tag:blogger.com,1999:blog-301178592024-03-21T20:06:20.381-07:00Soundtrack SharitySoundtrack Sharityhttp://www.blogger.com/profile/00772887673290561800noreply@blogger.comBlogger32125tag:blogger.com,1999:blog-30117859.post-14889144281685751302008-11-07T11:50:00.000-08:002008-11-07T14:24:16.076-08:00Re-post! Re-post! Re-post!Hey folks -- long time, no see. Here are some re-uploaded soundtrack promo discs, back by popular demand. Get 'em (by scrolling down) while they're hot!<br /><br /><span style="font-weight: bold;">U571</span> - Richard Marvin<br /><span style="font-weight: bold;">The Tigger Movie</span> - Harry Gregson-Williams<br /><span style="font-weight: bold;">Behind Enemy Lines</span> - Don Davis<br /><span style="font-weight: bold;">Call of Duty</span> - Michael Giacchino<br /><span style="font-weight: bold;">Swordfish</span> - Christopher Young<br /><span style="font-weight: bold;">Cartoon Concerto</span> - Bruce BroughtonSoundtrack Sharityhttp://www.blogger.com/profile/00772887673290561800noreply@blogger.com4tag:blogger.com,1999:blog-30117859.post-50242922087766739472008-07-08T12:15:00.000-07:002008-07-08T13:03:48.277-07:00Soul's Midnight - Ceiri Torjussen<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1LDthUDw_pZQHkEwGOSvhDidGu2ckAmzS-JzPEkdUDZ1CcVHYezONcReuGPKb8S4V2WgP6Lho-rzm9QXf29DPkHCPSAW8ShHUvP_CZNUpWxQMRw7Eoxnnvhtn6JmbWq1JhxEw/s1600-h/Soul's+Midnight.bmp"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1LDthUDw_pZQHkEwGOSvhDidGu2ckAmzS-JzPEkdUDZ1CcVHYezONcReuGPKb8S4V2WgP6Lho-rzm9QXf29DPkHCPSAW8ShHUvP_CZNUpWxQMRw7Eoxnnvhtn6JmbWq1JhxEw/s200/Soul's+Midnight.bmp" alt="" id="BLOGGER_PHOTO_ID_5220724634048985362" border="0" /></a>Back with another promotional disc, <span style="font-weight: bold;">Soul's Midnight </span>by Welsh composer<span style="font-weight: bold;"> </span><a href="http://www.ceiri.com/index.htm">Ceiri Torjussen</a>, an all synth (but effectively done) horror score for the 2006 low-budget shocker starring Armand Assante(!) as a vampire cult leader.<br /><br />Fans of Marco Beltrami will find lots to like here, as Torjussen has orchestrated and written additional music for many of Beltrami's scores(<span style="font-weight: bold;">I-Robot</span>, <span style="font-weight: bold;">Hellboy</span>, <span style="font-weight: bold;">Joyride</span>, <span style="font-weight: bold;">Blade 2</span>, <span style="font-weight: bold;">Dracula 2000</span>, <span style="font-weight: bold;">Terminator 3: Rise of the Machines</span>). The action material ("Final Showdown", "The Story") here has the same rhythmic insistence of Beltrami's work.<br /><br />Torjussen also employs a synth choir ("The Ceremony Pt. 1"), and while it'll never convince you it's the Metro Voices, it at least fits with the synth palette. Soul's Midnight is a great little horror score with a good main theme ("Opening") and plenty of atmosphere from a young composer to watch! <br /><br /><span style="font-style: italic; font-weight: bold;">Link in comments...</span>Soundtrack Sharityhttp://www.blogger.com/profile/00772887673290561800noreply@blogger.com9tag:blogger.com,1999:blog-30117859.post-31414307206692679212008-03-17T18:39:00.000-07:002008-03-17T18:52:00.151-07:00Meet The Spartans - Christopher Lennertz<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOBwnmfZ51srrdgRTxlPu5EWJ1hMKyH1pxchiA9RzUCugBsBoHw_q9tyknDmzoQamlYsKfE4vxTV8XlpWIb2yAwxHoH-lbiaXJGRDFS38t4qb0fMpN0KZwUkUVjNRn9ropvJu4/s1600-h/meet-the-spartans.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOBwnmfZ51srrdgRTxlPu5EWJ1hMKyH1pxchiA9RzUCugBsBoHw_q9tyknDmzoQamlYsKfE4vxTV8XlpWIb2yAwxHoH-lbiaXJGRDFS38t4qb0fMpN0KZwUkUVjNRn9ropvJu4/s200/meet-the-spartans.jpg" alt="" id="BLOGGER_PHOTO_ID_5178892666172329394" border="0" /></a>Did you think SSharity was dead? If it was, it wasn't for long! Because it's back. The rules are the same: if it wasn't released commercially, but as a promotional disc by the composer, then you might find it here.<br /><br />To get things rolling again here's Christopher Lennertz's, ahem, <span style="font-style: italic;">dead</span> serious score for the comedy spoof <span style="font-weight: bold;">Meet The Spartans</span>. It's a large orchestral effort that mainly skewers Tyler Bates' <span style="font-weight: bold;">300</span>, with nods notably to Elfman's <span style="font-weight: bold;">Spider-Man</span> and <span style="font-weight: bold;">Edward Scissorhands</span> ("Land of Sparta", who would have known?) to name just a few (or <span style="font-style: italic;">three</span> to be specific). And of course, released only as a promotional CD at the time of the film's release.<br /><br />Stay tuned for more shares over the next few weeks! Titles like Aaron Zigman's <span style="font-weight: bold;">The Jane Austen Book Club</span>, Ceiri Torjussen's <span style="font-weight: bold;">Soul's Midnight</span>, and JAC Redford's <span style="font-weight: bold;">Leroy & Stitch</span>.<span style="font-style: italic; font-weight: bold;"><br /><br />Link in the comments.</span>Soundtrack Sharityhttp://www.blogger.com/profile/00772887673290561800noreply@blogger.com11tag:blogger.com,1999:blog-30117859.post-49772161569702105162007-07-30T15:44:00.000-07:002007-07-30T17:16:19.356-07:00FilmMusic - Christopher Lennertz<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5CnS9_pBxbeEMKSS8wTYO0zDLnfvOVf8Ou9wg4K-2ndP8JpjVthLbxPBp7tRouGHOctyPmLs4RkXxfi4wwGndv_Iirfr1DiwYjJ5GwN-WurxeM5wfQeqM8U_Av0_hGRzAglD5/s1600-h/clennertz_fmusic.