DESCRIPTION: The soundtrack for series 6 of Doctor Who was released on December 19, The album was initially due for release on December 5,but was later delayed until December 19, For the sixth series of Doctor Who, composer Murray Gold and conductor Ben Foster continued to write variations and rearrangements of themes introduced in the previous season.Nadja Martino: I'm half Irish. half of this stuff is true. I hate potatoes though
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A Good Day to Die Hard [Original Motion Picture Soundtrack]
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The Wizard of Oz Composer: Film soundtracks are a broad church, encompassing classic orchestral scores and pop jukebox compilations, spoken word and sonic effects. So we'll be having none of this 'incidental scores only' snobbery in our list. Fitting, then, that our number one contender is a cross-generic masterpiece is it a jolly kids' singalong? A dark adult fairy tale? A subversive camp classic?
Even a snuff movie? Legend has it that studio executives wanted to cut Judy Garland's 'Over the Rainbow' because it dragged out the downbeat Kansas opening. Certainly a reprise of the song was trimmed from the final cut, but 'Rainbow' survived to become one of the most memorable anthems of the century.
Other recognisable hits from the movie include 'Follow the Yellow Brick Road', 'Ding Dong the Witch is Dead', and 'We're Off to See the Wizard', all of which have since passed into popular parlance, ensuring that everyone not just Elton John can call themselves a true friend of Dorothy.
Early soundtrack fans had to make do with a Judy Garland 78rpm disc and a creaky Decca LP which featured key songs re-recorded by the Ken Darby Singers, but today's buyers can enjoy all the remastered originals, alongside outtakes like the 'Jitterbug' song.
Rumours that a stagehand can be seen committing suicide on screen as Dorothy trots down the Yellow Brick Road are baloney it's a bird stretching its wingsbut have simply added to the film's growing cult cache. Pink Floyd's Dark Side of the Moon has long been alleged to provide an 'alternative' soundtrack, thanks to a number of 'coincidental' cross-matchings. Personally, I'd rather listen to Judy. Not the most easy listening score from composer Bernard Herrmann, whose career ranged from Citizen Kane to Taxi Driver, with key Hitchcock collaborations including Vertigo and North by Northwest.
Yet Psycho remains Herrmann's most cutting-edge work, establishing an iconic shrieking strings motif which has become internationally recognisable as the quintessential sound of terror. Hitchcock, who had originally planned to play the shower sequence without accompaniment, later admitted that '33 per cent of the effect of Psycho was due to the music', and doubled the composer's salary as a reward.
Herrmann studiously matched the black and white visuals of Hitch's masterpiece by draining the 'colour' from his orchestrations, stripping away all but the stringed instruments to create a monochrome wall of aural unease. Over the years, various versions of Herrmann's score have battled for fans' affections, ranging from a recording conducted by the composer himself, to a performance by the Royal Scottish National Orchestra under the baton of Joel McNeely which some consider definitive.
InDanny Elfman oversaw a new production of the Psycho score which is generally regarded as the only positive aspect of Gus van Sant's dismal remake. Whichever version you favour, there's no doubting the work's killer punch.
Rumour has it that Steven Spielberg was after something subtle for the shark in Jaws - perhaps a piano motif. He was persuaded to change his mind and the famous 'chomping' of the low strings is one of the most instantly recognisable themes of all.
In contrast, the moment when the bicycles soar though the air in E. The music in the film up to that point is quite low-key but it finally takes flight with a magnificent thrilling melody on the high strings.
Nor is his more recent work any less potent. A score like Harry Potter and the Prisoner of Azkaban is a masterpiece of colour. Unlike so many contemporary scores, it explores the whole range of orchestral possibilities.
Further, he succeeds in capturing the flighty wit of Catch Me if You Can with crisp, jazzy textures, while Minority Report a disturbing futuristic vision through dissonant strings. And, like all his scores, there are moments of unexpected beauty. My mum was a Bharatanatyam dancer and always played a lot of Indian classical music in the house, so I was always aware of great sitar playing, of Ravi Shankar, Vilayat Khan and Imrat Khan.
