Man on the Moon

Man on the Moon

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Overview

Comedian, madman, genius -- Andy Kaufman was wildly unpredictable, from all accounts, so it's no surprise that the soundtrack album to the Jim Carrey-starring biopic of Kaufman is by turns straightforward and goofy. R.E.M., whose sublime 1992 single gives the film its title, scored the movie as well, and the band's new offering "The Great Beyond" is a handsome, yearning slice of polished pop. Naturally, "Man on the Moon" is included here, in all its achingly bittersweet beauty. The nutty stuff includes the Sandpipers' rendition of "Mighty Mouse Theme (Here I Come to Save the Day)," to which Kaufman lip-synched on the first-ever broadcast of "Saturday Night Live"; a bizarre version of disco standard "I Will Survive," performed by Kaufman's lounge-singer alter ego, Tony Clifton; and Kaufman's sweet, falsetto rendition of the title song of the 1924 operetta "Rose-Marie." Plus, Carrey (as Kaufman and Clifton) comically duets with R.E.M.'s Michael Stipe on "This Friendly World," and sprinkled throughout are bits of film dialogue, one segment featuring Courtney Love. The real revelations here are the snippets of R.E.M.'s instrumental score, which are lovely, impressionistic, and indicative of another potential career for Stipe, Peter Buck, and Mike Mills. These excerpts leave one wanting much, much more.

Product Details

Release Date: 11/23/1999
Label: Warner Bros Uk
UPC: 0093624748328
catalogNumber: 247483

Album Credits

Performance Credits

Exile   Track Performer
Scott McCaughey   Musician
Sandpipers   Track Performer
Richard Todd   Musician
Clay Jenkins   Musician
Jim McCarty   Musician
Andy   Track Performer
Jacqueline Brand   Musician
Denyse Buffum   Musician
David Duke   Musician
Charles Everett   Musician
Juliann French   Musician
Armen Garabedian   Musician
Berj Garabedian   Musician
Endre Granat   Musician
Carrie Holzman-Little   Musician
Dennis Karmazyn   Musician
Andy Kaufman   Track Performer
Randy Kerber   Musician
Miran Kojian   Musician
Victor Lawrence   Musician
Dane Little   Musician
Warren Luening   Musician
Rene Mandel   Musician
Liane Reynolds-Mautner   Violin
Cynthia Moussas   Musician
Simon Oswell   Musician
John Reynolds   Musician
Anatoly Rosinsky   Musician
Danny Seidenberg   Musician
Steve Sidelnyk   Musician
Kurt Snyder   Musician
David Stenske   Musician
Ken Stringfellow   Musician
Josefina Vergara   Musician
Mihail Zinovyev   Musician
Shari Zippert   Musician
Michael Lufkin   Musician
Christina Soule   Musician
Joey Waronker   Musician
Jim Carrey   Dialogue
Richard Belzer   Dialogue
Damian leGassick   Musician
Courtney Love   Dialogue
Jamie Candiloro   Musician
Natalie Leggett   Musician
Timothy Landauer   Musician
Rafael Rishik   Musician
David Thomasson   Musician
Tommy Verdonck   Musician
Nico Abondolo   Musician
Gary Kuo   Musician
Rachel Purkin   Musician
Susan Rishik   Musician
Jennifer Bellusci   Musician
Eun Mee Ahn   Musician
Eve Butler   Musician
Peter Bonerz   Dialogue
Krystina Carson   Dialogue
Danny DeVito   Dialogue
Jessica Devlin   Dialogue
Robert Emmet   Musician
Paul Giamatti   Dialogue
John Hayhurst   Musician
Oscar Hidalgo   Musician
Alexander Jenko   Conductor
Chris Littlefield   Musician
Billy Lucas   Dialogue
Ronnie Sanchez   Dialogue
Marilyn Soko   Dialogue
Tony Clifton   Track Performer
Steven Becknell   Musician
Matthew Funes   Musician
David H. Speltz   Musician
Raymond Tischer   Musician

Technical Credits

Bob James   Arranger,Producer
Charlie Brissette   Arranger
Peter Buck   Composer
Scott Litt   Producer
Patrick McCarthy   Producer,Engineer
Mike Mills   Composer
Joel Moss   Engineer
R.E.M.   Producer,Orchestration,Score
Michael Stipe   Composer
Fred Vogler   Engineer
Bill Berry   Composer
Jamie Candiloro   Engineer
Ed Mitchell   Producer
Eddie Horst   Orchestration
Kaylin Frank   Associate Supervisor
Alexander Jenko   Orchestration,String Arrangements
Marshall Barer   Composer

