Nino Rota- Casanova

Most of Fellini's films made after 8 1/2, with the exception of Amarcord, seem to get mostly unenthusiastic reviews.  Sure they are less structured, but to me that is not a negative trait at all.  I think every film he made (still haven't seen La Voce Della Luna, not an affordable copy with English subtitles to be found) is great and the ones from his less popular period definitely get better the more I watch them.
Casanova was especially under-rated and one of his most dream-like films, even though they all were, which is certainly aided by Rota's haunting score, and I will admit that after Rota's death, the music in Fellini's films was not as strong.  Though there are only a few melodies, re-done, on this album, it is no weakness.  From the almost spooky Theme to the robotic rhythms to accompany Donald Sutherland's fully body lunge humping, this is a wonderfully atmospheric record I'm having a lot of trouble removing from the turntable.

http://www.mediafire.com/?xi06koi41c7ofya

Nino Rota- I Clowns

All the tracks on the record blur together, so I just did each side on its own track. This is mostly more circusy versions of songs from "Juliet of the Spirits" and "8 1/2" with Italian and French clown dialogue, a few other tunes, and nicely rounded off with "Ebb Tide," a very fun record.
Yet another in the series of wonderful Nino Rota Fellini scores.
Seems like this made for TV movie is looked over way too much, Fellini fans who only like a few of his films really confuse me.
From the liner notes:
"It is all intricate and tragic and superbly simple-minded. As if to say: the clown is not dead and cannot die, but perhaps the world that cherished the clown is dead, the world of those who saw the clown in themselves. And that- the feeling that most people, so serious now, have forgotten that we are all partly clowns- is sad indeed."

http://www.mediafire.com/?grhmbnrz6pfn8rm

Doob Doob O' Rama Vol. 1&2- Filmsongs From Bollywood

Two collections of great overblown energy from Bollywood.
I'm a bit partial to Vol. 2, probably because that's the one I heard first.

Volume 1:

http://www.mediafire.com/?8pn8s5xwwgj2cc5

Volume 2:

http://www.mediafire.com/?rkdtalqqrw9s9o3

Nino Rota- La Dolce Vita

I've tried not to go on too much about the genius of the meeting of the minds of Fellini and Rota, and will spare you here. I'm also assuming you've seen the movie and that's why you looked for this.
Great stuff. This movie has always had one of two polar effects on me; it makes me either want to start going out all the time, or lock the doors and never leave the house. The music is also either a great warm up, or follow up, to a night out or an ideal soundtrack for a solitary party.
There are several songs in each track, which is rough if you're searching for a particular tune. However, like all good records, it's best listened to from start to finish, even if you have to endure "Jingle Bells," but seeing as it's summer when I write this, it adds a bit of humor to the shitty heat.

http://www.mediafire.com/?jk37ejlcbxcftd7



one of my favorite scenes

Nino Rota- Juliet Of The Spirits

Yet another top notch Rota/Fellini score. A great movie with great music that fits it to a T. Some kind of classical/psychedelic circus parade.
I just recently read "I Fellini," and my only complaint was how little it said about Nino Rota, but if I need to review, I can just listen to a bunch of Rota records and watch a lot of Fellini. No problems there.
Just leave it up to your imagination.

http://www.mediafire.com/?b2r43d1m5d5q4mc

Nino Rota- Amarcord

I think Nino Rota's music combined with Fellini's films is probably the best paring in the medium. I assume you're already familiar with the film and the music seeing as you searched for it, but if not this is a wonderfully breezy nostalgic score to embellished memories through the eye of the beholder. Great, great stuff. Always see the movie first, though.

http://www.mediafire.com/?1zobf61vka3ubo8

Michael Gordon-Decasia

Decasia is a movie made of old nitrate film in varying stages of decay. Like black and white psychedelia. The deterioration gives the images a whole new life and rhythm.
It wouldn't be anywhere near as powerful without Michael Gordon's compositions, which can at times remind me of Steve Reich, Philip Glass, and/or Glenn Branca.
Terrifying to some, beautiful to others.

