The XiscoT Place

Dragon Quest "Fly" Suite (Koichi Sugiyama)

2012-02-08T13:03:00.001+01:00

Dragon Quest (Japanese: ドラゴンクエスト Hepburn: Doragon Kuesuto), published as Dragon Warrior in North America until 2005, is a series of internationally best-selling console role-playing video game (RPG) titles created by Yuji Horii and his studio, Armor Project. The series is published by Square Enix (formerly Enix), with localized versions of later installments for the Nintendo DS (NDS) being published by Nintendo outside of Japan. The first title was published in 1986 and there are currently nine main-series titles, numerous spin-off games, and nearly every game in the main series has either an anime or manga adaptation, or both. The series has had a significant impact on the development of console RPGs, and introduced a number of features to the genre. Installments of the series have appeared on MSX computers, Nintendo Entertainment System, Super Nintendo Entertainment System, Game Boy Color, Game Boy Advance, NDS, PlayStation, PlayStation 2 and Wii video game consoles, and several models of mobile phones. Each Dragon Quest video game soundtrack is arranged into an orchestral piece; the video game series was the first to have live-action ballet adaptations.

Early in the series the Dragon Quest games were released under the title Dragon Warrior in North America to avoid trademark conflict with the pen-and-paper role-playing game DragonQuest. Square Enix did not register theDragon Quest trademark for use in the United States until 2002.

The Dragon Quest soundtracks were composed and arranged by Koichi Sugiyama, who also composed the music for the video games. The first album was released in 1986 and was based on music from the first game, followed by a Symphonic Suite album for each game in the main series. The original soundtrack's "eight melodies" approach set the template for most RPG soundtracks released since then, hundreds of which have been organized in a similar manner. The original game's classical score was considered revolutionary for video game music.

Other compilations of Dragon Quest music have been released, including Dragon Quest Game Music Super Collection Vol. 1. The London Philharmonic performed many of the soundtracks, including a compilation entitled Symphonic Suite Dragon Quest Complete CD-Box. Some of the soundtracks include a second disc with the original game music, as with the Dragon Quest VI soundtrack. In 2003 SME Visual Works released Symphonic Suite Dragon Quest Complete CD-Box, featuring music from the first seven Dragon Questgames.

NOTE: For the Suite, I based the composition about the anime series "Dragon Warrior: Dai's Great Adventure", that uses the same music like the games. For better listening, I just used the "Symphonyc Suites" of the games.

Now a little info about the Anime/manga series:

Dragon Quest manga began publication in Weekly Shōnen Jump in 1989. Based on the world of Dragon Quest, Riku Sanjo's Dragon Quest: Dai no Daibōken was created as a two-chapter short-story entitled Derupa! Iruiru! (ダイの大冒険 lit. In! In! Poof!). Its success led to the three-chapter sequel, Dai Bakuhatsu!!! (ダイ爆発!!! lit. Dai Bursts Forth!!!!), which set the framework for a later serialization spanning 37 volumes. The series was released as Fly in its translations into Spanish, French, Italian, Portuguese, and Arabic. Dai no Daibōken's success allowed it to make the transition into an anime by Toei Animation, produced from October 17, 1991, to September 24, 1992.

Dragon Warrior: Dai's Great Adventure (ドラゴンクエスト - ダイの大冒険 Doragon Kuesuto - Dai no Daibōken, lit. Dragon Quest - Dai's Great Adventure), is an original manga based in the fantasy world of the video game series Dragon Quest. It was originally created as a two-chapter short story titled "Derupa! Iruiru!". Its subsequent success led to the three-chapter sequel "Dai Bakuhatsu!!!" (Dai Explodes!!!), and later the serialization of Dai no Daibōken.

The manga later spawned an anime series, which would be the second one based on the Dragon Quest franchise, Dragon Quest: Yuusha Abel Densetsu (known in America simply as Dragon Warrior), being the first.

Produced by Toei Animation and Nippon Animation, the anime adaptation of Dragon Quest: Dai no Daibōken premiered in Japan on TBS on October 17, 1991 where it ran for 46 episodes until its conclusion on September 24, 1992.

The series uses two pieces of theme music, both composed by Koichi Sugiyama and performed by Jirou Dan. "Hurry, Heroes!!" (勇者よ急げ!! Yūsha yo Isoge!!) is used for the opening theme, while "This Road is My Journey" (この道わが旅 Kono Michi Waga Tabi), which was the original ending theme for Dragon Quest II, is used for the episodes' ending theme.

The composer:

Koichi Sugiyama (すぎやまこういち Sugiyama Kōichi, born April 11, 1931 as 椙山浩一, which is pronounced the same as his stage name) is a Japanese music composer, council member of JASRAC (Japanese Society for Rights of Authors, Composers, and Publishers), and honorary chairman of the Japanese Backgammon Society. He is best known for composing music for the Dragon Quest video game series, which is published by Square Enix, and several Japanese anime and TV shows, such as Space Runaway Ideon, Cyborg 009, and Gatchaman.

A classically trained conductor, he is considered a primary inspiration for other game music composers such as Nobuo Uematsu, and has been referred to as a "Big boss of game music." He is also known for being a Japanese revisionist.

Sugiyama's first contact with Enix was by a fan letter he wrote them regarding a PC shogi game in the early 1980s. After Enix's staff overcame the shock of receiving a handwritten postcard from a celebrity of Sugiyama's stature, they were so impressed by his depth of knowledge and appreciation of games that they decided to ask Sugiyama to write the music for Dragon Quest.

Sugiyama started composing for the PC-8801, and was working for Enix at the time. His first video game composition was for the game Wingman 2. In 1986, he composed for his second video game, Dragon Quest, for the Famicom. Dragon Quest would become the series he was most known for. Sugiyama says it took him five minutes to compose the original opening theme. His classical score for the game was considered revolutionary for console video game music.

