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There's nothing quite like a great movie soundtrack. Watching a good movie is exciting enough, but when a certain scene is punctuated by a particularly poignant song—or even just an old favorite—it makes the experience all the more special. In fact, lots of movies are well-known and loved because of their soundtracks, like 2011's Drive, which is virtually synonymous with Kavinsky's "Nightcall," or 2016's Moonlight, which features everyone from Aretha Franklin to Jidenna.
The right music can enhance the emotions in a movie scene, from the romantic to the terrifying. And if the wrong song is paired with the wrong scene—well, all bets are off. 'Tis the season for Oscar-bait releases, meaning great flicks (and predictably great soundtracks) are coming to theaters near you. But before you hit up the half-price matinee (or the late-night premiere), let's look back at some of the best movie soundtracks of all time. These are the classics that set the stage for the next generation of amazing movies and their soundtrack counterparts.
So, let's celebrate the superior sounds of cinema with The Best Movie Soundtracks of All Time. Before anyone screams out, "Yo, where da fuck is da Godfather ova heah?!" we're talking strictly songs, no scores (that's another list!). So what takes the prize? Keep reading to find out.
Belly
Hype Williams' visual feast got mixed reviews, but the hip-hop-heavy soundtrack hit all the right notes. In addition to Def Jam's all-star East Coast rap roster, they slipped in quality soul from D'Angelo and Sparkle, along with some integral reggae flavor in the smash hit DMX/Sean Paul/Mr. Vegas collabo. Jamaica is very good!
Soul in the Hole
Brooklyn wasn't soft in the '90s, so the soundtrack for a documentary about basketball coach Kenny Jones leading a team of playground players there couldn't be either. Hard-ass RZA and DJ Premier tracks and songs by street rappers like Wu-Tang Clan, Big Pun, Mobb Deep, Cocoa Brovaz (Smif-N-Wessun), and M.O.P. reminded us why rap and basketball complement each other's grittiness so well. You know, unless it's Shaq rapping about the many ways he dunks.
Batman
Not to be confused with the predictably excellent musical score provided by bajillionaire maestro Danny Elfman, this Batman is none other than the magical batshit crazy pop/R&B/rock/funk offering borne from the brains of everyone's favorite alluring elfin genius—Prince. While the undisputed single "Batdance," which climbed to No. 1 on the BillBoard charts, was derided by die-hard Purple One fans for being gimmicky, we have to give it up to the track for HAVING A DANCE that was featured in a crazy video that we loved and were sort of scared of as kids. Plus, we fucks with "Lemon Crush," even if the syrupy Sheena Easton ballad duet, "Arms of Orien," gets a big fat FOH from the staff.
Black Panther
No shade to what Ludwig Göransson has done in the world of scoring films, but the Kendrick Lamar-led Black Panther: The Album is what one thinks about when they remember the music from Marvel’s blockbuster film Black Panther. The TDE camp is all over this project, be it Kendrick Lamar’s presence on damn near every song or the inclusion of ScHoolboy Q, Jay Rock, SZA, and others making their appearances throughout. Songs like “All the Stars,” “King’s Dead,” and the K Dot/Weeknd collab “Pray For Me” were certified hits, but you also got hidden gems like the SOB X RBE track “Paramedic!” and the Ab-Soul, Anderson .Paak, and James Blake party “Bloody Waters.” Thoro album all around, helping solidify the stranglehold TDE has on the game, as well as what Kendrick can do when he’s that influenced by some material. —khal
Garden State
When Zach Braff, the writer, producer, director, and star of Garden State, was ten, he was diagnosed with obsessive-compulsive disorder. Fortunately for him, he had complete control of his soundtrack, and in picking songs that influenced him while he wrote the screenplay, he compiled a collection that perfectly complimented the awkward, self-conscious, romance chipped away at in the film. Mostly indie rock from today and yesteryear—The Shins, Simon & Garfunkel—the soundtrack was so good, Braff picked up a Grammy for it in 2005. Was the movie and album good enough to change people's perception of NJ? Sadly, no.
Streets Is Watching
Hov's acting debut in the film naturally accompanied a soundtrack released by his label, Roc-A-Fella records. The soundtrack, which meant to showcase the new artists on his label, would go on to boast two Billboard 100 singles ("Love For Free" & "It's Alright") and cap off at #3 on the Top R&B/Hip Hop Albums Chart. But, more importantly, it helped Jigga reestablish himself as a street artist after the shiny suit era.
