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Friday, March 16, 2012

Cake -- Fashion Nugget

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8/10

Warning: There are two stories before I even get to this review.
The first is this:
Coming of age at the end of the nineties was awesome.  Not only was it the end of a century, but the end of a millennium. As such, a bit of reflection tended to seep into everything.  People most likely started making more lists.  But usefully, that reflection burrowed its way into some of the music being made at that time, as well. Portishead managed to somehow fuse good vibes with a nightmare mash of history.  Moby injected ancient gospel songs into his ethereal dance music. Cake also put their own spin on musical curation--but I'll get to that in a second.
I didn't get a car until the end of 1998, so as a sixteen year old in late 1997, I had to catch rides with a friend to and from basketball practice.  This friend's mom was kind enough to let me hang out at their house for the two hour period between class and basketball. More importantly to today, that friend was kind enough to play Cake's Fashion Nugget every day in his beat up bronco that sometimes randomly stalled during the twenty minute drive to his house (the hour or so at his house was just long enough for us to watch our own edit of Braveheart, aka Braveheart: The Awesome Version aka Braveheart: People Getting Hit In the Helmet with a Battle Hammer for an Hour).
The first organ note Fashion Nugget's opening track, "Frank Sinatra," hints at the retro awesomeness to come. The big drum beat comes next, then old Nancy Sinatra-style spy guitar, and finally the most important pieces to the sound of the entire album: the trumpet and John McCrea's conversational singing.
We know of an ancient radiation
That haunts dismembered constellations 
A faintly glimmering radio station 
While Frank Sinatra sings stormy weather 
The flies and spiders get along together 
Cobwebs fall on an old skipping record
There's also a room filled with old Chinese lamps and an old man collecting stamps who doesn't care at all about progress. The feeling of the past being inescapable, things that happened sixty years ago floating infinitely on through the depths of space is about as cool as possible. The music video is fittingly awesome:

The best tracks on Fashion Nugget all have this timeless feeling (which ironically could only have been conceived at the end of time, aka the 1990's).  They are so cool that you almost don't want not cool people to know about them.  My buddy's love affair with this album ended after we had to give another kid a ride.  My friend thought this kid was really lame, so when the poor not hip freshman said, "This is really good," and started singing along to our Cake album, my friend promptly ejected the CD, put it back in its case, and never played it again.
When I eventually got Fashion Nugget for myself, I realized that my friend had been skipping tracks.  The whole album just has a little too much padding. Fashion Nugget starts to wear out its welcome a bit by track nine, "Perhaps, Perhaps, Perhaps"...but it has fourteen tracks.  While there are good songs after track nine, and the whole thing is a solid, highly enjoyable eight out of ten, my buddy's leaner version worked better.
In fact, his track listing would have made for a near perfect album. In honor of him introducing me to Cake, here is his track listing, followed by that of the actual album.

Fashion Nugget (Aaron Crousillac Edit*)
 1. Frank Sinatra
2. The Distance
3. Friend Is a Four Letter Word
4. Open Book
5. Daria
6. Race Car Ya-Yas
7. I Will Survive (Yes, it's a cover, and it's better than the original)
8. Nugget
9. Italian Leather Sofa

Fashion Nugget, Official Version
1996 Volcano Records
1.  Frank Sinatra 4:01
2.  The Distance 3:00
3.  Friend Is a Four Letter Word 3:22
4.  Open Book 3:44
5.  Daria 3:44
6.  Race Car Ya-Yas 1:21
7.  I Will Survive 5:10
8.  Stickshifts and Safetybelts 2:09
9.  Perhaps, Perhaps, Perhaps 2:24
10.  It's Coming Down 3:44
11.  Nugget 3:58
12.  She'll Come Back to Me 2:24
13.  Italian Leather Sofa 5:52
14.  Sad Songs and Waltzes 3:15

*Dude, we need to hang out!

