Music
Music was composed by Trevor Jones. Several additional songs written by other artists include Elvis Costello's cover of the Charles Aznavour song "She", Shania Twain's remixed version of "You've Got A Way", as well as Ronan Keating's specially recorded cover of "When You Say Nothing at All"; the song reached number one in the British charts. The song played when Will strides down Portobello Road is "Ain't No Sunshine" by Bill Withers. Tony and Max play "Blue Moon" on the piano at Tony's restaurant on the night it closes. Originally, Charles Aznavour's version of "She" was used in the film, but American test screening audiences did not respond to it. Costello was then brought in by Richard Curtis to record a cover version of the song. Both versions of the song appear in non-U.S. releases. The soundtrack album was released by Island Records.
- Track listing
- "From the Heart" - Another Level
- "When You Say Nothing at All" - Ronan Keating
- "Do What You Like" - Take That
- "She" - Elvis Costello
- "She" - Charles Aznavour
- "How Can You Mend a Broken Heart?" - Al Green
- "In Our Lifetime" - Texas
- "I Do (Cherish You)" - 98 Degrees
- "Born to Cry" - Pulp
- "Ain't No Sunshine" - Lighthouse Family
- "You've Got a Way" (Notting Hill remix) - Shania Twain
- "Gimme Some Lovin'" - Spencer Davis Group
- "Will and Anna" - Trevor Jones (Score)
- "Notting Hill" - Trevor Jones (Score)
- "Ain't No Sunshine" - Bill Withers (bonus track)
Read more about this topic: Notting Hill (film)
Famous quotes containing the word music:
“Orpheus with his lute made trees
And the mountain tops that freeze
Bow themselves when he did sing.
To his music plants and flowers
Ever sprung, as sun and showers
There had made a lasting spring.”
—William Shakespeare (15641616)
“Words move, music moves
Only in time; but that which is only living
Can only die. Words, after speech, reach
Into the silence.”
—T.S. (Thomas Stearns)
“The further jazz moves away from the stark blue continuum and the collective realities of Afro-American and American life, the more it moves into academic concert-hall lifelessness, which can be replicated by any middle class showing off its music lessons.”
—Imamu Amiri Baraka (b. 1934)