http://www.mediafire.com/?4d08ptedpi05vz6

Charlie Chaplin- A King In New York

This French single is all I've been able to find from the original score.
Great music from a vastly under-appreciated movie.

http://www.mediafire.com/?ues3g25vay2wg9g

Charlie Chaplin- The Chaplin Revue

Anytime I can find original music from any Chaplin film I'll buy it right up, if possible. If you've heard any of the re-recordings you may know what I mean. They all seem to slow everything down and focus solely on the sentimentality, unfortunately forgetting that the music was also providing mood and pacing for comedy. Without that pacing, the re-recordings seem to lose the sincerity, humor, and also the tenderness of the originals. Chaplin's use of more dignified music for his slapstick was apparently revolutionary enough that even today people still don't understand it. There's really no use in changing his work, anyone who thinks they can top, let alone equal it, will find themselves sadly mistaken.
The Chaplin Revue was released in 1959 and consisted of three of his films for First National, made between 1918 and 1922, slightly edited, with spoken introductions over scenes from his then unreleased, "How To Make Movies," a short film tour of his studio (in the same time-frame as these films) showing he and his crew goofing off and at work, rejected as a release to satisfy his final contract before becoming completely independent, and then (1959) composed an original score for each.
The Chaplin Revue was compiled several years into his exile and after his fantastic, under-appreciated mockery of the USA, "A King In New York," (1957) which was not shown in the USA until at least 15 years later. Was the Chaplin Revue an attempt to regain the audience he had lost over the years? Maybe, but if so, does it really matter? These films are as funny now as they've ever been...and will continue to be. Few artists of any medium are as timeless or universal as silent Chaplin.
On to the record: the track-listing on the jacket does not correspond to the record. Example: for "A Dog's Life," there are 17 tracks listed on the jacket, 7 on the record, and the LP label only says, "A Dog's Life."
Here are the tracks according to the jacket:

A Dog's Life- Main Title: A Dog's Life, A Dog's Life Theme, Labour Exchange, Dog Chase, A Dog's Life Theme, Green Lantern Rag, Coffee and Cakes, Flat Feet, the Shimmy, Song Triste, Green Lantern Snag, Procession Rag, Coffee and Cakes, Robbers, Dog Digging, A Dog's Life Theme, Green Lantern Snag

Shoulder Arms- Main Title: Shoulder Arms, Sauerkraut March, Shell Happy, Changing Guard, The Post, Sauerkraut March, Shell Happy, Over The Top, Blues, Over The Top, Peace, Tree Camouflage, Suspense, Mysterioso March, The Enemy, Agitado, D Minor Waltz, Inner March, Bringing Home the Bacon

The Pilgrim- Bound for Texas, Jitters, Hope and Faith, The Deacon Presents, Bound for Texas-Vocal Sung by Matt Munro

http://www.mediafire.com/?2w07rv06diclzmw

Charlie Chaplin- Modern Times

I'm one of those people who believe that Charlie Chaplin was a true genius in every aspect of his work...performance, direction, writing, composing, etc. The words "pure" and "universal" are used so often to describe his work that if you are unfamiliar with it, such praise may be hard to take seriously. If you're looking at this I assume you're already a Chaplin fan and know just how great it all really is along with how much of a true artist a poor little clown can be...but if not, go see all of his feature films, as many shorts as you can, read his autobiography and listen to his music...
The first side is predominately pieces to demonstrate the inhuman (mechanical) nature of factory work, a more playful version of the vision in "Metropolis" with all the workers being sacrificed to the machine. Not surprisingly this movie accelerated what would eventually lead to Chaplin being labeled, and scrutinized, as a Communist by the U.S. government and his eventual exile.
Enough of that...this music is great, this movie is great, as are all of Chaplin's movies and music.
Oddly, his "Nonsense Song" (the first time he'd ever spoken in one of his films, 9 years after the advent of Talkies) is not included...it is best to see him performing it, though...along with everything else he ever did.