Sugiyama was the first video game composer to record his video game music with a live orchestra. In 1986, the CD, Dragon Quest I Symphonic Suite, was released, utilizing the London Philharmonic Orchestra to interpret Sugiyama's melodies. The soundtrack's eight melodies (Opening, Castle, Town, Field, Dungeon, Battle, Final Battle, and Ending) set the template for most role-playing video game soundtracks released since then, hundreds of which have been organized in a similar manner.

In 1987, he composed for Dragon Quest II, and then held the very first video game music concert in the world. "Family Classic Concert" was arranged and conducted by Sugiyama himself. It was performed by the Tokyo String Music Combination Playing Group on August 20, 1987 at Suntory Hall, Tokyo, Japan. "Dragon Quest I Symphonic Suite" and "Dragon Quest II Symphonic Suite" were performed. The "Family Classic Concerts" have always had excellent turn outs; since then, Sugiyama has held over eighteen of them all across Japan.

Sugiyama continued to compose for video games from 1987 to 1990. In 1991, he introduced a series of video game music concerts, five in all, called the Orchestral Game Concerts, which were performed by the Tokyo City Philharmonic Orchestra and Tokyo Symphony Orchestra. The performances included over eighteen different video game composers, such as Koji Kondo, Yoko Kanno, Kentarō Haneda, Nobuo Uematsu, Keiichi Suzuki, as well as Sugiyama himself. These concerts were held from 1991 to 1996; during this time, Sugiyama composed for other video games and arranged for some of them to be performed in the Orchestral Game Concerts.

In September 1995, Sugiyama composed the Dragon Quest Ballet. It premiered in 1996, and returned in 1997, 1999, 2001, and 2002. During those years, he also released the Symphonic Suites for the Dragon Quest games he had worked on thus far.

Now, Sugiyama stills composing for TV, Game and other stuff.

Now, just enjoy the Suite, and be "Fly".

http://www.filefactory.com/file/c253816/n/DQ_Fly__Suite.mp3

http://www.gigasize.com/get/m6bvpwgwjjd

Notice

2012-01-24T17:39:00.002+01:00

After the end of Megaupload, almost all of my Suites have been lost in the space of internet... Os course, i have the original ones, but reupload all of them in different servers will take a long time... and now (you know, i don't post new suites for a long time...) i don't have time...

I will reupload all slowly... but if you want one, just post and say it, i will reupload that so fast i can.

And of course, will upload new suites... but the work is the first now...

Greetings, and listen a los of music!

Shadow of the Colossus - "Wander Suite 01" (Kow Otani)

2011-10-20T14:24:00.002+02:00

Shadow of the Colossus, released in Japan as Wander to Kyozō (ワンダと巨像 Wanda to Kyozō, officially translated Wander and the Colossus), is an action-adventure game published by Sony Computer Entertainment (SCEI) for the PlayStation 2. The game was released in North America and Japan in October 2005 and PAL territories in February 2006. The game was directed by Fumito Ueda and developed at SCEI's International Production Studio 1, also known as Team Ico; the same development team responsible for the cult hit ICO. Shadow of the Colossus is considered a spiritual successor to ICO. Along with ICO,Shadow of the Colossus was re-released in The ICO & Shadow of the Colossus Collection (ICO & Shadow of the Colossus Classics HD in the PAL region) for the PlayStation 3 on September 27, 2011; it features HD graphics, content previously missing from the North American version,Trophy and 3D support.

The game's storyline focuses on a young man named Wander who enters a forbidden land and must travel across a vast expanse on horseback and defeat sixteen massive beings, simply known as colossi, in order to restore the life of a girl named Mono. The game is unusual within the action-adventure genre in that there are no towns or dungeons to explore, no characters with which to interact, and no enemies to defeat other than the colossi. Shadow of the Colossus has been described as a puzzle game, as each colossus' weakness must be identified and exploited before it can be defeated.

Shadow of the Colossus is regarded as an important work of art and cited as an influential title due to its minimalist landscape designs, immersive gameplay and emotional journey. It received wide critical acclaim by the media and was met with strong sales compared to Ico, due in part to a larger marketing campaign, and the soundtrack was widely praised. It won several awards for its audio, design, and overall quality. Shadow of the Colossus is also referenced numerous times in debates regarding the art quality and emotional perspectives of video games.

While the game has an extensive orchestral soundtrack, the music is only heard during cut scenes and colossus encounters, while time spent at the Shrine of Worship and traversing the landscape is silent save for the sounds made by the protagonist, his horse and their surroundings. The open nature of the game world and lack of life, coupled with this limited use of music, aids in establishing an atmosphere of solitude, similar to that of ICO.

Shadow of the Colossus: Roar of the Earth, a soundtrack album containing music from the game, was released in Japan on December 7, 2005. There are currently no announced plans to release the album in other territories. The game's score was composed by Koh Otani. Roar of the Earth won the award for "Soundtrack of the Year" in the US-based video game magazine Electronic Gaming Monthly.

Koh Otani (大谷幸 Ōtani Kō, born May 1, 1957) is a Japanese composer of anime, films, and video games. He is best known for creating the soundtracks to several Gamera films and for his work on the video game Shadow of the Colossus.

Otani was born in Tokyo, Japan. After graduating from university, he became a founding member of Yuji Saito's music production company Imagine in November 1986. The company has grown to feature musicians like Kohei Tanaka, Shiro Hamaguchi, Hayato Matsuo, and Shinji Miyazaki, who have become well-known for cinematic scoring and orchestration through Otani. In 1987, he made his debut as an anime composer with the popular manga adaptation City Hunter, which earned him recognition in the industry. He later went on to work on titles such as Spy Games (1988), The Ultimate Teacher (1988), The Yadamura Waltz (1988), and You're Under Arrest (1994). The anime Future GPX Cyber Formula (1991) and Mobile Suit Gundam Wing (1995) and several films in the Gamera series are some of his most well-known works.