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5CnS9_pBxbeEMKSS8wTYO0zDLnfvOVf8Ou9wg4K-2ndP8JpjVthLbxPBp7tRouGHOctyPmLs4RkXxfi4wwGndv_Iirfr1DiwYjJ5GwN-WurxeM5wfQeqM8U_Av0_hGRzAglD5/s200/clennertz_fmusic.jpg" alt="" id="BLOGGER_PHOTO_ID_5093124567955323970" border="0" /></a>Next up in this series of composer promo reels is Christopher Lennertz's <span style="font-weight: bold;">FilmMusic</span>, a circa-2000 compilation comprised of cues from some of the composer's earliest efforts like Joel Silver's short-lived TV series <span style="font-weight: bold;">The Strip</span>, the Hallmark Channel's <span style="font-weight: bold;">America!</span> and <span style="font-weight: bold;">Brimstone </span>(a 1998 FOX TV series). This is a cross section of moods and feels, from the contemporary to the more traditional. It's also a neat look back at Lennertz's early career, before he went on to score the gothic <span style="font-weight: bold;">Saint Sinner</span> and a string of <span style="font-weight: bold;">Medal of Honor</span> videogames. Christopher's most recent project is the videogame based on <span style="font-weight: bold;">The Simpson's Movie</span>.<br /><br />This is entirely unreleased film music which you'll find only here on SoundtrackSharity. <span style="font-style: italic;">That is until someone re-uploads the files and posts links elsewhere.</span><span style="font-weight: bold; font-style: italic;"><br /><br />Link in comments...</span>Soundtrack Sharityhttp://www.blogger.com/profile/00772887673290561800noreply@blogger.com7tag:blogger.com,1999:blog-30117859.post-14803837569511079002007-06-09T20:37:00.000-07:002007-06-10T10:21:32.800-07:00Film Score Suites - Conrad Pope<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiViewVhSk9lkEBOWr-bOm6C1D_zKGywuPu1dnTJV0uedi32iryEW1ENZ1Oirogokj2_7QVa5qspafNMJKzHcRYEBKs-otx68lZwDtWwrkBVEc7p3MADTD3_HkX-YSlwTqR8pft/s1600-h/cpope-fmusic.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiViewVhSk9lkEBOWr-bOm6C1D_zKGywuPu1dnTJV0uedi32iryEW1ENZ1Oirogokj2_7QVa5qspafNMJKzHcRYEBKs-otx68lZwDtWwrkBVEc7p3MADTD3_HkX-YSlwTqR8pft/s200/cpope-fmusic.jpg" alt="" id="BLOGGER_PHOTO_ID_5074277250951326562" border="0" /></a><br />SoundtrackSharity is all about promotional discs distributed for free to promote a composer's work (and <span style="font-weight: bold; font-style: italic;">not</span> a place you'll find commercial releases). <br /><br />There's no older form of promotional disc then the "general reel", a compilation disc of a composer's greatest hits, showcasing their diversity with selections from their "contemporary", "orchestral" and assorted styles. The next few titles I'll be posting are compilation/reel albums. These are titles that can only be found here at SoundtrackSharity... That is until the files are re-uploaded somewhere else and linked on another blog... (let me emphasize that <span style="font-style: italic;">dot, dot, dot</span>!) I post only original albums, not re-ups from other sites.<br /><br />First up is Conrad Pope's Film Score Suites, with music from a few films you've probably never heard of, but feature music inspired by scores you probably have! While it is exceptionally well crafted, Pope relies a bit on memorable themes and ideas from more prominent film scores like Goldsmith's <span style="font-weight: bold;">Basic Instinct</span> and Williams' <span style="font-weight: bold;">Hook</span>. <span style="font-style: italic;">Check it out in the comments...</span>Soundtrack Sharityhttp://www.blogger.com/profile/00772887673290561800noreply@blogger.com9tag:blogger.com,1999:blog-30117859.post-91732674055136504692007-03-30T22:39:00.000-07:002007-04-12T21:14:14.293-07:00Heavy Metal 2000 - Frederic Talgorn<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqVJq7ALY0KZdvZL7IHUHWnhsB98UpwcU1ce5dElLs2bXo3su4q3F-2lpbAvkkWc9vAsO9_U9gWU_l86zT5vs9UpVmkDS0tSnEtvYPku3DabEgIfXDcKsf5JGMhf_cIYnl_0yX/s1600-h/heavymetal2000.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqVJq7ALY0KZdvZL7IHUHWnhsB98UpwcU1ce5dElLs2bXo3su4q3F-2lpbAvkkWc9vAsO9_U9gWU_l86zT5vs9UpVmkDS0tSnEtvYPku3DabEgIfXDcKsf5JGMhf_cIYnl_0yX/s200/heavymetal2000.jpg" alt="" id="BLOGGER_PHOTO_ID_5047959296912158226" border="0" /></a>Here's a fantastic and sadly underrated score from French film composer Frederic Talgorn. A sequel to the classic animated rocker <span style="font-weight: bold;">Heavy Metal</span> (with score by Elmer Bernstein), Talgorn was handed a film that perhaps works best in the mind's eye of his music, which is suitably expansive, instantly evoking the dark reaches of space... (i.e., it was pure shit).<br /><br />The music is incredibly reserved in emotion, but is so professionally written it's no surprise that Talgorn enthusiasts bemoan his absence from the Hollywood film music scene for the last ten years.<br /><br />While Talgorn continues to write top notch music in his native France, <span style="font-weight: bold;">Heavy Metal 2000</span> remains his last major Hollywood effort, which, if you haven't heard until this point, will surprise you with rich, evocative orchestrations ("Julie & Kerrie) and enough rage-filled action scoring to keep things interesting ("Julie's Journey").<br /><br />This promotional disc was released in 2001 by Super Tracks, and has since burnt up into out-of-print oblivion like an asteroid entering the gravitational pull of the sun. How's that for a lame space metaphor?<br /><br /><span style="font-style: italic; font-weight: bold;">Link inside...