http://www.mediafire.com/?8aznorm4pc8maoy

Zbigniew Preisner- The Double Life of Veronique

If you haven't seen this movie, do yourself an ENORMOUS favor and see it as soon as possible (along with the rest of Krzysztof Kieslowski's amazing filmography). Seriously!
If you're searching for the currently incredibly overpriced, out of print soundtrack, I assume you've seen the movie and I don't need to tell you how great it all is...or spoil it for anyone else.
Like with any movie, the less you know in advance, the better.

http://www.mediafire.com/?tjxlfomy5yj

Michel Legrand- Le Cinema de Michel Legrand (Nouvelle Vague)

I am a total dork for French New Wave films, and Michel Legrand is probably my favorite of the regular New Wave composers ("Band of Outsiders" is still left off, dammit...if you have it, please share it). I love his other albums from this time period, but even those records have the same kind of cinematic energy and seem to be crying out to be used in films.
The tracks from Godard's, "A Woman Is A Woman," each begin with commentary from Godard make me wish I knew French...
The only other movie on here I've seen is Agnes Varda's "Cleo from 5 to 7," (great music, great great movie) but all of the other music still has the Legrand charm, even without having seen the movies. Need to find the ones in print in the US on Netflix? Probably, yes. Please re-release "Lola," dammit.

http://www.mediafire.com/?tqitntlwzmg

Maurice Jarre - The Tin Drum (Die Blechtrommel)

If I had to pick a favorite book and author it would be "The Tin Drum" and Gunter Grass. I saw the movie after reading the book and had no idea how it could be done, but I never expect a movie to live up to the book anyways.
But the movie is great and as good as it could've been, I think.
Some of the music is pretty cheesy and a lot of it is really good.

RECOMMENDATIONS
1) Read the book
2) See the movie
3) Listen to this...

http://www.mediafire.com/?mdijzwgtdnn

Antoine Duhamel- 'Pierrot le Fou/Week-End'

Many of Godard's best movies have incredibly powerful music, not bombastic powerful, more for how it affects the film. Basically, giving it some of that good ol' movie magic. The music, from the director's viewpoint, is very important to those films. He is extremely creative with the music and its placement in or out of rhythm of the action on screen, especially with dynamics in editing. It gives the films a strange energy.
He also uses great film composers. Some scores are jolly, some are tragic, some are dense, but Antoine Duhamel's are the most raw, ominous, and at times frightening.
'Pierrot Le Fou' is a perfect example. One of my absolute favorite movies, and the music undoubtedly aids the film in completely overtaking the viewer. But I must say that I prefer the movie versions of the vocal songs, and (rant time) where is the music that the guy on the dock kept singing (that scene is a favorite of mine), and the song when they're in the car when he's taking her home the first night (I have a version sung by Jeanne Moreau, accompanied by the composer, Cyrus Bassiak-seen in "Jules and Jim" playing guitar while Moreau sang), the song at the very end, etc.? More Bassiak originals? I want it all! Oh, well. Not that there's anything wrong with what we have here. Especially "Le Morte Bleue" (and that scene!).
I have to say that it isn't the music that came to mind when i remember things about 'Week-End," but hearing the score now, I really appreciate the fact that the music doesn't try to outdo what is happing on screen (how could it?), while still affecting it and resultantly amplifying what is happening. Something subtle in Week-End. Huh...
This movie needs to be re-released, dammit. It's important!