In 2001, he created the score to the film Godzilla, Mothra and King Ghidorah: Giant Monsters All-Out Attack. Other notable scores by Otani include Outlaw Star (1998), Gundam Wing: Endless Waltz (1998), Cross Fire(2000), The SoulTaker (2001), Haibane Renmei (2002), Zatch Bell! (2003), Eyeshield 21 (2005), Pumpkin Scissors (2006), Deltora Quest (2007), and Over Drive (2007). He has also been the music director and keyboardist of the band Dreams Come True. He appeared at Eminence Symphony Orchestra's events A Night in Fantasia 2007: Symphonic Games Edition and Unearthing Eden ~The sounds of AINARU~ in 2007.

Throughout his career, Otani has also composed music for several video games, making his debut with the 1995 shooter game Philosoma. In 2000, he created the soundtrack to the flight simulator Sky Odyssey. He scored Shadow of the Colossus in 2005, his most famous video game work. Otani was responsible for composing the music for Wild Arms: Twilight Venom (2000), an anime adaptation of the Wild Arms video game series; he also arranged compositions of Michiko Naruke's music from the series. He did two more video game to anime adaptations: Night Warriors: Darkstalkers' Revenge (1997) and Popolocrois Monogatari (1998). In 2005, he created the track "Madness" alongside Hiroko Shigezumi for the Square Enix game Heavy Metal Thunder.

Now just help Wander to save Mono and enjoy the Suite.

http://www.megaupload.com/?d=NQQQXF9Q

http://www.filefactory.com/file/ce7b9cf/n/Shadow_of_the_Colossus_-_Wanderer_s_Suite.mp3

Spartacus: Blood & Sand "Slave" Suite (Joseph LoDuca)

2011-08-22T00:54:00.000+02:00

Spartacus: Blood and Sand is a Starz television series that premiered on January 22, 2010. The series is inspired by the historical figure of Spartacus (played by Andy Whitfield), a Thracian gladiator who from 73 to 71 BC led a major slave uprising against the Roman Republic. Executive producers Steven S. DeKnight and Robert Tapert focused on structuring the events of Spartacus' obscure early life leading up to the beginning of historical records. The show has been rated TV-MA for graphic violence, strong sexual content, and coarse language.

The show was initially renewed for a second season but production was delayed because Whitfield was diagnosed with early-stage non-Hodgkin lymphoma. Due to the delay, Starz produced a six-episode prequel series, entitled Spartacus: Gods of the Arena. Pre-production of season 2 began following the announcement that Whitfield was cancer free, however his cancer recurred. Starz has since replaced Whitfield with actor Liam McIntyre, who will play Spartacus for season two, to be called Spartacus: Vengeance.

Spartacus is treated with a slightly overexposed video stylization, akin to the style used in the film 300 and the look from Gladiator.

It also contains many unusual traits purportedly intended to convey a sense of authenticity. Though in English, the sentence structure seems archaic and follows something closer to Latin rules. For example, the definite and indefinite articles ("the" and "a", in English) are avoided in many situations, and the word "yes", which is absent in classical Latin, is replaced by affirming phrases, such as "that is my desire".

The program is preceded by a very specific warning, that it purports to portray a "historical portrayal of ancient Roman society that contains graphic violence and adult content". Incidental nudity and scenes of a sexual or of a violent nature are present throughout.

The premiere episode of the series set a record for Starz, with 553,000 viewers on their network, and another 460,000 on Encore, where the show was available only that weekend. For the rest of the season the show had an average of 1.285 million viewers. Critical reception of the first episode was mixed; the review aggregate website Metacritic which assigns a normalized average score out of 100 gave the show a score of 54% based on 22 reviews. Ken Tucker of Entertainment Weekly gave it the grade B+, saying it "might prove to be the not-at-all-guilty pleasure of the season." Barry Garron of the Hollywood Reporter suggested that with "such thin stories... it's small wonder that sex and violence are used to take up the slack." Robert Lloyd of the Los Angeles Times wrote that John Hannah as Batiatus "keeps the show grounded with a persuasive portrait of a man engaged in a stressful daily business" and called Whitfield as Spartacus "handsome and buff and smart and beastly." Mark Perigard of the Boston Herald gave the season finale a positive review, rating it a B+. He commented on the improvement of the series throughout its first season.

The Soundtrack was composed by Joseph LoDuca, an American television and film score composer best known for his work writing television scores for the series Spartacus: Blood and Sand, Leverage, Hercules: The Legendary Journeys, Xena: Warrior Princess, The Librarian Telefilm series, American Gothic and Jack of All Trades.

Now, just voyage to the "Gladiator" era with the next Suite. Enjoy!

http://www.megaupload.com/?d=WCHTS0BT

http://www.filefactory.com/file/cd17e42/n/Spartacus__Blood_and_Sand__Slave__Suite.mp3

Game of Thrones "Suite" (Ramin Djawadi)

2011-08-19T15:18:00.003+02:00

Game of Thrones is an American medieval fantasy television series created for HBO by David Benioff and D. B. Weiss. Based on author George R. R. Martin's best-selling A Song of Ice and Fire series of fantasy novels, the first of which is called A Game of Thrones, the television series debuted in the U.S. on April 17, 2011.

Highly-anticipated since its early stages of development, Game of Thrones was well received by fans and critics. The series was picked up for a second season on April 19, 2011, two days after its premiere.

