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The Sound Board #4: The Score (and the Soundtrack)

Needcoffee podcasting

The podcast gets a name. At last. This podcast generally covers music and other transgressions and is co-hosted by Rob Levy, Tuffley and myself. Let us know what you think.

This episode’s central topic is movie music: songs, musical scores and soundtracks. Within you will find the discussion of The Oscars, the return of Courtney Love, The Runaways and Joan Jett, Pink Floyd and litigation, OK Go and their new label, the many faces of Rock Band, and more.


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If you have music you want to bring to our attention, you can send it snail mail to NEEDCOFFEE.COM MUSIC MINISTERS, 4480-H South Cobb Drive, PMB 394, Smyrna GA USA 30080. Or ping me at widgett at need coffee dot com.

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To download this episode directly, The Sound Board #4: The Score (and the Soundtrack), then do that thing.


  • Is it possible to get the direct download of this? I think that the link is to the last one. Congrats to whoever won the naming compo!

  • As I was walking along listening to this podcast, I was thinking about what soundtracks I’d mention in the comments. I thought I would be clever mentioning Pulp Fiction and High Fidelity, but obviously not. Well done :)
    However I think now that the High Fidelity soundtrack is a bit too twee and smug put in context of the movie. But that’s the ex-music clerk part of me that I haven’t quite come to love about myself yet talking.

    Some other soundtracks I’d like to mention are: Akira, nothing quite like it, Balinese orchestra and monks sounding out nightmarish soundscapes.
    The Warriors, very atmospheric electro.
    Buena Vista and Dave Chapelle’s Block Partk put back my faith in the spirit of music.

    Donnie Darko OST was amazing in the movie but then the Gary Jules version of Mad World was played to death and ruined it. Similarly the Matrix and Clubbed to Death OSTs were so evocative then played to death (no pun intended).

  • w00ts for Dick Cheese and the opening Cash-creds of Dawn ’04! Snyder mentioned, either in commentary or interview, that he was not going to even do the movie if he couldn’t get the song he used over the “making the bus-tanks” montage.
    I’m really glad I listened to the whole podcast before commenting cuz I was about to slam you, Widge, for leaving out Goblin, but since you did as required, I wish you an extra pickup of rifle ammo instead of an added chance at being bitten when the zombocaplypse comes.

    Re:Phantom Menace “we didn’t know what hell awaited us. we were innocent. we naive. we were young then.” I was 12 and had just discovered Star Wards around the time of the original trilogy re-release. PM was my birthday present – worst 13th bday ever. I was just glad we did the Darth Maul themed party (and I received a bundle of SW figures for gifts) before I saw the movie.

    cheers for this one guys, being a cinephile I think yall really hooked me on the podcast with this one

  • Took me long enough to hear this episode.

    The Velvet Goldmine and Swingers soundtracks were also the soundtracks for a few of my high school years, the Velvet Goldmine one especially.
    Also, not technically a soundtrack or score, but the compilation released with The Blair Witch Project did a fantastic job of introducing me to Bauhaus, The Creatures, P.I.L., Skinny Puppy, Type O Negative, Front Line Assembly, et. al.

    If there’s one score that has a permanent spot on my iPod, it’s Vangelis’ Blade Runner score. For me, there’s no better chill-out night-time driving music.
    Also the 28 Days Later soundtrack/score, and most of the Silent Hill (the games, not the film) scores get heavy rotation as night-time thunderstorm-driving end-of-the-world music.

    If there’s one composer that’s doing it right today, it’s Michael Giacchino. I loved his scores for The Incredibles and Star Trek; and “Roar! The Cloverfield Overture” could not have been more pitch-perfect for that film. Glad he finally got an Oscar this year, for Up.

    I don’t know if William Orbit has done any scoring stuff, but he did do a version of “Adagio For Strings” that was outstanding, as was most of the “Pieces In A Modern Style” album.

    and I have to agree, there is nothing more infuriating than when they add bits of film dialog into soundtrack music. It’s never – *never* – bad songs either, it’s always soundtracks with wall-to-wall classics and deep cut gems, like the Tarantino soundtracks, and Shaun of The Dead/Hot Fuzz. Soundtracks like the ones for the Crank films at least leave the dialog bits as separate tracks to be ignored at will.
    When I want to hear “White Lines (Don’t Do It)”, I do NOT want to hear someone else singing over it, as much as I love Simon Pegg and Nick Frost.