Thursday, March 15, 2012

Caedmon's Call -- Overdressed

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7/10

When I heard Caedmon's Call's third album, Long Line of Leavers, was going to go even further down the poppier CCMier route of 40 Acres, I ignored it and largely forgot that the band was still working...for almost a decade. One day in the late 00's, I heard a freshly released Caedmon's Call song on the radio and decided to give the band's new stuff, an album called Overdressed, a try.
After first listen, I was confused.  I knew Derek Webb had been gone during most of the time I had neglected listening to Caedmon's Call, but one of the reasons I checked out Overdressed was his reappearance. While Webb is back to some degree, I was surprised to hear a different voice belonging to one, Andrew Osenga, someone who wasn't in the band during the first two albums, saturating the album.  Not only did Osenga seem to dominate vocally, but a leaf through the CD book made clear that of the twelve tracks, Osenga wrote nine.  That's kind of nuts, and it makes Overdressed seem less a Caedmon's Call album, and more a round of Andrew Osenga and friends.  Nothing against Osenga--he is a talented songwriter and artist, but he doesn't provide what I expected from this disc. First, his style is more of a straight ahead, CCM style.  Secondly, his lyrics really seem geared toward Christians and Christians only.  He's got songs here about raising a Christian family, accountability partners, church disappointment, mission trips to Africa.  Sure there are also more general songs about the struggles of life, but I've spent most of mine in church and even I felt a bit alienated.  I think Osenga's work just needs more balance. "Sacred" and "Love Grows Love" are just a little too bubbly about the joys of parenthood.  Meanwhile, "Hold the Light" is too deadly serious in its recollections of the narrator's relationship with a friend who has helped through tough spiritual times.  With the former, I wish he'd be a little more real, and with the latter, I wish he'd lighten up.
Osenga does have some real winners here, though.  "Expectations" is a brilliant summation of the life one thinks they are getting into with a conversion to Christianity versus what can really happen.  Things aren't all sunshine and roses all the time, and the honesty and elegant harmonies Osenga sings with longtime female vocalist Danielle Young serve the song well.  "There Is a Reason" is another great track in a similar vein.
Meanwhile, Webb sings lead on three tracks, one his own creation, and two written by his wife.  My issue with certain elements of his songs here are the same with some of his solo work from this same period: just because you are white does not mean you have to feel guilty.  "Don't blame your brother for the color of his skin" he sings, but he needs to include himself in the equation. He can't help being born white and middle class anymore than those who are born poor and black in Africa.  You can't blame yourself for fate, you can only use what you've been given in life to better the lives of those with less. Many people actually do do this, and I don't really feel like listening to someone make me feel guilty for things out of my control.  Maybe I'm crazy, but if I say I'm not a racist or "I don't see skin color," I have to be referring to my own skin as well (The next line in the song, "Don't blame your neighbor for the house he lives in" rubs me wrong, too. What if that house was purchased through ill-gotten means? Should I not be outraged? Actually, Webb's wife wrote this track, and I've enjoyed a lot of her solo work.  Heck, I've enjoyed some of Webb's solo work, too, and even their work together. Not to bag on him in these reviews, but his work on this particular album is not his best, in my opinion. I like some of his other stuff plenty.).  Anyway...
This album is still solid work, though it doesn't touch the passionate, grittier work the band did in the 90's.  Then again, I guess I shouldn't be blaming people for getting older.  I'm just as big a hypocrite as anyone.


2007 INO Records
1.  Trouble 3:36
2.  Need Your Love 3:09
3.  Sacred 3:25
4.  Expectations 3:21
5.  There Is a Reason 3:46
6.  Share in the Blame 3:40
7.  Hold the Light 6:00
8.  Two Weeks in Africa 3:44
9.  Love Grows Love 3:59
10.  All Across the Western World 3:00
11.  Always Been There 2:37
12.  Start Again 3:55

Wednesday, March 14, 2012

Caedmon's Call -- 40 Acres

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8/10

In a way, 40 Acres is Caedmon's Call's previous album with more of a pop sheen and a little tinge of country. It definitely has less grit than its predecessor. Then again, the songwriting is still remarkably strong, maybe even more so, and the utilization of the three vocalists is still a great asset. These factors make 40 Acres an enjoyable album, though the gloss and polish make it a little harder to love than the self-titled one. Then again again, 40 Acres features their best song by far, which also happens to be the title track. It's a lovely harmonied song that makes you feel like as long as you are alive, things can always get better, no matter where you are--even after you start sentences with the phrase "Then again again."



