Soundtrack album

A soundtrack album is any album that incorporates music directly recorded from the soundtrack of a particular feature film or television show. The first such album to be commercially released was Walt Disney's Snow White and the Seven Dwarfs, the soundtrack to the film of the same name, in 1938. The first soundtrack album of a film's orchestral score was that for Alexander Korda's 1942 film Jungle Book, composed by Miklós Rózsa. However, this album added the voice of Sabu, the film's star, narrating the story in character as Mowgli.

In advertisements or store listings, soundtrack albums are sometimes confused with original cast albums. These are albums made with the original stage cast of a Broadway musical, and are recorded by the cast either in live performance or in a studio, not transferred from a movie soundtrack.

In some cases, recorded dialogue may be incorporated into the soundtrack album. This comes in two kinds: audio clips from the movie itself (used on the albums for Pulp Fiction and Apollo 13, for example) or radio dramas that involve the characters from the movie involved in other events (example: King of Pirates, from FLCL). The unusual first soundtrack album of the 1939 film The Wizard of Oz, issued in 1956 in conjunction with the film's first telecast, was virtually a condensed version of the film, with enough dialogue on the album for the listener to be able to easily follow the plot, as was the first soundtrack album of the 1968 Romeo and Juliet, and the soundtrack albums of The Taming of the Shrew (1967 version), Cromwell, and Little Big Man. In the case of Patton, the bulk of the album featured the film's musical score, while the opening and final tracks featured George C. Scott's opening and closing speeches from the movie. The highly unusual soundtrack album of the 1972 mystery film Sleuth was designed as a sort of teaser, with Laurence Olivier and Michael Caine's voices heard for the first three minutes, after which the dialogue was abruptly cut off and the musical score of the film took over, forcing listeners to "actually see the film if they wished to know what the mystery was all about."

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