The songs blasting out of their car stereos suggest otherwise. The 40 Greatest Movie Soundtracks of All Time, Amanda Gorman Geeking Out Over James Corden Won Late Night This Week. Joshua Bassett has voiced his support for his rumored girlfriend’s new song. “They’d feel good, maybe,” drawls the Boss. “But you’d feel better.” Here is the ultimate fantasy of music fandom: the artists you love speaking directly to you, about your problems, at the expense of everyone else in the world. Frozen 2 (Original Motion Picture Soundtrack) Various artists. It’s hard to go wrong with just about any soundtrack from just about any Spike Lee joint: the go-go heavy School Daze, the Public Enemy–anchored Do the Right Thing, Stevie Wonder’s Jungle Fever, Prince’s Girl 6, and so on. Cynics would say that the big bosses back then crushed the original outlaw spirit that defined American filmmaking in the ’70s. Picking the … Once again, he scrapped almost all of the score that had been written for his new film, The Shining—this time by synth innovator Wendy Carlos, who had been essential to A Clockwork Orange, and producer/vocalist Rachel Elkind—and used only snatches of their work. The music also struck a nostalgic chord in the audience, which would keep reverberating throughout the decade, affecting the kind of stories Hollywood would tell and the kind of tunes they’d set them to. It’s impossible to talk about the marriage of movies and pop music without mentioning the Beatles, whose films A Hard Day’s Night, Help, and Yellow Submarine influenced cinema, television, fashion, the counterculture … you name it. It’s not essential to understand the fine distinctions between “house” and “garage” and “jungle” to enjoy all the swift tempos, bumping beats, soulful voices, and spare samples on Eden’s score. Sonic Youth and Cypress Hill, “I Love You Mary Jane”, The Velvet Underground, “Oh! Black Panther – Ludwig Göransson. The phenomenal sales for the soundtrack and the “Mrs. 4.8 out of 5 stars 1,419. Maybe these kids missed the rebellious ’50s and the radical ’60s, but the beatniks, hippies, and early rockers who came before them at least cleared the way for them to smoke dope all day and listen to Foghat, Alice Cooper, and ZZ Top. In between typically Tarantino-friendly songs like Nancy Sinatra’s “Bang Bang” and Johnny Cash’s “A Satisfied Mind,” the movies and their scores borrowed freely from the work that composers like Ennio Morricone and Luis Bacalov had done for old spaghetti Westerns and thrillers. But the album is wall-to-wall classics, including “The Fool on the Hill,” “I Am the Walrus,” “Hello, Goodbye,” the title track, and the contemporaneous singles “Strawberry Fields Forever” and “All You Need Is Love.” The latter two weren’t in the movie itself, but they corroborated what the band was up to musically at the time, marrying timeless melodies to potent trippiness. I think for a while there was a lull where soundtracks weren’t as hot or sexy but now, the music industry’s coming back. Wakanda is a zany idea, and in Kendrick and co.’s hands, it almost feels real. Side two mixes light jazz and soft soul, rounding out the record’s — and the movie’s — air of sophisticated romance. Flaming Lips, Wilco, and Ween are on it, and I got this kooky band from Japan on this great fucking soundtrack. Anchored by some of the titans of the early West Coast hard-core scene (Black Flag, Suicidal Tendencies, Circle Jerks, Fear), this soundtrack is at once a primer on one of the major punk scenes, and a collection of songs so tuneful and witty that it proves even severe-looking people with piercings and shaved heads can have a sense of humor. Oh, she’s the worst part. Photo: Twentieth Century Fox, Warner Home Video, Gramercy Pictures and Walt Disney Studios Motion Pictures. The 40 Greatest Movie Soundtracks of All Time 1. But unlike the “grinding metal meets bro boasting” format that would become commonplace in the late ’90s, Judgment Night put some unlikely collaborators in the studio together: De La Soul with Teenage Fanclub; Sir Mix-A-Lot with Mudhoney; House of Pain with Helmet; and Cypress Hill with both Sonic Youth and Pearl Jam. Why? TV Shows. –Sean T. Collins. These are the people who find songs and secure their usage in films, which means they likely played a huge role