A soundtrack album is any album that incorporates music directly recorded from the soundtrack of a particular feature film or television show. The first such album to be commercially released was Walt Disney's Snow White and the Seven Dwarfs, the soundtrack to the film of the same name, in 1938; the first soundtrack album of a film's orchestral score was that for Alexander Korda's 1942 film Jungle Book, composed by Miklós Rózsa. However, this album added the voice of Sabu, the film's star, narrating the story in character as Mowgli; when a feature film is released, or during and after a television series airs, an album in the form of a soundtrack is released alongside it. A soundtrack contains instrumentation or alternatively a film score, but it can feature songs that were sung or performed by characters in a scene, songs that were used as intentional or unintentional background music in important scenes, songs that were heard in the closing credits, or songs for no apparent reason related to the media other than for promotion, that were included in a soundtrack.
Soundtracks are released on major record labels, the songs and the soundtrack itself can be on music charts, win musical awards. By convention, a soundtrack record can contain all kinds of music including music "inspired by" but not appearing in the movie. Contemporaneously, a soundtrack can go against normality, contains released or exclusive never before released original pop music selections, is used for promotional purposes for well known artists, or new or unknown artists; these soundtracks contain music not at all heard in the film/television series, any artistic or lyrical connection is purely coincidental. However depending on the genre of the media the soundtrack of popular songs would have a set pattern. In 1908, Camille Saint-Saëns composed the first music for use in a motion picture, releasing recordings of songs used in films became prevalent in the 1930s. Henry Mancini, who won an Emmy Award and two Grammys for his soundtrack to Peter Gunn, was the first composer to have a widespread hit with a song from a soundtrack.
Before the 1970s, accompanied towards musicals, was an album that featured vocal and instrumental, musical selections performed by cast members. Or cover versions of songs sung by another artist. After the 1970s, soundtracks started to include more diversity, music consumers would anticipate a motion picture or television soundtrack. Majority of top charting songs were those featured or released on a film or television soundtrack album. Nowadays, the term "soundtrack" sort of subsided, it now commonly refers to instrumental background music used in that media. Popular songs featured in a film or television series are instead highlighted and referenced in the credits, not a part of a "soundtrack". In advertisements or store listings, soundtrack albums are sometimes confused with original cast albums; these are albums made with the original stage cast of a musical, are recorded by the cast either in live performance or in a studio, not transferred from a movie soundtrack. In some cases, recorded dialogue may be incorporated into the soundtrack album.
This comes in two kinds: audio clips from the movie itself or radio dramas that involve the characters from the movie involved in other events. The unusual first soundtrack album of the 1939 film The Wizard of Oz, issued in 1956 in conjunction with the film's first telecast, was a condensed version of the film, with enough dialogue on the album for the listener to be able to follow the plot, as was the first soundtrack album of the 1968 Romeo and Juliet, the soundtrack albums of The Taming of the Shrew and Little Big Man. In the case of Patton, the bulk of the album featured the film's musical score, while the opening and final tracks featured George C. Scott's opening and closing speeches from the movie; the unusual soundtrack album of the 1972 mystery film Sleuth was designed as a sort of teaser, with Laurence Olivier and Michael Caine's voices heard for the first three minutes, after which the dialogue was abruptly cut off and the musical score of the film took over, forcing listeners to "see the film if they wished to know what the mystery was all about."In a few rare instances, the complete soundtrack for a film — dialogue, sound effects, etc. — has been released.
One notable example was a 3-LP set of the 1977 Rankin-Bass film The Hobbit. Because this particular film was produced for television, it lent itself well to the LP format: built-in commercial insert points were used to end each LP side, thus avoiding any additional editing. Another example was the above-mentioned Zeffirelli Romeo and Juliet - the movie proved so popular that two years after the film's original release, an album set of the complete soundtrack was released. Still another example was the Laurence Olivier Richard III, the soundtrack of, released as a 3-LP album by RCA Victor in 1955. Sometimes tracks not in the movie are included in the album on a CD release of t
Me is the second album by the British girl singer Sandie Shaw. It was released by Pye Records in November 1965, eight months after her debut, but was not as commercially successful - although her singles were still selling well. Since the release of the Sandie album, Shaw had gained another three UK Top 10 hits - "I'll Stop at Nothing," the number one "Long Live Love" and "Message Understood," all of, written by Chris Andrews; as with the previous album, Me contained a mixture of Andrews-penned material and cover versions of songs by other artists, as well as a track written by Shaw herself. However the balance of original and remade material was different this time - half of the twelve tracks were written by Andrews, as opposed to the third on Sandie, one track by Shaw, five songs by other artists. Me was re-issued as a package with Sandie on CD in the 1990s on the RPM label, again in digitally remastered format by EMI in 2005 with bonus French versions of "Down Dismal Ways" and "Too Bad You Don't Want Me."