High Fidelity
How do you make a soundtrack for a movie about complete music snobs? The adaptation of Nick Hornby's novel did a great job of capturing the somewhat obscure, hodge-podge aesthetic of the Champion Records staff, from jangly garage rock (The Kinks) to non-corny sentimental ballads (Stevie Wonder). And any album that features Jack Black singing Marvin Gaye is a banger in our book.
Rushmore
Wes Anderson initially intended for the Rushmore soundtrack to be composed mainly of songs by The Kinks, but it ended up being a pleasant, mostly mellow assortment of more obscure songs from John Lennon ("Oh Yoko!") and Rod Stewart's group Faces ("Ooh La La") with some classic Cat Stevens ("The Wind") mixed in, finished off with random shit like crooning from Frenchman Yves Montand. A bit weird, but then if you fuck with Wes Anderson's quirky movies, you no doubt fuck with his very particular taste in music.
Easy Rider
The licensing for the Easy Rider soundtrack came to $1 million, more than the budget for the film itself, but you can hardly blame the producers for going whole hog (pardon the pun) on the tunes for their iconic flick. Because if you're gonna have a couple of motorcycle-ridin' pseudo-hippies go on a cross country road trip smashing commune chicks, turning on alcoholic lawyers, and generally inflaming the local populace, you're gonna need some Steppenwolf and you're gonna need some Byrds, and you're definitely gonna need some Jimi Hendrix.
Shaft
Legendary musician Isaac Hayes originally offered to work on the project in hopes of being cast as the black private dick. The role was already secured by Richard Roundtree, so Hayes was offered a cameo and the opportunity to compose the badass score of the classic blaxpoitation film. "Theme from Shaft" went on to win the 1972 Oscar for Best Original Song, and though it still amuses us that Hayes beefed with South Park creators Matt Stone and Trey Parker over their jabs at his Scientology cult faith, we're positive that the Shaft soundtrack will outlive that fuckery.
Mo' Better Blues
Spike Lee stuck to making an amazing film and called in the Branford Marsalis Quartet and Terence Blanchard to compose a jazzy score that captures the hectic life of a trumpeter swimming in girls, debt, violence, jealousy, and, ultimately, salvation. Anyone living the Complex life can probably relate.
Wild Style
As the first hip-hop motion picture, it was imperative that Wild Style have a heavy-hitting soundtrack. With songs from the Cold Crush Brothers and mixes by DJ Grand Wizard Theodore, among others, the film and the soundtrack boasted a cult following upon its release. Since then, it's been sampled by the most notable artists today, including A Tribe Called Quest and the Beastie Boys.
Juice
Maybe the best "teenagers in the hood" movie of the entire early-'90s crop (and yes, we're counting Boyz and Menace), Juice had a soundtrack as East Coast-biased as its uptown setting. Standouts from Naughty by Nature, Rakim, and Too Short (we didn't say it was all East Coast) made this one a certified Discman staple back in the day.
New Jersey Drive
Strong contributions from Redman, Lords Of The Underground, Naughty By Nature, and MC Eiht make this a worthwhile listen. Total's "Can't You See," Outkast's "Benz Or A Beamer," and Black Moon's "Headz Ain't Ready" make this a must-have. This is music to drive steal a car and joy ride to.
Crooklyn
Crooklyn the movie was set in the '70s, and, as such, featured a what's what of dope soul from that decade. But Crooklyn the soundtrack led off with "Crooklyn," the only song ever recorded by The Crooklyn Dodgers supergroup comprised of Buckshot, Masta Ace, and Special Ed. (Enough Crooklyn for you? We won't even start with "Return of the..." and "Brooklyn in My Mind.") "Crooklyn" justified the soundtrack on its own, then we found out the Stairsteps "O-o-h Child" made girls take their pants off, and Buckshot and co. took a backseat. Or front, rather, since we were in the back with said shorty.
Menace II Society
Anchored by classic West Coast hits like Spice 1's "Trigga Gots No Heart" and MC Eiht's "Streiht Up Menace," this collection of songs gives Menace some unforgettable sound bites.
