The nineties had a healthy obsession with witchcraft of all kinds. Hell, even I dabbled in it here and there and almost converted to Wicca at one point.
Love Spit Love’s cover of The Smiths’ “How Soon is Now” is a haunting and catchy little remake that seemed to be played in almost all of the nineties supernatural fare. It played at the very beginning of the pilot for “Charmed,” and was in heavy rotation in the trailers for “The Craft,” even playing during the movie.
Since “The Craft” is criminally underrated, and a pure orgy of nineties nostalgia, why not revisit the entertaining cover of the great Smiths Tune from “The Craft” soundtrack? And as an added treat, listen to the equally good Smiths version.
Oh what’s the fun of having a case of the Mondays without a song you can’t get out of your head? This is the closing credits song to “Mighty Morphin Power Rangers: The Movie” in honor of the lovable robot Alpha Five. It’s called: “Aiyaiyaiy! (The Alpha Song)”
Sing along now!
Considering “Turbo” is an animated movie about a speeding snail racing cars, the soundtrack for the movie is obviously going to be a hefty mix of hip hop, hard rock, and standard upbeat pop. The soundtrack for “Turbo” surely isn’t the worst compilation you can own, as it garners some pretty nifty tracks, even for folks not interested in the exploits of a super fast snail.
Snoop Dogg who offers voice work for the movie provides a track called “Let the Bass Go” which is a techno hip hop ditty that’s fairly catchy. There’s the classic hip hop song from Run DMC “It’s Tricky,” which is an easily accessible rap song for the intended consumer for the compilation. It’s still one of their most mainstream tracks and it’s a classic.
Whether or not you love Tarantino’s movies, one thing you have to give him credit for is his ability to include some incredible music in every one of his films. He’s introduced me to some excellent songs over the years from the Smith version of “Baby it’s You” played in “Death Proof,” right down to “Stuck in the Middle with You” from “Reservoir Dogs.”
With “Django Unchained” it’s no real exception. The film is admittedly anachronistic in its soundtrack since the film is essentially a nod to the blaxploitation westerns of the seventies.
I am by no means a James Bond fan. I am one of the few people in the world that have never seen an actual James Bond film in full. Granted, I am a big fan of Daniel Craig and Sean Connery, but the film series never called out to me. However while I am not a Bond fan nor have I ever seen an actual Bond film in full, I am very much aware of the music behind the Bond films.
For fans of the film series, “Best of Bond…” is a remarkable and utterly incredible compilation of the some of the best and most iconic Bond music ever made. From scores to soundtracks and themes, this music compilation has it all. And then some.
Composer Jon Brion has managed to deliver fans of “Paranorman” quite the enticing and entertaining original soundtrack for the upcoming film, with a series of tracks that will perfectly relay the atmospheric story being told about kids fighting the walking dead.
Among the tracks there are some really excellent titles like “Zombie Attack in the Eighties” and “The Dead Shall Be Raised” that really manage to invoke terror and awe, and Brion provides a truly interesting variety of music palettes that will accompany fans of the film who want to re-live the moments of the film and bask in the magic of Brion’s rather eccentric scores.
While Danny Boyle’s “28 Days Later” from 2002 is without a doubt one of my favorite horror films of all time, one of my favorite movies of the first decade, and my favorite film from Boyle, more so I love the soundtrack that comes along with the film. The soundtrack is such an obsession of mine I have managed to sit through the entire film until the credits end to hear the music, and can fondly recall listening to the soundtrack in the waiting room of the theater before the press screening of “28 Weeks Later.” I mean they were giving critics cupcakes, water, and a bad ass press book with newspaper clippings from the sequel and the entire time all I could think was “Cool! The music from the first movie is playing overhead!”
What many directors and studios fail to realize these days is that every element is very important for a horror movie, especially the music. The frantic punk rock complimented “Demons,” Dario Argento and the Goblins perfectly complimented “Dawn of the Dead,” and surely enough the compilation of chamber music, electronica, and choir music from the amazing John Murphy brilliantly compliments an already excellent piece of genre filmmaking. While the movie would possibly have been just as much a masterpiece if there were UK pop tunes playing the whole time, Boyle and Murphy turn the soundtrack in to a character, and the soundtrack is quite superb all on its own if you’re the kind of movie fan who enjoys soundtracks.