</span>Soundtrack Sharityhttp://www.blogger.com/profile/00772887673290561800noreply@blogger.com6tag:blogger.com,1999:blog-30117859.post-86028685871434700552007-03-07T11:15:00.000-08:002007-03-07T11:33:12.243-08:00Heffalump Movie / Lion King 1 1/2<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNclx50m9Nhcse8VS6SJZPS5X9nKlPLO-lnSndBaXJXBwBsvxIH36lOkpZc2wCzqjWfHSQviSP8dFYZye6YzpT7DFMzsvxLNcfEzTLHiXI6QXBvjHBT54u9RF-LEt3xF6bLxSE/s1600-h/lionking.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNclx50m9Nhcse8VS6SJZPS5X9nKlPLO-lnSndBaXJXBwBsvxIH36lOkpZc2wCzqjWfHSQviSP8dFYZye6YzpT7DFMzsvxLNcfEzTLHiXI6QXBvjHBT54u9RF-LEt3xF6bLxSE/s200/lionking.jpg" alt="" id="BLOGGER_PHOTO_ID_5039266596778237746" border="0" /></a>Wow, a bit of a vacation there. Let's resume the posting, shall we?<br /><br />Up next is a pair of Mouse House titles, Joel McNeely's <span style="font-weight: bold;">Pooh's Heffalump Movie</span> and Don Harper's <span style="font-weight: bold;">The Lion King 1 1/2</span>, both released as promotional albums by their composers.<br /><br />Neither score has been released in any significant form. Only <span style="font-weight: bold;">Heffalump</span> received a few scant minutes of space on Walt Disney Records' <b class="sans">Best of Pooh and Heffalumps, </b><span class="sans"></span><b class="sans">Too</b><span class="sans"> album, which was released to conincide with <span style="font-weight: bold;">Heffalump</span>'s theatrical run and was dominated by Carley Simon tunes.<br /><br />Harper's <span style="font-weight: bold;">Lion King 1 1/2</span> felt even less love, completely ignored on a quickie soundtrack release that featured songs performed by Raven, and Vinx (who?).<br /><br />Both scores are entertaining and animated (er, like their films). McNeely's is a traditional orchestral score that is both unassuming, gentle and sweet. Certainly inline with the work of a composer with considerable strengths for melodic, listenable film music.<br /><br />Harper, who has carved a career for himself writing additional music for Trevor Rabin, continues where Hans Zimmer's Oscar-winning score for <span style="font-weight: bold;">The Lion King </span>left off, those this time tipping the balance towards the orchestral/choral, with plenty of ethnic touches, and African-style vocals.<br /><br /><span style="font-style: italic; font-weight: bold;">Links in the comments.</span><br /></span>Soundtrack Sharityhttp://www.blogger.com/profile/00772887673290561800noreply@blogger.com13tag:blogger.com,1999:blog-30117859.post-1155237007245441302007-01-27T15:38:00.000-08:002007-01-27T12:54:53.196-08:00Supernatural - Christopher Lennertz<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://photos1.blogger.com/blogger/7688/3223/1600/supernatural.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;" src="http://photos1.blogger.com/blogger/7688/3223/200/supernatural.jpg" border="0" alt="" /></a><br />The hits keep on coming... Next up, Christopher Lennertz's Emmy-nominated music for <span style="font-weight:bold;">Supernatural</span> (Season One), which airs on the WB Network (Now The CW) in the U.S. <br /><br />Lennertz alternates ambient and shrill orchestral textures with the modern tonality forged by Penderecki, Bartok and Adams, aptly underlining the series' exploration and extinction of dark myths, legends and monsters. The composer also dials in plenty of contemporary rythmic loops, and fuzzed-out e-guitars, giving the show a necessary gritty and modern feel.<br /><br />Highlights include the thundering action in "Fighting The Beast", and the sickly chills of "Evil Awaits".<br /><br />Released to the soundtrack press on the heels of Lennertz's Emmy nomination, here are 25 selections from Season One, totalling 43+ minutes.<br /><br />New! <span style="font-style:italic;">Fixed file and re-uploaded. Link in comments.</span>Soundtrack Sharityhttp://www.blogger.com/profile/00772887673290561800noreply@blogger.com28tag:blogger.com,1999:blog-30117859.post-1169266368056116852007-01-19T20:06:00.000-08:002007-01-20T10:54:14.586-08:00Honor & Glory - Basil Poledouris<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://photos1.blogger.com/x/blogger/7688/3223/1600/214544/honor-fr-post.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;" src="http://photos1.blogger.com/x/blogger/7688/3223/200/462468/honor-fr-post.jpg" border="0" alt="" /></a><br />I hope everyone had a great 2006. Welcome to 2007!<br /><br />Sadly we lost a major film music icon last year when Basil Poledouris passed away. His music was immensely popular with collectors due to his incredible gift for full-scale melodies, evidenced in classic scores for <span style="font-weight:bold;">Conan The Barbarin</span>, <span style="font-weight:bold;">Flesh & Blood</span> and <span style="font-weight:bold;">The Blue Lagoon</span> among many others. <br /><br />When Basil was commissioned to write an original piece for the 1996 Summer Olympic Games, he titled his piece "The Tradition of The Games". It forms the hub of <span style="font-weight:bold;">Honor and Glory</span>, a promotional compilation of Basil's work to that point, including selections from <span style="font-weight:bold;">White Fang</span>, <span style="font-weight:bold;">Free Willy</span> and <span style="font-weight:bold;">Farewell To The King</span>. This album serves as a great testament to his talents. Each track is brimming with emotion, talent and heart. If you're not familiar with Basil's work please check out this album. Basil, we miss you!