这个CD是同名电影的sound track,因为这个电影出来的时候，里面的音乐太惊人了，所以很多人喜欢那个电影，很多人更喜欢里面的bluegrass音乐。 我第一次看这个电影是因为有人推荐，把碟给我租来了，拉着我看。确实给我的印象特别好。可以说是我最喜欢的电影了。 电影讲的是美国30年代大萧条时期，密西西比州附近的事情。三个囚犯克服各种各样的磨难而回家，因为其中一个人的妻子要嫁给别人了。该片暗示了很多《奥德赛》里面的情节和甚至人名。可以在 上面查一下这个电影，了解更多。 倾力推荐这盘CD.

The Whiplash soundtrack consists of 24 tracks sequenced in 3 distinct parts: Original jazz songs written for the film, original underscore written for the film, and classic jazz standards by Stan Getz, Duke Ellington and more. There are also choice snippets of dialog included on the soundtrack that sum up the narrative of the film and help to put the music in context (à la Pulp Fiction). The Original Score & Big Band Songs were created by Justin Hurwitz. The original jazz songs were created by Grammy nominated composer, Tim Simonec.

《攻壳机动队 2.0》原声，川井宪次作品。此条目为日本原版。 此配乐是 1998 年《攻壳机动队》电影原声复刻版。

by Matt Brennan on May 27th, 2007 Though James Newton Howard's scores are rarely dominated by piano - like Rachel Portman (The Cider House Rules) or some John Williams (Angela's Ashes) - the piano elements and motifs are one of my favorite parts about Howard's work. These cues are usually simple and subtle, often as an undercurrent melody to strings - The Interpreter's "End Credits" - or to a woodwind as in "Eptesicus" from Batman Begins; they may be the foreground or just for sound color like "Goodbyes" and "Maddy & Archer" respectively, from Blood Diamond. In the score to The Lookout, Howard uses a beautiful piano melody that is simple - either a single note at a time or 2-3 note chords - but evocative. It appears on the album only twice, first in "Fantasy" with a light acoustic guitar behind it, then again, slower and solo, at the end in "To Be Forgiven." As a whole, this score is rhythmic and often upbeat. The instrumentation is dominated by acoustic guitar and light percussion, with piano and sparing electronics mixed through. It does not utilize an orchestra like Howard's Dinosaur and Hidalgo, nor the powerful chorus of "Tarawa" from Snow Falling on Cedars. It opens with the track "I Wake Up" with just the acoustic guitar, which is later joined by simple percussion: it conveys the sense of motion but not in the action-score sense, and you almost find yourself tapping along with it. This instrumentation continues through the early tracks, the melody becoming more complex in "The Night Janitor" and taking on a sense of the western in "Casing the Bank." The pace slows with a different piano motif in "Money is Power" and begins to build tension through heavier percussion and chords in "Heist, Pt. 2." "Start at the End" is upbeat again, lighter but maintaining some of the tension, which ultimately seems to resolve with the slow piano motif in "To Be Forgiven." Overall, this score is focused more on mood than theme, using instrumentation, rhythm patterns, and simple motifs for coherence. Released only as a digital download, it is short at 36 minutes, but good background music that may get you to pause and pay attention with a few of the motifs.