The series began development in January 2007. HBO, after acquiring the rights to the novels with the intent of turning them into an international cable television series, hired David Benioff and D. B. Weiss to write and executive produce the series, which would cover one novel's worth of material per season. Initially, it was planned that Benioff and Weiss would write every episode save one per season, which author and co-executive producer George R. R. Martin was attached to write. However, Jane Espenson and Bryan Cogman were later added to each write one episode of the first season.

"The Sopranos in Middle-earth" is the tagline Benioff jokingly suggested for the television adaptation, referring to its intrigue-filled content and dark tone set in a fantasy world setting. Traditional high fantasy is described as generally incidental to the series, with HBO programming chief Michael Lombardo finding the storytelling appealing rather than the low-key magic or the exotic milieu, in spite of the network's new developmental policy to "[take] shots at shows that we wouldn't have taken a shot at five years ago."

The Game of Thrones's budget has been compared to that of Rome. The pilot reportedly cost HBO between US$5–10 million, and the total budget for the first season has been estimated at US $ 50–60 million.

HBO hired expert language creator David J. Peterson from the Language Creation Society to develop the Dothraki language – "possessing its own unique sound, extensive vocabulary of more than 1,800 words and complex grammatical structure" – to be used in the series. The first and second drafts of the pilot script, written by Benioff and Weiss, were submitted in August 2007 and June 2008, respectively. While HBO found both drafts to their liking, a pilot was not ordered until November 2008, with the 2007–2008 Writers Guild of America strike possibly delaying the process.

Anticipation for the series was described by various media outlets as extremely high, with a dedicated fan base closely following the show's development. By April 2011 multiple entertainment news outlets had put it at the top of their lists of television events to look forward to in 2011.

The majority of reviews for the show were very positive, with critics noting the high production value, the well-realized world, compelling characters, and giving particular note to the strength of the child actors. Tim Goodman's review for The Hollywood Reporter stated, "a few minutes into HBO's epic Game of Thrones series, it's clear that the hype was right and the wait was worth it." Mary McNamara from the Los Angeles Times called it "...a great and thundering series of political and psychological intrigue bristling with vivid characters, cross-hatched with tantalizing plotlines and seasoned with a splash of fantasy." New York Post's Linda Stasi gave Thrones 3.5/4 stars stating, "The art direction, acting and incredible sets are as breathtaking as the massive scope of the series." Many critics praised Peter Dinklage for his portrayal of Tyrion Lannister, with Ken Tucker from Entertainment Weekly stating, "...if Dinklage doesn't get an Emmy for his clever, rude Tyrion Lannister, I'll be gobsmacked" and Mary McNamara from theLos Angeles Times stating, "If the man doesn't win an Emmy, heads should certainly roll."

As of August 3, 2011, Game of Thrones has a Metacritic average of 79 out of 100 based on 28 critic reviews, categorized as "generally favorable", with a user score of 9.0 termed "universal acclaim".

The premiere episode attracted 2.2 million viewers its initial airing on April 17 in the U.S., and totalled 5.4 million viewers across multiple Sunday and Monday night airings. It averaged 743,000 and reached a peak 823,000 in UK and Ireland on its April 18 premiere. HBO announced that they would be commissioning a second season on the strength of the reception of the premiere episode. By the final episode of the season, which aired June 20, the ratings had climbed to over 3 million.

On July 14, 2011 Game of Thrones was nominated for 13 Emmy Awards that included Outstanding Drama Series, Outstanding Casting for a Drama Series, and Outstanding Supporting Actor in a Drama Series (Peter Dinklage as Tyrion).

The first season's soundtrack by composer Ramin Djawadi was released in June 2011, and had been written within about ten weeks of the show's premiere.

Now, just dream with the Suite. Enjoy.

EDIT: New version with little changes... very little.

http://www.megaupload.com/?d=105ASQD1

http://www.filefactory.com/file/cd274d6/n/Game_of_Thrones__Suite.mp3

Medal of Honor "Tier 1 " Suite (Ramin Djawadi)

2011-08-11T15:52:00.003+02:00

Medal of Honor (formerly known as Medal of Honor: Operation Anaconda) is a first-person shooter video game. Developed by Danger Close, a team within the EA Los Angeles studio, and DICE, it is the twelfth installment in the Medal of Honor series and was released for Microsoft Windows, PlayStation 3 and Xbox 360 on October 12, 2010. The game is a reboot of the series, taking place during the ongoing War in Afghanistan.

Medal of Honor's single-player campaign uses heavily modified Unreal Engine 3 while multiplayer uses the Frostbite Engine.The game uses dedicated servers for PC and consoles. However, the server files have not been made public and are only available for use through specific Game Server Providers. It is the first game in the Medal of Honor franchise to receive an M rating from the ESRB.

The original "Medal of Honor" game soundtrack was composed by Michael Giacchino, but ath this reboot, was chosen Ramin Djawadi, with a musical style much closer to the actual "war games" (and "Hans Zimmer style").

Ramin Djawadi (born July 19, 1974) is a German composer of orchestral music for film and television. He was born in Duisburg, Germany to an Iranian father and German mother.

Ramin may be best known for his Grammy-nominated, guitar-driven score for Iron Man, but his repertoire covers a wide variety of film genres. After graduating summa cum laude from Berklee College of Music in 1998, he garnered the attention of Hans Zimmer, who recruited him to Remote Control Productions. After moving to Los Angeles, Djawadi worked as an assistant to Klaus Badelt and wrote additional music on The Time Machine, Basic, The Recruit and the blockbuster Pirates of the Caribbean: The Curse of the Black Pearl. He then collaborated with Zimmer, co-composing and producing the score for Thunderbirds and collaborating on Something's Gotta Give and Batman Begins.

Djawadi then went out on his own with Blade: Trinity, collaborating with The RZA for director David Goyer. This was the beginning of his relationship with Goyer for both film and television. Djawadi wrote the score for Goyer’s horror thriller The Unborn, which was produced by Michael Bay.

