Puss in Boots Soundtrack CD

Puss in Boots Soundtrack `The Jungle Book' was the last animated feature personally produced by Walt Disney. Initially released in 1967, the film received an Oscar nomination for the song, "The Bare Necessities". This CD contains, for the first time, the entire original soundtrack plus an interview with Academy-award winning songwriters, Robert and Richard Sherman. The interview segment features demo material and 2 rare songs; "Baloo's Blues" and "It's A Kick". Original score composed by George Bruns. Original songs composed by Richard M. Sherman, Robert B. Sherman and Terry Gilkyson. Originally recorded between February 1964 and June 1967. Includes liner notes by Randy Thornton and Ted Kryczko. Digitally remastered by Bruce Botnick (Digital Magnetics, Hollywood, California) and John Polito (Audio Mechanics, Los Angeles, California). Digitally remastered by Bruce Botnick (Digital Magnetics, Hollywood, California); John Polito (Audio Mechanics, Los Angeles, California). The best-loved songs from this album have become part of our collective memory, especially the classic "The Bare Necessities." But what has in large part been forgotten is that the rest of the soundtrack is just as enjoyable. Even the instrumental intro to "The Bare Necessities" is moving. The zesty Louis Prima-led "I Wanna Be Like You" is also not to be missed, and the disc also includes an interview with the Sherman Brothers, who wrote the music for this jungle farce version of the Kipling classic. It also includes two songs originally composed for the movie by Terry Gilkyson before Walt Disney had the story rewritten as a light comedy. ~ Ross Boissoneau This is part of Disney's Classic Soundtrack Series. Reissue producers: Randy Thornton, Ted Kryczko. Composers: George Bruns; Robert B. Sherman; Terry Gilkyson. Personnel: Darleen Carr, Digby Wolfe, J. Pat OMalley, Louis Prima, Phil Harris , Sebastian Cabot, Sterling Holloway, Thurl Ravenscroft, Bruce Reitherman (vocals). Liner Note Authors: Randy Thornton; Ted Kryczko . Recording information: 02/1964-06/1967. Blister Pack ...

Puss in Boots Soundtrack Before Titanic, James Horner was not above composing scores for cartoonish family films, and many of those that brought him on their production board owe him greatly. The Rocketeer directed by Joe Johnston (Honey, I Shrunk the Kids, Jumanji, October Sky) entails the story of a young pilot during World War II who happens upon a rocket pack that allows him to fly. The film is based on the tradition of old film serials that left theater-goers hanging with "To be continued," and aside from modern production, it is old fashioned and innocent fun. Horner's score begins and ends with the brilliant "Main Title," which is so moving it was used in previews for later films that did not yet have finished scores. Most of the Rocketeer soundtrack elicits the adventure and lifting spirit of the film and reveals how Horner incorporates rich instrumentals in the tiniest crevices. Even when the film involves danger, as in "Jenny's Rescue," the composer takes care when it is hardly even required. Instead of some "duh-duh-duhs," he brings on a full, stunning orchestra and when he overdoes it, it is in a jolly way -- he never exhausts his medium. That is what separates him from inferior composers, and what makes a nice film like The Rocketeer extra nice. It is a soundtrack worth listening to, and Melora Hardin's covers of E.A. Swan's "When Your Lover Has Gone" and Cole Porter's "Begin the Beguine" add just the right touch of '40s authenticity. ~ Peter Fawthrop Original score composed and conducted by James Horner. Audio Mixer: Shawn Murphy. Editor: Jim Henrikson. Photographer: Ron Batzdorff.

Puss in Boots Soundtrack Rachel Portman nails it once more on her original score for the 2006 remake of The Lake House (the original was a Korean film entitled Il Mare, released in 2000). Given the soft fall and winter scenes and subdued tones in the film's frames, and the relatively low-key performances of actors Sandra Bullock and Keanu Reeves, Portman's cinematic score uses elegiac strings and impressionistic piano to lead an orchestra through the languid changes in the film's plot. Longing is a theme from the very beginning; the frame is used as an almost painterly device to hold the music inside. The cues drift in and out of one another, even when the strings swell as they do on the title theme. There is an ache in this music, proposed by the notion of absence rather than sheer loneliness. Something is missing, and Portman's score brings back this feeling again and again throughout the score. Guitars and other acoustic instruments are incorporated in various places, such as on "Pawprints" and on the original title theme, "Il Mare," in which Portman's use of space in allowing a cello to unravel in the lyric line is a beautiful device for revelation. Portman's score is supplemented with tracks by Paul McCartney, the Clientele, Nick Drake, Carole King, and the Eels, all of which are presented at the beginning of the disc. The score itself is one long uninterrupted flow. ~ Thom Jurek Composer: Rachel Portman.

