Still enthrallingly spooky after all these years, the soundtrack to David Lynch's groundbreaking — and mind-blowing — 1977 film Eraserhead got a lovingly produced limited-edition vinyl release on Tuesday that, I hope, refocuses attention on the life and tragic death of one of its key contributors, Peter Ivers. more »
You can bet your Ben Wa balls E.L. James is going to cash in on her Fifty Shades of Grey merchandising empire once the steamy lit porn's movie adaptation gets going. But while Christian Grey and Anastasia Steele have yet to be cast, you can start getting in the mood with the official 50 Shades of Grey Classical Album, featuring fifteen classical ditties referenced in the books that got James' creative juices flowing — a preview of the eventual soundtrack to Christian Grey's big screen S&M outing?
In addition to announcing their Tribeca closing night bow, Marvel recently unveiled the full track listing for their upcoming Avengers companion album, comprised of "music from and inspired by" the May 4 superhero flick. Among the hot bands of today yesterday contributing future hits to the soundtrack? Soundgarden! Papa Roach! Bush! And the kicker: Evanescence. Now, I know these major recording artists have been around since their respective heydays in the '90s and '00s, but really, Avengers? I haven't had this kind of knee-jerk reaction to a movie soundtrack since I revisited the abomination that was the soundtrack to 1998's Godzilla.
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It's too rare that we get to bring the tunes around here, so Movieline is extra-pleased to debut three songs from the soundtrack to the SXSW premiere Daylight Savings — all featuring singer/songwriter (not to mention the film's leading man) Goh Nakamura.
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As everyone looks back on the year that was, I've found myself returning to a few moments in the movies that resonated especially well thanks to a phenomenon that achieves soul-stirring status so rarely, though not for lack of frequency: Song choice. I'm not talking about dropping the latest Kelly Clarkson/Natasha Bedingfield ditty into a crap rom-com. I mean the special, skin-tingling magic that occurs when a song is married so perfectly to a character, story, or feeling that the music and the moment swell within us with new, layered meaning. Join me and let's hash it out: Which movie(s) used music the best in 2011?
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Ahh, the Grammy's -- the one award show that allows films like Black Swan to be nominated in the same category as The King's Speech and Tron Legacy. Late yesterday, the nominees for the 54th Grammys were announced and now that we've had nearly a day to absorb the fact that Zooey Deschanel, Seth MacFarlane and Cher are going head-to-head for a golden statuette, we can decide which artists deserve awards for their soundtrack contributions.
Electro musician (and Italians Do It Better label owner) Johnny Jewel elaborated on the Drive score he was commissioned to compose by director Nicolas Winding Refn. "Nic flew to Montreal and we rented a movie theater and he and I watched the movie twice in a row, back-to-back. We talked about every single scene and all the music. So then from there, I had a month to finish the score." Although Refn opted to use Cliff Martinez's score for the final film, fans will get another Refn-Jewel collaboration when Jewel scores another upcoming Refn film: Logan's Run.
Ryan Gosling fans, Nicolas Winding Refn devotees, and soundtrack obsessives, take note: As of today, you can download the '80s/electronica-influenced soundtrack to Drive, the crime-thriller-romance that should be on your must-see list for fall. Available for purchase on Amazon today, the album -- combining original tracks by the likes of Johnny Jewel's Desire and Chromatics with an atmospheric electronic score by Cliff Martinez -- should make the perfect aural accompaniment to your Drive tour of L.A.!
"When I open my mouth, what comes out is country. It was going to sound country no matter what, but I didn't want it to be too different," explains singer Blake Shelton of his fresh-scrubbed country version of Kenny Loggin's "Footloose," recorded for Craig Brewer's upcoming remake. "It's music that was rock back then but is country now," he adds, though Deniece Williams, Sammy Hagar, and Shalamar might disagree. Whatever. Give Shelton's version a listen and see if it's worth kicking off your Sunday shoes for. [The Boot via Vulture]
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