in shaping your music taste today. Because of his rep, expectations were low for what turned out to be Lucas’s breakthrough film: an elliptical ensemble piece, set in small-town California in 1962, scored to an unceasing stream of early rock and doo-wop hits. “You Shook Me All Night Long,” “Hells Bells,” “For Those About to Rock” … these are staples of classic-rock radio and sports arenas, and a signal from King that his movie about killer trucks is meant to be good, dumb fun. The soundtrack is an uplifting and joyful ode to black women’s power and love, especially for themselves. The movie and soundtrack made a star of leading man Jimmy Cliff, whose wiry energy and raspy voice connected cross-culturally. Seems like a hard ask during quarantine, but we’ll keep our eyes peeled. To cover as much ground as possible, I limited filmmakers known for their great soundtracks (like Spike Lee and Sofia Coppola) to one entry each. Shaft established a busy, soaring sound that countless movies and cop shows in the ’70s would emulate. What would the movies be without music? Already a subscriber? George Lucas’ film unfolds over one long night at the end of summer 1962, as high school kids cruise around the streets of Modesto, California, with the radio on, thinking about their futures. Who would’ve expected that a message from the genre’s future could be transmitted via some clumsy B movie? ... (Original Motion Picture Soundtrack) Various artists. Rachtman, who now runs her own music supervision firm, Mind Your Music, and lives in New Zealand, called Pitchfork to talk about career hangups, convincing musicians to participate in scandalous scenes, and one unforgettable dream meeting. (Saturday Night Fever is another, as well as The Bodyguard.) Instead, what you’ll mostly find below are song-driven soundtracks that had significant cultural impact, in various ways: by becoming best sellers; by introducing (or reintroducing) songs to heavy radio rotation; by summarizing entire musical subgenres; or by helping to create singular cinematic moments. When Scorsese’s generation took over Hollywood at the end of the 1960s, they carried Anger in their hearts and minds. SOB X RBE perform as rowdy anti-heroes; Future villainously celebrates his sexual conquests with giggly scats; Zacari and Babes Wodumo resolve conflict through sensual dance. There was some great music in the later Star Wars movies, but the tone and style can all be traced back to the first film, which has one of the best soundtracks in movie history. That’s the rough tally of international sales for the Dirty Dancing soundtrack: a surprise smash, accompanying a modest period romance that itself became a much bigger hit than anyone expected. The hits they hear—by Buddy Holly, the Beach Boys, Frankie Lymon & the Teenagers, and Chuck Berry—are presented by Wolfman Jack, the legendary disc jockey hosting the show they’re all glued to. But Mo’ Better Blues may be the score that’s closest to Lee’s heart. Photo by Johnny Louis/FilmMagic. #2. I had to show Harry the film, so I got to meet Harry Nilsson. Both the film and its score document an era when the eccentricities of early-’90s music were straightened out and floated into the mainstream, and both make the case that even something blatantly commercial can still be meaningful to the people who buy it. Judgment Night is a forgettable film about a drug-related murder, but its soundtrack maintains a deserved infamy thanks to its peculiar but effective pairing of rappers and rock groups. The clichéd crime drama Belly is marginally fascinating today, if only for the way that writer-director Hype Williams tries and mostly fails to translate his flashy music-video style to the big screen. With no new music written specifically for the film (other than Jack Black’s in-character rendition of “Let’s Get It On”) it reintroduced the idea of the soundtrack as a lovingly crafted mixtape, a trend that extended toward Garden State and beyond. CN Entertainment. Tarantino even resurrected the title theme from the Japanese crime picture New Battles Without Honor and Humanity, turning it into a ubiquitous stadium anthem. Check out the best movie soundtracks of all time. His outsider’s ear for both the then-booming British folk scene and its ancient antecedents made