<br /><br /><span style="font-style:italic;"><span style="font-weight:bold;">Link in comments</span></span>Soundtrack Sharityhttp://www.blogger.com/profile/00772887673290561800noreply@blogger.com7tag:blogger.com,1999:blog-30117859.post-1166508930044908312006-12-18T22:12:00.000-08:002007-01-19T20:22:03.160-08:00Christmas Cheer - VariousHi folks - no real time to add an album at the moment, but thought I'd share some various uploads I've made for future posts. Might as well give 'em away now as presents. Enjoy and Merry Christmas!<br /><br /><span style="font-weight:bold;">My Favorite Martian</span> - John Debney<br /><span style="font-weight:bold;">I Still Know What You Did Last Summer</span> - John Frizzell<br /><span style="font-weight:bold;">Fly Away Home</span> - Mark Isham<br /><br /><span style="font-style:italic;">Sorry, files expired/deleted. Bah, humbug!</span>Soundtrack Sharityhttp://www.blogger.com/profile/00772887673290561800noreply@blogger.com8tag:blogger.com,1999:blog-30117859.post-1164325059150739392006-11-23T15:01:00.000-08:002007-01-20T10:54:47.960-08:00Ernest Saves Christmas - Mark Snow<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://photos1.blogger.com/x/blogger/7688/3223/1600/546291/ernestsaveschristmas.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;" src="http://photos1.blogger.com/x/blogger/7688/3223/200/141245/ernestsaveschristmas.jpg" border="0" alt="" /></a><br />It's Thanksgiving in the U.S., typically the day that kicks off the Christmas season. While Christmas, er, "Holiday" ads have been airing on TV for weeks already, it's time to really get into the Christmas spirit. The forecast is calling for Snow... Mark Snow!<br /><br />Yes, it's the veritable classic, <span style="font-weight:bold;">Ernest Saves Christmas</span>.<br /><br />Surprisingly, this is a fully symphonic effort (orchestrated by the very capable William Ross and Don Davis) from Snow, known mainly for his synth-based television scores. It's also incredibly bouyant (wasting no time getting started with an overture in track 1, "Ernest Saves Christmas", moving into the sweet "Christmas Spirit" and "Airport Shenanigans"). While by no means exceptional, it's a fairly effective Christmas flavoured score that helps set a holly-jolly mood ("Lift-Off", the appropriately titled "Snow For Christmas").<br /><br />Just twenty-seven days until Christmas. Start getting ready! And check back for my Holiday music.<br /><br /><span style="font-weight:bold;"><span style="font-style:italic;">Link in comments</span></span>Soundtrack Sharityhttp://www.blogger.com/profile/00772887673290561800noreply@blogger.com10tag:blogger.com,1999:blog-30117859.post-1163115760305920132006-11-09T15:33:00.000-08:002007-01-20T10:52:55.230-08:00Unforgettable - Christopher Young<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://photos1.blogger.com/blogger/7688/3223/1600/unforgettable_cover.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;" src="http://photos1.blogger.com/blogger/7688/3223/200/unforgettable_cover.jpg" border="0" alt="" /></a><br />By request, here's Christopher Young's <span style="font-weight:bold;">Unforgettable</span> (yes, another Chris Young title!). <br /><br />Directed by John Dahl, this supernatural medical thriller may have faded at the box office, but it provided another opportunity for Young to roll out his standard bag of tricks and in the process write one of his most effectively uneasing scores. Think of it as <span style="font-weight:bold;">Hellraiser</span>-lite ("Crucixion Cerebellum"), <span style="font-weight:bold;">Unforgettable</span> is an stealthy blend of that score's melody with the brisk percussion rythms and undulating strings of <span style="font-weight:bold;">Murder at 1600</span>. Certainly not a break in style or sound for the composer (parts -- "Fireball", and "Departed Return" for example -- are interchangeable with Young's <span style="font-weight:bold;">Copycat</span>, and <span style="font-weight:bold;">Jennifer 8</span>), yet still a welcome addition to the Chris Young discography.<br /><br />Released as a promotional disc by Intrada with a batch of other titles (<span style="font-weight:bold;">Species</span>, <span style="font-weight:bold;">Sweet November</span>) the album runs almost 52 minutes over 15 tracks.<br /><br /><span style="font-weight:bold;"><span style="font-style:italic;">Link in comments</span></span>Soundtrack Sharityhttp://www.blogger.com/profile/00772887673290561800noreply@blogger.com10tag:blogger.com,1999:blog-30117859.post-1162067494021682842006-10-28T13:22:00.000-07:002007-01-20T10:53:41.473-08:00Urban Legend - Christopher Young<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://photos1.blogger.com/blogger/7688/3223/1600/urbanlegend_score.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;" src="http://photos1.blogger.com/blogger/7688/3223/200/urbanlegend_score.jpg" border="0" alt="" /></a><br />By request, and again, keeping with the Halloween theme, here is Chris Young's <span style="font-weight:bold;">Urban Legend</span>, the first in a dreadful series of teen slasher pictures. As always, Young lends a velvety menace and style to the proceedings with his music, a slick and terrifying effort brought to crackling life by Los Angeles AFM union musicians.<br /><br />A handful of Young's score was released on Milan Records' official soundtrack album, but a 45-minute promotional CD was released by Young via Intrada shortly after.<br /><br /><span style="font-style:italic;"><span style="font-weight:bold;">Link in comments</span></span>Soundtrack Sharityhttp://www.blogger.com/profile/00772887673290561800noreply@blogger.com8tag:blogger.com,1999:blog-30117859.post-1161818954080025452006-10-25T16:20:00.000-07:002007-01-20T10:55:27.843-08:00The Shining - Nicholas Pike<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://photos1.blogger.com/blogger/7688/3223/1600/shiningmini_cd.