Family Plot Soundtrack CD Original

Family Plot Soundtrack Music

List Price	$33.99 (You save $2.44)
Category	Soundtrack Albums
Label	Phantom
CD Universe Part number	6941840
Catalog number	742681
Discs	1
Release Date	Dec 14, 1993
Additional Info	Original Soundtrack

Family Plot Soundtrack Review

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Family Plot Soundtrack CD

Family Plot (1976) Widescreen; Dubbed; Remastered; Subtitled

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Like the HIGH SCHOOL MUSICAL franchise, GLEE became more than a TV show when several of its songs cracked the Hot 100, including the number four hit "Don't Stop Believing." That song kicks off this soundtrack, the first in a series of albums cataloging the music performed by the show's cast. Not all GLEE members are created equal--some cast mates are far better actors than singers--but this soundtrack has enough star power to keep things trucking along, especially when powerhouse alto Lea Michele takes the wheel. She sounds fantastic throughout, whether she's holding her own during a duet with Broadway queen Kristen Chenoweth or covering the likes of Jordin Sparks, Avril Lavigne, and Queen. The soundtrack is mostly a vehicle for her voice, yet it also gives ample stage time to Matthew Morrison, who downplays his own Broadway career by rapping on two ...

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Jim Carrey turned out to be a natural for the screen role of Dr. Seuss' famed Christmas villain, and the film's accompanying soundtrack makes good use of contemporary pop to spice up the proceedings. Where else would you find a duet between Carrey and rapper Busta Rhymes ("Grinch 2000"), or a rocking Christmas tune from Ben Folds? Even the notoriously gloomy Eels get into the spirit of things, with the sardonic "Christmas is Going to the Dogs." Elsewhere, stars of every stripe, from Faith Hill ...

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Neil Diamond puts himself into the shoes of a character, Jonathan Livingston Seagull, writing and singing music compelling and rich in texture and melody, to fit the portrait perfectly in a movie under the same name. Recorded in 1973 for CBS under the pop/rock style genre, Diamond had much help in order to make this into reality. Commend Tom Catalano for the musical direction and Lee Holdridge for the splendid ...

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Conceived by composer Andrew Lloyd Webber and lyricist Tim Rice while the British duo were still in their early 20s, the rock opera JESUS CHRIST SUPERSTAR was released in 1970 as a studio album before its many subsequent stage productions. Featuring Deep Purple singer Ian Gillan as Jesus and Murray Head as Judas, this recording presents the initial versions of these well-known Broadway tunes, including the funky, frenetic "What's the Buzz?/Strange Thing Mystifying" and "The Temple," a hauntingly chaotic number. Although other productions of the musical are highly regarded, ...

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After outlining a whole new genre with three earlier collaborations, Ennio Morricone and director Sergio Leone took the Western a stage further with 1969's ONCE UPON A TIME IN THE WEST. For Leone, there was the luxury of draping the composer's deeply atmospheric pre-recorded pieces around the movie as it was filmed. The way this cinematic epic's images combine with Morricone's rich score suggests telepathy was by then at work between the two men. ...

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The new wave of 21st century exhumations of utterly obscure psychedelic/post-psych efforts in the late '60s and early '70s is at once noble and almost quixotic -- some bands that have one OK cut featured on a compilation ultimately only deserved that much attention. British quartet Candida Pax's one album, Day, is a perfect example of this -- reissued by Shadoks some 25 years after its first appearance, it's a pleasant album that certainly is no utterly lost masterpiece. It is enjoyable, though, and if nothing else has a story behind it that is more unique than some: according to a reproduction of a small newspaper piece in the liner notes, the roots of the northern English group were in a variety of spiritual and gospel bands. This influence carries over clearly into the lyrical images, providing a different spin on the Jesus rock of the period from characters like Norman Greenbaum, say. When singers Colin Stott and Stuart Mellor sing lines like "Jesus help me," it's more than simply rote imagery. That said, musically the bandmembers are competent players with a bit of flash and are ultimately more successful as a unit than individually -- nobody stands out in particular but everyone comes together to create some OK work. The opening title track establishes the sound of the rest of the album well enough -- polite blues explorations in a post-Clapton/Peter Green sense, gently sung vocals instead of rasping passion, ...