Further collaboration with Goyer was the hit television show FlashForward, which showcases Djawadi’s signature sound, most recently earning him his second Emmy nomination. The composer has also had success in television with his Emmy-nominated main title theme music for Prison Break, which aired for four seasons. He also composed the title theme for the related new show Breakout Kings.

Demonstrating his diversity, Djawadi also created an ethereal score for the film Mr. Brooks, starring Kevin Costner and William Hurt. The score earned him a World Soundtrack Awards “Discovery of the Year” nomination. Other sonically diverse scores include Deception, starring Hugh Jackman and Ewan McGregor, and Robert Towne's Ask the Dust.

Animation has been another facet of Djawadi’s career; he scored the first Sony Animation project, Open Season, followed by the sequel, Open Season 2. Additional animation scores include The Chubbchubbs Save Xmas. Djawadi’s work in these films attracted the filmmakers of the Belgium-based NWave, who created one of the first animated movies in 3D, Fly Me to the Moon. Djawadi recently completed Warner Brothers' Clash of the Titans.

His last works were the soundtrack for the 2010 video game Medal of Honor and HBO's fantasy drama Game of Thrones.

Now, just enjoy "the Suite", and... apologies for the delay...

http://www.megaupload.com/?d=6RFR3D0V

http://www.filefactory.com/file/cde558d/n/Medal_of_Honor__Tier_1__Suite.mp3

I'm so sorry...

2011-07-13T22:27:00.000+02:00

I've got my macbook Pro on repair... and there is where i'm "creating" the Suites...

Sorry...

James Bond - 007 Suite Vol.01 (John Barry)

2011-05-19T17:30:00.002+02:00

James Bond, 007; is a fictional character created in 1953 by writer Ian Fleming, who featured him in twelve novels and two short story collections.vThe fictional British Secret Intelligence Service agent has also been used in the longest running and most financially successful English-language film franchise to date, starting in 1962 with Dr. No.

After Fleming's death in 1964, subsequent James Bond novels were written by Kingsley Amis, John Gardner, Raymond Benson, Sebastian Faulks and Jeffery Deaver. Moreover, Christopher Wood novelised two screenplays, Charlie Higson wrote a series on a young James Bond while other writers have authored unofficial versions of the character.

There have been 22 films in the EON Productions series to date, the most recent of which, Quantum of Solace, was released on 31 October 2008 (UK). In addition there has been an American television adaptation and two independent feature productions. Apart from movies and television, James Bond has also been adapted for many other media, including radio plays, comic strips and video games.

The EON Productions films are generally termed as "official", by fans of the series, originating with the purchase of the James Bond film rights by producer Harry Saltzman in the early 1960s.

The "James Bond Theme" was written by Monty Norman and was first orchestrated by the John Barry Orchestra for 1962's Dr. No, although the actual authorship of the music has been a matter of controversy for many years. In 2001, Norman won £30,000 in libel damages from the British paper The Sunday Times, which suggested that Barry was entirely responsible for the composition.

Barry did go on to compose the scores for eleven Bond films in addition to his uncredited contribution to Dr. No, and is credited with the creation of "007", used as an alternate Bond theme in several films, as well as the popular orchestrated theme "On Her Majesty's Secret Service." Both the "James Bond Theme" and "On Her Majesty's Secret Service" have been remixed a number of times by popular artists, including Art of Noise, Moby, Paul Oakenfold, and the Propellerheads. The Beatles used a portion of the "Bond theme" in the introduction of their song "Help" as released on the American version of the "Help" LP. The British/Australian string quartet also named bond (purposely in lower case) recorded their own version of the theme, entitled "Bond on Bond."

Barry's legacy was followed by David Arnold, in addition to other well-known composers such as Chris Minear and Corbin Ott and record producers such as George Martin, Bill Conti, Michael Kamen, Marvin Hamlisch and Éric Serra. Arnold is the series' current composer of choice and composed the score for the 22nd Bond film, Quantum of Solace.

A Bond film staple are the theme songs heard during their title sequences sung by well-known popular singers (which have included Tina Turner, Paul McCartney and Wings, Sheryl Crow and Tom Jones, among many others). Shirley Bassey performed three themes in total. After Doctor No, On Her Majesty's Secret Service is the only Bond film with a solely instrumental theme, though Louis Armstrong's ballad "We Have All the Time in the World", which serves as Bond and his wife Tracy's love song and whose title is Bond's last line in the film, is considered the unofficial theme. Likewise, although the credit sequence to From Russia with Love features an instrumental version of the film's theme, another version, with lyrics sung by Matt Monro, can be partially heard within the film itself, and is featured on the film's soundtrack album.

To create the next Suite, i just used tracks composed by John Barry from the next Soundtracks:

- From Russia with Love

- Goldfinger

- Thunderball

- You Only Live Twice

- On Her Majesty's Secret Service

- Diamonds Are Forever

- The Man with the Golden Gun

- Moonraker

I hope that the "007" and "John Barry" fans like the Suite...

Now, become a "00" agent and enjoy the Suite!

PS: Dedicated to J. Barry.

http://www.megaupload.com/?d=44H960X4

http://www.filefactory.com/file/cb57ef8/n/James_Bond_-_007_Suite_Vol._01.mp3

I'll be back... soon

2011-04-25T12:29:00.000+02:00

Hi people!

For work, i can't post more "suites" at the moment. But soon i will post new works.

Now i have a lot of work (real work), for that reason i can't post new items.

Sorry.

PS: Thanks!

