Style/Specific types of releases/Soundtrack
|Status: This is an official style guideline.|
This guideline covers release groups of type “Soundtrack”, and the releases, recordings, and works associated with them.
Soundtrack style should generally follow the normal release guidelines, with the below exceptions.
Note that soundtracks for films or TV shows based on musical theatre shows should use the relevant guideline.
The title should be just the basic name of the track.
The name of the show or film should be placed in the disambiguation comment along with an additional distinguisher if applicable (often the year). If the work has a descriptive title (e.g. “Love Theme”), it should be included after the show title. If the work was used in a specific episode of a TV series, the episode name may be included as well, enclosed in quotation marks. If the song has the same name as the show or film, there is no need to duplicate the title in the disambiguation.
Examples (disambiguation in link, italics):
- Main Titles (Pushing Daisies)
- Boss of Me (Malcolm in the Middle, theme)
- Imperial March (Star Wars, Episode V: The Empire Strikes Back, Darth Vader’s Theme) This track has a descriptive title
- Can You Read My Mind? (Superman: The Movie, Love Theme) This track has a descriptive title
- Main Title (The Twilight Zone, First Season) This show had different main title tracks in different seasons
- ZIM Saves Earth (Invader Zim, “Planet Jackers”) This work was used in a specific episode
- Main Title (Battlestar Galactica, 1978) There was more than one show entitled “Battlestar Galactica”
- Who Is Sylvia This was released as a single, and given the same name as the show it’s from.
In addition, each part of a soundtrack may be linked to one or more 'complete soundtrack' works with the use of the 'part of' relationship.
- Imperial March (Star Wars, Episode V: The Empire Strikes Back, Darth Vader’s Theme) is part of Star Wars, Episode V: The Empire Strikes Back (soundtrack)
- Follow normal title guidelines.
- The Release Artist of a soundtrack should include the composer(s) and performers featured on the front cover (except when "Various Artists" is used, see below). Use only composers and performers who are featured on the front cover (or the spine); don't add artists from the back cover or the inside of the booklet or other places. If the credits contain both composers and performers, begin with the composers.
- The title should be listed as it appears on the cover. “OST” and other initialisms should not be expanded.
- If the cover art lists specific artists for each track, that artist should be placed in the track's Artist Credit field. If there are no track artists, use the release artist instead. If there is no release artist, use the composer for each track instead. If the composer is unknown, use [unknown].
- Alien - Jerry Goldsmith
- Pops in Space - John Williams & the Boston Pops Compilation, but one artist credit covers the entire release
- Brain in a Box: The Science Fiction Collection - VA Compilation. Many tracks do not include credits, necessitating the use of composer. Also includes two recordings of the same work, one a traditional soundtrack and the other a pop version, credited accordingly.
Film scores (which showcase the background music of a film/show) should not be merged with pop soundtracks (albums of pop songs heard in whole or part in the background of a film/show).
- Back to the Future (score)
- Back to the Future: Music from the Motion Picture Soundtrack (soundtrack)
- The Matrix: Original Motion Picture Score (score)
- The Matrix: Music from the Motion Picture (soundtrack)
Alternate-language releases in which each release contains new recordings for its language should each be in separate release groups.
- Tim Burton’s The Nightmare Before Christmas English version
- Tim Burton’s The Nightmare Before Christmas: Colonna Sonora Originale Italiana Italian version
- Pesadilla antes de Navidad: Banda Sonora en Español Spanish version
- Use the same format as the work, above.
- The Recording Artist field should list the most important performers who appear on that specific recording, but it is acceptable that newly-created recordings have their artist information derived from a tracklist.
- Being for the Benefit of Mr. Kite - Maurice Gibb, Peter Frampton, George Burns & Bee Gees