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The Lord of the Rings: The Return of the King

This final chapter of Peter Jackson's sprawling adaptation of Tolkien's "Ring" trilogy closes out one of the most accomplished cycles in cinema--and film music--history. As he's done for the saga's first two installments, composer Howard Shore has honed a mature, brooding orchestral masterpiece that's long on subtle shadings of mood and nuance, while eschewing the hollow bombast that's characterized all too many mainstream action and adventure films for three decades. If anything, he's pared this chapter of his music for Middle Earth even closer to the bone, the trilogy's familiar themes repeated with a sparing hand that only heightens their dramatic power. Like Herrmann before him, Shore has a preternatural understanding of orchestral timbres and their almost mystical connections with human emotions, and he's used it here to close out this remarkable trilogy with Wagnerian dramatic sweep, yet one with a distinctly modern, understated melodic sense that is Shore's alone. James Galway and Renee Fleming make key instrumental and vocal contributions, respectively, while Annie Lennox's soulful "Into the West" makes the expected, if unobtrusive, bow to the theatrical pop song conventions. --Jerry McCulley

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Futures

Enhanced;

Soundtrack;

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Customer Review:

LOTR:ROTK - as awesome as the others

I may be prejudice, but I love EVERYTHING about the Lord of the Rings movie trilogy. This CD of the soundtrack is no exception. Howard Shore's music is so evocative of the action in the films that I can relive the action just by listening to it. And the vocal piece which won the Academy Award is as deserving as all of the other 10 awards the movie won (and we all know the clean sweep was for the mamouth effort of the entire series and not just for ROTK, for heaven's sake!)

The end to some of the best soundtracks ever composed

With The Return of the King soundtrack, Howard Shore delivers a stunning masterpiece of a finale. There is great, epic music on the CD that almost makes you a part of the movie.

There is plenty of new music here in addition to some new variations. Most notably, is the Minas Mourgal music which is played at a blaringly fast pace that is quite creepy. The best epic track is "The Fields of the Pelennor." Included is the amazing music from the charge of the Rohirrim that is sure to send a shiver down you back. The final tracks do a great job of conveying the sadness of the Fellowship breaking up and Frodo leaving. The final track performed by Annie Lennox is a very nice way to end the final score to the great trilogy.

Howard Shore has composed three amazing, unique scores that are sure to be some of the best soundtracks you have ever heard.

Is all this music in the movie?

I enjoy this soundtrack, but I wonder whether it has different orchestral versions of various pieces than those that are in the movie. I especially love the strong beautiful theme (maybe the Gondor theme but I don't know) that comes in at 2:36 on Track 4, The White Tree. I figure from its placement that that music must occur when Gandalf and Pippin enter Gondor. I've watched that scene several times, and it has only a softer, weaker version of that theme. So my question is, does that specific 30 seconds or so appear in the movie, and if so, where? Thanks for any help.

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Keywords: Film; Film Music; Original Score; Pop; Soundtrack; Soundtracks & Film Scores;

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That's What I Say: John Scofield Plays the Music of Ray Charles

Although sure to be criticized for cashing in on the Ray Charles bandwagon, jazzman John Scofield’s 2005 tribute release is also one of the most varied yet successful albums in the guitarist’s extensive catalog. Shifting from a big band/multi-vocalist approach for the classic "What’d I Say" featuring an all-star lineup of Dr. John, Warren Haynes, Aaron Neville, John Mayer and Mavis Staples trading verses (they all also take solo vocals on other tracks), along with longtime Charles saxist David "Fathead" Newman, to the lone guitar rendition of "Georgia on my Mind" that closes the disc, Scofield celebrates both Charles’ music and his eclectic approach to it. The stripped down instrumental version of "Crying Time" with only funereal organ accompaniment is perfectly offset by the following gospelized reading of "I Can’t Stop Loving You," brought home by Mavis Staples’ explosive vocal. Teen throb John Mayer acquits himself admirably on vocals and guitar, singing and trading licks with Scofield on a rugged "I Don’t Need No Doctor," and Dr. John brings New Orleans soul on a greasy "Talkin’ Bout You"/"I Got a Woman" medley. The horn section gets a workout on powerfully swinging instrumental takes of "Hit the Road Jack" and "Let’s Go Get Stoned." Scofield’s quivering solos show moderation yet convey the music’s R&B roots, even when he’s turning up the heat on a rousing Medeski, Martin and Wood -styled, acid laced "Sticks and Stones." Producer/drummer Steve Jordan finds the perfect vibe between jazz and R&B, and keeps the guest vocalists from stealing the spotlight. He provides the ideal framework for John Scofield’s fiery yet restrained playing and a fitting tribute to a jazz/R&B icon. --Hal Horowitz

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Customer Review:

thank you Mr. Scofield

When I heard this reviewed on NPR one Saturday morning recently I was absolutely mesmerized by Scofield and the arrangements of Ray Charles music. I was on my way to a meeting and not happy about that on a Saturday, BUT, by the time I got there I was in a great mood thanks to Mr. Scofield and the CD they were playing. I came home and immediately went to Amazon and ordered the CD. Actually I ordered two one for my sister knowing she would like it as well.
Thank you Mr. Scofield!!!!!