The Evil Dead Saga - "Ash J. Williams" Suite (Joseph LoDuca)

2011-03-29T15:59:00.000+02:00

The Evil Dead is a series of three horror films created by Sam Raimi. The films focus on the protagonist, Ashley "Ash" J. Williams, who is played by Bruce Campbell. Ash deals with "deadites", which are undead antagonists created by the Necronomicon Ex-Mortis. The film series has since expanded into other formats such as video games and comic books. An off-Broadway musical opened in Toronto in 2003 based on the storyline of the first two films.

The Evil Dead (also known as: Evil Dead, The Book of the Dead, Sam Raimi's The Evil Dead and The Evil Dead, the Ultimate Experience in Grueling Horror) is a 1981 horror film written and directed by Sam Raimi, starring Bruce Campbell, Ellen Sandweiss, and Betsy Baker. The film is a story of five college students vacationing in an isolated cabin in a wooded area. Their vacation becomes gruesome when they find an audiotape that releases evil spirits.

The film was extremely controversial for its graphic terror, violence, and gore, being initially turned down by almost all U.S. film distributors until a European company finally bought it in the Cannes Film Festival marketplace. It was finally released into theaters on October 15, 1981. Although its budget was probably no more than $400,000, the film was a moderate success at the box office, grossing a total of $2,400,000 in the U.S. upon its initial release. Despite getting mixed reviews by critics at the time, it now has a dedicated cult following. The film has spawned two sequels, Evil Dead II and Army of Darkness, and a stage musical; work on a script for a further film has started.

The Evil Dead received mixed reviews upon its release but over the years its critical reputation has grown considerably. Based on 45 reviews, the film holds a 100% "Fresh" rating on the review aggregate website Rotten Tomatoes. The film was selected by the American Film Institute as one of the 400 candidates for AFI's 100 Years... 100 Thrills, a list of America's most heart-pounding films.

Evil Dead II (also known as Evil Dead 2: Dead by Dawn) is a 1987 cult comedy horror film and the second installment of the Evil Dead film trilogy. The film was directed by Sam Raimi, written by Raimi and Scott Spiegel, produced by Rob Tapert and starring Bruce Campbell as Ash Williams. Raimi and Spiegel wrote the script during production of Crimewave.

Filming took place in North Carolina in 1986 and the film was released in the United States on March 13, 1987. The film was a box office success, and achieved $10.9 million at the box office. It also received critical acclaim. Observers praised Raimi for the direction and Campbell for his role in the film.

Evil Dead II received very positive reviews from critics and audience members; it holds a 98% "Certified Fresh" rating on the review aggregate website Rotten Tomatoes. On a similar website Metacritic, it holds a score of 69/100 (generally favorable) with a user rating of 9.2/10. Empire magazine praised the film saying "the gaudily gory, virtuoso, hyper-kinetic horror sequel/remake uses every trick in the cinematic book" and confirms that "Bruce Campbell and Raimi are gods" and Caryn James of The New York Times called it "genuine, if bizarre, proof of Sam Raimi's talent and developing skill." Entertainment Weekly ranked the film #19 on their list of "The Top 50 Cult Films." Sight and Sound ranked it #34 on their 50 Funniest Films of All Time list. In 2008, Empire magazine included Evil Dead II on their list of The 500 Greatest Movies of All Time, ranked #49.

Army of Darkness (also known as Evil Dead III, Evil Dead III: Army of Darkness, Bruce Campbell vs. Army of Darkness, or The Medieval Dead) is a 1992 comedy horror fantasy film and the third installment of the Evil Dead film trilogy. It was directed by Sam Raimi, written by Raimi and his brother Ivan, produced by Robert Tapert, and starred Bruce Campbell and Embeth Davidtz. Continuing where Evil Dead II left off, Ash Williams is trapped in the Middle Ages and he battles the undead in his quest to return to the present.

Army of Darkness is not as violent or gory as the prior Evil Dead films, relying more on slapstick. The film was produced as part of a production deal with Universal Studios after the financial success of Darkman. Filming took place in California in 1991. The Director's Cut premiered in October 1992 and the Theatrical Cut was released in the U.S. on February 19, 1993. It was a commercial success, grossing $21.5 Million, though critical response was generally less positive than the first two films. Since its video release it has acquired a cult following, along with the other two films in the trilogy.

Army of Darkness had received generally mixed to positive response from critics, with a 71% "Fresh" rating on the review aggregate website Rotten Tomatoes, based on 38 reviews, which made its critical reception above average but is lower than The Evil Dead and Evil Dead II, which received 100% and 98% critical approval, respectively. Roger Ebert gave the film two out of four stars and wrote, "The movie isn't as funny or entertaining as Evil Dead II, however, maybe because the comic approach seems recycled". In her review for the New York Times, Janet Maslin praised, "Mr. Campbell's manly, mock-heroic posturing is perfectly in keeping with the director's droll outlook". Desson Howe, in this review for the Washington Post praised the film's style: "Bill Pope's cinematography is gymnastic and appropriately frenetic. The visual and make-up effects (from artist-technicians William Mesa, Tony Gardner and others) are incredibly imaginative". However, Entertainment Weekly gave the film a "C+" rating and wrote, "This spoofy cast of thousands looks a little too much like a crew of bland Hollywood extras. By the time Army of Darkness turns into a retread of Jason and the Argonauts, featuring an army of fighting skeletons, the film has fallen into a ditch between parody and spectacle".

Danny Elfman, who composed the score for Darkman, wrote the "March of the Dead" theme for Army of Darkness, but after the re-shoots were completed Joseph LoDuca, who composed the music for The Evil Dead and Evil Dead II, returned to score the new film. LoDuca sat down with Raimi and they went over the entire film, scene by scene. The composer used his knowledge of synthesizers and was able to present many cues in a mock-up form before he took them in front of an orchestra.

