Every December I review the top 20 “classic soundtrack” albums: expanded reissues, first-time releases of great film music of the past, and re-recordings. This year, for the first time, Variety agreed to publish it. It’s a bounty of great movie music, including four John Williams scores, three by Jerry Goldsmith, more by Dave Grusin and Nino Rota, and two from the new Universal Heritage series. Here is the list, with commentary about each.
On Dec. 17, the Academy of Motion Picture Arts & Sciences released its “shortlists” of movie songs and scores that will be eligible for nomination for this year’s Oscars. It’s the first time since 1979 that they’ve used this process — narrowing voters’ choices from the 156 qualified scores and 90 qualifying songs down to a more manageable 15 scores and 15 songs from which to make their final five choices in each category. Here is my instant analysis for Variety, written in just an hour or two after the lists were revealed. And, interestingly enough, most of the scores were included in my top-10 list written weeks earlier but published that day in Variety‘s Ultimate Awards Guide publication (click on the image to the left). My later, somewhat more detailed, look at the shortlists — and their shortcomings — is here.
In a little over a week, we’ve seen the Golden Globe nominations for song and score; the Grammy nominations which, with its offbeat eligibility year, combines the best of this year with last; and the news about scores that were disqualified, for various reasons, from Oscar consideration. Here are three stories I wrote for Variety that summarize each: a quick analysis of the Golden Globe nominations in music; a look at Black Panther composer Ludwig Goransson’s surprising Grammy nods; and our annual look at what the Academy music branch has nixed for potential Oscar consideration.
The venerable Varese Sarabande company — long seen as Hollywood’s leading soundtrack label — celebrates its 40th anniversary this year, so Variety asked me to look back at its history, interview composers about its impact, and research its biggest hits. It was a surprisingly fun assignment, as its full backstory had not previously been told: how a small classical outfit accidentally became a movie soundtrack label, spawned a million-selling hit, and may have even won an Oscar for one composer (that’s in dispute, but it’s a good story). Here is the main story, about the label’s history; here is a top-10 rundown (assembled from SoundScan numbers and Varese executives’ memories); and here are some thoughts from grateful composers.