1999 Essential Records
1.There You Go 3:20
2.  Thankful 4:20
3.  Shifting Sand 3:49
4.  Faith My Eyes 4:41
5.  Where I Began 3:42
6.  Table for Two 3:34
7.  Climb On (A Back That's Strong) 3:51
8.  Petrified Heart 4:41
9.  Somewhere North 5:31
10.  Daring Daylight Escape 3:39
11.  40 Acres 3:35

Tuesday, March 13, 2012

Drive Is Far Overrated

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** out of ****

Drive might as well be titled "Ryan Gosling stares moonily." That action takes up 85% of the film. Gosling plays a no-name character with no personality. He could be a modern day stand-in for Travis Bickle, except for the fact that the movie is absolutely in love with him. While Taxi Driver realized the irony of its pro-antagonist's glorification, Drive unabashedly glorifies its own.
 Gosling plays a stunt-driver by day, criminal driver by night because...
He decides to help out a Plain Jane housewife because...
There is really no reason for anything that happens in this movie, and everything that does has already happened in better films. There are only two "car chases" to speak of, and they are both over before you can blink--one car is wrecked. Gosling kicks a bunch of nameless gangsters faces in. Maybe this movie should just be called Beat. Even on the most basic levels, not much in the film makes sense:
 Gosling's jacket is ridiculous, and anyone who saw him on the street would undoubtedly give him a hard time about it, or at the least, easily be able to identify him in a lineup as "that guy with the goofy jacket."  Carey Mulligan's Pentecostal skirt-wearer would never be caught between the two glamorously shady central-male characters, or so my wife says, and since she is one of the few women to have undergone this tedious cinematic experience, I am going to give her the benefit of the doubt.
Oh, did I just say tedious? You know what you can do if there isn't much to your movie? Hold out shots of your characters faces for minutes at a time where nothing happens. Not only do real life people generally not just stare at each other, but people staring at each other is generally not very exciting to watch. Don't paint my accusations as being those of taste. Antonioni's The Passenger is one of my favorite films, and no one neglected to cut film more than that guy. His long takes actually meant something, though. The ones in Drive are just there to kill time, and to create a faux atmosphere of artistry.
 Well guess what? "Faux" might as well be "real" in this day and age because this film appeared on dozens of well-regarded critic's recently-released top ten of 2011 lists. All of them are absolutely wrong. Style over substance is one thing, recycled style is another. Don't waste your time.

2011 Bold Films
Director: Nicolas Winding Refn
Starring: Ryan Gosling, Carey Mulligan
Screenplay: Hossein Amini
Based on the novel Drive by James Sallis

Monday, March 12, 2012

Caedmon's Call -- Caedmon's Call

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9/10

Like most folks, I've found some things for myself, and some things have been passed down to me.  I am the oldest cousin on the younger of two tiers of cousins, thus I've had stuff passed down to me from the older tier.  The older tier was also a great resource in answering my mother's age-old question, "What should I get my teenage son for Christmas?" Well, in the good old Christmas of 1998, the answer to that question was, "Get him this Caedmon's Call CD."
That was a good move.  Caedmon's Call's (haha, double possessives look funny!) intellectual, highly spiritual folk-rock sound mirrored the music all these older cousin's friends' bands were making, bands these cousins were taking me to see play.  I was primed for it.  This was also a good move because I come from exquisite genetics and everyone in my family has good taste.
And finally, we all had a good laugh that the album cover reminded us of this one:
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From another great band that sounds nothing like Caedmon's Call.
So anyway, I guess I'm supposed to be writing a review or something.
This is artfully written, enjoyably performed as I said above..."folk rock." I guess the fact that it has drums, a few patches of electric guitar, and an actual pulse is the "rock" aspect.  The lyrics are the thoughtful college kid variety--that's who this band spent their early years playing to (hey, it's like they WERE my older cousins).  This band was Derek Webb's gig before he got all solo and preachy, and he does great work with his songwriting here, composing half of the tracks, and many of the best ones. Actually, almost everyone of these songs is a "best" one.
The best thing about this debut album is that it sounds like the work of seasoned veterans.  Every guitar lick and organ line seems to come from a place of wisdom.  The triple-vocal threat (one of which is a woman) also adds to the album's diversity of sound, and a butt-kicking Rich Mullins cover in the middle proves that this band isn't afraid to take chances and mix things up a bit.
So while you do get a few of your basic, "I'm in a coffee house thinking" songs, the prevailing sentiment of this album flows against that to the point that there is an actual song titled "I Just Don't Want Coffee." This is an album of many autumnal colors that would just as soon rock out as meditate, and songs like "Not the Land" are toe-tappers that prove Derek Webb could have possibly had a career in punk music.