the music he composed the ideal mirror for such a twisted journey. A lot of that had to do with songs like Patrick Swayze’s “She’s Like the Wind,” Eric Carmen’s “Hungry Eyes,” and Bill Medley and Jennifer Warnes’s Oscar-winning “(I’ve Had) The Time of My Life,” all of which sacrifice ’60s authenticity for contemporary snap. A big part of the marketing has been focused on the music, with videos of performances by Cooper and his co-star Lady Gaga quickly going viral, well before the film’s release. Among them, music supervisors are an essential and undersung part of process. Have you heard the soundtrack for The SpongeBob SquarePants Movie? All the Celebrities Who Have Received the COVID-19 Vaccine, Artist Daniel Arsham Invites You to His ‘Signature Decay’. As a 1960s scientist turned cooking-show host. The film’s entertaining, but kind of ridiculous, given that it features the songs and live performances of an artist so on top of his game that only a stubborn dolt could deny his awesomeness. One of the movies that signaled a shift in Hollywood toward youth-oriented A-list productions, The Graduate used music that appealed both to kids and their parents, shifting easily between Dave Grusin’s traditional orchestral swing and the winsome folk-rock of Simon & Garfunkel. In addition to the Memphis trio, Juvenile, T.I., and Taraji P. Henson all contribute to the soundtrack. American Graffiti’s soundtrack itself has a yearning eloquence: The two-LP set consists of the songs featured in the film in the order they appear, and it retains Wolfman’s intros and hepcat patter. In addition to sounding of-the-moment with its fresh Steppenwolf and Byrds cuts, Easy Rider just felt more organic than the soundtracks that preceded it — more like something the film’s characters would actually be listening to. Make no mistake: The Bodyguard has the biggest-selling soundtrack of all time (an estimated 42 million copies sold worldwide) because of Whitney Houston’s peerless recording of Dolly Parton’s “I Will Always Love You,” which spent 14 consecutive weeks as Billboard’s No. It has a better reputation now, but when Empire Records was released in the mid-’90s, it bombed at the box office and underwhelmed critics, who pegged this “day in the life of a record store” dramedy as a cynical attempt to polish and sell the post-Nirvana alt-rock scene. At its heart, Paul Thomas Anderson’s Boogie Nights is a smart-ass cinematic prank, answering the question, “What if a filmmaker applied the sweeping, emotionally intense, visually dynamic storytelling of Goodfellas to a movie about porn?” The soundtrack is part of that joke. You\'ll receive the next newsletter in your inbox. It’s such a cute scene, but then the record company chose a reggae cover of it. In the case of Quentin Tarantino, I got to put in my two cents on Reservoir Dogs and Pulp Fiction. Coppola’s previous soundtracks for The Virgin Suicides and Lost in Translation were similarly hooky and foggy, but Marie Antoinette is the finest example of how the director uses music to add dimension to her characters and setting. All the Live Events, Movie Releases, and Productions Affected by the Coronavirus, Here Are All the Movies Delayed Because of the Coronavirus. Audio CD. When writer-director John Carney’s shoestring indie drama Once debuted at Sundance in 2007, Glen Hansard was just an Irish singer-songwriter known to a handful of rockists diligent enough to be aware of his band the Frames. An enduring entry among the best film songs of all time, ‘High Hopes’ was Grammy-nominated and also won an Oscar for best original song. A look at his new gallery show of old-looking things. One of the most beloved movies of the late ’60s — and a Best Picture Oscar winner to boot — Midnight Cowboy is also a detailed report on how the era of LSD and free love played out in a grimy New York City, where harder sex and drugs were more popular than the happy hippie kind. Still, what makes this an essential document are the Ramones songs: the jet-fueled title track, the swinging retro-ballad “I Want You Around,” and an 11-minute live medley that preserves the stage presence that made this band into rebel heroes. The soundtrack was a costly extravagance that Universal Pictures initially balked at — but it turned out to be one key to the