The results were memorable--and sometimes haunting--just like the films. For The Straight Story --the G-rated (yes, that's right) tale of an elderly man's epic journey on a John Deere lawnmower to see his sick brother--we get a different side to both the composer and the director once again. Here the orchestrations are atmospheric, but a subtle strain of folk music is evident throughout. "Rose's Theme" is filled with acoustic guitar finger-picking against a string section, "Alvin's Theme" has a fiddle mimicking a locomotive, and "Country Waltz" is just that. "Farmland Tour" is the Twin Peaks theme gone sentimental. A hint of nostalgia, a certain Midwestern innocence, and plenty of vast-sounding passages make this the perfect sonic backdrop for a film set...  (less)

Love" from country outlaw Travis Tritt are highlights. -- Jeff Bateman  (less)

northern New Mexico, its soundtrack sounds decidedly Lone Star. With famous Texans like Willie Nelson and the matchless yodeler Don Walser crooning some dusty charmers and a couple of country standards like "San Antonio Rose" and "Why Don't You Love Me" thrown in for good measure, the overall mood is very barbecue-friendly. Only Beck, who duets with Nelson on "Drivin' Nails in My Coffin" sounds a bit out of place here, his nasal drawl in curious contrast to Nelson's unmistakable whinny. Carter Burwell's score is standard-issue "epic" in its long gazes that suggest the largeness of both the West and the men's souls who inhabit it, but it gains an edge with its austere cadences and Mexican trumpet and guitar flourishes. --Lois Maffeo  (less)

the moment in time when "country" music suddenly went cosmopolitan, paving the way for Garth Brooks. Johnny Lee's "Lookin' for Love" was one of the decade's biggest singles, and this album briefly made a star of Mickey Gilley (whose Texas club provided a home for that alpha bull). Fans of Bob Seger, Jimmy Buffet, the Eagles, Dan Fogelberg, and Bonnie Raitt may want this collection for the tunes they lack elsewhere. And it sure recalls an era. But please don't call it "country." --Bill Holdship  (less)

heart in mind with a stylistic array of early 1970s sounds supported by Trevor Rabin's orchestral score (one seven-minute excerpt, "Titans Spirit," finishes things off here). Charles Wright & the Watts 103rd Street Rhythm Band's "Express Yourself" is, perhaps, the greatest surprise, while oddball favorites such as Norman Greenbaum's "Spirit in the Sky," Steam's "Na Na Hey Hey Kiss Him Goodbye," and Eric Burdon and War's "Spill the Wine" match up with country star Buck Owens's "Act Naturally." Covers include a fiery version of Sly Stone's "I Want to Take You Higher" and Leon Russell's laid-back barrelhouse-piano take on the doomsday anthem "A Hard Rain's A-Gonna Fall." Cat Stevens's "Peace Train" rolls into the station in its original version. Creedence Clearwater ...  (less)

features songs from all-time greats The Rolling Stones, The Beach Boys, The Allman Brothers Band, Roy Buchanan and Badfinger along with a collaboration between Pink Floyd's Roger Waters, Van Morrison, and The Band. Add cult faves The Human Beinz, current South Boston punkers Dropkick Murphys, an R&B gem from LaVern Baker, a country- pop selection from the immortal Patsy Cline, and a pair of selections from Grammy® Award-winning score composer Howard Shore and The Departed's soundtrack album promises to be as widely popular as the film.  (less)

In this hilariously offensive movie, Borat travels from his primitive home in Kazakhstan to the U.S. to make a documentary. On his cross-country road-trip, Borat meets real people in real situations with hystericalconsequences. The companion CD to the movie features original comedy as well as musical numbers like "Born to be Wild" and "In My Country There Is A Problem" (aka "Throw The Jew Down The Well"). The package will also include five minutes of exclusive video outtakes from the movie.  (less)

ever written, the soundtrack is equally sentimental--16 tracks that evoke wistful days spent staring out of windows pining for lost love. Edwin McCain delivers Diane Warren's surprisingly modest "I Could Not Ask for More," a song written specifically for the movie. Sheryl Crow and Sarah McLachlan turn soft and spooky with their whispery "Carolina" and "I Love You," respectively. Sinéad Lohan and Beth Nielsen Chapman backlight their middle-of-the-road sensibilities with dance beats. Hootie & the Blowfish's "Only Lonely" is far closer to country music (Glen Campbell-style) than country artist Faith Hill's "Let Me Let Go." Gabriel Yared contributes the instrumental title track as well as two other pieces of overswelling movie music. Redefines the term mellow . --Rob O'Co...  (less)

Richey, this collection of songs delivers the goods. Most of the songs here would fall into the category of adult contemporary--Williams's ode to psychotherapy is lyrically incisive and fluffy with harmony, and Howard belts her delicate ballad with the elegant poise of Faith Hill. Individually, most of the songs manage to avoid AC's blandness, especially Shawn Colvin's sweet, wistful retelling of the Beatles' "In My Life," the show's theme song, and Titiyo's tart "Come Along." Yet as a whole, Providence can occasionally be bogged down by its deep sentiments, slow tempos, and monotonous instrumentation, especially near the end of the disc. While not a major flaw, unfortunately it does threaten to overwhelm the sterling songs included ...  (less)

hits "The Road and the Radio" and "Living in Fast Forward" as well as older numbers like "Big Star" and "The Tin Man." The energy levels are kept high and the infectious beat will have your fingers snapping and toes tapping all night long.  (less)