The Show
If you're going to have a rap documentary with icons like Biggie, Dre, LL, and Run-D.M.C, you better come correct on the soundtrack. Russell Simmons did not disappoint and delivered a banger with features from Method Man, 2pac, Onyx, and A Tribe Called Quest. It is truly a mix of the best artists from hip-hop's golden era. Of course this was all done before Def Jam fell the fuck off.
The Virgin Suicides
The Virgin Suicides has two soundtracks. One is stacked with old-school bangers to compliment its 1970s setting, and it's dope, but the real gem lies within French electro duo Air's musical interpretation of the film's emotive themes. Even at a super-short 40-minute run time, the lush, ambient landscapes these guys create with their synths leaves just as much of a lasting impression as Kirsten Dunst offing herself via carbon monoxide. Oops! Spoiler alert!
Pulp Fiction
The only thing Quentin Tarantino loves more than himself—and black people—are his movies. That's why the soundtrack for his 1994 Oscar-winning flick included more movie dialogue than actual music. With a song selection as eclectic as the cast—everything from surf tunes to rap music and soul—Q fit some of his favorite pieces from the movie onto the album. It may seem a little odd, but it worked. And he was wise enough to leave his n-bomb tirade off, though you know it killed him.
Trainspotting
Music was so important to this druggie classic that two soundtracks were released for the film. The first is your typical, songs featured in the movie type of OST. The other dropped a year later with songs that inspired the filmmakers. Both are stacked with the kind of cool guy post-punk that a lot of kids are drawing from in the indie scene today. If names like Brian Eno, New Order, and Joy Division aren't mainstays in your iTunes library, this soundtrack isn't a bad place to start.
Dead Presidents
The Hughes Brothers reintroduced the hip-hop generation to some good ol' soul with this superb collection of black music from the early '70s, including many songs that had provided popular samples in the rap world. The introspective set fit perfectly in the movie's Vietnam vets-turned-robbers storyline, and it was so successful that they issued a second volume of classic joints a year later.
Above The Rim
Musically speaking, it's a Westsiiiiide story (no Lenny Bernstein), which is weird for a movie that's about an NYC high school basketball prospect—but not weird for an album put together by Death Row. How else would we have gotten instant classics like "Regulate" and "Afro Puffs"? HAAAAAADOUKEN!
The Harder They Come
Jamaican singer Jimmy Cliff starred in the classic island crime film and contributed four unforgettable original songs to its ever-fresh ska and roots reggae soundtrack: "Sitting in Limbo," "Many Rivers to Cross," "You Can Get It if You Really Want," and "The Harder They Come." The collection, which also includes greats like The Maytals and Desmond Dekker, is responsible for introducing reggae music to a lot of white folks. So sure, it's responsible for a couple Ras Trents, but we can't hold that against it.
Super Fly
We were still swimming in our daddy's big ol' nuts (ayo!) when this one dropped, but you don't need to have been alive and culturally aware during the 1970s to fucks with Curtis Mayfield's classic concept album for the film about a coke dealer trying to get outta the game. Funky, soulful, and full of tales from the ghetto, this is what white people used to sing along uncomfortably to in their cars before rap music.
8 Mile
A soundtrack from an Eminem-starring movie about rapping turning out wack would be like a Michael Strahan sitcom about a football player turning out...oh, never mind. 50 during his ascendancy x Eminem x Jay x deep cuts by Xzibit, Nas, and Gangstarr? Is you kidding?
