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Soundtracks emerge separate from their companion films

Soundtracks are quite the potluck of music buying. Some turn into classic albums, like the '70s fave "Saturday Night Fever" soundtrack. Some break new artists, like Elton John's work for the film "Friends" and Lisa Loeb's "Stay" on the "Reality Bites" soundtrack. Some aren't quite as memorable, or we wish we could forget about them -- like Whitney Houston's "Bodyguard" soundtrack, the highest-selling CD of all-time.

But what makes a soundtrack a cool album? Being tied to a cool movie doesn't cut it on its own. Album producers adding dialog to their albums helps tie the two works together, but even a great movie can have a dud soundtrack. And in some cases, like the bomb "Empire Records," the soundtrack will do even better than the movie.

The same characteristics that make a good studio album also carries over to soundtracks. A soundtrack shouldn't just be throwing someone's favorite songs together on one disc; there has to be some type of common thread to bind all of the various tracks together. Whether it's the funky disco beats of "Saturday Night Fever" or the Seattle grunge showcase of "Singles," a good soundtrack is more than just a compilation -- it's a work of art, like creating any type of record.

The soundtrack from the Robert Rodriguez/Quentin Tarantino film "From Dusk Till Dawn" (HHHH Epic Soundtracks) is a perfect example of an excellent theme soundtrack. The film chronicles the characters' journey through Texas and Mexico, and the soundtrack showcases their adventure beautifully, with its slick guitar blues and greasy hard rock.

Chock full of three Vaughn Brothers tracks, Stevie Ray's "Mary Had A Little Lamb" and "Willie the Wimp (And His Cadillac Coffin)," and Jimmie's new track "Dengue Woman Blues," the Texans' great blues-rock is just the beginning of the fun.

ZZ Top contributed two tracks, its 1975 classic "Mexican Blackbird," and the new, very slick "She's Just Killing Me."

Two songs from the Titty Twister (the bar in the movie) band, Tito & Tarantula, add lots of spice to the soundtrack. "Angry Cockroaches (Cucarachas Enojadas)" and "After Dark" are great country-rock-blues tracks, as is The Leftover's "Torquay," a juiced-up version of "Tequila." On the purer country side, The Mavericks contributed "Foolish Heart," The Blasters' "Dark Night," and Jon Wayne's comical "Texas Funeral."

Gene Revell's two score tracks are quite grand, but the best part of the soundtrack is its dialogue clips from the film. Quite obscene, but at least making for a great laugh (especially Cheech Marin's lines from the Titty Twister), the dialogue puts the Tabasco on the enchilada.

"Mr. Holland's Opus Original Motion Picture Soundtrack" (HHHH Polydor) continues a bit with an intertwining musical theme throughout the soundtrack, featuring mostly classic oldies from greats like Stevie Wonder, Ray Charles and John Lennon.

The album kicks off with a solo track from Boys II Men's Shawn Stockman with the rich and soulful "Visions of a Sunset." Continuing on with Len Barry's "One, Two, Three," The Toys' "A Lover's Concerto" and the Spencer Davis Group's "Keep On Running," the album throws itself back to Mr. Holland's first few years as a teacher.

As the soundtrack continues, the music keeps on getting better. Wonder's amazing "Uptight (Everything's Alright)," John Lennon & The Plastic Ono Band's classics "Imagine" and "Beautiful Boy," and Charles' great "I Got A Woman" make it impossible for the compilation to disappoint.

Other tracks by Jackson Browne, Julia Fordham, Julian Lennon and The London Metropolitan Orchestra's "An American Symphony (Mr. Holland's Opus)," which finishes out the disc, add to the quality of the classic oldies and pretty decent originals.

With a mix of half-new and half-old tracks, the soundtrack from "Beautiful Girls" (HHHH Elektra) doesn't achieve much sense of unity throughout, but it's still a great compilation of music. The opening track, "That's How Strong My Love Is," is the first post-Fine Young Cannibals effort by vocalist Roland Gift. Gift's rich and eccentric vocals mold beautifully with the slow track's horns and grand feeling on the classic song for a great track.

The Afghan Whigs two covers, "Be For Real" and "Can't Get Enough of Your Love Babe" are decent, much like the band's other many soul covers. Singer Greg Dulli's raspy screams are just no match for the low sweet soul of Barry White's unmistakable voice on "Can't Get Enough," but the song is still fun.

Tom Petty wanna-be Pete Droge & The Sinner's title track "Beautiful Girl" is catchy, and Satchel's "Suffering" is also pretty good, while Chris Isaak's "Graduation Day" drags.

But it's the old-timers who shine brightest on the album. Billy Paul's "Me and Mrs. Jones" is the only oldie near the beginning of the disc, while the rest of the classic tracks are thrown at the end. Beginning with the Spinners' "Could It Be I'm Falling In Love," the tail end of the soundtrack lets loose with a great combination of timeless tracks. Kiss' "Beth" follows The Spinners, with King Floyd's funky "Groove Me," The Diamond's "The Stroll," and then finishing up with Neil Diamond's "Sweet Caroline" for a rather unusual, yet very propelling end.

But it's the big Gen-X and other lack-of-direction soundtracks the plague the market and promote mediocrity. With big names, yet little substance, "Mr. Wrong" (HHH Hollywood Records) lacks much direction and throws together work from today's hot pop and country artists like Joan Osborne, Chris Isaak, Amy Grant, Faith Hill and Sophie B. Hawkins for a blah record.

The album isn't really that bad -- just mediocre. Most of the tracks are sweet little love songs, with the typical hooks and cheese to carry them through.

There are some interesting contributions to the album. Queen's "Crazy Little Thing Called Love" and Arturo Sandoval's "Suavito" both contribute some substance, as well as Joan Jett and the Blackhawks' "Love Stinks."

The album's best track, from Chapel Hill, N.C.'s Ben Folds Five, is "Song For the Dumped." While always zany and up to no good, Ben Folds Five is simply hilarious. Folds sings in his adorable candy-coated voice, "Give me my money back/Give me my money back, you bitch/I want my money back/And don't forget to give me back my black T-shirt." Now that's a love song.