movie’s stunning success. Back in 1963, the underground artist and puckish provocateur debuted his movie Scorpio Rising, a 30-minute barrage of erotic imagery and American iconography, scored to unlicensed rock and R&B songs by the likes of Elvis Presley and Ray Charles. Sitting at the bedside of Rob Gordon—the film’s record-collecting hero, played with mopey, proto-Seth Cohen narcissism by John Cusack—a muscled ’90s Bruce rips uncharacteristically bluesy riffs on his guitar and gives questionable advice about getting back in touch with your exes. #1. His theme song won an Oscar, and his album — the first double LP from a soul act — won multiple Grammys. Here, we compiled a list of the 28 best movie soundtracks. Sex is a frequent topic for the film and music, rendered in forms both profane (the absolutely filthy drinking song “The Landlord’s Daughter”) and sacred (“Willow’s Song,” the set’s dirty-minded but gorgeous standout). Fans would counter that the product that came out of this era — the toys, the comics, and yes, the albums — was so well-made that it justified the sell out. It is presented to the songwriters who have composed the best original song written specifically for a film. The Oscar-nominated song “Beautiful Maria of My Soul” — performed in English by Los Lobos and in Spanish by Antonio Banderas — is probably the best-remembered part of the non-hit movie adaptation of Oscar Hijuelos’s novel The Mambo Kings Play Songs of Love. One day when I was really depressed, I remember saying to myself, “It’s OK, Karyn, one day you’re going to meet Harry Nilsson.” Then I was doing Reservoir Dogs and Quentin didn’t have an end title song. advertisement. With contributions from Jay-Z, Nas, DMX, D’Angelo, and several members of the Wu-Tang Clan — all either at the height of their creative powers or just about to be — the Belly album catches East Coast rap’s move toward harder edges, starker lyrics, and more sophisticated musical arrangements. But Luhrmann then intensifies the anachronism by having his star-crossed lovers (played by an impossibly young and sweet-looking Leonardo DiCaprio and Claire Danes) smooch and swoon to posh songs like the Cardigans’ “Lovefool” and Des’ree’s “Kissing You.” The soundtrack went triple-platinum in the U.S., signaling pop culture’s move away from gruff grunge and toward danceable romanticism with a synthesizer sheen. However they were the first band to create an album you’d want to listen to from start to finish, and which could be played without necessarily having seen the film. It’s impossible to do. At a time when other ’80s high-school movies were pepped up by jangly college-rock and bouncy British synth-pop, River’s Edge leaned on the bludgeoning sludge of Slayer, Hallows Eve, and Fates Warning. Cameron Crowe started writing the movie that would become Singles not long after he moved to Seattle, where the former Rolling Stone reporter was immediately impressed with the then-underground music scene. Just grab a glow stick and hit the floor. Purple Rain (1984) 5. The Power of Love " from Back to the Future , Huey Lewis and the News. By the time Quentin Tarantino made his fourth and fifth films, fans pretty much knew what to expect from his soundtracks: a couple of half-forgotten pop hits, some classic R&B, a few obscure garage-rockers, and snippets of dialogue. It’s funny that this expansion occurs through a historically corny comic book character now owned by Disney, but that odd backdrop isn’t taken for granted. Paul Thomas Anderson came to me because he wanted to make sure his vision for Boogie Nights was delivered and that he got the songs he wanted. Now, I’m really appreciating the daily mixes on Spotify, even though I always prided myself on being that person who digs through crates. It’s perhaps the ultimate compliment to a filmmaker when his or her style becomes so well-known that it can be parodied … right down to the soundtrack. $10.38. The 2000 film succeeds by blending old-school favorites (the Kinks, Elvis Costello, the Velvet Underground) with some of the previous decade’s most promising newcomers (Smog, Stereolab, Royal Trux). A great soundtrack often transcends the film it first appeared in, whether it was comprised of pre-recorded songs by known artists, or original tracks that went