I'm proud to still spin this album to the point that the plastic's falling off. Thanks, cousins!

1997 Warner Alliance
1 Lead of Love 3:57
2 Close of Autumn 4:56
3 Not the Land 5:04
4 This World 3:45
5 Bus Driver 4:57
6 Standing up for Nothing 4:56
7 Hope to Carry On 2:48
8 Stupid Kid 4:01
9 I Just Don't Want Coffee  5:59
10 Not Enough 3:40
11 Center Aisle 5:46
12 Coming Home 4:21

It's One of Those Days


Really bad case of the Mondays.
Wish when people made Cowboy Bebop references in songs, would get transported to Cowboy Bebop world.
Enjoy sentences without personal pronouns.

Thursday, March 08, 2012

Travelogue: Driskill Mountain and the Psychadelic Wanderings of a Weirdo

Do you know how many out of seven billion Earth citizens awoke Tuesday morning and thought, you know what, I am going to drive to the highest point in Louisiana and climb right to the top of it?
 3/6/12 was a special day for me, and not just because of its mathematical enjoyability. On that day, I was the only Earthling to climb Driskill Mountain. How do I know this? Three easy reasons: I saw zero other people. I signed a guest book on a page that contained only my name. You weren't there, so you have no choice but to believe what I say, and also that I saw a brontosaurus. I usually don't do Travelogue's for just one day, but considering the amount of sheer miles I covered, here you go.
...
The sun rose beautifully over Glynn's mysterious Arbroth forest.
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Well, not that mysterious anymore.  People, stop moving here! The more woods you cut down to build your houses, the closer the world becomes to one giant, fugly suburb.  Thanks a lot, human race! I HATE YOU! YOU ARE A STAIN OF RAVISHING DISEASE ON THE EARTH!!!  BURN IN THE FIRES OF
You know that thing where you think you want to eat at McDonald's, but after you do you feel like you just ingested ten pounds of dirty aquarium gravel? Well, I do. I gave a brief thought to visiting New Roads very own McDonald's, but then I remembered I am really awesome and went to the LA Express in Batchelor, Louisiana, where a nice old lady cooks breakfast every morning.  Also, I didn't misspell "Batchelor." That's the way there spell the name of their town, and they have breakfast, so.  The fryer the old lady borrows cooks Krispy Krunch Fried Chicken during the day, so the bacon on my biscuit kind of tasted like fried chicken, and that was awesome.  Also, I did misspell Krispy Krunch. Sorry.  Actually, the correct spelling is Chrispee Chrunch.  My bad.
I'm hungry all the time, though, so a bacon, egg, and cheese biscuit isn't enough, and I got some other things, too.
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What's more important? That this picture is off center, that I am making my O face, that that biscuit is larger than an obese Pomeranian, that cheese grits is proof that God loves us and wants us to be happy, or that apparently Frito-Lay did special edition Grandma Cookies for Christmas and in March the LA Express in Batchelor is still carrying them? There importance differs, but these cookies were so delicious and awesome that I really, really, really, really, really, really, really, really, really need to find out a way to get more of them.
The Ginger & White Chocolate Chip was particularly incredible, and I actually stopped at another gas station down the road so that I could get some milk to drink with them. And actually get some gas. With all of these food stops out of the way, I re-convened my four hour drive. How come both "four" and "hour" don't sound the same? "Flour" and "hour" sound the same. Is it the "l" that makes the difference? But we don't say "hlour." Why, English, why?
 I knew beforehand I was going to be in for quite a trek, so a few days before 3/6/12, I hit the clearance bin at FYE and bought some random CD's I had never heard. I bought this album called "Dancing Echoes/Dead Sounds" by some band called Codeseven which was released by Equal Vision records. Equal Vision used to be a metal label, so that's what I thought I was purchasing. After a few seconds, it was clear that wasn't it at all, and that it was something entirely different and during its second track I realized it was pretty good stuff and that its singer sounded kind of like that dude from the Juliana Theory and I listened to it like four million times and I really like the second track and it has a music video with a guy in a bunny suit and but it doesn't allow you to embed it so here is a link to it it it it it it it it it it it it it it it it
The car ride was a good jamming time, and I drove through the majestically monotonous Kisatchie National Forest, which is loaded with a large variety of trees: pine trees, tall pine trees, short pine trees. Still, pine trees are better than no trees. I arrived in the middle of God's nowhere around eleven, seeing zero humans in any kind of proximity. Driskill Mountain is fronted by an old abandoned church and cemetery, but there are fences everywhere, so I didn't even try to take a picture, so leave me alone about it already. Photobucket
If you look close down the trail, there is a locked gate with barbed wire atop it blocking the path.  For some reason, they really don't want you to hike up this mountain.  Thankfully, you can just walk around the gate, which I did, and it was awesome.  There are a few of these gates in the early going, just in case you airlifted a car after the first one.  Then you'd find yourself stuck and looking silly, even though you are extravagantly wealthy enough to airlift a car up on top of a mountain.
What mountain, you dummy? you might be thinking. I don't see any mountain in your dumb pictures.
Well, you might be right.  Driskill Mountain is not a true mountain, but a 535 foot tall hill.  Then again, when your state's average ground level is about seventeen feet below sea level, (if I was an uncreative, wannabe clever person here, I would finish the sentence with "Driskill Mountain is like the f***ing Himalayas," but since I AM a creative and clever person) Driskill Mountain is like the fricking Himalayas.
