Where have all the soundtracks gone?
One of the lesser tragedies in the ever changing music business today is the fate of the soundtrack. If it’s not High School Musical 13, then nobody gives a damn. That was not always the case. The mov
ie soundtrack used to be a big deal and before the Internet (I sound like a geriatric when I say that) it used to be a great gateway into finding new music.
Remember soundtracks like 1993’s gothic-industrial laden The Crow? How about 1992’s grunge infested soundtrack to Cameron Crowe’s Singles? Both were highly influential, with the latter being more successful than the film itself. Does this still happen?
2004’s Garden State recently comes to mind. Director-writer Zach Braff hand selected a baker’s dozen worth of songs ranging from legends Simon & Garfunkel and Nick Drake to then newcomers The Shins and Iron & Wine. People all across the nation, and the world, were awakened to sounds that had been virtually non-existent.
So, what about today?
While not too influential, 2007 did have a select few that were both eclectic and memorable. I guess this is where I start listing, huh?
Featuring some of the tastiest music of the ‘70’s, the soundtrack to David Fincher’s jaw dropping thriller is without a doubt the most enjoyable of the bunch here. From Sly & the Family Stone’s bouncy hit “I Want To Take You Higher” to the soul and rhythm in the Four Top’s “Bernadette”, the groove never stops. It’s rare to find Three Dog Night (the eerily temperate, “Easy To Be Hard”) and Donovan (the chilling melody of “Hurdy Gurdy Man”) on one soundtrack, but Fincher managed to pull some strings. Not to mention some of the best artists in jazz music history are featured here, ranging from John Coltrane to Miles Davis. For a film that disappeared, despite a wealth of critical applause, the soundtrack should be a pleasant surprise to anyone passing by.
Say what you will about the film (which misses the cult classic mark by a field goal), but the music in Richard Kelly’s follow up to 2001’s Donnie Darko is the most eccentric and splendid of last year. It kicks off with the slower (and better) version of The Pixies’ “Wave of Mutilation”, dubbed the UK Surf Version, and jumps headlong into Black Rebel Motorcycle Club’s ambient, harmony induced “Howl”, extended here on the soundtrack, adding levity to an already brilliant song. Waylon Jennings (“Me & Bobby McGee”) and Roger Webb (“Lucky Me”) are oddly placed in a format of strictly new wave and alternative music, but everyone loves variety. Given that I have a strong sweet spot for Moby (I recommend “Three Steps”), his additions are overly satisfying adding that science fiction edge that meanders throughout the film. To top it off, actress Sarah Michelle Gellar offers some vocal talent in the pop parody, “Teen Horniness is Not a Crime.” Who the hell saw that one coming?
Late last year I had a chance to sit down with writer-director Wes Anderson and he seemed to be quite the fan of The Kinks, using the band as a reference once or twice. This isn’t a surprise considering they show up in nearly every one of his films, The Darjeeling Limited is no exception. Even if the actual score wasn’t exceptional (which it is), the soundtrack would be worth the purchase on the weight of the two Kinks songs, “This Time Tomorrow” and “Strangers.” However, that is not the case and instead this soundtrack is enriched with flavor, mostly from borrowed title music by Satyajit Ray. It even throws in the Stones’ best song to date (“Play With Fire”) for kicks.
Strange Weirdos: Music From and Inspired By the Film Knocked Up
This last addition is relatively unknown by all purposes considered. Some of the tracks were culled and used for Judd Apatow’s hilarious comedy, Knocked Up. As a whole however, Loudon Wainwright III’s works are endearing. “Daughter”, notably used in the film, is warm sounding and bittersweet. Wainwright’s songwriting is open and honest and should not be forgotten. While not a soundtrack by regular means, Strange Wierdos is a great and consistent collection of acoustic folk songs, mostly ballads, that are right for a variety of moods.
So while none of these soundtracks will necessarily win a Grammy and haven’t garnered as much attention as Eddie Vedder’s Into the Wild or Once, they are surefire examples of positive collaboration gone unnoticed. My suggestion to you is that the next time you see a film and like a few songs, maybe you should check out the disc to go with it.
You might find something.
Lock Stock is such a great film and you’re right, the soundtrack is amazing. One other recommendation I’d put here would be Jonny Greenwood’s score to “There Will Be Blood.” It’s deeply rooted in Gyorgi Ligeti’s style and modeled off of Kubrick’s works. I love it.
My all-time favorite soundtrack has to be for “Lock, stock & two smoking barrels”, which featured audio clips from the movie as well as some great bands from various genres from reggae to punk. highly recommended.
Feb 29th, 2008 at 10:22 am
[...] I guess this post may have answered Mike’s question… [...]