A very groovy soundtrack to this cool British film – starring a young Jack Wild in his pre-HR Puffenstuff days! The film's kind of a mod kids film – with a number of bright and peppy tunes mixed with others that are either more serious or more jazzy – a blend of rock and more familiar soundtrack instrumentation that really keeps things interesting! The Bee Gees contribute a number of great tracks – like "Melody Fair", "In The Morning", "First Of May", and "To Love Somebody". Even better, though, are the instrumental bits by the Richard Hewson Orchestra – which include "Teacher's Chase", a killer groover with some sweet electric harpsichord and strings, plus the cuts "Working On It Night & Day", "Spicks & Spacks", and "Melody Fair". Peter Knight put the whole thing together, too! LP, Vinyl record album

One of the greatest jazz soundtracks of all time! Elmer Bernstein wrote the score to Otto Preminger's chilling film version of Nelson Algren's book The Man With The Golden Arm – a sad tale of jazz, gambling, and heroin addiction on the streets of Chicago (not far from Dusty Groove, in fact!) – and in doing so, he came up with one of the first jazz soundtracks to really work strongly with a dramatic narrative. The film's striking theme is played in a number of variations, either with orchestral backing, or in small combo format by Shorty Rogers & His Giants, a crack west coast group that features work by Bud Shank, Shelly Manne, Bob Cooper, and Pete Candoli. The tracks work perfectly together as a suite of tracks, even without the images of the film – telling a tale of temptation, sadness, tragedy, and rebirth. Titles include "Clark Street", "Breakup", "The Fix", "Zosh", "Frankie Machine", and "Audition". Worth the price for the Saul Bass cover alone! LP, Vinyl record album

Director Quentin Tarantino has drawn plenty of inspiration from the music of Ennio Morricone over the years – either using short passages of older Morricone music in his films, or evoking the substance and style of the maestro in the way he uses sounds from other sources too! So it's only fitting that this time around, the pair are finally brought together fully – as Morricone turns out one of his best soundtracks in years for Tarantino's Hateful Eight – a brooding, suspenseful tale that owes plenty to the western generation that first sprung Morricone to global fame! Yet as with most of Ennio's best work, the style here is something that goes far beyond expectation – orchestrations that take on a style completely their own – with instrumental elements that have stronger focus amidst the larger charts, and a sense of mood and color here that's completely sublime. The record is mostly music from Morricone – written for the film – and features a few passages of dialogue from the movie, plus just a few additional tracks by The White Stripes, Roy Orbison, and David Hess. Yet it's more than fair to think of this as a complete score by Morricone – very different than the usual compilation-style soundtracks we've had before from Tarantino. CD

A 2CD set of music designed to accompany Japanese animation that starred "the little Norse Prince Valiant" – the cut lil' guy pictured on the cover, who gets some very action-packed accompaniment here! Most tunes are short and lively, and almost echo an older cartoon mode that you might have heard in the US in the 30s and 40s – not exactly Merrie Melodies or Raymond Scott, but not that far away either – as there's all sorts of playful arrangements, unusual horns, offbeat rhythms, and other things that really make the orchestrations sparkle! As with other titles in this series, the whole thing is very well done, but with all notes and titles in Japanese – a 2CD set with 54 tracks in all. CD

Sexy ladies on the cover, and some equally sexy sounds underneath – served up in a perfect 60s Italian blend of jazz and bossa-based styles! Sweeping strings bring a nice sense of depth to some numbers, while others have a more intimate feel – either via spare guitar, or some jazzy elements on piano, sax, and organ – shifting instrumentation that really keeps things interesting throughout, and which makes the record feel like some rich narrative on its own, in sound – without any need for the images on the screen. The whole thing is wonderful – one of those Italian soundtrack treasures that delivers even more than it promises – and music was composed by Alessandro Alessandroni and Francesco De Masi, then orchestrated by De Masi, with some cool wordless vocal moments as well. Titles include a number of variations on "Lesbo" plus the sweet vocal opener "Qualsiasi Cosa", "Crepuscolo Sul Mare", and "IL'Isola Dell'Amore". CD

Sexy ladies on the cover, and some equally sexy sounds underneath – served up in a perfect 60s Italian blend of jazz and bossa-based styles! Sweeping strings bring a nice sense of depth to some numbers, while others have a more intimate feel – either via spare guitar, or some jazzy elements on piano, sax, and organ – shifting instrumentation that really keeps things interesting throughout, and which makes the record feel like some rich narrative on its own, in sound – without any need for the images on the screen. The whole thing is wonderful – one of those Italian soundtrack treasures that delivers even more than it promises – and music was composed by Alessandro Alessandroni and Francesco De Masi, then orchestrated by De Masi, with some cool wordless vocal moments as well. Titles include a number of variations on "Lesbo" plus the sweet vocal opener "Qualsiasi Cosa", "Crepuscolo Sul Mare", and "IL'Isola Dell'Amore". CD

Director Quentin Tarantino has drawn plenty of inspiration from the music of Ennio Morricone over the years – either using short passages of older Morricone music in his films, or evoking the substance and style of the maestro in the way he uses sounds from other sources too! So it's only fitting that this time around, the pair are finally brought together fully – as Morricone turns out one of his best soundtracks in years for Tarantino's Hateful Eight – a brooding, suspenseful tale that owes plenty to the western generation that first sprung Morricone to global fame! Yet as with most of Ennio's best work, the style here is something that goes far beyond expectation – orchestrations that take on a style completely their own – with instrumental elements that have stronger focus amidst the larger charts, and a sense of mood and color here that's completely sublime. The record is mostly music from Morricone – written for the film – and features a few passages of dialogue from the movie, plus just a few additional tracks by The White Stripes, Roy Orbison, and David Hess. Yet it's more than fair to think of this as a complete score by Morricone – very different than the usual compilation-style soundtracks we've had before from Tarantino. LP, Vinyl record album

A surprisingly poignant score – especially when you consider that it was written for a film that was known for its graphic violence! Jerry Fielding's at his height here – drawing on his earlier work in jazz, yet weaving together colors and tones that work with really bold imagistic properties – almost visual in themselves, but in ways that are so different from the images on the screen – and which, on record, make the whole thing feel like it's almost an alternative movie in itself! The orchestrations are wonderful – hardly the usual western style, but not really crime, cop, or other 60s modes either. Titles include "Drinking Song", "Dirge & Finale", "Adventures On The High Road", "Main Title", and "Adelita". LP, Vinyl record album