Purple Rain
Prince and The Revolution’s Purple Rain album is what drives the film of the same name. Sure, the ultra-campiness and uber-excellence that is a Prince movie is worth the price of admission, but it was the music that drove the narrative, with memorable performances and risque lyrics to boot. “Darling Nikki” is one of the reasons why albums had Parental Advisory stickers on them. The story he weaved into the movie is told in beats throughout these songs...or was it that the songs created the narrative of the movie? Whatever the case may be, this is highkey Prince’s perfect release: not too short, chock full of bangers. And truth be told, non-collectors are only just getting the full collection of work via the remastered, deluxe edition of Purple Rain (including the extended version “Computer Blue”). Prince was created, then he broke the purple mold while singing “Purple Rain.” —khal
Space Jam
Space Jam may not have stood the test of time, but that doesn’t make it any less loved. The Michael Jordan starring animated basketball classic—that we all celebrated a bit too much last year—but more than the film itself, its soundtrack might be worth even more celebration. The Space Jam soundtrack is peak Jock Jams—filled with upbeat bops from Coolio, Quad City Djs and Busta Rhymes. But the soundtrack more memorably brought us major classic ballads—including some covers from Seal—but R. Kelly’s “I Believe I Can Fly” captured everyone. There’s no way you attended a middle school dance without hearing it and that’s what makes the Space Jam soundtrack a thing of legend. —Kerensa Cadenas
Romeo + Juliet
Baz Luhrman’s Romeo + Juliet soundtrack was truly a lesson in teen angst. From the opening strains of Garbage’s “#1 Crush” to the upbeat strains of Mundy’s “To You Bestow”—Romeo + Juliet is a perfect companion to its Shakespearean tale of two teens flush with lust and obsession. Beyond being an amazing soundtrack of its own merits, the music is one with the film from when Mercutio does a whole dance number in drag to “Young Hearts Go Free” in a molly soaked sequence to when Leonardo DiCaprio enters the screen to Radiohead. If teen you didn’t write bad poetry to this soundtrack, were you ever really a teen? —Kerensa Cadenas
Guardians of the Galaxy
What better way to stay connected to fond memories is there than music? It’s exactly why Peter Quill, aka the Star-Lord from Guardians of the Galaxy, made sure that his Awesome Mix Vol. 1 cassette (which turned into the official Guardians soundtrack) was always near. The tape is also just fire, featuring classics from the ‘70s and ‘80s like Blue Swede’s “Hooked On A Feeling” and The Runaways’ “Cherry Bomb” that get you charged up for the insane action-packed adventure that was the first Guardians film. —khal
Drive
“Real human being, and a real hero” echoes Bronwyn Griffin of the Canadian electro-pop duo Electric Youth on “A Real Hero,” the pervasive track from both the Drive film and original soundtrack. 2011’s Drive from Danish director Nicolas Winding Refn is one of those rare films (like several on this list) to have a soundtrack that not only matches but also adds to the movie’s rich subtext. A gritty, colorful neo-noir crime drama starring Ryan Gosling, the film has a strong ’80s flair to it, which the soundtrack expertly highlights with synth-laden tracks like Kavinsky’s “Nightcall” featuring CSS’s Lovefoxxx to the moody deep house cuts, like Chromatics “Tick of the Clock.” These retro, electro themes from the soundtrack provide an extra emotional layer to the already nostalgic vibes of Drive, and end up being essential due to the film’s minimal dialogue. By the end of the flick, Gosling’s performance as a nameless stunt driver gone rogue for the one he loves will definitely stick with you, and you won’t be able to get “A Real Hero” out of your head. —Helen Owolabi
The Royal Tenenbaums
"Wes is very careful about the songs he uses. He's very passionate about the music that goes in his movies,” explained longtime collaborator and composer for Anderson’s films Mark Mothersbaugh to Rolling Stone back in 2001. Mothersbaugh’s music career almost seems too good to be true—from co-founding the legendary pop-punk band Devo back in the ’70s to becoming the established film, TV, and video game music composer that he is today, Mothersbaugh’s track record is one for the history books. So it’s no surprise that the Devo legend had such an influence on the sound and feel of several of Wes Anderson’s cherished films. The Royal Tenenbaums came after Mothersbaugh and Anderson’s collaboration on the also superb Rushmore soundtrack, but with Tenenbaums, Mothersbaugh expanded his musical realm and creativity.
