Josie And The Pussycats (Sony)
			The genuine rock edge of Josie And The Pussycats belies the pop-oriented cast of the film. “Shapeshifter” is a distortion-laden track in which the whiny, female vocals provide a refreshingly upbeat alternative to the other girl bands that seem focused on misery. And by “other bands,” I mean Hole. “Pretend To Be Nice” is an addictive ditty in which the influence of Matthew Sweet (guitarist for the mock Josie band) manifests itself via the high-pitched background vocals that make the song brilliant in its simplicity.
	A Knight's Tale (Columbia)
		Before seeing the list of artists on this record, I closed my eyes and tried to envision what would be an appropriate collection of music to compliment the visuals of a knight charging at an opponent, mercilessly digging his lance into flesh. I never reached a conclusion as to a set group of songs, but I can tell you that Heart’s “Crazy On You” was not on my list. And such is the soundtrack to “A Knight’s Tale.” Delving into back catalogs, the disc features artists such as War, Eric Clapton, Thin Lizzy, and David Bowie. In addition, Queen is featured on the record – twice. Which is not to say that all of us couldn’t benefit from a little “We Will Rock You,” or perhaps Robbie Williams singing the vocals to “We Are The Champions.” My only compliant, however, is that the expected fierceness is not delivered, and the audience to whom the film is directed will most likely only find interest in Third Eye Blind’s “Eye Conquerer,” a catchy, yet not nearly as good as the other retro selections, track to close the record.
	Sweet November (Reprise)
		Whereas “A Knight’s Tale” delivers a surprising repertoire of classic rock hits, the soundtrack for “Sweet November” offers the gentle songs one would expect. Amanda Ghost’s “Cellophane” stays true to said sound, enhanced by slick production and Ghost’s raspy yet soothing voice. One of the few deviations from the norm is bt’s “Shame,” a rocker drenched in reverb and bass that stands out as a highlight. Another entirely unexpected track is Robbie Williams’ “Rock DJ,” which sounds like health club music. Another song worth a listen is k.d. lang’s “The Consequences Of Falling.” Lang’s beautiful voice embodies a sense of desperation; the several music tracks – drawn mostly from synthesizers and guitars – mold seamlessly into an ethereal whole. Barenaked Ladies also offer a poignant melody that unfortunately becomes ruined by the slightly off vocals. So with this quiet yet very pleasant record, the film executives can hopefully make back some of the money lost on the film.
	Dracula 2000
		Despite the scary tracklist and even more frightening music, the rockers of this soundtrack make for a strong headbanger compilation. Powerman 5000’s “Ultra Mega” is a welcome offering from a somewhat dormant group, featuring futuristic tinged guitars with maximized distortion exploding over a pulsating bass drum. Slayer’s “Bloodline” follows a similar pattern – in fact, all the songs do – but is just melodic enough to be spared from the “incoherent shouting over a muddy and monotonous riff” pile slowly being amassed here. “I’ll kill you and your dreams tonight,” sings Kerry King in this track. “One Step Closer,” by Linkin Park, is furious yet smartly mixes shouting with singing and fuzz with melody. The record may be too loud for timid fans of rock, but true metalheads and alternative fans alike should be able to enjoy it.
	Valentine
		While the set of artists appearing on this record may appear similar – if not identical – to that of the Dracula 2000 soundtrack, the feel is actually very different here. Unlike the headbanging rock of Dracula 2000, this record has a more techno feel, featuring remixes by BT, Hybrid, and Mephisto Odyssey of popular cookie-monster rock acts. Not all tracks avoid the rock sound, however. Deftones offer old album material with “Rx Queen,” an ominous and intense choice, while Linkin Park shine on “Pushing Me Away,” putting a smart twist on a genre that leans toward insipidness. Marilyn Manson’s “Valentine’s Day” offers the hate-lover’s signature snarls and aggression in fine form, wrapping a haunting tune around charming lyrics like “I saw a pregnant girl today / she didn’t know it was dead inside.” So if you aren’t frightened by the very creepy mask on the record’s cover or the recognizably disturbing collection of artists being featured or, for that matter, any of the words from the mouth of any of the album’s singers, then who knows? Maybe this is the album you’ve been waiting for.