CD Review: VICTOR YOUNG AT PARAMOUNT soundtrack

By DANIEL SCHWEIGER 06/02/2014
VICTOR YOUNG AT PARAMOUNT soundtrack | ©2014 Kritzerland Records

Kritzerland continues to mine for golden age soundtracks in the Paramount peak, doing impressive sonic excavations on many gems well past five decades old (practically pre-history in soundtrack terms nowadays), no more so than in their compilations celebrating fairly obscure work by composers during their tenure with the studio. Now Kritzerland follows up their “Franz Waxman at Paramount” album with this triptych featuring Victor Young, the prolific, and manly-sounding composer of over two hundred soundtracks (THE QUIET MAN and AROUND THE WORLD IN 80 DAYS among them) whose nevertheless best remembered tune today is the eternal song “When I Fall […]Read On »


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CD Review: AUGUST OSAGE COUNTY soundtrack

By DANIEL SCHWEIGER 04/17/2014
AUGUST OSAGE COUNTY soundtrack | ©2014 Sony Classical

The STEEL MAGNOLIAS formula gets an edge in Tracy Letts’ dysfunctional Oklahoma family fireworks. It’s an explosive all-star duel of acting drawls that gets served up with an unexpectedly subtle throw-down soundtrack, serving up a tasty mix of southern rock tunes and evocative scoring. On the first count, there’s a dreamy mix of guitar and strings to Bon Iver’s “Hinnom, TX,” while an unplugged Kings of Leon strums a longing “Last Mile Home.” John Fullbright delivers the blues-rock of “Gawd Above,” while JD & The Straight Shot’s gentle “Violet’s Song” evokes the defiant family ties that bind. Even Sherlock Holmes […]Read On »


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CD Review: THE WOMAN IN BLACK soundtrack

By DANIEL SCHWEIGER 03/11/2012
THE WOMAN IN BLACK soundtrack | ©2011 Silva Screen Records

When horror connoisseurs think back on the classic legacy of Hammer films, they’ll usually envision creatures prowling amidst haunted, Gothic abodes on dark and stormy nights. The musical equivalent to these memorable images was equally as atmospheric, as such Hammer “house” composers as James Bernard (HORROR OF DRACULA), Benjamin Frankel (CURSE OF THE WEREWOLF) and Harry Robinson (TWINS OF EVIL) applied melodically fearsome orchestral strains to the studio’s old-school terrors. However, it’s not like Hammer didn’t thrust their monsters into the modern age with equally contemporary scores, a creative attitude that’s typified the studio’s recent rebirth through such pictures as […]Read On »


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