Like Rushmore, The Royal Tenenbaums soundtrack includes several classic rock tracks—Bob Dylan’s “Wigwam,” The Clash’s “Police & Thieves,” etc.—but unlike Rushmore, the character’s in Tenenbaums go through more dark, emotional rollercoasters, which Mothersbaugh thus supplies an innovative and equally emotional tracklist to match. For all you Tenenbaum fans, imagine the gripping scene with Luke Wilson’s Richie character while he’s shaving in the bathroom without Elliot Smith’s “Needle in the Hay” playing in the background? Mothersbaugh's score and soundtrack are as vital to Anderson’s The Royal Tenenbaums as its actors. —Helen Owolabi
Straight Outta Compton
If the Straight Outta Compton film is a poignant look at the history of one of the West Coast’s best rap crews, the soundtrack is an equally-important trek through their influences and history. Mixed in with N.W.A. staples like “Dopeman (remix),” “Fuck tha Police,” and others, we get solo cuts like Ice Cube’s “No Vaseline” and Eazy E’s “We Want Eazy.” For an added bonus, you also get Left Coast gems like Parliament’s “Flash Light,” Steve Arrington’s “Weak at the Knees,” and Snoop and Dr. Dre’s “Nuthin’ But A G Thang.” Essential California bangers. —khal
Forrest Gump
The soundtrack to Forrest Gump was so ill, it was only knocked out of the top spot by the Lion King soundtrack. For those of you who loved the nostalgia the Tom Hanks-driven flick brought, the two-disc soundtrack stacked hits upon hits upon hits. It might not be your type of hype these days, but with everyone from Willie Nelson and Joan Baez to the Beach Boys and The Supremes on this expansive release, the broad strokes of time in the film are perfectly encapsulated on this soundtrack. —khal
Almost Famous
A love letter to the music industry, Almost Famous’ comprehensive and pretty much impeccable soundtrack encapsulates the energized, metamorphosing jitters of the early ‘70s better than any period film in recent memory. A functioning who’s who of the decade (David Bowie, Simon & Garfunkel, Todd Rundgren and Led Zeppelin all make prominent appearances), Cameron Crowe’s curated soundscape doesn’t just follow Patrick Fugit’s wunderkind through the back alleys and backstages of the music scene, it soaks in the experiences with him, learning about the world alongside our increasingly weary protagonist. By now, it’s a cliché to call a distinct location or twanging soundtrack “another character itself” – but Crowe seems to think of his music patchwork that way himself – in the words of the certainly immortal Penny Lane, “if you ever get lonely, just go to the record store and visit your friends.” —Aubrey Page
Marie Antoinette
Whatever you think of Sofia Coppola’s potentially problematic portrayal of infamous French Empress Marie Antoinette, there’s no denying Coppola and her frequent collaborator Brian Reitzell can whip up an excellent soundtrack. Like Lost in Translation, Coppola and Reitzell (who served as a music supervisor for both films’ soundtracks) use music to expertly accentuate the emotions or subtext playing between characters on the screen. And for Coppola’s naive French party-girl characterization of Antoinette, the soundtrack does wonders. Overlaying frivolous party scenes with tracks like British group Bow Wow Wow’s version of “I Want Candy” to New Order’s “Ceremony,” Coppola and Reitzell’s perfectly selected songs help bring Antoinette’s frequently depicted character into a refreshing new light. —Helen Owolabi
Fifty Shades of Grey
Alright, this may be one of the worst films on our list since it’s absolutely unbearable to watch—if you’re not into the on-screen eye candy or hilariously awkward chemistry of Jamie Dornan and Dakota Johnson as Christian Grey and Anastasia Steele—but damn it this soundtrack has some major bangers, so hear us out. From the Weeknd’s massive hit “Earned It” to Ellie Goulding’s infectious pop anthem, “Love Me Like You Do,” the Fifty Shades of Grey soundtrack earns a spot on our list just for these two tracks alone. Goulding ended up being nominated for a Golden Globe Award for Best Original Song while Abel earned his first Academy Awards nod, also for Best Original Song. The entire soundtrack, released through Republic Records in 2015, sold more than 2 million copies and also included a cosign from Beyoncé for a remix of her one and only “Crazy in Love” track, along with “Haunted” from her 2013 eponymous album. —Helen Owolabi
The Bodyguard