Great neosoul

This is not a typical guitar record. This a rendition of Ray Charles tunes done in a ultra tasteful way, with a smoking bass and drums section, and
Sco doing his signature funk licks. Willie Weeks shines. Highly recomended. Best Ray Charles tribute so far.

addictive

i was a bit taken aback by Ray Charles connection - didn't seem logical to me . . . but gave this an open minded listen and am more and more addicted evry day . . . this is a great record from start to finish. the guests do a great job but they fit within the context . . of course J. Sco plays his butt off and the whol;e thing has a great flavor . . . highly reccomended

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Keywords: Contemporary Jazz; Jazz; Pop; Post-Bop;

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Hairspray (2002 Original Broadway Cast)

The cast recording for the Broadway musical of John Waters's 1988 paean to dance, music, big beautiful women, and integration is a sheer delight. It's wonderfully upbeat all the way through, with a classic feel that's in keeping with the story's setting in the early 1960s. The characters come alive in these songs, from Marissa Jaret Winokur's (Tracy Turnblad) opening lines in "Good Morning Baltimore" to the stunningly upbeat finale, "You Can't Stop the Beat." The music is by Marc Shaiman, whose recent projects include South Park: Bigger, Longer & Uncut, as well as a number of film soundtracks, and his compositions are simultaneously solid and exuberant. Shaiman and Scott Wittman's lyrics brim over with the unreserved passions and primary-color emotions that made the film so successful. Regardless of one's familiarity with the story or the stage production, it's hard to avoid the appeal of this recording; even the less cheerful songs are awash in bright colors, without disrespect for their subjects. --Genevieve Williams

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Futures

Cast Recording;

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Customer Review:

Very Good, Definitely Deserves It's Tony's

A very upbeat, happy musical! A bit bubblegum pop but hey, what do you get when the show's named Hairspray? Very good, Harvey Fierstein definitely does a good job as Edna and Marissa Winokur does a great job playing a teenage girl

Five Best Tracks

Good Morning Baltimore
Mama, I'm A Big Girl Now
I Can Hear The Bells
Run And Tell That!
Timeless To Me

A real hit!

After seeing this musical at the Golden Gate Theatre in San Fransisco I knew that I just HAD to get the CD. Seeing Matthew Morrison (Link Larkin) on stage is one thing, but getting to listen to him day after day on a CD is AMAZING! This musical is a way of attacking racial stereotypes, but in a way so that it is humerous. I love to be able to listen to this CD day after day and hear such wonderful singers. It's a great CD geared towards teenagers and adults alike!

Exactly what it's supposed to be.

I don't get it. Are all these "Fantasia" references coming from the same reviewer using different accounts? You're supposed to use this space to review this CD, not to comment on American Idol. That aside, I'm not sure what kind of problem these people have. "Hairspray" accomplished exactly what it set out to do. It's fun, funny, clever, and not meant to be taken seriously. If you're looking for a vocal showcase, then this isn't the show for you. If you have a sense of humor, though, and don't mind just kicking back and enjoying yourself once in a while, then give "Hairspray" a try. The actors were cast for their parts precisely because of how they sound. And they're also playing roles that call for a certain kind of irony. If the producers had wanted traditional big Broadway-style voices, they would have picked a different cast. It's a character-driven musical, too, and in any case, it's intended as popular entertainment, not high art. It may not appeal to everyone, but unless you're this one guy who seems to be posting lots of suspiciously similar bad reviews, then you'll probably enjoy it.

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Keywords: Cast Recordings; Music Theater; Musical Theater; Musicals; Pop; Showtunes / B'way;

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The Sound of Music (1965 Film Soundtrack)

Rodgers & Hammerstein wrote the music for this film starring Julie Andrews and Christopher Plummer. The scene in which Andrews crests a hill with her arms spread singing the title track is one of the greatest in American film. Hearing that song forever fills the listener with that image, and remains as fresh and even chilling as it was initially. Unfortunately much of this has been co-opted by television advertisements or whatever, and so could languish because of the clichéd quality of it. Fortunately, conductor Irwin Kostal delivered a wonderful score, and the vocal delivery is as vibrant as any in the storied history of film musicals. --Scott Wilson

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Futures

Original recording remastered;

Soundtrack;

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Customer Review:

A Classic!!!

One of the best musicals ever done. Very good sound track too. Let's hope hollywood doesn't mess it up by trying to do a re-make of it. A classic should never be re-done! Great job!

The hills are alive..

I grew up to `The sound of music', both the movie and the soundtrack. A pure classic! I wore out the LP at home. They don't make movies or music like this anymore.

The reissued CD is excellent. Right from the booklet chock full of information on the movie and the music, and includes all the original LP photos. Was like a dream come true finally getting this classic on CD.

No need to go into detail about the tracks as I'm sure every one on planet earth knows each and every track, LOL!! I mean, who didn't grow up singing Ley O, ley O Ley Hee hee, or Do a deer, a female deer? One can remember each scene associated with each track, the sign of a successful soundtrack/musical.

However, my personal favourites are `Eidelweiss' (one of the most touching moments in the movie, especially when Captain Von Trapp can't go on and Maria and the children take over), and `Climb ev'ry mountain' (always such an inspiration to me).

Each track is special, and perfectly placed in the movie, which has to be arguably the greatest musical ever!

Buy this Soundtrack

I love this soundtrack. I was in a play about the sound of music and i fell in love with the songs.

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Keywords: Pop; Soundtrack; Soundtracks & Film Scores;

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