Alex North led a profoundly prolific career, this much is obvious. His work on the original 2001: A Space Odyssey score alone sets him a head above the cinematic competition, but here are a few other Alex North projects you may have overlooked (if you’re anything like me): A Streetcar Named Desire (1951), Spartacus (1960), The Misfits (1961), Cleopatra (1963), and Who’s Afraid of Virginia Woolf? (1966), to name only a short few. This Spartacus soundtrack is a 1980 reissue of the original 1960 release, but a quick look on Discogs yields a fairly reasonable price for both versions (in the $6 range). Although soundtracks aren’t my immediate go to, they are a nifty little orchestral oasis once in a while.
Tag Archives: soundtrack
E.T.: The Extra-Terrestrial
Is the “Extra” in Extra Terrestrial similar to the “Extra” in Extra Strength Tylenol? Like, there is there a Regular Terrestrial (R.T.), or even a Maximum Terrestrial (M.T.)? Anyway, 1982’s blockbuster cultivated a whopping $792,910,554 in worldwide box office sales during its tenure in theaters, which calculates to $1,940,116,550.26 with inflation (source: http://www.usinflationcalculator.com/). But don’t worry your pretty little sky-searching head, because this epic film’s original motion picture soundtrack can be had at a fraction of a fraction of a fraction (of a fraction) of the price. $2.73 over at Discogs, and this essential otherworldly soundtrack can be yours.
This Time Tomorrow
In 2007, master of quirk Wes Anderson released his “green” film, The Darjeeling Limited. On Saturday, its soundtrack was officially released on vinyl. I’m not entirely sure why the powers that be waited 8 years to release this wispy sound collage, but late is certainly preferred over never. Housing three Kinks tracks (all from 1970’s Lola Versus Powerman and the Moneygoround, Part One), the purchase and 5+ hour line wait under the heavy Los Angeles sun were both no-brainers. This soundtrack is astonishing, but from Wes Anderson, you already knew that.
I’ll Work Anytime, Anywhere
You’ve got to love Bernard Herrmann. Yes, that was an overly simplistic statement. Consider what this, exceptionally short list of films would have been like without the brilliant Herrmann touch: Vertigo (1958), Citizen Kane (1941), Psycho (1960), The Day the Earth Stood Still (1951), and his final score, Taxi Driver (1976). I want not to imagine an inhumane and colorless world such as that. Do you? I’ve said it before, and I’ll say it again… ad nauseam. Give credit where credit is due, kids.
The Bomb, Dmitri… the Hydrogen Bomb!
In 1964, the greatest film the world has ever known exploded onto the pale faces of Western civilization. Today, I obtained the closest thing to an officially released soundtrack from this, my all-time favorite film, Dr. Strangelove. Dropping the same year as the film, this various artist comp features a total of 13 tracks, with only one of them being featured in the aforementioned film. But that’s certainly ok, and completely without contention, for you see, this album, with all its 1964-infused Dr. Strangelove poster art, is for visual stimulation, instead of those more pleasing to the ear. I’m elated to welcome the most recent addition to my billowing record collection, Dr. Strangelove and Other Great Movie Themes.
O Groove, Where Art Thou?
The offices of The Prudent Groove are taking a vinyl-less weekend trip to Newport Beach, but in our passing, we suggest a spin (or three) of the flawless country / bluegrass soundtrack to the grand and goofy motion picture, O Brother, Where Art Thou?
Have a great weekend, listening friends, and stay cool and fully hydrated (for those of you in Southern California’s current heat wave).
The Spy Who Slept In
A lot of my idiot friends dog Roger Moore as James Bond (I’m looking in your direction, Hardwick), but I find him to be an adequate agent of the secret nature. 1977’s The Spy Who Loved Me, and its motion picture soundtrack, is a fitting, and worthwhile example of classic, James Bond goodness. Take that, Brosnan.
Spawn of the Dead
Ok, so file this under “why the hell haven’t you digitized this yet?!”
Although I’m not a fan of about half of this amalgam, the boisterous pairing of the other half of this comp / soundtrack is what gets me excited. Have a look at a few of these team-ups:
Prodigy & Tom Morello
Metallica & DJ Spooky
Butthole Surfers & Moby
Slayer & Atari Teenage Riot
It’s this last one that sets the adrenaline dial way past 11. A UK release of only (lol, “only”) 5,000 copies on triple translucent red 10″, Spawn the Album was released in 1997 in support of the New Line Cinema film, Spawn or, Spawn the Movie.
It’s difficult not to mention a similar (and far superior) superstar-filled comp / soundtrack, 1993’s Judgment Night (Music from the Motion Picture). In both cases, the accompanied soundtrack greatly outweighs the films in which they support.