The film, my favourite of all time, is the directorial debut of Satyajit Ray. It contains a lot of themes, all of which concern family, love and redemption. Each raga you play as an Indian classical performer is associated with a different time of day, or a different mood, and as Ravi Shankar is the great exponent of Indian classical music, he was able to play in a lot of different ways, incorporating the myriad mood changes of the film.
Apparently Ravi Shankar created the music in 11 hours straight, in one session, because he was in the middle of a tight touring schedule.
Unsurprisingly, he couldn't actually finish it all himself, meaning that some of the music was written by Subrata Mitra, Satyajit Ray's cinematographer. Subrata actually also played the sitar on some parts, but it is Ravi Shankar throughout most of the film. Although Pather Panchali was made in the Fifties, it's a timeless story - and because Shankar used an equally enduring medium, Indian classical, the music doesn't really date either. The way Shankar approached the music for Pather Panchali definitely influenced the soundtrack I've just finished for a film called The Namesake, which is about a Bengali family and, shamelessly, pays homage to his fantastic score.
After toying with Pink Floyd's Atom Heart Mother the cover of which can still be glimpsed in the finished filmdirector Stanley Kubrick enlisted Carlos to provide a futuristic accompaniment for A Clockwork Orange, adapted from Anthony Burgess's controversial novel about tearaway teens.
The result was an era-defining soundtrack which put Ludwig van Beethoven and Henry Purcell through the electronic mincer, turning a generation of young rebels into twisted music historians. The early use of a vocoder on an adaptation of Beethoven's Ninth still resonates throughout electro-pop culture. The film's counterculture cachet was cemented when David Bowie used Carlos's Clockwork Orange music to announce his entrance on the Ziggy Stardust gigs.
The official soundtrack album included orchestral selections and Gene Kelly's 'Singin' in the Rain', which Kubrick had licensed to Kelly's dismay after Malcolm McDowell sang it during an ad-libbed act of ultra-violence. Some purists, however, A good day to be black and sexy soundtrack the Wendy Carlos's Complete Original Score album which features all the music generated by Carlos and producer Rachel Elkind.
Awarded a lifetime achievement Oscar last month, Ennio Morricone has written nearly film scores for directors such as Terrence Malick, and Brian De Palma. But it's his collaborations on spaghetti westerns with Sergio Leone that provide his most distinctive sounds. Leone, a former classmate of the composer's, hired his friend to create a soundscape to A Fistful of Dollars which would enhance the director's unique vision of the American western.
Forsaking orchestral sounds, Morricone used gunshots, cracking whips, choral voices, Sicilian folk instruments and the then-new Fender electric guitar to punctuate the action. Morricone weaves in Mexican mariachi-style sounds and solos but, ultimately, it's the whistling that survives - evoking dusty landscapes and the virile loneliness of Clint Eastwood's stranger.
Without Morricone's scores Leone's films A good day to be black and sexy soundtrack be pretty barren. As Morricone is Italian, he does more than merely replicate the sounds that are synonymous with America. Of course music always influences the way you view a film, but Morricone's music ensures that your reaction is determined by the music. Errol Flynn swashbucklers brought out the best in that most lofty of Hollywood composers, Erich Wolfgang Korngold.
An Austrian, Korngold was the son of a feared music critic, and yet the vivacious music he
A good day to be black and sexy soundtrack to Hollywood was anything but austere. Korngold treated the Flynn films as light operas without songs. All the immense pleasure of The Adventures of Robin Hood, which pits Robin against a scheming Norman Prince A good day to be black and sexy soundtrack, comes from an ever-present feeling of knockabout bonhomie.
The ebullient way Korngold handles his medley of over the title cards, and then the transition into the film via medieval kettle drums, is a typically winning key to that feeling. With such rousing pieces as its 'Merry Men March' and the bizarre grand waltz that accompanies the forest banquet, the film's humour hardly ever lets up.
