Like The Muppet Show or The Simpsons, Shrek is tiered with visual appeal, fantasy, and sophisticated humor that appeals to children and adults on two mutually exclusive levels. Judging by the soundtrack alone, there is some genuine emotion coming from this movie; Rufus Wainwright, the Proclaimers, and especially the Eels all pen winsome, longing tunes. Dana Glover's "It Is You (I Have Loved)" represents the soundtrack's requisite glossy ballad, but it's better than most, and John Powell's climactic, orchestral "True Love's First Kiss" makes one wish there was a full score to accompany this soundtrack. On the flip side, Smash Mouth cover the Monkees' "I'm a Believer" with a groovy treatment of crunchy hip-hop beats, and Leslie Carter (sister of Aaron and Nick) gives a perky performance on the Britney-esque "Like Wow!" The soundtrack squeezes the last drops of juice from the overplayed Smash Mouth hit "All Star," but other than that, it strikes a great balance between cute-but-not-precious pop hits, and more grown-up songs that are well within reach of young ears. --Beth Massa
More Albums by Various Artists - Soundtrack
Various Artists - Soundtrack "O Brother, Where Art Thou?"
$6.92
The best soundtracks are like movies for the ears, and O Brother, Where Art Thou? joins the likes of Saturday Night Fever and The Harder They Come as cinematic pinnacles of song. The music from the Coen brothers' Depression-era film taps into the source from which the purest strains of country, blues, bluegrass, folk, and gospel music flow. Producer T Bone Burnett enlists the voices of Alison Krauss, Gillian Welch, Emmylou Harris, Ralph Stanley, and kindred spirits for performances of traditional material, in arrangements that are either a cappella or feature bare-bones accompaniment. Highlights range from the aching purity of Krauss's "Down to the River to Pray" to the plainspoken faith of the Whites' "Keep on the Sunny Side" to Stanley's chillingly plaintive "O Death." The album's spiritual centerpiece finds Krauss, Welch, and Harris harmonizing on "Didn't Leave Nobody but the Baby," a gospel lullaby that sounds like a chorus of Appalachian angels. --Don McLeese
