Not only does the majority of the soundtrack consist of songs by those who led the grunge movement-Alice in Chains (“Would”), Pearl Jam (“Breath,” “State of Love and Trust”), Screaming Trees (“Nearly Lost You”), Mudhoney (“Overblown”), Soundgarden ( Badmotorfinger outtake “Birth Ritual”), among others-the additional original compositions were scored by Paul Westerberg (“Dyslexic Heart,” “Waiting for Somebody”), whose band The Replacements, while not necessarily influential in style to the grunge movement, certainly contributed an aesthetic influence. Matt Dillon as a grunge-boy douche bag a cameo from Pearl Jam twenty-somethings falling in love in the Pacific Northwest-what more could you possibly want? How about one of the best film soundtracks to ever capture a cultural phenomenon in real time? Singles does this and more-catching the “grunge” movement at its peak, this 1992 film is as kitschy as it is authentic. It’s not just an underappreciated soundtrack but one of the best LPs of the 1990s, period. Along with interludes from Graeme Revell’s score, this compilation strikes note-perfect atmosphere even when separated from Wenders’ first true worldwide flop. lang made “Calling All Angels” for all subsequent angry cries until the end of time. Depeche Mode made a hymn, T-Bone Burnett made sci-fi, and Jane Siberry and k.d.
and Kate Pierson make up for every mistake they made on Out of Time, and U2 contribute an early mix of the title track before it appeared on Achtung Baby. The album includes the last will and testament of both Talking Heads (“Sax and Violins”) and Can (“Last Night’s Sleep”), as well as Elvis Costello’s torchy Kinks cover and Julee Cruise’s tango take on Elvis Presley. The results tower over what would become a love-it-or-hate-it entry in Wenders’ filmography. With street cred built up by Paris, Texas and Wings of Desire, director Wim Wenders approached as many sophisticated musicians as he could think of to record songs for a new film about a tech-enabled near-future.
Judgment night soundtrack tracklist movie#
But for these albums, 10 of the best ’90s movie soundtracks to grace our ears, it meant a moment of mixtape genius, funded by Hollywood bigwigs. And sometimes the results were just bad ( Godzilla, for instance). Add to that the increasingly expanding blockbuster numbers, and every studio needed its chart-topping soundtrack to match the film itself. The popularity of the CD format meant you could fit more music onto an album, which in turn meant sometimes making an accompanying album that was nearly as long as the film itself. The ’90s was, in hindsight, a kind of renaissance for big-budget movie soundtracks.
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