Cold Mountain (CD) ~ Original Soundtrack Cover Art

Cold Mountain (CD)

By: Original Soundtrack


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Mesh Match For "Cold Mountain" CD by Original Soundtrack:


Track Listing

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DISC 1 for Cold Mountain (CD) Album By Original Soundtrack Amazon.com CD Universe
1   Wayfaring Stranger Buy  
2   Like A Songbird That Has Fallen Buy  
3   I Wish My Baby Was Born Buy  
4   The Scarlet Tide - Alison Krauss    
5   The Cuckoo Buy  
6   Sittin' On Top of The World Buy  
7   Am I Born To Die? Buy  
8   You Will Be My Ain True Love - Alison Krauss    
9   I'm Going Home Buy  
10   Never Far Away Buy  
11   Christmas Time Will Soon Be Over Buy  
12   Ruby With The Eyes That Sparkle Buy  
13   Lady Margret Buy  
14   Great High Mountain Buy  
15   Anthem Buy  
16   Ada Plays Buy  
17   Ada And Inman Buy  
18   Love Theme Buy  
19   Idumea Buy  
20   Idumea - Sacred Harp Singers At Liberty Church    

Product Description



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Product Notes

Director Anthony Minghella's take on Charles Frazier's bestselling novel is powered by wistful romanticism and a dramatic structure that's been compared to Homer's Odyssey. That latter creative tack parallels the Coens' O Brother, Where Art Thou in crucial ways, and is further enhanced by another T-Bone Burnett-produced soundtrack of Appalachian-inflected folk traditionals, sympathetic originals by diverse songwriters (Elvis Costello and Sting), and a core of gritty performances (the White Stripe's Jack White and Alison Krauss) that rise above mere star appeal. White shows his traditional blues jones is no mere affectation on "Wayfaring Stranger" and a cover of Howlin' Wolf's "Sittin' On Top of the World," then makes a rewarding turn into the wistfully romantic with his original "Never Far Away." Krauss gives a haunting performance of Costello's "The Scarlet Tide," but doesn't fare as well with Sting's plaintive, Celtic-tinged "You Will Be My True Love." The soundtrack's evocative sense of time and place is further underscored by traditionals performed by a slate of other bluegrass/country-folk heavyweights and a powerful pair of gospelized, almost ethereal performances by the Sacred Harp Singers at Liberty Church. A few of Gabriel Yared's gentle orchestral cues (crucial to the film's characters and dramatic continuity) are essentially tacked on as the coda to the remaining collection of earthy Americana. Dark, dusty, and ever bittersweet, Burnett's musical archaeology here is something considerably more than merely "O Brother Redux." --Jerry McCulley



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