At 12 songs, with contributions from, among others, Aaron Neville, Kenny G, and Joe Cocker, The Bodyguard is the most commercially successful movie soundtrack ever recorded. But make no mistake, it's a success because Whitney Houston and no one else. Side A of the record is a six-song suite of Houston, and without any exaggeration, it is some of the most stirring, most emotional music ever recorded: ”I Have Nothing,” “I’m Every Woman,” “Run to You,” and, of course, “I Will Always Love You.” (For my money, the bridge of “Run to You” is secretly the hardest part of the soundtrack, but everyone will bring their own personal baggage to the songs that will determine what wrings them out most comprehensively.) Houston had a perfect voice, technically stunning but never so textbook as to be chilly or distant. That she can forever be heard singing “don’t make me close one more door/I don’t want to hurt anymore” is sometimes too much to process, now that she’s gone. —Ross Scarano
Waiting to Exhale
The Waiting to Exhale soundtrack might truly be perfect. It’s littered with now classics from Whitney Houston, Brandy, Mary J. Blige—and is just an ode to some of the best ladies making music out there including Faith Evans and Patti LaBelle. It’s a perfect companion to the film—about a group of ride or die friends and their relationships. While it’s nearly impossible to pick a favorite, if you don’t shed a tear (or feel sheer rage) while listening to “Not Gon’ Cry” by Mary J. Blige, you might need to look into that. —Kerensa Cadenas
Lost In Translation
Sofia Coppola is a bit of an expert at creating gauzy, foreign landscapes out of even the most familiar of locales, but Lost in Translation is easily the most set adrift of her films: as she cuts loose two adults at two very different crossroads on the confusing streets of Tokyo. But for all the film’s meditation on alienation, Lost in Translation’s soundtrack remains the movie’s sole universal language. Mixing semi-traditional instrumental pieces with hazy, shoe-gazing tracks from Air and My Bloody Valentine, Coppola weaves an aural world that’s both familiar and opaque. But it’s in pop music that our pair of protagonists find their greatest connection, both with the world around them and with each other: brought together by Bryan Ferry’s vibrato and the jangly confidence of The Pretenders. —Aubrey Page
The Last Days of Disco
Let’s be real: disco has gotten a bad rap. Sure, the songs are long and the structure is nearly always the same, but even the weakest of the eras hits could always guarantee a decent rhythm to groove to. Enter The Last Days of Disco, Whit Stillman’s snarky deconstruction of yuppie culture in NYC during the “very early 1980s”, a movie that largely busies itself with making total fools out of its hilariously insufferable protagonists while quietly (perhaps inadvertently?) proving that disco deserves another day in the sun. Clattering with club bangers from Sister Sledge, Diana Ross and Cheryl Lynn and buffered by smooth soul from Brenton Wood and the O’Jays, The Last Days of Disco is never more than two minutes from breaking into song. —Aubrey Page
The Graduate
At this point, since its 1968 release, you can certainly call The Graduate soundtrack legendary. The accompanying music to Mike Nichols’s The Graduate starring Dustin Hoffman is a film that today is so ingrained in popular culture. And the soundtrack itself can be seen as a precursor to many on this list—one that puts the music that it uses into the DNA of the film. Who doesn’t here “Sound of Silence” and think of the blank, handsome face of Dustin Hoffman as a college graduation who has no fucking clue what’s next. And it’s the perfect soundtrack to listen to when you have no idea what you’re doing next too. —Kerensa Cadenas
Moonlight
For Barry Jenkins, the music of a film is as much a part of its DNA as the dialogue and careful cinematography. In fact, Jenkins makes a habit of writing the lyrics of the songs he’s chosen into the script itself. That fact is made abundantly clear in Moonlight, virtually from the very first shot. Jenkins opens the film with Boris Gardner’s “Every N*gger Is a Star” (which you, like Jenkins, likely first heard sampled by Kendrick Lamar). And while the stirring instrumental score remains an undeniable part of the film’s emotional pull, it’s the film’s two subsequent brushes with popular music that remain its most affecting. Jidenna’s chopped and screwed “Classic Man” arrives as Chiron’s distilled melancholy in a nearly wordless scene between Moonlight’s two estranged lovers, but it’s Barbara Lewis’ “Hello Stranger” that’s as close to an emotional punch to the gut as I’ve heard in ages, a song that easily croons the words Chiron and Kevin can't manage to say. You’re gonna want to set this one on repeat. —Aubrey Page
Boogie Nights