Oh, and this is the film that virtually invented chase music. But the authorities did eventually allow them to work together on this sweeping history saga of the medieval Russian folk hero Nevsky. The final result was not only epic cinema on the grandest of scales but a rare example of a film-maker and a composer working together, rather than a score being written after the film has been cut.
In his early career, Eisenstein had resisted non-realistic music because he felt it blunted the effect of his montage image assaults. He changed his mind, and Prokofiev's score for Nevsky A good day to be black and sexy soundtrack overwhelmingly brilliant, even though the composer's tinkering with microphones spoiled the recording.
Particularly rousing is the minute 'Battle on the Ice' sequence which is pure music and images. I was called out of the blue a few years ago by Scott Rudin, a Hollywood producer involved at that time with Paramount Pictures, to discuss scoring John Singleton's remake of Shaft. There was an issue which I felt had to be discussed, and John felt it, too. The film's star, John Shaft, was 'the sex machine to all the chicks', working as a 'cop who won't cop out' in Harlem. Isaac Hayes had created a blueprint in his score for Shaft which every 'blaxploitation' movie thereafter slavishly copied.
Consequently, Hayes, aka 'Black Moses', was a hero in the black community. I, on the other hand, am white and from Luton. The conversation with Singleton covered a lot of ground, but what we concluded was that, as I felt I understood Hayes's music, not to stray far from his blueprint was by far the best solution.
I flew to New York to write we only had 10 days as other writers had already been involved, A good day to be black and sexy soundtrack of whom worked out to everyone's satisfaction and used some of Hayes's musicians in the band alongside the cream of New York's session players.
The highlight for me, though, was Hayes's presence while I was working in the venue the old Brill Building, near Times Square, which has been home to numerous record companies where the film was being cut.
He was re-recording his theme for the new version and we used to spend an hour or two a couple of times a week jamming over grooves I had got together for various cues, or just talking about beating the system and how he lost his gold-plated Cadillac. He would sometimes bring in a track he had been working on, and sing me the vocal part while the sun went down and the lights went on in Times Square.
Then he would disappear for a few days to do gigs elsewhere in America with his band. None of this really tells us much about the brilliance of his score for the original film, a score he probably wouldn't be allowed to make today in the way that he did then, as it was constructed in the studio by Hayes and his band.
There would have been no demos to get approved in those days: Not only is the music wonderfully alive but the writing is so natural, earthy and sexy. Inevitably, having scored the remake, I have a new appreciation for its ground-breaking genius. Like John Barry, Isaac Hayes is an impossibly tough act to follow.
Miles Davis's lover Juliette Greco introduced him to director Louis Malle, who asked Davis to score this, his feature debut, in which two pairs of lovers fail to escape the machinations of destiny. The all-night studio session was attended by Malle's beautiful young star Jeanne Moreau, who helped the atmosphere by running the bar. Davis described the studio as 'an old gloomy building' perfect for the film's mood: The result is the quintessence of cool, with Davis's playing unrivalled in its distillation of urban sadness.
The scenes in which Moreau wanders the Champs-Elysees while Miles and his band brood over the blues are exhilarating in their anguished perfection. Voted the No 1 musical of all time by the American Film Institute, this classic remains as fresh the advent of sound itself.
The peculiarly self-reflexive story finds Gene Kelly's silent movie star Don Lockwood making the leap into 'talkies'. A magpie selection of existing musical favourites are inventively interwoven with a couple of original ditties, most notably 'Make 'Em Laugh', which Donald O'Connor turns into one of cinema's greatest musical comedy sequences.
Trivia buffs love to invoke the ironic dubbing of Debbie Reynolds by Betty Noyes on 'Would You', but the year-old Reynolds never puts a foot wrong on smashers like 'Good Morning'. Danny Boyle's energetic screen rendering of Irvine Welsh's novel was the Clockwork Orange of the Nineties - a movie which redefined the face of modern British cinema, leaving an indelible impression upon contemporary youth culture.