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;" src="http://photos1.blogger.com/blogger/7688/3223/200/shiningmini_cd.jpg" border="0" alt="" /></a><br />Continuing with the Halloween theme... While not the delirious trip into style and insanity that was Stanley Kubrick's <span style="font-weight:bold;">The Shining</span>, Mick Garris' 1997 mini-series for ABC is considered more faithful to Stephen King's source material.<br /><br />Along for the ride is Garris' frequent composer Nicholas Pike, here given the rare opportunity to record his score in Los Angeles with a substantial orchestra. The results are anything but Penderecki, Bartok and Wendy Carlos. Instead Pike's score is much more traditional in approach, mixing orchestral elements with plenty of atmospherics ("Psychic Call", "Croquet With Wendy", "Unmask!" and "Falling Into Blackness" - admittedly the second half of the album really cooks), voices and thundering percussion to great effect with the score reaching an emotionally satisfying climax with the final track "10 Years Later". Great Halloween time listening, especially on a long twisting drive into the country.<br /><br />Released as a promotional disc shortly after the mini-series aired by SuperTracks.<br /><br /><span style="font-style:italic;"><span style="font-weight:bold;">Link in comments</span></span>Soundtrack Sharityhttp://www.blogger.com/profile/00772887673290561800noreply@blogger.com5tag:blogger.com,1999:blog-30117859.post-1160786987733734242006-10-13T17:42:00.000-07:002006-11-18T11:04:56.050-08:00Halloween '06 - Various<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://photos1.blogger.com/blogger/7688/3223/1600/hall06.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;" src="http://photos1.blogger.com/blogger/7688/3223/200/hall06.jpg" border="0" alt="" /></a><br />Mixes seem to be all the rage these days so I thought I'd celebrate Halloween with a short mix of my own. I prefer to just throw stuff together without much thought -- the less of a "theme" the better. This being a Halloween collection meant the tone should be consistent throughout... Pure, unmitigated, horror! This is a collection of unreleased and commercial tracks. I hope that if you hear something you like and it's available for sale you'll buy the CD.<br /><br /><span style="font-style:italic;">A note about sound: these tracks come from different sources. There are variations in volume and quality. If you are using iTunes you can manually set the playback volume for each individual track. More details on sources below.</span><br /><br />The tracklist:<br /><br />01. <span style="font-weight:bold;">The Fury</span> - John Williams +(2:44)<br />02. <span style="font-weight:bold;">The Exorcist</span> - Lalo Schifrin *(1:10)<br />03. <span style="font-weight:bold;">Terror Tract</span> - Brian Tyler (3:34)<br />04. <span style="font-weight:bold;">The 'Burbs</span> - Jerry Goldsmith (2:34)<br />05. <span style="font-weight:bold;">Amityville 3D</span> - Howard Blake *(3:22)<br />06. <span style="font-weight:bold;">It's Alive 2</span> - Bernard Herrmann +(3:03)<br />07. <span style="font-weight:bold;">Hocus Pocus</span> - John Debney *(1:41)<br />08. <span style="font-weight:bold;">Candyman</span> - Philip Glass (1:05)<br />09. <span style="font-weight:bold;">The Night Walker</span> - Vic Mizzy *(4:39)<br />10. <span style="font-weight:bold;">The Shining</span> - Wendy Carlos And Rachel Elkind ^(3:31)<br />11. <span style="font-weight:bold;">Urban Legend</span> - Christopher Young *(3:24)<br />12. <span style="font-weight:bold;">The Ring Two</span> - Hans Zimmer, various (2:48)<br />13. <span style="font-weight:bold;">Young Sherlock Holmes</span> - Bruce Broughton ^(3:46)<br />14. <span style="font-weight:bold;">I Know What You Did Last Summer</span> - John Debney *(3:24)<br />15. <span style="font-weight:bold;">The Monster Squad</span> - Bruce Broughton ^(3:22)<br />16. <span style="font-weight:bold;">Fear No Evil</span> - Frank LaLoggia *(1:27)<br />17. <span style="font-weight:bold;">The Fly II</span> - Christopher Young (6:22)<br />18. <span style="font-weight:bold;">Evil Dead 2</span> - Joseph LoDuca +(5:02)<br /><br />Total Running Time: 56:58<br />* - Promotional Release<br />^ - "Private" Release<br />+ - Out-of-print<br /><br /><span style="font-style:italic;">Sorry, file deleted!</span>Soundtrack Sharityhttp://www.blogger.com/profile/00772887673290561800noreply@blogger.com2tag:blogger.com,1999:blog-30117859.post-1160531042944448142006-10-10T18:35:00.000-07:002007-01-19T20:18:09.723-08:00House of Frankenstein - Don Davis<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://photos1.blogger.com/blogger/7688/3223/1600/houseoffrank_cd.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;" src="http://photos1.blogger.com/blogger/7688/3223/200/houseoffrank_cd.jpg" border="0" alt="" /></a><br />Sorry for the delay folks, been busy. Please note that Rapidshare now deletes inactive files after 10 days, not the previous 30. Lennie Moore's <span style="font-weight:bold;">Outcast</span> has been deleted from Rapidshare, and will not be re-uploaded. I will honor any requests that a file be removed from Rapidshare.<br /><br />Now on with the regular post... Here's something to kick off October and a bit of a Halloween theme... Don Davis' big orchestral romp <span style="font-weight:bold;">House of Frankenstein</span>. Running the gamut from standard scare-score ("Frank-N-Danish") to all out chorale fantasy ("In Paradisum"), there's plenty here to enjoy in the disc's generous 67-minute runtime. From Davis' <span style="font-weight:bold;">Matrix</span>-style tonalities to James Horner action licks ("She's Not Hungry For Food").