The climb up this tall hill is actually pretty gradual.  There are a few places where you actually have to go downhill for awhile, but then your ascent finally grows steeper.  The hike to the top only took about twenty minutes or so.  However, my extremely eloquent description of Driskill Mountain's elevation in the above paragraph is quite apt.  The view is absolutely excellent.
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I hung around in this spot for a long time, climbed a tree until I realized if I fell, no one would ever find my body, and climbed down.  The top of Driskill Mountain is entirely peaceful, and looks upon another tall hill called Jordan Mountain, which as far as I know is inaccessible, unless you want to trespass across a whole lot of land.  Fortunately for the landowners of Bienville Parish, I only wanted to trespass a reasonable amount, and hey, there weren't any private property signs.  I promptly climbed down. Photobucket
Dang, it was steep. My legs are still sore.
When I started to get closer to the forest floor, I started seeing pretty things, though.
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After wandering around these mysterious, thick pine woods for a couple of hours, I started coming upon signs of humans. I found a deer shooting station, and then an automated machine gun. I pulled my knife on the machine gun, which frightened it into a non-shooting mode, as I slowly backed away.
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After this, I came upon a turkey tent and a bag of urine, and started hearing low rumbling noise that could only be a black bear or a big dog in the middle of the woods, and a big dog in the middle of the woods is probably a big mean dog in the middle of the woods.  I decided it was time to wander back to the mountain and make the arduous trek upward.  It wasn't quite as fun as going down, but whatever, it felt good to do some work.  That sentence was perverted, y'all, I'm sorry.
I made it back to the top and hiked back down to the cemetery and my car. Immediately, my stomach made the executive decision to head into the ten-mile away metropolis of Arcadia.  The ancient Greeks thought of Arcadia as something like this,
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but really it looked like this.
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Apparently, Bonnie and Clyde were gunned down here 78 years ago, so good job, Arcadia.
I ate at some quaint Italian place called Luigi's, where there were so many other customers that I had the choice of any seat in the entire restaurant.  I enjoyed my spaghetti and meatball lunch, reading my copy of Updike's Rabbit is Rich while an intense episode of Law and Order: SVU blared overhead on the television.  It was one of those episodes where Benson yells at a rapist for being disgusting.  I think I had seen it before.
Well, the day couldn't end in Arcadia. I had wandering in my blood, and I had to honor it.
So I did what anyone would do.  I hit I-20 and drove to Ruston.  There was nothing in Ruston but hipsters, tattoo shops and hair salons, but I wanted peaches and milkshakes.  Ruston, I thought you would be cool.  I thought you would have peaches and milkshakes.  But you had neither peaches nor milkshakes.  Ruston, you were not cool, and you need to work on it.
Then I drove through the incredibly futuristic panopticon of Monroe, LA, surrounded on all sides by a barren desert of bleached bones.  It was terrifying, and I barely made it out alive.  At this point, I decided to go where no man had gone before: Sandy Bayou, Lousiana.  This is one of the most beautiful places in the world.  It was like the product of someone locking a rutting Louisiana into a pen with a Tennessee in heat.  Sorry to be vulgar, but what do you want me to say? "It's like Louisiana and Tennessee had a baby?" That doesn't make any sense.
Huge mossy cypress trees lined wide, steep-sided bayous amid thick hardwood forests and tall hills.  I don't know how this region came to be in Louisiana, or how there are virtually no people here, but I think it is gorgeous.  I didn't get any pictures because I was too busy driving and gawking, and trying not to run off the road.  This is a very remote area, but well worth visiting if you have a full tank of gas.
Eventually the road ended, and I had to cross a river on a two car ferry.  Awesome.  I hadn't seen people in hours, so a two car ferry was just what I needed to feel safe.
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The ferry actually had to come from the other side of the river or bayou or whatever it was to get me.
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Man, it was beautiful.
I drove through hill and dale, river and valley, until darkness came and I finally reached the mythical Highway 15, which sits directly atop the Mississippi levee. The moon rose full and ripe over the slow pulsations of the river, and I had to pull over to attempt to capture it with a cheap digital photograph. Almost.
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As I drove leisurely around the high curves above the valley below, gazing at the stars, I clicked on the 98.1 broadcast of the LSU baseball game versus Tulane and let Jim Hawthorne take me home. 5-0 Tigers, and home by nine.  What a day.
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Here is a map of my 3/6/12 travels, my trip highlighted in red...roughly.  I used only a Louisiana map for my trek.  GPS is for sissies and takes all the mystery out of the journey.  How come nobody wants any mystery anymore? Mystery is the thing that makes life beautiful, and life is beautiful.  Be happy and do stuff you like.  People aren't going to do the stuff you like for you, so you have to do it yourself, and if you have the resources at your disposal, you don't really have an excuse to be unhappy. I mean, this is a universe in which Thin Mints exist. It's easy to dwell on the stuff you don't have, but that's just lame, guys.
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Wednesday, March 07, 2012