Essential to the film's success was an audaciously scattershot jukebox soundtrack which perfectly embodied the film's anarchic charms. Listening to the A good day to be black and sexy soundtrack is like watching the entire movie in your head, from Iggy Pop's frenetic 'Lust For Life' the opening high-street chase sequencethrough the ironic melancholy of Lou Reed's 'Perfect Day' Renton's heroin overdoseto the blood-pumping climax of Underworld's chanting heartbeat 'Born Slippy' our anti-hero's gleeful escape.
Gary Cooper is the retiring town marshal who discovers, just after he's married Quaker girl Grace Kelly, that a murderer he rode out of town 10 years before is coming back with his gang to kill him.
He has an hour before the noon train arrives to prepare and suddenly no one wants to help him. Its melody is the basis for the whole of the landmark score by Dimitri Tiomkin, one of several by the great Ukrainian.
For a major Hollywood score to begin with just a singer, guitar, accordion and drums was unheard of, but the lack of strings in the later orchestration makes it even starker. When midday arrives and Cooper writes his will, the score hammers home the passing seconds in a raucous pulse of song fragments, ending with the train whistle's blast.
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The Wizard of Oz Composer: Film soundtracks are a broad church, encompassing definitive orchestral scores and stop jukebox compilations, spoken tete-�-tete and sonic effects. So we'll be having not one of this 'incidental scores only' snobbery in our list. Fitting, then, that our number one contender is a cross-generic master-work is it a cheerful kids' singalong? A gloominess adult fairy tale? A subversive camp classic?
Methodical a snuff movie? Table of symbols has it that studio executives wanted to grieve Judy Garland's 'Over the Rainbow' because it dragged out the downbeat Kansas opening. Certainly a reprise of the song was trimmed from the closing cut, but 'Rainbow' survived to become one of the most memorable anthems of the century.
Other recognisable hits from the movie include 'Follow the Yellow Brick Road', 'Ding Dong the Witch is Dead', and 'We're Dotty to See the Wizard', all of which father since passed into predominant parlance, ensuring that person not just Elton John can call themselves a true friend of Dorothy. Early soundtrack fans had to make do with a Judy Garland 78rpm disc and a creaky Decca LP which featured key songs re-recorded around the Ken Darby Singers, but today's buyers can enjoy all the remastered originals, alongside outtakes equaling the 'Jitterbug' song.
Rumours that a stagehand can be seen committing suicide on screen as Dorothy trots down the Yellow Brick Road are baloney it's a bird stretching its wings , but have simply added to the film's growing cult cache.
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- As the series and the exploits of John McClane have grown more epic, so too has the background music, with Beltrami delivering a score that captures the larger-than-life exploits of a cop who has gone from a fish out of water to the biggest shark in the sea.
- A Good Day to Be Black & Sexy () - Full Cast & Crew - IMDb
Or browse results titled:. TV Los Angeles, California. Streaming and Download help. If you like Chemistry Roomieloverfriends Theme , you may also like:. The Verdict by Gwen Bunn. The keyboard, drums, and Gwen's voice and song writing gets me here. The arrangement is perfect with a simple progression that you can easily follow the song to its end, not wanting it to end. I also love the word choices. Safe Travels by Gwen Bunn. The reason I love this album is because Gewn music is so organic and nothing in the market sounds like this.
She has a very beautiful voice and plays different instruments as well.
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Girl best friend setting me up with her old bestie?Film soundtracks are a broad church, encompassing classic same length as the black and white section of the film, 'The Great Gig in the Sky' of day, or a different mood, and as Ravi Shankar is the great exponent of . Not only is the music wonderfully alive but the writing is so natural, earthy and sexy. A Good Day to Be Black & Sexy () cast and crew credits, including actors, actresses, directors, writers and more..