<br /><br />Issued as a bare-bones promotional disc by the composer in 1997, <span style="font-weight:bold;">House of Frankenstein</span> remains a solid effort from a composer we don't hear from often enough. Enjoy!<br /><br /><span style="font-style:italic;">Sorry, file expired/deleted!</span>Soundtrack Sharityhttp://www.blogger.com/profile/00772887673290561800noreply@blogger.com4tag:blogger.com,1999:blog-30117859.post-1158083471584768872006-09-12T10:42:00.000-07:002007-01-20T10:56:24.846-08:00Air Force One - Randy Newman<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://photos1.blogger.com/blogger/7688/3223/1600/airforceonecd.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;" src="http://photos1.blogger.com/blogger/7688/3223/200/airforceonecd.jpg" border="0" alt="" /></a><br />Although I doubt that Randy Newman has ever had to press promotional discs beyond the "For Your Consideration" awards kind, let's pretend that someone somewhere felt it was necessary that his unused/rejected score for Wolfgang Petersen's rah-rah presidential-thriller <span style="font-weight:bold;">Air Force One</span> be heard if not in the film than on disc.<br /><br />Newman, not known for his straight-up action scoring, was perhaps a "prestige" pick for <span style="font-weight:bold;">Air Force One</span>, meant to lend the production some much needed class. Ultimately, the composer's personal idiosyncratic style didn't work for the filmmakers, and was tossed and hastily replaced in the eleventh hour by legendary Jerry Goldsmith (with a significant assist by the dependable Joel McNeely, in full Goldsmith mode). <br /><br />Newman's score is a crackerjack mix. Think of it as <span style="font-weight:bold;">A Bug's Life</span> on speed. A lot of the action writing reminds me of Don Davis' later <span style="font-weight:bold;">Matrix</span> scores, which gradually mixed in more traditional, melodic action material as the series progressed. It's hard to imagine this hyperactive Newman score being any more different than Goldsmith's decidedly more linear effort. At that point in his career Goldsmith was painting action sequences with broad strokes, whereas Newman's score was hitting every eye blink.<br /><br />Enjoy the 15th share on SoundtrackSHARITY!<br /><br /><span style="font-weight:bold;">New!</span> <span style="font-style:italic;">Link in comments</span>Soundtrack Sharityhttp://www.blogger.com/profile/00772887673290561800noreply@blogger.com15tag:blogger.com,1999:blog-30117859.post-1157489365872150402006-09-05T13:36:00.000-07:002007-01-20T09:20:25.623-08:00The Faculty - Marco Beltrami<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://photos1.blogger.com/blogger/7688/3223/1600/facultycd.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;" src="http://photos1.blogger.com/blogger/7688/3223/200/facultycd.jpg" border="0" alt="" /></a><br />I remember reading an article in Cinefantastique (back when it was a real genre movie magazine) on Wes Craven's <span style="font-weight:bold;">Scream</span> where Craven revealed the composer on the film would be Marco Beltrami. Marco who?<br /><br />Beltrami made a huge splash on the film, helping to reinvent horror film music (while the film single-handedly resurrected the horror genre) and save it from the synth doldrums that had become the stock sound for the rare horror movie that reached Blockbuster shelves at the time.<br /><br />It was no surprise then that Beltrami would become Dimension Films' favorite composer, scoring all three of the <span style="font-weight:bold;">Scream</span> films, <span style="font-weight:bold;">Nightwatch</span>, <span style="font-weight:bold;">Mimic</span>, <span style="font-weight:bold;">54</span> and writing additional music for <span style="font-weight:bold;">Halloween H20</span>, for the studio. Next up would be Dimension's <span style="font-weight:bold;">The Faculty</span>, for director Robert Rodriguez, and once again Beltrami would go back to the well, pulling out an orchestral scare score in the <span style="font-weight:bold;">Scream</span> vein.<br /><br />To celebrate back to school time (in North American at least), here's Beltrami's <span style="font-weight:bold;">The Faculty</span>. Released as a promotional disc and manufactured by the Intrada label in 2000, the disc runs a brisk 29 minutes.<br /><br />New! <span style="font-style:italic;">Link in comments</span>Soundtrack Sharityhttp://www.blogger.com/profile/00772887673290561800noreply@blogger.com3tag:blogger.com,1999:blog-30117859.post-1157343108435047392006-09-03T20:58:00.000-07:002008-11-07T14:23:23.692-08:00Cartoon Concerto - Bruce Broughton<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://photos1.blogger.com/blogger/7688/3223/1600/cartoonconcerto.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer;" src="http://photos1.blogger.com/blogger/7688/3223/200/cartoonconcerto.jpg" alt="" border="0" /></a><br />I'm baaaack! I'll now resume a regular posting schedule...<br /><br />After enjoying a successful stretch in the '80s scoring features, Bruce Broughton moved to the small screen, scoring several animated series, namely <span style="font-weight: bold;">Tiny Toons</span>. This promotional disc is a major collection of Broughton's cartoon material, running almost an hour in length spread over six lengthy suites.