Sporting a sprawling soundtrack befitting of PTA’s period masterpiece, Boogie Nights uses the playful, groovy Disco of the ‘70s (and later, the driving pop rock of the early ‘80s) to construct its threatening, beautiful world. As much a stellar movie soundtrack as it is a meandering mixtape stuffed with throwback bangers, Boogie Nights combines hits from Marvin Gaye and The Commodores with Rick Springfield and Hot Chocolate to tell a story of its own outside of Anderson’s ambitious narrative. The kind of songs one might hear from a far-off radio on a summer day or through the marked-up walls of a dive bar bathroom, it’s a soundtrack that feels inescapably alive, a living, breathing monument to the misguided optimism of the time. —Aubrey Page
Goodfellas
Truth be told, Scorcese won for selecting the “Piano Exit” version of “Layla” in this. It’s perfectly placed in Goodfellas, which is a film full of perfect needle drops. There’s simply nothing better for the film, which is without a doubt the greatest film on the world of organized crime, ever. Gems from Aretha Franklin, Muddy Waters, Cream, Tony Bennett, and others are used “in an oblique way,” because that’s how Scorcese wanted it. Bravo to the true master. —khal
Nutty Professor
With a soundtrack that landed itself the #8 spot on the Billboard 200, there's no wonder this Eddie Murphy flick is on the list. Although the film itself received mixed reviews, the soundtrack rocketed to the top of the charts and reached the coveted #1 spot on the Top R&B/Hip-Hop Albums. With hit singles like "Touch Me, Tease Me" by Case featuring Foxy Brown, "Ain't No N*gga" by Jay-Z featuring Foxy Brown and "Ain't Nobody" by Monica featuring Treach of Naughty by Nature, The Nutty Professor tracklist perfectly encompasses all things 90's hip-hop. —Elizabeth Gulino
Rush Hour
Released during the lowkey golden era for soundtracks, the collection of cuts for the first Rush Hour film is a rap and R&B fan’s paradise. Not only did it feature the #1 single “How Deep Is Your Love” from Dru Hill and Redman, bit it has Jay Z’s “Can I Get A…,” Case and Joe’s “Faded Pictures,” and music from Too Short, Slick Rick, and others. Plus, it had the illest interludes featuring snippets from the film (I know a number of you pause-tape DJs used that “cigaweed” interlude on your mixes, don’t front). They don’t make ‘em like this anymore. —khal
Love & Basketball
Love & Basketball has what every 2000's romantic drama needs: a soundtrack heavy on the R&B. The story of childhood sweethearts growing up while balancing love, life and basketball is told in three parts, all of which rely on this soundtrack to help move it along. The standout track in this film is MeShell Ndege'ocello's "Fool of Me", which perfectly meshes with the story of two friends who love each other as much as they love the game of basketball. Although it only peaked at #15 on the Top R&B/Hip-Hip Albums chart, Love & Basketball's soundtrack is still one of our top choices. —Elizabeth Gulino
He Got Game
It’s a Public Enemy album, and a good late-period PE album at that. The title track, with its Buffalo Springfield sample, is the obvious standout, but “Game Face” and “What You Need Is Jesus” are strong attempts at expressing the content of the film in the lyrics. It’s not always successful, but it’s always interesting, and it’s a reminder that He Got Game is lowkey one of Lee’s best films. —Ross Scarano
Boomerang
Eddie Murphy’s character in the 1992 comedy Boomerang is, from the vantage of 2017, a goofy but charming lothario with somewhat confusing standards; he’s a playboy but also kind of a sucker—he’s going to have his world upended, he’ll get burned, he’ll fall in love. Just as the arc of the film bends toward stable romance, the high points of its soundtrack are its sincerest moments: Boyz II Men’s “End of the Road” (recorded for the album), P.M. Dawn’s “I’d Die Without You,” Toni Braxton’s “Love Shoulda Brought You Home” (her first single!). LaFace records made sure Murphy’s movie had a soundtrack of the best in rap, new jack swing, and R&B ballads for its time. —Ross Scarano
Toy Story I & II
The first truly great computer-animated film. The film that made Pixar’s reputation, and whose equally successful sequel cemented it, Toy Story (if Disney had their was) was supposed to be a musical in the Disney tradition (like Lion King, Beauty and the Beast, and The Little Mermaid). But the creators resisted, instead hiring Randy Newman to write a standard, classic score, filled with joy, action, and suspense, with a few standalone songs—great ones, at that (shout out “You’ve Got a Friend in Me”). The sequel only expanded on the great buddy saga, adding the western backstory of Woody the Cowboy and his own theme song, “Woody’s Roundup,” plus the touching “When She Loved Me.” Just try not to cry watching the scene of Jessie the Cowgirl doll being tossed in a box and not crying. That's what we thought.