http://www.mediafire.com/?2gmgqtdn42j

Une Femme Est Une Femme- Soundtrack

This is the most literal "soundtrack" album I may have ever heard. It is almost all of the music (and there's a lot in this movie) as you heard it in the film, with dialogue and everything. Each track is very short (I love the fractured energy of early Godard) and because of this and the dialogue, this soundtrack would probably just annoy anyone who has never seen the movie. This is probably Godard's most accessible and upbeat movie, naturally a good place for apprehensive beginners. Michel Legrand's swelling, oozing, romantic score only adds to its appeal. And if you're like me, you've seen this movie enough times to know all the dialogue, even though I don't speak French, this is a special treat. You can experience the movie even if you can't sit down and watch it. It's like a fractured, jumbled audio book, and seeing as it's a Godard film, what else would you expect?
A fun fact: Godard and Legrand wanted to make a realist musical. Somehow they had an advance private screening for themselves and Gene Kelly. Kelly was confused and frustrated since there was only one sung song and no choreography. He thought Godard and Legrand had lost their minds.

http://www.mediafire.com/?fgyfotmzfmj

Historie(s) de Musique (Music from the films of Jean Luc Godard)

I am a total spazz for Godard's films like I am for Ben Wallers' music. I really can't get enough of his (earlier mostly) films, most of which have great music to boot. With a roster featuring Michel Legrand, Georges Delerue, and Antoine Duhamel it's tough to go wrong.
But why is there no music out there for 'Band of Outsiders' (Bande a Part)? It seems strange seeing as it was advertised as Michel Legrand's last film score (?) and just happens to get stuck in my head quite often. IF YOU HAVE IT PLEASE SHARE.
This is a good compilation though, except for the last three songs...yeesh. And the re-recordings of Anna Karina's songs lack some of the spark of those in the films, but really are nothing to complain about.
A good place to start but leaves you wanting more (I will post more later).
If you haven't seen the movies, watch them all before you listen to this. Godard is a genius.

from 'Breathless' (A Bout de Souffle)- Martial Solal
1) La mort
2) New York Herald Tribune
3) Duo
from 'A Woman is a Woman" (Un Femme est une Femme)- Michel Legrand
4) Angela, Strasbourg Saint-Denis
5) Chanson d'Angela, par Anna Karina
from 'My Life to Live' (Vivre sa Vie)- Michel Legrand
6) Vivre sa Vie
from 'Contempt' (Le Mepris)- Georges Delerue
7) Overture
8) Camile
9) Generique
from 'Les Plus Belles Escroqueries du Monde'- Michel Legrand
10) Ballade pour un Escroc
from 'Alphaville'- Paul Misraki
11) Valse triste
12) Theme d'amour
from 'Pierrot le Fou'- Antoine Duhamel
13) Mic et Mac, par Anna Karina
14) Ferdinand
15) Pierrot
16) Ma ligne de chance, par Anna Karina
from 'Le Plus Vieux Metier du Monde'- Michel Legrand
17) Anticipation
from 'Week-End'- Antoine Duhamel
18) Elle et lui
from 'La Chinoise' - Claude Channes
19) Mao Mao
from 'Sauve qui peut (la Vie)'- Gabriel Yared
20) Le commerce
21) L'imaginaire
Bonus Track (BAD)
22) Ferdinand, par Sporto Kantes

http://www.mediafire.com/?zfidrmwcojm

Music from "Ikiru"

If you have never seen Akira Kurosawa's 'Ikiru,' this may not be the most exciting post. But for you fortunate ones who have (and as a result probably love it as well) you are in for a treat. I don't want to spoil anything here for those who haven't (go see it now!).
After seeing it for the first time I immediately searched the internet high and low for Takashi Shimura's two versions of "Gondola No Uta" (life is brief), but I guess this movie was before the time of soundtrack albums. So I just decided to plug my four track into the TV and make my own.
In my searches I found a version of the song from 1961 by Sagawa Mitsuo (included here). Being used to Shimura's delivery I found this version lacking in the raw humanity Shimura's was drenched in. Upon further listens i grew to like it a whole lot, especially how they rip off the riff from "Sleepwalk."
Did I keep that vague enough?

1) Gondola No Uta (playground)
2) Gondola No Uta (bar)
3) Gondola No Uta- Sagawa Mitsuo

http://www.mediafire.com/?gqtwmi2zyng