Side 1 "You Don't Love Me No More" "I Don't Need That Kind of Lovin'" "Down Dismal Ways" "Oh No He Don't" "When I Was a Child" "Do You Mind"Side 2 " How Glad I Am" "I Know" "Till The Night Begins To Die" "Too Bad You Don't Want Me" "One Day" "When I Fall in Love"Ken Woodman - arranger, conductor Me kicks off with "You Don't Love Me No More," a song written by Charles Blackwell and a hit for American singer Madeline Bell in 1964, is followed by three Andrews tracks - "I Don't Need That Kind Of Lovin'," "Down Dismal Ways" and "Oh No He Don't" - the latter on which he makes a guest vocal appearance. Next comes the McIntyre/Huddlestone composition "When I Was A Child," and side one ends with Lionel Bart's "Do You Mind" - a hit in 1960 for Anthony Newley. Side two starts with a cover of Nancy Wilson's 1964 hit " How Glad I Am" by Jimmy Williams and Larry Harrison; the song would be a hit for Kiki Dee in the 1970s. More original material follows with "I Know" by Chris Andrews and Shaw's own composition "Till The Night Begins To Die" and two more Andrews songs - "Too Bad You Don't Want Me" and "One Day."
The album finishes with a cover of an older song - Edward Heyman and Victor Young's "When I Fall in Love," made popular by Nat'King' Cole. AllMusic noted that "Shaw's second album was a substantial improvement on her debut in every respect, though hardly a major effort, it helped that Chris Andrews supplied a lot of the tunes. and Shaw herself contributed a fair effort with her first original composition, "Till the Night Begins to Die"
Wilhelm Hans "Willie" Jahn was a German track and field athlete who competed in the 1912 Summer Olympics. Jahn was born in Germany, to a family of publishers, he joined the Wandervogel, while in Highschool in Berlin-Charlottenburg. In 1912 he participated in the 1912 Stockholm Olympics in the 800m event, he was eliminated in the first round of the 800 metres competition, while his friend Hanns Braun moved up to take the bronze medal. Jahn became a leader in the German Youth Reform Movement; as such he co-led the IWV for many years with Willie Jansen, participating at the famous 1913 Hohen Meissner meeting. As the Wandervogel movement was concerned with health and life reform for German youth and field became a central element of life in the organization, which led to Jahn's ultimate appearance at the 1912 Olympics. A statue of Jahn as a Greek Olympic athlete was created by Prof. Peterich and is on display in the German Museum of Athletics in Berlin, close to the Olympiastadion. Besides track and field, Jahn was engaged in kayaking trips, another facet of the outdoors activities of the Wandervogel.
A crucial element of the Wandervogel movement that shaped Jahn's life was the rediscovery of German folk songs. Jahn was an accomplished guitar and lute player, as well as a composer of songs in the German folkloristic style, his best-known song "Laue Luft kommt blau geflossen" was to set music to the words by German poet Eichendorff. Other songs include "Wir wollen zu Land ausfahren" und "Aus feuchtem Grunde". A number of books that compile his compositions have been published. Plans to run the family publishing business in Berlin were thwarted by World War II, which destroyed the art publishing business and the community newspaper. Wilhelm Jahn was the editor in chief of the genealogical journal Familie, Volk in Berlin, he served in Denmark as an Officer of the German Armed Forces and contracted tuberculosis in a British POW camp after the war. The family, scattered due to the allied terror bombing of Berlin, reunited in a displaced people's camp in Ovelgönne in the late 1940s, his wife, Maria Jahn suffered serious health problems from the displacement experience and the unsanitary conditions, which led to her early demise shortly after World War II.
Jahn himself never recovered from tuberculosis and succumbed to it in 1973, in his new residence in Hannover-Kleefeld. He is buried in the public cemetery in Lower-Saxony, Germany. Willy Jahn at the International Olympic Committee