Two-Three-Seven
So, Room 237 was something… and so was its soundtrack. Composed and created by Jonathan Snipes & William Hutson, this ominous and eerie soundscape is perfect, no… PERFECT blanket noise for that special evening when the boring normality of the everyday meets the heightened expectations of the ethereally abnormal. Essentially, a bullshit way of saying that this soundtrack is meant to unease your tensions, while drawing you in for the big score, like a discounted (free toppings) soft serve. Is this something you could rock every Tuesday on your way to the telecine studio, well, no, but it’s certainly something worth having at the ready if and when the peculiar strikes.
Meco Plays Music from The Empire Strikes Back
Meco’s nightclub talents are sprinkled throughout my collection in healthy, respectful numbers, which is fairly gracious considering his brand of big screen-nabbing, dance floor-packing, Disco Duck-inspiring, funk-fused disco is little more than the same groove, repeated over several, action-packed themes, ad nauseum. Somebody somewhere likely said, “Slap a Star Wars logo on it, and the kids will eat it up!” Mr. / Mrs. Somebody was right, or at least, I can think of no other terrestrial reason to own this 10” RSO Records release from 1980.
This five track EP is exactly what you’d expect from Meco. Heavy synths, big brass, groovy bass and a hefty, four-on-the-floor disco beat. Meco mainly lives within the bowels of obscurity these days, but the man demands respect for creating a recognizable and danceable sound both familiar to big screen enthusiasts, and Saturday night ragers alike. If Star Wars and Other Galactic Funk isn’t enough for your calloused ears, seeking out this 10” may feed that Meco bug.
We’re Nookie-Bound
Since you asked, the hands-down greatest camp song ever written goes something like this:
We are the C.I.T.’s so pity us,
The kids are brats the food is hideous,
We’re gonna’ smoke and drink and fool around.
We’re nookie-bound.
We’re the North Star C.l.T.’s.
If you’ve never been to summer camp, or don’t remember one of the greatest scenes in the 1979 Ivan Reitman film, Meatballs, then you, my friend, have never experienced summer.
Alright, that may be a bit harsh, but for someone who grew up with this film (my parents had dubbed it onto the same VHS as Stripes… they will forever be related, the ultimate 6-year-old double feature), this scene, and this song in particular, has driven in its stakes and popped a permanent tent into the dust-covered, brush-rattling, creek-rolling, open-air, tree-covered corners of my psyche. It’s always summer up there, and this is its theme.
I still get goosebumps when listening to this song, and every time it’s welcomed with a smile. I hope you enjoy.
May the Force Be With You, Mark Eskelson
What thrilling day it must have been back in 1977 at 51 N. 425 E. in Smithfield, Utah (zip 84335). Probably having just returned home from the local K-Mart with his newly acquired Star Wars original motion picture soundtrack, a young (probably high school-aged) Mark couldn’t wait to relive the intergalactic adventures on his parents’ home stereo system while leafing through all the bonus goodies that accompany this amazing two LP set. Aside from the legendary masterworks of John Williams, 20th Century Records’ release also included an epic poster, a credits insert, and this mail in offer for an official Star Wars t-shirt. Mark is a size large, by the way.
The specifics surrounding the immediate and gleeful filling out of this order form that prevented a space drama-loving Mark Eskelson to NOT send it in will forever be pondered and (over) analyzed by its current owner (me). If only for a brief moment, it must be stated that Mark’s true reason for not forking over $5 for this gem of necessary fashion can only truly be understood by him, in a galaxy far, far away.
“The Best Album on the Market”
Q: What do killer whales, boxing legends, watered down martini drinking international spies, and the greatest science fiction story ever told all have in common you ask?
A: Why, this compilation of disco-fied movie themes from the late 70s, of course!
I mean, let’s be honest. What kid doesn’t want to hear the Marty Gold Orchestra perform the main theme from The Deep? I know for damn certain this here kid does! A self-proclaiming “Stupendous!” “Far out!” and “Exhilarating!” collection straight out of Newark, New Jersey, Themes from the Movies combines the disco fever that made the decade of brown and orange famous, with the silver screen classics that made film executives filthy rich… but, you know, marketed to kids via Peter Pan Industries. Nothing says kid-friendly-jams quite like a disco version of the Theme from Orca, am I right?
As “a galaxy of celestial delights,” Themes from the Movies is certainly one of those niche records (AKA “best album on the market” as the back cover exclaims) that is better left on the shelf at the record store.
Who Framed Roger Rabbit?
