Francis Lai composition was a favorite of pop singers and jazz musicians alike, and was quite ubiquitous; as Kritzerland’s Bruce Kimmel asks, “Is there a person anywhere in the world who was around in the 1960s and 1970s who could not instantly

Intrada's two newest archival soundtrack releases take listeners from the deepest reaches of Arthurian legend to space (the final frontier). First up, it's an unlimited, expanded pressing of Cliff Eidelman's score to Star Trek VI: The Undiscovered Country. The sixth Trek film has several notable "lasts" to its credit: the last to feature the original series' cast its entirety (1995's Generations and the 2009 series reboot featured several of the major players), the second and last film in the

As the above image shows, it's finally true: La-La Land Records is releasing an expanded edition of John Williams' stirring score to Steven Spielberg's 1991 adventure film Hook, a modern updating of the Peter Pan mythology, on March 27. In my excitement last night, I sent an e-mail to the LLL staff thanking them for putting this release together; Joe rather brilliantly suggested that the letter would find a good audience among our dear readers, who no doubt know the feeling of excitement when

It's one of those rare weeks when more than one soundtrack reissue label puts out titles within days of each other, so there are four new and expanded sets to enjoy. Intrada has released two scores on CD for the first time. The first, Gil Melle's score to 1980's Borderline, is noted for its blend of traditional orchestral arrangements and mixing along with free-form, jazz-based music that took advantage of the full field of stereo sound. The film, a fictionalized account of U.S. border guards

A victim of the blacklist, director Martin Ritt (The Front, The Great White Hope and Norma Rae) felt passionately about using film to explore relevant social issues.  So it would have been no surprise that he was taken with the story of the Molly Maguires, the Irish-American coal miners who formed a secret society (some might say, of terrorists) to fight their oppressive employers in 19th century Pennsylvania.  Ritt enlisted an all-star cast including Sean Connery (still in his James Bond

The music catalogue world is celebrating one of Hollywood's truest living legends with two, count 'em, two, compilations next month. Whether you're a die-hard film score collector or a mere appreciator of good movie music, John Williams has made a mark on your consciousness. His list of credits spans decades, first as a Juilliard-trained pianist working under the greatest batons in Tinseltown (that's him plunking the low notes in Henry Mancini's iconic Peter Gunn theme), then a light, jazzy

As Star Wars fans count down to a theatrical reissue of the chronological beginning of the six-film series, new fans will get a chance to rediscover its musical merits, thanks to a new reissue from Sony Classical. The year 1999 was a monumental year for fans of George Lucas' Star Wars series. After years of discussions and planning, that May saw the release of Star Wars Episode I: The Phantom Menace, the first of a new prequel trilogy that explained how Lucas' mythological galaxy fell into the