Joseph LoDuca is a TV and film score composer best known for his work writing television scores for the series Spartacus, Leverage, Hercules: The Legendary Journeys, Xena: Warrior Princess, The Librarian Telefilm series, American Gothic and Jack of All Trades. Originally an accomplished jazz guitarist in the Detroit (MI, USA) area, Joseph frequently provides music for producer/director Sam Raimi, producer/director Dean Devlin and actor Bruce Campbell's films and series.

Joseph’s credits include 2 Primetime Emmy Awards, 11 Primetime Emmy Nominations, and “Most Performed Underscore” recognitions from ASCAP for four consecutive years. He garnered a César Nomination; “Meilleure Musique Écrite Pour Un Film” (Best Music) for the French international film Brotherhood of the Wolf, as well as being lauded as “Horror Film Composer of the Year” for his score to Army of Darkness.

Joseph was nominated for and won the Emmy award in 2009 for "Outstanding Music Composition For A Series" for his music in Legend of the Seeker.

Now, remember the nightmares of Ash on the next Suite. Enjoy.

http://www.megaupload.com/?d=28XVEPXM

http://www.filefactory.com/file/ca6ed0c/n/Evil_Dead_Saga_-__Ash_J._Williams__Suite.mp3

Alone in the Dark "Edward's Third Life" Suite (Olivier Derivière)

2011-02-28T23:25:00.000+01:00

Alone in the Dark, originally known as Alone in the Dark: Near Death Investigation and informally known as Alone in the Dark 5 to avoid naming confusion, is the fifth installment of the survival horror video game series under the same name created by Atari.

The game was released for Microsoft Windows, PlayStation 2, Wii, and Xbox 360 in Europe, North America, and Australia in June 2008. The PlayStation 3 version (the greatest of all), titled Alone in the Dark: Inferno, was released on November 18, 2008 and includes several enhancements from the other versions. The Windows, Xbox 360 and PlayStation 3 versions were developed by Eden Games while the PS2 and Wii versions were simultaneously developed by Hydravision Entertainment. The PS2 and Wii version of Alone in the Dark is a completely different game from the PS3/Xbox 360 version. Though both have a similar plot, it has largely different levels, removing all the freeroaming from the other versions.

Reception for Alone in the Dark ranged from good to poor. The Xbox 360 version of game has received mixed reviews, from scores of 3/10 to 8/10: IGN UK awarded the game 7/10 while IGN US rated it 3.5/10. GamePro awarded the game a 2.5/5, despite giving it the game of the month award. Reviews for the Wii version of the game are sparse. Metacritic currently has a rating of 55/100 based on 18 reviews. IGN US rated the Wii version 3.1/10, and the PS2 version 3.0/10, Eurogamer.net rated the game 7/10.

GameSpot commented "If you can endure some vexing technical flaws, Alone in the Dark can be a clever, satisfying adventure.." Gametrailers said "The game needed more gestation to really iron out the interface issues, but it remains an adventure worth pursuing...".

The PS3 version, Alone in the Dark: Inferno, has received far more favorable reviews due to the improved movement and driving controls as well as the extra scenes.

As of July 30, 2008, the game has moved 1.2 million copies worldwide.

The music in Alone in the Dark is scored by Olivier Derivière, the same person who scored ObsCure and ObsCure II. It includes the female choir The Mystery of Bulgarian Voices. In this game, Olivier did not use a live orchestra; instead he used virtual instruments and samplers to create a realistic orchestral sound. A remix by DJ Tiësto will be released through Streamline Records, a branch from Streamline Studios and Black Hole Recordings.

Olivier Deriviere (born 1970) has studied composition and orchestration at the Nice Conservatoire (France). In 1999 he produced a solo album (Harry's Day) and started to write arrangements of great film scores for the percussions quartet he founded at the Cagnes-sur-Mer Conservatoire. In 2000, he received a scholarship from Berklee and went to Boston to study jazz and film scoring. Beside college, he spent a whole season with the Boston Symphony Orchestra and went to every reharsals and concerts. There he interacted with great composers and conductors such as Seiji Ozawa, Ilan Volkov and John Williams.

Back to France he started to work for short movies and TV shows. In 2004 he earned the award of best soundtrack for his short movie The toast at the Moviz Festival (www.moviz.com) as well as great reviews for his work on Obscure (hydravision/MC2) such Gamespy's : "You'll begin to notice the impressive and dare we say innovative qualities of this game possesses like the in-game music". This music was performed by the Children choir of the Opéra national de Paris and in 2005 to extend the quality of the music production for Obscure's sequel (Obscure : the aftermath) Deriviere added the Boston Quartet, formed by Boston Symphony Orchestra members including the Concertmaster Tamara Smirnova. In 2007 he earned the award of best soundtrack from the French developers festival and Obscure 2 reviews got great critics like IGN's : "Music is fantastic and evocative". Obscure 2 was performed for the 2nd edition of Games in concert in Amsterdam by the Metropolitan Orchestra. Later, he started to work for Alone in the Dark and Grammy award winner The Mystery of Bulgarian voices choir to perform his music.

Now, just evade the "Fissures" and enjoy the Suite. XD

http://www.megaupload.com/?d=WPAKF7RX

http://www.filefactory.com/file/cab8b6a/n/Alone_in_the_Dark__Edward_s_Third_Life__Suite.mp3

The Mummy "Rick O'Connell" Suite (Jerry Goldsmith)

2011-02-22T01:07:00.000+01:00

The Mummy is a 1999 American adventure film written and directed by Stephen Sommers and starring Brendan Fraser, Rachel Weisz, John Hannah and Kevin J. O'Connor, with Arnold Vosloo in the title role as the reanimated mummy. The film features substantial dialogue in ancient Egyptian language, spoken with the assistance of a professional Egyptologist. It is a loose remake of the 1932 film of the same name which starred Boris Karloff in the title role. Originally intended to be part of a low-budget horror series, the movie was eventually turned into a blockbuster adventure film.