Was it those Commie Liberals, or maybe the offensive line for the Green Bay Packers? Maybe it was the elusive idle Indiana Jones went searching for and was ultimately forced to hand over. Perhaps it was a not-so-anonymous committee consisting of former Burger King drive-thru attendants and vintage wallpaper designers. But who would have wanted to frame the poor animated bunny? Was it the face of Mahatma Gandhi in a pool of oil beneath a leaky engine? Or maybe it was a Norton Anti-Antivirus, designed to infiltrate and disrupt all Robert Zemeckis films. For that matter, it could have been the scheming and manipulating team of Marty McFly and Jennifer Parker, although, if that were the case, I bet Doc was the mastermind behind the operation.
Has anybody checked the whereabouts of the Chicken Lady on the night in question? People say John Bonham died, but at times like this, one really should verify the facts.
What possible motive did he, or she, or they, or IT possess? My guess… he wasn’t framed at all. Roger Rabbit is guilty! Thank God for Forensic Files, am I right?
Enough Bass to Make Your Neighbors Call the Cops
With little to no time today, I present Loops of Fury by the Chem Bros. Featured in the Playstation game, Wipeout 2097 (and released on the jam-packed, gonna-make-your-ears-bleed, but in a good way, soundtrack to the game titled, you guessed it, Wipeout 2097: The Soundtrack), Loops of Fury is a perfect example of late 90s Chem Bros, and stands as a highlight of Big Beat music in general.
With enough bass to make your neighbors call the cops, Loops of Fury would make a great addition to any collection, especially if pissing off your neighbors is your style.
The Natural Way to Celebrate Father’s Day
Randy Newman is something of an inspirational prodigy whose talents know no emotional, as well as Earthly bounds, and whose overwhelming underrated persona almost gives him more credence, considering his flawless ability to churn out amazing piece after jaw-dropping amazing piece of wonderful, heartfelt music. The Natural is no exception and shamefully, I must admit that I didn’t realize he did the score to this perfect film until just now.
My Dad taught me how to throw a baseball. He taught me how to throw a bounce-pass, shoot a free throw and countless other life-learning essentials, but since baseball is largely regarded as a father/son, father/daughter activity, touching upon baseball’s importance to me, and the man who introduced me to it, seemed fitting on this third Sunday of June.
Arguably the best baseball movie ever released, The Natural, and the masterful music that majestically supports this film, make for perfect background music to this sunny Sunday as we pay tribute and homage to fathers all over the world. If you haven’t already, offer your thanks to your father in your own special way. To all the fathers out there reading this, enjoy your day and thanks for all your hard work!
Daft Punk’s Translucence
I remember being ecstatic upon hearing the news that Daft Punk was to do the soundtrack to Tron: Legacy (2010). I, as well as the rest of Western Civilization felt this was the perfect amalgamation of sophisticated electro-dance-upside-your-head-man and cutting edge motion picture special effects. But what seemed like a Ben & Jerry marriage turned out to be one resembling Ben & Jennifer (Lopez… remember Bennifer?).
Needless to say I was distraught with disappointment towards the lack of hard hitting, head crushing, swift musical justice that Daft Punk is known for (and quiet honestly the type of music that is expected of them). Don’t get me wrong and think I disliked the soundtrack. On the contrary. I thoroughly enjoyed it, but felt (to put it in baseball terms) it echoed a bunt single instead of the home run I was expecting.
I remember Los Angeles in late 2010 into early 2011 being absolutely, and undeniably Tron stupid. Billboards, stories of Comic-Con viral previews, murmurs in back alleys of the soundtrack being Daft Punk’s greatest album, billboards, news of Disney opening a Tron store, a cartoon series, everybody and their brother wearing Flynn’s Arcade t-shirts, and oh, did I mention billboards? It was arguably impossible to ignore.
Jump a few months ahead to April 16, the Christmas morning for record collectors, Record Store Day. Three versions of Daft Punk’s Translucence were released on 10” picture disc with blue, yellow and red rings. Featured here is the blue copy, which I think most resembles the actual Tron identity disc. Containing three tracks from the soundtrack, Translucence was a must for Daft Punk/Tron fans not only because it perfectly resembled an identity disc, but also because it featured a fourth track that wasn’t offered on the soundtrack; side 2’s Castor.
The blue guys aren’t cheap on discogs, ranging from $116 to $249, but the yellow and red guys can be obtained for around $35.
I will add, as an aside, that I feel The Chemical Brothers’ effort with the Hanna Soundtrack was far superior to the Tron: Legacy Soundtrack. Having stated that, I’d recommend them both.
The Prudent Groove 