Burkhard Dallwitz (with Philip Glass) -- The Truman Show (Music from the Motion Picture)

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8/10

The Truman Show is a strangely prophetic film. Predating the CBS program Survivor, and thus the still-going US "reality" TV craze by two years, The Truman Show features a protagonist trapped in a pre-scripted television program he doesn't even know exists.  It is a wonderful example of excellent late 90's cinema, but I'm not here to review the film.
The Truman Show soundtrack is a pretty brilliant pairing of film composer Burkhard Dallwitz, and legendary classical composer, Philip Glass.  While, Burkhard's name is on the CD spine, Glass wrote 1/3 of the material.  The two were nominated and received several awards for this score, all well-deserved.  This soundtrack definitely puts the "original" in score. The composers not only had to create music in the vein of a television show that could score a television show, they had to make the music a bit maudlin while still being genuinely moving.  If that sounds confusing, it is. To put it another way, the inner frame of the soundtrack is the television show of the film, and the outer frame is the actual film.  The music has to miraculously fit both at the same time, and it does.

That piece leads directly into Glass's "Raising the Sail," one of the film's most beautiful moments.

1998 Milan
1 Trutalk (Dallwitz) 1:19
2 It's A Life (Dallwitz) 1:29
3 Aquaphobia (Dallwitz) 0:39
4 Dreaming of Fiji (Glass) 1:54
5 Flashback (Dallwitz) 1:20
6 Anthem (Part 2) (Glass) 3:51
7 The Beginning (Glass) 4:11
8 Romance - Larghetto [Second Movement from Piano Concerto No. 1 in E Min] (Chopin) 10:45
9 Drive (Dallwitz) 3:36
10 Underground (Dallwitz) 0:57
11 Do Something! (Dallwitz) 0:45
12 Living Waters (Glass) 3:48
13 Reunion (Dallwitz) 2:26
14 Truman Sleeps (Glass) 1:51
15 Truman Sets Sail (Dallwitz)1:57
16 Underground / Storm (Dallwitz) 3:37
17 Raising the Sail (Glass) 2:15
18 Father Kolbe's Preaching (Kilar) 2:26
19 Opening (Glass) 2:16
20 A New Life (Dallwitz) 2:01
21 Twentieth Century Boy (Bolan) 3:07