The score to David Fincher's controversial, subversive film Fight Club was composed and performed by the Dust Brothers, whose production and remixing work with artists like the Beastie Boys, Beck, and the Chemical Brothers helped shape the sound of the '90s. Their music for Fight Club reflects their own hip-hop and dance roots, as well as the film's edgy, underground tone in its blend of trip-hop, drum'n'bass, and electro elements.
KeepMoving Records presents the premiere release of The Demons of St. Petersburg by the legendary Ennio Morricone. Directed by Giuliano Montaldo (Sacco e Vanzetti, Giordano Bruno, Marco Polo), the film tells the fictionalized life story of Fyodor Dostoyevsky (Miki Manojlovic) who is caught up with political intrigue and a career crisis resulting from his crippling gambling debts. While trying to finish his latest novel on schedule and reveal an anarchist plot targeting the Tsar, the troubled author must fight his inner demons to move forward in life… The Demons of St. Petersburg marks the latest collaboration between Montaldo and Morricone who had scored the majority of the director's films. The key thematic material includes the propulsive anarchist theme for the assassination plot and a darkly passionate love theme for a string quartet and harp which underscores Dostoyevsky's troubled relationship with his stenographist, Anna.
While director Francis Coppola's potboiling crime drama set against the gloriously tumultuous backdrop of Harlem's famed Cotton Club nightspot of the '20s and '30s didn't quite come together as a cinematic whole, John Barry's efforts at supervising, scoring, and recreating the energetic jive and wail of the era very nearly carry the day. The opportunity was likely a dream come true for the former jazzman turned film scorer; his adaptations of standards by Ellington and Cab Calloway are reverent yet energetic, infused by original music that weaves it into an accessible and rewarding tapestry of time, place, and art. Great soundtrack.
The rare sequel that improves upon its predecessor, Rocky II expands on the uplifting approach exemplified by Bill Conti's immortal "Gonna Fly Now" to create a score that's both more cohesive and more emotional. Writer/director/star Sylvester Stallone affords Conti a wider emotional berth this time around, allowing for poignant, melancholy themes like "Vigil" alongside fist-pumping anthems like the climactic "Overture" – as before, Conti employs little more than solo piano, a small string ensemble, and a potent brass section, and it's to the composer's enormous credit that he can forge such larger-than-life music from relatively few instrumental elements. "Gonna Fly Now" even reappears, this time with a children's choir in tow, and sounds better than ever. Not even Frank Stallone's "Two Kinds of Love" can torpedo this one.
Composer Bill Conti's iconic score for Sylvester Stallone's tale of over-the-hill Philadelphia boxer Rocky Balboa ranks as one of the most memorable and instantly recognizable pieces of film music ever applied to celluloid. The first Rocky is still the best, with classic cues like "Going the Distance," "Fanfare for Rocky," the "Final Bell" and "Gonna Fly Now" – the latter was actually a hit single – eschewing the myriad of questionable AOR songs that would end up cluttering future installments.
The score to Little Shop was written by Fred Katz. Katz, born in 1919, was a child prodigy on both piano and cello, but would become a well-known cellist in the Los Angeles music scene of the 1950s—the first really to take the cello into the jazz arena. He became part of the very unique Chico Hamilton Quintet and was both heard and seen in the film Sweet Smell Of Success. At some point in the late 1950s, Corman found Katz or Katz found Corman and the two collaborated on several films, including A Bucket Of Blood, The Wasp Woman, Ski Troop Attack, Little Shop, and Creature From The Haunted Sea. Katz’s score perfectly accompanies a film that is occasionally worthy of Ionesco in its surreal weirdness. In fact, Katz’s music is as much fun as the film—it’s funky, jazzy, beat, hipster music, with occasional horror touches, that will keep a smile on your face or conjure up wonderful memories of Seymour Krelboin, Gravis Mushnick, Audrey Fulquard, Burson Fouch, Wilbur Force, and, of course, the great Audrey Junior.
The saga of the Divergent series begins to come to a close with the March 18 release of Allegiant, which roughly follows the first half of the final book (also called Allegiant) in the Divergent series of novels. The movie is exciting fans who can't wait to see what's going to happen when Tris and Four venture beyond the Chicago city limits for the first time ever, but in addition to seeing the actual movie, fans are also pretty psyched for the soundtrack.