A.I. [Enhanced] [Soundtrack]

a.i. [enhanced] [soundtrack]

Track Listings

1. Mecha World

2. Abandoned in the Woods

3. Replicas

4. Hide and Seek

5. For Always - Lara Fabian, John Williams

6. Cybertronics

7. Moon Rising

8. Stored Memories and Monica's Theme - Barbara Bonney, John Williams

9. Where Dreams Are Born - Barbara Bonney, John Williams

10. Rouge City

11. Search for the Blue Fairy - Barbara Bonney, John Williams

12. Reunion

13. For Always (Duet) - Lara Fabian, Josh Groban, John Williams

Editorial Reviews
Amazon.com
Packed with Big Ideas about the future of mankind and dispatched with a distant, often icy veneer, Steven Spielberg's Artificial Intelligence can scarcely camouflage its roots. It was begun by the late Stanley Kubrick in the mid-'80s; Spielberg collaborated briefly a decade later, bowed out, then inherited it upon Kubrick's death in '99. And while the late auteur's cold vision seems largely intact (if now infused with Spielberg's enduring Pinocchio fetish), it's safe to say that Kubrick's often challenging musical tastes would probably not have led him to composer John Williams's doorstep. Nonetheless, the acclaimed veteran again rises to the occasion, ably demonstrating that he's hardly been indifferent to 20-odd-years of minimalism and postmodernism and that, as always, the best film music is often a subtly crafted pastiche of sensibilities and styles. Setting the tone of the film's robotically enhanced not-so-distant future, "The Mecha World" crackles and glistens with Steve Reich's rhythmic urgency and John Adams's dense coloration, while "Abandoned in the Woods," "Hide and Seek," and "Rouge City" succeed by setting Williams's more traditional sense of melody against Phillip Glass's hypnotic arpeggios. There's also a sense that the composer has craftily evoked the ghost of Kubrick music past and 2001 in particular; "Replicas" and "Stored Memories" bring to mind Ligeti, while the mournful strings of "Cybertronics" seem a ghostly echo of Khachaturian's "Gayane Ballet Suite." David Foster's ballad "For Always" (in a solo rendition by Lara Fabian and a duet between Fabian and Josh Groban) seems twice-included strictly to enhance the album's radio allure. Completists should also note that Ministry's dark contribution to the film's Flesh Fair sequence, "What About Us?" is not included on this soundtrack, but is available on their Greatest Fits compilation. Arguably Williams's most musically adventurous score since his landmark Close Encounters, A.I. should take its place among the most distinctive of the composer's long and bounteous collaboration with Spielberg. --Jerry McCulley

A.I.,John Williams,John Williams,Barbara Bonney,Josh Groban,Warner Bros / Wea,Film,Film Music,Pop,Soundtrack,Soundtracks,Soundtracks & Film Scores

A.I. [Enhanced] [Soundtrack]

I Want To Live: Original MGM Motion Picture Soundtrack [Enhanced CD]

Average customer rating:

Two for the price of one
How I met Gerry Mulligan
an imortant introduction to jazz

I Want To Live: Original MGM Motion Picture Soundtrack [Enhanced CD]
Johnny Mandel
Manufacturer: Rykodisc
ProductGroup: Music
Binding: Audio CD

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I Want to Live!

ASIN: B00000I5EO
Release Date: 1999-02-23

Tracks:

Main Title
Poker Game
San Diego Party
Henry Leaves
Stakeout
Barbara Surrenders
Trio Convicted
Trip To Corona
Peg's Visit
Gas Chamber Unveiling
Nightmare Sequence
Preparations For Execution
Letter Writing Sequence
The Last Mile
Death Scene
End Title
Black Nightgown - The Gerry Mulligan Jazz Combo
Theme From I Want To Live! - The Gerry Mulligan Jazz Combo
Night Watch - The Gerry Mulligan Jazz Combo
Frisco Club - The Gerry Mulligan Jazz Combo
Barbara's Theme - The Gerry Mulligan Jazz Combo
Life's A Funny Thing - The Gerry Mulligan Jazz Combo

Amazon.com

A work of unrelenting intensity, 1958's I Want to Live stands as a benchmark of American film. Taking on a grab bag of then-taboo topics--prostitution, gambling, drug addiction--and presenting them in a morally ambiguous, unorthodoxly grim context, I Want to Live predated the "new Hollywood" revolution wrought by such films as Bonnie and Clyde and Easy Rider by nearly a decade. With its unprecedented all-jazz score, Live's music is no less trailblazing. A meta soundtrack of sorts, this collection actually functions as two LPs in one, documenting the performances of Gerry Mulligan's seven-piece band, who appears in the film, and the larger jazz ensemble underscore that sets the pace and tone for some of Live's most memorable scenes. While Mulligan's combo swings with characteristic cool, it's the ensemble pieces that really stun. Composer Johnny Mandel intentionally chose an odd array of lead instruments and linked all his compositions with an arsenal of percussion to add to the film's edge of your seat/edge of sanity allure. The achieved effect is by turns moody and impressionistic, deliberate and plodding. Whatever the mood, Live's clench on the listener is positively physical. --Matt Hanks

Customer Reviews:

Two for the price of one.......2005-05-22

I Want To Live was originally released as a "Gerry Mulligan" album and as a seperate soundtrack. The soundtrack is first of all interesting for Johnny Mandel fans.
Mulligan doesn't play on the soundtrack. However he appears in the opening-scene of the movie. A DVD is available. Mulligan's music was originally on the album The Jazz combo from I want to live. (London SAH-T 6023) With Shelly Mann, Frank Rosolino, Art Farmer, Bud Shank, Red Mitchell and Pete Jolly. Mulligan plays like a hungry dog having his dinner!
This is both albums on a single CD.

How I met Gerry Mulligan.......2004-10-14

The soundtrack for the movie I Want to Live is Mulligan at his best. The film came out in 56 and I wasn't really aware of Mulligan until that time. His baritone sax gives the score depth and feeling.... a feeling of sadness and wildness both. My favourite track is "Black Nightgown". If you like Gerry Mulligan get the album and if you want to see a good flick, rent the video.

an imortant introduction to jazz.......1999-04-01

Any Jazz lover who is over about 45 yrs of age probably "cut his/her teeth" on listening to the soundtracks of I WANT TO LIVE and to THE HUSTLER. In my opinion they were defining works in that anyone who went to movies probably saw those two films. They came out about the same time and the soundtracks were readily available. Even though the music is from what is informally called "cool" jazz, the intensity of emotions displayed in the film are well augmented by the score. The music ranges from "firey" to "haunting" and even if the listener has not seen the film, one can associate the title of a track with the music quite easily. I know that a "true jazz aficionado" wants to only hear a live performance in order to experience the spontaniety of jazz. But, for a new generation that will probably never have that opportunity, this is just about as good as it will ever get.

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