Puss in Boots Soundtrack Actor/director Bill Paxton's weepy golf drama concerning the underdog-led 1913 U.S. Open is treated with ample sentimentality and sepia-tone goodness by composer Brian Tyler (Bubba Ho-Tep, Darkness Falls, Constantine). With echoes of similarly themed sports dramas like The Natural, Miracle, and Field of Dreams, Tyler's score is rousing, lush, and romantic to a fault, with a sweeping main theme that conjures up images of trophies being thrust into the air with credits rolling over them. Tyler, to his credit, doesn't fully succumb to the "soaring strings" complex, as his tendency to insert liberal amounts of piano and acoustic guitar give the soundtrack a much needed identity. Opera star Dawn Upshaw and an almost sneering Joe Jackson -- he also appears briefly in the film -- perform a couple of standards, "The Band Played On" and "Hello Hello Who's You're Lady Friend," respectively, while Jackson contributes his own "Angel" for Upshaw to sing. ~ James Christopher Monger Live Recording Composer: Brian Tyler. Personnel: Brian Tyler (guitar, bouzouki, mandolin, piano, electric bass, drums); Joe Jackson, Amick Byram, Dawn Upshaw (vocals). Audio Mixers: Joel Iwataki; Joseph Magee. Liner Note Author: Bill Paxton. Recording information: Todd Scoring Stage. Arranger: Marshall Bowen.

Puss in Boots Soundtrack The plot points in director Steven Spielberg's 2011 film adaptation of the children's novel War Horse (which is separate from the stage adaptation that won the 2011 Tony Award for best play) are traced in the background score composed, as usual for a Spielberg project, by veteran John Williams. Williams' early cues, starting with "Dartmoor, 1912," have a warm Celtic feel, the full symphony orchestra playing a theme that recalls folk tunes like "Danny Boy" and "Greensleeves." The warmth continues with "Bringing Joey Home, and Bonding," the second part of which employs a playful bassoon theme. But the bucolic mood gradually darkens in this story of a boy and his horse that takes a turn in a track called "Ruined Crop, and Going to War." After Joey, the horse, is sent off to World War I, Williams' music naturally takes on tension-filled and action-defining sections, particularly in "The Charge and Capture." After something of a respite in "Joey's New Friends," the height of violence seems to be reached in "No Man's Land," a thrilling performance. Thereafter, Williams slowly returns to the Celtic tones from the outset, finally restoring the main theme for the closer, "The Homecoming." This is certainly not one of Williams' light adventure scores ŕ la Star Wars or Raiders of the Lost Ark, nor horror music such as Jaws. Rather, it contains both homey and disturbing parts, within the overall context of an old-fashioned orchestral movie soundtrack. ~ William Ruhlmann Recording information: Sony Pictures Studios, Culver City, CA.

Puss in Boots Soundtrack Brave drew attention for being Pixar's first film to feature a female protagonist, the headstrong, flame-haired Scottish princess Merida. However, as Brave's soundtrack reveals, the movie is also noteworthy for being one of the studio's most musical films, especially for one not featuring music by Pixar's go-to songwriter Randy Newman. Instead, Brave's songs make the most of the film's girl-power sentiments and Celtic setting with Patrick Doyle's lively score and songs performed by the cast, as well as Scottish folksinger Julie Fowlis and English singer/songwriter Birdy. Though Fowlis often sings in Scots Gaelic, she sounds just as soaring and sweet in English on "Touch the Sky" and "Into the Open Air"; likewise, Birdy -- accompanied by folk-rock sensations Mumford & Sons -- channels Merida's longing for freedom and wide-open spaces in "Learn Me Right." The princess' mom and dad get in on the act too, with Billy Connolly leading the cast through "Song of Mor'Du," a rousing song about a local monster, while Emma Thompson and Peigi Barker sing the lovely lullaby "Noble Maiden Fair (A Mhaighdean Bhan Uasal)." Meanwhile, Doyle's score embellishes its orchestral pieces with plenty of pipes, fiddles, and lilting melodies, particularly on "Fate and Destiny" and "Merida's Home," but also delivers some wonderfully cartoony moments with "The Games" and "Through the Castle," and downright tense cues such as "Merida Rides Away" and "Not Now!" Judged purely on its musical merits, Brave might not be the most memorable of Pixar soundtracks, but it maintains the studio's reputation for creative and fitting details in every part of its productions. ~ Heather Phares