on to become long-lasting hits. Sometimes, you selectively leave things out. Then this story of an amateur street musician — meeting a woman (played Markéta Irglová) who inspires him to record a demo — so moved audiences that Hansard and Irglová’s songs “Falling Slowly” and “When Your Mind’s Made Up” became radio hits and won major industry awards, before going on to anchor a Broadway musical version of the film. The movie ends in the pouring rain while the entirety of Roy Orbison’s “Crying” plays, as a mute boy wearing bunny ears gets kissed in a pool and then holds up a dead cat as a prize for the audience. Or rather, three someone elses, as Three 6 Mafia won the Oscar for Best Original Song. These songs mostly date from the mid-to-late ’50s, so by ’62, for the characters in the film, they already carry the ache of time gone by. Though directors are often given sole credit for a movie’s soundtrack, many people help bring music to the big screen. AC/DC has never released a proper “greatest hits” collection, but their album Who Made Who — featuring new and old songs that the Aussie hard-rockers let Stephen King use in his lone directorial effort, Maximum Overdrive — comes closest. The film became a blockbuster, and its soundtrack became the disco album that even people who’d never been to a club had on their shelves. Over the last 30 years, Karyn Rachtman has brought her taste and business savvy to some of the most iconic soundtracks of all time: Clueless, Pulp Fiction, Reality  Bites, Romeo + Juliet, Moulin Rouge!, and Boogie Nights, just to name a few. But the gold-selling soundtrack’s lively revival of mid-20th century Latin jazz (with an emphasis on Puerto Rican and Cuban styles) is an outstanding intro to the genre, and caught the ears of a wider audience a few years before the Buena Vista Social Club became an international sensation. (We're excluding musicals from both lists, as they feel like a different category entirely.). Subtle yet sweeping strings float behind, a far cry from Barry’s bold, striking stringwork in “The James Bond Theme”—instead they appear here as a ghostly presence. A mix of kitschy novelty numbers (like Walter Murphy’s “A Fifth of Beethoven”), ’70s pop classics (The Trammps’ “Disco Inferno”), and some of the Bee Gees’ best dance numbers, Saturday Night Fever spread the disco craze across the country and the world, popularizing the music to such a degree that in the years that followed musicians who wanted to sell records were all but required to give their songs a thumping beat. The results weren’t always especially musical, but they did demonstrate refreshing openness and imagination. Disco was mostly a niche genre before youth-savvy multimedia impresario Robert Stigwood produced a movie about rough-hewn working-class New Yorkers, enjoying moments of grace and self-expression on the dance floor. Australian filmmaker Baz Luhrmann loves the big emotions and unapologetic artifice of old Hollywood movies and Top 40 music; so throughout his career he’s been unafraid to score scenes with catchy tunes, even when they may seem on paper like a mismatch. Before this soundtrack, Kendrick Lamar’s vision of Africa was vague. Jason Reitman and Diablo Cody’s quirky dramedy about a misfit teenager who finds herself two months pregnant and decides to have and adopt out her baby gets a lot of things right. Is Sabrina Carpenter’s New Song ‘Skin’ Her Response to ‘Drivers License’? On record, Superfly is an almost overwhelming listening experience, with lush strings and polyrhythmic percussion defining funk at its most sophisticated. Before his whole life and career became all about Star Wars, George Lucas was known around Hollywood as a nerdy cinephile with artsy, experimental inclinations — more of a Kenneth Anger than a Steven Spielberg, in other words. The resurgence of vinyl helps. Then Dennis Hopper and Peter Fonda decided to dedicate a big part of their Easy Rider budget to licensing the popular acid-rock songs that their editor Donn Cambern was at first just using as a temporary score. As in, sing along to almost every scene, good. One of the bleakest movies ever made about American teenagers — following a bunch of small-town burnouts conspiring to cover up a murder committed by one of their friends — is accompanied