<br /><br />The music is in the manic, "mickey-mousing" Carl Stalling style, so fans of the shifting schizophrenic nature of animation music -- from Gershwin one moment to fiddle-ho-down the next in "Carnival Presto" -- will find plenty to enjoy here.<br /><br />Produced for promotional use only in 2002, <span style="font-weight: bold;">Cartoon Concerto</span> was made available in limited quantities to buyers, and is still available via <a href="http://www.screenarchives.com/">Screen Archives</a>, if you are so inclined to try before you buy.<br /><br /><span style="font-style: italic;"><span style="font-weight: bold; color: rgb(255, 0, 0);">New!</span> Link in comments...<br /></span>Soundtrack Sharityhttp://www.blogger.com/profile/00772887673290561800noreply@blogger.com10tag:blogger.com,1999:blog-30117859.post-1155329209357063452006-08-11T13:37:00.000-07:002006-10-26T20:54:01.130-07:00Pitch Black / Bride Of Chucky - Graeme Revell<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://photos1.blogger.com/blogger/7688/3223/1600/pitchblack.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;" src="http://photos1.blogger.com/blogger/7688/3223/200/pitchblack.jpg" border="0" alt="" /></a><br />Graeme Revell's ambient-electronic score for <span style="font-weight:bold;">Pitch Black</span> remained unreleased until Super Tracks coupled it with the composer's <span style="font-weight:bold;">Bride Of Chucky</span>, a satirical riff influenced by Marco Beltrami's <span style="font-weight:bold;">Scream 2</span> by way of Hans Zimmer's <span style="font-weight:bold;">Broken Arrow</span>.<br /><br /><span style="font-weight:bold;">Pitch Black</span> was inexplicably desired by the film music collector market. I say that because the score is a series of anonymous electronic hums and pulses, rarely rising to more than that. As a listening experience it fails miserably, but perhaps the legions of <span style="font-weight:bold;">Pitch Black</span> cult fans will appreciate it.<br /><br /><span style="font-weight:bold;">Bride Of Chucky</span> doesn't work much better. Unlike <span style="font-weight:bold;">Child's Play 2</span>, which featured at least a sprinkle of live orchestral content, <span style="font-weight:bold;">Bride</span> is entirely peformed on synths. Not scary, and not really meant to be, <span style="font-weight:bold;">Bride Of Chucky</span> is more a leering winkfest, and Revell's score is more playful than frightful.<br /><br /><span style="font-style:italic;">Sorry, file deleted!</span>Soundtrack Sharityhttp://www.blogger.com/profile/00772887673290561800noreply@blogger.com10tag:blogger.com,1999:blog-30117859.post-1155154687155781542006-08-09T13:07:00.000-07:002006-10-26T20:53:33.660-07:00The Adventures of Conan - Basil Poledouris<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://photos1.blogger.com/blogger/7688/3223/1600/cover.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;" src="http://photos1.blogger.com/blogger/7688/3223/200/cover.jpg" border="0" alt="" /></a><br />Here's a quick addition to the blog -- Basil Poledouris' <span style="font-weight:bold;">The Adventures of Conan: Sword And Sorcery Spectacular</span>, music the composer wrote for a live-action stage show at Universal Studios, Hollywood in the early 1980s.<br /><br />Running just over sixteen-and-a-half minutes, Poledouris evokes the spirit of his <span style="font-weight:bold;">Conan The Barbarian</span> score without (sadly) explicitly quoting any themes from that score. Recorded in London with the "London Studio Symphony Orchestra and Voices", the results are a little less epic than <span style="font-weight:bold;">Barbarian</span>, but worth a download/listen, considering how little we hear from Poledouris these days.<br /><br />Also included on the promotional disc, released by Supertracks in 2000, is the cheese y stage show audio track. Total time of the disc is 24:35.<br /><br /><span style="font-style:italic;">Sorry, file deleted!</span>Soundtrack Sharityhttp://www.blogger.com/profile/00772887673290561800noreply@blogger.com4tag:blogger.com,1999:blog-30117859.post-1155059105996013032006-08-08T10:21:00.000-07:002006-10-20T17:55:58.986-07:00Big Trouble In Little China - John Carpenter<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://photos1.blogger.com/blogger/7688/3223/1600/bigtoublelittlechina_cd.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;" src="http://photos1.blogger.com/blogger/7688/3223/200/bigtoublelittlechina_cd.jpg" border="0" alt="" /></a><br />Indeed! It's <span style="font-weight:bold;">Big Trouble In Little China</span>, John Carpenter's cult-classic Asian-American-Adventure. No fan of '80s classics collection is complete without the synth-rock rythms of Carpenter's (with associate Alan Howarth) driving "Porkchop Express", or the power-chords in "The Great Arcade". Carpenter dips his American cheese deep into the dimsum, mixing his rock idiom with plenty of Asian flair.<br /><br />Also included on the disc as bonuses: Alan Howarth's <span style="font-weight:bold;">Backstabbed</span> and a single cue -- the deleted "Atlanta Bank Robbery" -- from Carpenter's <span style="font-weight:bold;">Escape From New York</span>.<br /><br />Originally issued on CD by Demon Records in 1987, this re-issue from Super Tracks was released as a promotional disc (surely to skirt proper licensing fees) in 1999, with about 1:30 additional minutes of <span style="font-weight:bold;">Big Trouble</span> score.<br /><br />"Son of a bitch must pay!" But not you!