Customer Reviews

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Man on the Moon 4.3 out of 5 based on 0 ratings. 6 reviews.
Guest More than 1 year ago
I didn't know what to expect when I bought this CD. The reviews I read said that it was really good, or really bad. I think it depends on how much you liked Andy. This CD is a little sneaky because it adds some dialogue before and after some of the songs, so you have to listen to the whole thing (or at least the first half) straight out to get the full effect.
Guest More than 1 year ago
This soundtrack has just about everything I could have hoped for, but I was very disappointed to discover that it doesn't contain any of the music that The Bobs wrote about Andy, one of which was used in the film.
Guest More than 1 year ago
A brilliant masterpiece by an undeniably brilliant group of musicians! R.E.M. has made it up the charts with their latest single off this soundtrack, 'The Great Beyond' and show a promising future in the instrumental arena as well. A major highlight is without a doubt the Stipe/Carrey duet. A must for anyone who sees the movie and an essential for any R.E.M. fan.
Guest More than 1 year ago
THERE IS NOTHING TO SAY ABOUT THIS SINGLE TO DESCRIBE HOW BRILIANT IT IS. I HAVE BRAUGHT EVERY REM SINGLE AND THIS DEFERNETLY TOPS THEM ALL. ITS SO GOOD THERE ARE NO FAULTS TO WRITE ABOUT.
Guest More than 1 year ago
This is a great gift for all you Jim Carry fans. It is fun, enjoyable and you have a great time throghout the entire tape. It is one of those things that never go old; it never get boring. This is a no-brainer!
Guest More than 1 year ago
Pop soundtrack albums come in all shapes and sizes; all variations and varieties. Only a select few serve as perfect sonic complements to their celluloid sources (The Big Chill; Dazed and Confused; Trainspotting). Fewer still transcend those sources (Lost Highway; Velvet Goldmine). Alas, the vast majority simply spin their wheels, desperately lacking the traction that accrues from an inspired commingling of visual image and incidental music. Regrettably, the soundtrack to Man on the Moon falls face-first and firmly into this last category. Named for (and, in many ways, inspired by) R.E.M.¿s 1993 semi-hit single, Milos Foreman¿s courageously off-kilter Andy Kaufman biopic also taps the band from Athens for its orchestral score and closing credits-accompanying single ¿The Great Beyond¿ ¿ a sort of sister-song to the title track that, on repeated listenings, slowly-but-surely succeeds in insinuating itself into the subconscious ¿ the litmus test for any pop song with designs on transcending the disposable. But beyond ¿The Beyond¿, the pickings here are, sadly, slim. R.E.M.¿s six short orchestral interludes are typically tasteful and tuneful (if a bit Ferrante and Teicher/¿Theme from `Exodus¿¿ familiar); Exile¿s gloriously giddy disco-pop confection ¿Kiss You All Over¿ gets rescued from `70s obscurity (though Gary Wright¿s ¿Dream Weaver¿ was rescued to even better effect in Foreman¿s The People vs. Larry Flynt); Jim Carrey (channeling both Kaufman and Kaufman¿s constipatedly cranky alter-ego Tony Clifton) talks and sings along with Stipe on the Fabian-fluffy ¿This Friendly World¿; and for any and all who have spent long hours agonizing over the absence of the Sandpipers¿ ¿`Mighty Mouse¿ Theme¿ and Bob James¿ ¿Theme from `Taxi¿¿ from their CD assortments, you will find them both here ¿ clocking in at 1:22 and 1:06, respectively. Indeed, only the most fanatically forgiving of R.E.M. followers is likely to overlook the disc¿s inexcusably skimpy 37-minute running time. Appropriately, Andy Kaufman is afforded two opportunities to crash his own posthumous party. But without the benefit of the man¿s wide-eyed, deceptively sweet deadpan delivery ¿ and without the lightning-strike electricity that often accompanied the tightrope-traipsing prankster¿s live-and-in-the-moment assaults upon befuddled, unsuspecting audiences ¿ these brief, disembodied ditties have all the musical significance of a Weird Al Yankovic accordion solo and all the comedic impact of a Richard Nixon-delivered knock-knock joke. So take a bit of advice from a fanatically forgiving R.E.M. follower: Skip the disc and see the flick. Only then will you hear how the music was meant to be seen and see how the movie was meant to be heard.