Film soundtracks have risen in popularity since the late '70s, when "Grease" and "Star Wars" dominated the charts.
Then, a couple of years ago, soundtracks for TV series began making waves: "Melrose Place," "ER," "Friends" -- even "General Hospital" -- made it to CD racks.
And now they are joined by computer game soundtracks.
For the most part, these little ditties have been slipping into regular CD players -- not CD-ROMs -- since 1997. And contrary to what some believe, not all game soundtracks involve sampling, or use pre-released music from some other artist.
Take 1997's "Riven" CD, for example. The 20-track disc is filled with ambient music composed by Robyn Miller. All of it is original, written by Miller as he gazed into the landscapes and illusionary world of "Riven," the sequel to "Myst."
"While working on the music for 'Riven,' I originally wrote some longer pieces that later had to be shortened because of the technical limitations of an interactive medium," Miller wrote in the music CD's liner notes. "But I've always liked the longer versions better."
Thus, the "Riven" soundtrack was released.
Another game soundtrack composer is Bjorn Lynne. His works include the newly finished "Worms: Armageddon," "Nightlong -- Union City Conspiracy," "Addiction Pinball," "Worms 2" and "Rasdan."
"My fans that discover my music haven't done that because of one hit song or a popular music video," Lynne said in an interview with Amazing Sounds Magazine early last year. "They discovered it for the music itself (by playing the games)."
While Lynne and Miller might not be known in the popular music scene, one musician/composer is.
Stewart Copeland, former drummer for the Police, has been making music. Lots and lots of music.
He's done film soundtracks that range from "Rumble Fish" (his first) to "Wall Street" to "Rapa Nui" to "The Pallbearer."
Lately, the percussionist-composer has been delving in the virtual world of computer games.
"Spyro the Dragon" is one of his masterpieces. During a recorded interview, which is available on one of the Insomniac-Sony PlayStation Underground discs, Copeland explains that he needs to play the game and beat a level in order to find the inspiration for the music.
"But I need to stay on the level to write the music," he quipped. "I play the level and feel its attitude and create a piece of music."
Throughout the game, players can hear rock riffs, techno riffs and some symphonic orchestrations that Copeland recorded here in Utah.
To Copeland, playing music is second nature, a function of his body. But composing enhances his mind.
"The body becomes inert -- a dead fish," he said. "But the fun thing is that I can play this game and yell at my staff, 'Don't interrupt me, I'm working!' "
So what's next? Soundtracks to commericals?
Oh, wait. Those recordings are already out. They're called classic rock!
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