by one of the harshest soundtracks ever recorded. But the two Kill Bill movies were designed to show that Tarantino could tell stories torn from the heart of pulp fiction, not just the margins — and their soundtracks, too, were an expansion of the filmmaker’s palette. The team’s boldest work mostly eschews pop music (aside from a few dreamy oldies) in favor of passages from avant-garde classical composers. The music’s mostly pretty and mostly danceable, but is underlaid throughout with a sense of worldly danger. It’s hard to skip over Shaft or Superfly, even though they were created by single artists, exclusively for those projects. Credit also the way this “awesome mix” is used in the actual movie: as the last remaining bond between a star-hopping rogue and the late mother who taught him to love the hits. Stay tuned for the best original scores list later in the week. More than just a collection of tunes that were featured in the movie, this soundtrack aims to recreate the whole experience of the latest A Star Is Born, with dialogue snippets and multiple versions of the same numbers, just like in the film. Here are the 20 best-selling movie soundtracks of all time—many of which have been on the list for decades. 1. Sofia Coppola’s best film makes analogies between privileged royals and overexposed, misunderstood 21st-century celebrities. True connoisseurs tracked down the score for Wild Style, put together by Blondie guitarist Chris Stein and entrepreneurial MC “Fab Five Freddy” Brathwaite, with writer-director Charlie Ahearn. The album itself is plenty cinematic. Menu. In these 18 movies, the music integral, sometimes even overshadowing the visuals with a masterful compilation. A film about Scottish heroin addicts shouldn’t feel as full of life as Trainspotting does. Every now and then, writer-directors Joel and Ethan Coen make a movie that reaches a wider audience, even though the brothers themselves hardly ever change much about their offbeat style or personal preoccupations. When sound and vision meet, transcendence ensues. The images of a soul-sick Dustin Hoffman — playing a bright young man not quite ready to be a grown-up — set to pretty, melancholy songs like “Mrs. Blame Kenneth Anger. Shaft (1971) 4. Surprisingly, among tracks from Pearl Jam, Alice in Chains, and Soundgarden, it’s “Dyslexic Heart” by the Replacements’ Paul Westerberg that stands up as the most memorable—his “na na na” refrain is probably the one that's been stuck in your head for the past 27 years, and deservedly so. Once, and, yes, A Star Is Born), though in order to avoid making this list too unwieldy, I’m excluding straight-up musicals. –Mark Richardson, When one of the most famous songs in “Portlandia” refers to the “dream of the ’90s” being alive in the Pacific Northwest, they’re singing about the dream of Singles. Many are sharing their best King clips on Twitter. Ad Choices. Credit director Danny Boyle, screenwriter John Hodge (adapting Irvine Welsh’s novel), and a set of songs that exemplifies wastrel cool. 4.8 out of 5 stars 6,509. I didn’t even have the job and I was on the phone begging and pleading Stealers Wheel members Joe Egan and Gerry Rafferty to let us use it. Harry Nilsson means everything to me. Songs like “Rivers of Babylon” and “You Can Get It If You Really Want” were easy on the ears, no matter how askew their tempos. The soundtrack too plays with the sounds of the city and the times. With updated release dates where available. Like its hero, a Scottish police sergeant trying to find a missing girl in a pagan community, the New York musician Paul Giovanni was a stranger to the old Celtic folkways he was hired to investigate for Robin Hardy’s haunting horror film. The Black Panther soundtrack gives such ideas more life and dimension, rooting them in the voices and sounds of a fuller African diaspora. Imagine Do the Right Thing without Radio Raheem’s blaring boombox. In the ’80s, writer-director-producer John Hughes hit upon the perfect formula for teen-movie gold: Tell familiar stories about popularity and romance, set to music so hip that even high-school weirdos became fans. Use of and/or registration on any portion of this site constitutes acceptance of our User Agreement (updated as of 1/1/21) and Privacy Policy and Cookie Statement (updated as of 1/1/21). Linking artists from Canada, California, South Africa, and the United Kingdom, Kendrick renders blackness as global and multifaceted. Broadcasting Legend Larry King Is Dead at 87. “Let’s Go Crazy,” “I Would Die 4 U,” “Baby I’m a Star,” “When Doves Cry,” “Purple Rain” … there’s a reason why these songs turned Prince from a pop oddball to a culture-pervading superstar. On it, producer-songwriter Babyface assembled an Avengers team of the most powerful and graceful women in R&B, relaying the film’s themes of female empowerment, individuality, and kinship. All that’s missing is a hot rod. (2000) 6. Rushmore (1998) 10. Best Original Soundtrack. I took a big break from doing soundtracks and I’m back in it now. But just about every modern musical genre is represented, from hip-hop to grunge to avant-garde classical. By the time Crowe finished the film, his friends in bands like Soundgarden, Pearl Jam, and Mudhoney were some of the biggest rock stars in the world. That was a pivotal moment in my life. Celine Dion's ultra-treacly ballad, which... 32. " The winning performances of Tito Puente, Celia Cruz, and Arturo Sandoval helped sell that tale. Between 1983 and 1987, pretty much every year featured a mammoth soundtrack: Flashdance, Top Gun, Dirty Dancing … and the king of them all, Footloose, which stacked up six Top 40 hits, all recorded for the film. The art-house prodigy supposedly cast his debut film in less than an hour “out of, like, Burger Kings and slaughterhouses,” which gives Gummo a very Cassavetes-covered-in-rats feel, and its soundtrack further carved out a niche for Korine’s sublime, nihilistic worldview. (Sorry, Disney; sorry, MGM; sorry, Grease.). $9.49 #18. The Harder They Come (1972) 7. In the ’80s, Hollywood studios became multimedia conglomerates, working synergistic deals with other corporations to deliver not just movies, but marketing opportunities. If nothing else, the baby-boomer fave The Big Chill was responsible for what would become one of the biggest Hollywood cliches of the ’80s and ’90s: the scene of joyful middle-aged folks bopping around their house to a well-loved pop oldie. I was very involved in Clueless but it was very much [writer/director] Amy Heckerling. Like in Reality Bites, you know when they’re sitting in the car and they’re singing “Baby, I Love Your Way” by Peter Frampton? (The following list is based on RIAA certified units). Thanks to the Beatles and The Graduate, the rock movie soundtrack had developed a kind of formula by the end of the ’60s: mostly performed by single artists, relying on a mix of old hits and new recordings, padded out with some novelty tracks and instrumental filler. From Black Panther to Clueless, Dazed and Confused to Purple Rain, the music that has defined modern filmmaking. –Matthew Schnipper, Listen: Sonic Youth and Cypress Hill, “I Love You Mary Jane”. Like for Reservoir Dogs’s ear-cutting scene, I would hype up the movie, then if it’s anything that might turn off the publisher or the record company or the artist, you explain the best you can. During the Warhol party scene, the psychedelic rock of Elephants Memory (who later became John Lennon and Yoko Ono’s backing band) adds another dimension to a soundtrack that is as eclectic as it is singular. © 2018 Condé Nast. There are some great TV soundtracks now, like “Russian Doll,” which uses Harry Nilsson’s “Gotta Get Up” many times. The songs tell a story, about the different ways of retaining some personal expression within the soulless behemoth that is the modern American recording industry. The hero’s dramatically self-conscious persona is reflected in the film’s music: a set of ’60s British Invasion deep cuts that make the whole picture feel displaced from time. Which just goes to show: Who needs a big budget when you’ve got great tunes? The real-life mashups of Sonic Youth and Cypress Hill, Biohazard and Onyx, Slayer and Ice-T were seedy, gruff, and electrifying upon release—but mostly, the overall effect was abrasively odd, heavy with middle-school anarchist lyrics like, “Chaos, chaos, chaos, chaos/Don’t give a fuck!” The soundtrack is like a time capsule from an alternate universe, and you can credit (and blame) it, in part, for rap-rock.

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