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About The Music
A WALK ON THE MOON is set to the music that defined the summer of 1969, the music that inspired and expressed the peace-love-and-freedom attitude of the newly burgeoning counterculture

A WALK ON THE MOON is set to the music that defined the summer of 1969, the music that inspired and expressed the peace-love-and-freedom attitude of the newly burgeoning counterculture. The soundtrack compiles not-often-heard classics from Bob Dylan, The Grateful Dead, The Jefferson Airplane, The Youngbloods, Joni Mitchell, Richie Havens, Dusty Springfield, Desmond Dekker. Country Joe, Judy Collins, Jimi Hendrix, Janis Joplin and more. It also features contemporary up-and-comers such as Morcheeba, Elijah Blue Allman and Taxi covering late 60s hits.

Tony Goldwyn always knew that authentic music was key to setting the mood for Pearl Kantrowitz's journey into the forbidden world of free love. But as with the rest of the film, he wanted to avoid the standard 60s cliches. "This was always my favorite music," admits Goldwyn, "so it was vital to me that we have songs that would subliminally speak to what's happening on the screen."

To help hunt up evocative but underplayed tunes, Goldwyn called in music supervisor Stephan R. Goldman whose prodigious film work ranges from "Purple Rain" to "Benny and Joon" to "A River Runs Through It." "Stephan just has an incredible vocabulary of songs to work with," says Goldwyn. "He was incredibly valuable."

Goldman was intrigued right away by the chance to amplify the film's generational conflicts with the contrasts between the old-fashioned music of Marty and the sexy, explosive music of Walker Jerome. "After reading the script, I was flooded with memories of my own childhood growing up in New York City and vacationing in the Catskills," says Goldman. "I had distinct memories of the music my parents used to listen to, you know, Eddie Fisher, Frank Sinatra, Georgia Gibbs, Steve Lawrence and Edie Gorme and most of all Broadway show tunes. They loved that music but it couldn't have been more different from what the kids were listening to."

Goldman began sending Tony Goldwyn tapes of rarer tracks from the 60s that he felt spoke to the situations and emotions in the film. "I wanted sounds that would set our collective memories back to those times," he explains. "I wanted to create a magical and somehow mystical feeling in that bungalow colony. I also wanted to address Pearl's emotional stages as she crosses over into the strange hippie world."

There was one major obstacle: given the film's smaller budget it seemed unlikely they would be able to pay for some of the greatest songs of the late sixties from legendary artists. But the minute Goldman started showing the film to people, the response was overwhelming. "Grace Slick was blown away by it; Jim Hendrix's family cried; even the normally reticent Bob Dylan gave permission to use 'Subterranean Homesick Blues."'

"I didn't really know how it was going to play out," admits Goldman, "but I at least had to try to expose the artists to this film. As it turned out everyone was deeply touched by the story and the depiction of the era and without exception we were given their support. Joni Mitchell, Grace Slick, Bob Dylan, Jim Hendrix's family, the LaFlamme's from It's a Beautiful Day, Jesse Cohn Young all pitched in to help us out. I can't remember another film where there was such unanimous approval and support."

Equally inspirational to Goldman was the overwhelming interest in the music<


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