<br /><br />See comments for newly-ripped/fixed <span style="font-weight:bold;">Big Trouble</span> tracks!Soundtrack Sharityhttp://www.blogger.com/profile/00772887673290561800noreply@blogger.com11tag:blogger.com,1999:blog-30117859.post-1154472355933647472006-08-01T15:17:00.000-07:002008-11-07T14:03:07.291-08:00Swordfish - Christopher Young<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://photos1.blogger.com/blogger/7688/3223/1600/swordfish_cd.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer;" src="http://photos1.blogger.com/blogger/7688/3223/200/swordfish_cd.jpg" alt="" border="0" /></a><br />Continuing with Chris Young titles... Here's <span style="font-weight: bold;">Swordfish</span>, a spiritual brother to <span style="font-weight: bold;">Virtuosity</span>, only this time the contemporary elements were handled by an expert -- D.J. Paul Oakenfold. The results are significantly slicker, albeit no less dated as the "techno" sound Oakenfold was spinning at the time is now more suited to rallying fans at sporting events then it is dancing. <br /><br />Thankfully the idea of "remixing" a film score died a quick death. Unfortunately we'll never get to hear the crackling contributions of Young minus the merciless loops from Oakenfold.<br /><br />The action/adventure/thriller genre is really where Young excels. His often over-the-top theatrical style works best when the onscreen antics are completely ludicrous ("Music for Violence and Orchestra", "Wrapped In C4", "Black Ops"). Think of <span style="font-weight: bold;">Swordfish</span> as the James Bond score that Christopher Young has never written.<br /><br />Certainly a step up from <span style="font-weight: bold;">Virtuosity</span>, and at this price, how can you complain?<br /><br /><span style="font-style: italic;"><span style="font-weight: bold; color: rgb(255, 0, 0);">New!</span> Link in comments...</span><br /><a href="http://rapidshare.de/files/27851721/swordfish_christopher_young.zip" target="resourcewindow"></a>Soundtrack Sharityhttp://www.blogger.com/profile/00772887673290561800noreply@blogger.com7tag:blogger.com,1999:blog-30117859.post-1154442516431957162006-08-01T07:13:00.000-07:002008-11-07T13:29:54.576-08:00Call of Duty - Michael Giacchino<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://photos1.blogger.com/blogger/7688/3223/1600/callofduty_cd.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer;" src="http://photos1.blogger.com/blogger/7688/3223/200/callofduty_cd.jpg" alt="" border="0" /></a><br />Michael Giacchino at this point is now a fully fledged film composer, but he got his start in videogames. Honing his craft with the first entries in the <span style="font-weight: bold;">Medal of Honor</span> series, writing fully symphonic orchestral scores for the WW games, it's no surprise then that Activision and Infinity Ward lured Giacchino to kick off their similiarly themed <span style="font-weight: bold;">Call of Duty</span>. The musical results are in the <span style="font-weight: bold;">Medal of Honor</span> vein, though with an agitated streak (witness the unison agressive string and pounding drums that open the disc in "Call of Duty"). A firestorm of brass follows, before the brass and strings compete with Giacchino's soaring main theme. It's this cacophony of the patriot tropes and sinister undercurrents that so effectively evoke rambling forces in battle. <span style="font-weight: bold;">Call of Duty</span> is a rollicking ride.<br /><br /><span style="font-weight: bold;">Call of Duty</span> was released as an "official soundtrack sampler" via the EB Games (aka Electronics Boutique) chain in the U.S. Recorded in Los Angeles with union musicians, releasing the music commercially at the time was probably too pricey a proposition for the developer.<br /><br /><span style="font-style: italic;"><span style="font-weight: bold; color: rgb(255, 0, 0);">New!</span> Link in comments...</span>Soundtrack Sharityhttp://www.blogger.com/profile/00772887673290561800noreply@blogger.com2tag:blogger.com,1999:blog-30117859.post-1154386437543066402006-07-31T15:41:00.000-07:002008-11-07T12:53:36.653-08:00Virtuosity - Christopher Young<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://photos1.blogger.com/blogger/7688/3223/1600/virtuosity_cd.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer;" src="http://photos1.blogger.com/blogger/7688/3223/200/virtuosity_cd.jpg" alt="" border="0" /></a><br />I don't know a lot about Chris Young's <span style="font-weight: bold;">Virtuosity</span> because a lot of it is so terrible I can't listen to the whole thing without scrambling for the skip button.<br /><br />It's a synthesis of Young's trademark thriller style with a overload of contemporary electronic whizbangery, a lot of which sounds awfully dated, some twelve years after the score was written. Look no further than the infamous "orch hits" in the aptly titled "Techno Turd" if you feel like cringing.<br /><br /><span style="font-weight: bold;">Virtuosity</span> was released in a string of promo titles (along with such "classics" as <span style="font-weight: bold;">Hush</span>, <span style="font-weight: bold;">Murder at 1600</span>) by the composer and manufactured by the label Intrada. I'm sharing this album by request for Chris Young titles. Look for more (better) titles in the near future.<br /><br /><span style="font-style: italic;">Sorry, file deleted!</span><a href="http://rapidshare.de/files/27722825/virtuosity_christopher_young.zip" target="resourcewindow"><br /></a>Soundtrack Sharityhttp://www.blogger.com/profile/00772887673290561800noreply@blogger.com7