Filming began in Marrakech, Morocco, on May 4, 1998, and lasted seventeen weeks; the crew had to endure dehydration, sandstorms, and snakes while filming in the Sahara. The visual effects were provided by Industrial Light & Magic, who blended film and computer-generated imagery to create the titular Mummy. Jerry Goldsmith provided the orchestral score.

The Mummy opened on May 7, 1999, and grossed $43 million in 3,210 theaters; the movie went on to gross $416 million worldwide. Reception to the film was mixed, with reviewers alternatively praising or complaining about the special effects, the slapstick nature of the story and characters, and the stereotyped villains. The box-office success led to a 2001 sequel, The Mummy Returns, as well as The Mummy: The Animated Series, and the spin-off film The Scorpion King. Seven years later, the third installment, The Mummy: Tomb of the Dragon Emperor, opened on August 1, 2008. Universal Studios also opened a roller coaster, Revenge of the Mummy, in 2004. The movie and its sequel's novelizations were written by Max Allan Collins.

The Score was composed and conducted by Jerry Goldsmith, with orchestrations provided by Alexander Courage (composer from the classical "Star Trek" series) The soundtrack was released by Decca Records on May 4, 1999. Like many Goldsmith scores, the main theme uses extensive brass and percussion elements; Goldsmith also used sparing amounts of vocals, highly unusual for most of his work.

Overall, Goldsmith's score was well-received. Allmusic described it as a "grand, melodramatic score" which delivered the expected highlights. Other reviews positively noted the dark, percussive sound meshed well with the plot, as well as the raw power of the music. The limited but masterful use of the chorus was also lauded, and most critics found the final track on the CD to be the best overall. On the other hand, some critics found the score lacked cohesion, and that the constant heavy action lent itself to annoying repetition. Roderick Scott off CineMusic.net summed up the score as "representative of both Goldsmith's absolute best and his most mediocre. Thankfully [...] his favourable work on this release wins out."

The Mummy opened on May 7, 1999 and grossed USD $43 million in 3,210 theaters. The film went on to gross $415 million worldwide (Domestic: $155 million; Foreign: $260 million). While The Mummy was a commercial success, critical reception was mixed. The Mummy holds a 54 percent "rotten" rating at Rotten Tomatoes and a 48 Metascore at Metacritic. Roger Ebert, a film critic of the Chicago Sun-Times, wrote, "There is hardly a thing I can say in its favor, except that I was cheered by nearly every minute of it. I cannot argue for the script, the direction, the acting or even the mummy, but I can say that I was not bored and sometimes I was unreasonably pleased." Likewise, Owen Gleiberman of Entertainment Weekly gave the film a "B-" rating and said, "The Mummy would like to make you shudder, but it tries to do so without ever letting go of its jocular inconsequentiality." Bob Graham of the San Francisco Chronicle gave the film high marks for the acting as well as the special effects.

Stephen Holden from The New York Times wrote, "This version of The Mummy has no pretenses to be anything other than a gaudy comic video game splashed onto the screen. Think Raiders of the Lost Ark with cartoon characters, no coherent story line and lavish but cheesy special effects. Think Night of the Living Dead stripped of genuine horror and restaged as an Egyptian-theme Halloween pageant. Think Abbott and Costello Meet the Mummy grafted onto a Bing Crosby-Bob Hope road picture (The Road to Hamunaptra?) and pumped up into an epic-size genre spoof." Publications like The Austin Chronicle and Dallas Observer came to the conclusion that despite good acting and special effects, the movie lacked cohesion; talking about the special effects, the Observer lamented "If only generating a soul for the film itself were so easy." Other publications such as Jump Cut felt that Industrial Light and Magic's lock on special effects proved detrimental to The Mummy; "The mummy", Ernest Larson wrote for the Jump Cut, "is standard-issue I.L.&M.". Kim Newman of the British Film Institute judged the picture inferior to the original, as all the time was spent on special effects, instead of creating the atmosphere which made the original film such a classic. USA Today gave the film two out of four stars and felt that it was "not free of stereotypes", a sentiment with which the BFI concurred. "If someone complains of a foul odor, you can be sure an Arab stooge is about to enter a scene. Fraser, equally quick with weapon, fist or quip, may save the day, but even he can't save the picture", USA Today wrote.

The Mummy was nominated for Best Sound at the Academy Awards and Best Visual Effects at the BAFTAs, losing both to The Matrix. Jerry Goldsmith won a BMI Film Award for the soundtrack, and the film won Best Make-Up at Saturn Awards, out of nine nominations including Best Fantasy Film. Other nominations included Best Sound Editing at the Motion Picture Sound Editors' Golden Reel Awards, Best Visual Effects at the Golden Satellites and Best Action Sequence on the MTV Movie Awards.

Jerrald King "Jerry" Goldsmith (February 10, 1929 – July 21, 2004) was an American composer and conductor. He is often considered one of the most prominent and prolific film composers of the 20th century and composed scores to such popular films as Planet of the Apes, Patton, Chinatown, The Omen, The Boys from Brazil, Alien, Poltergeist, Gremlins, Hoosiers, Total Recall, Basic Instinct, Rudy, L.A. Confidential, Mulan, The Mummy, three Rambo films, and five Star Trek films. He was nominated for five Grammy Awards, nine Golden Globes, four BAFTAs, and seventeen Academy Awards, and received an Oscar for The Omen in 1977.

He collaborated with some of the most prolific directors in film history, including Robert Wise (The Sand Pebbles, Star Trek: The Motion Picture), Howard Hawks (Rio Lobo), Otto Preminger (In Harm's Way), Roman Polanski (Chinatown), Steven Spielberg (Twilight Zone: The Movie), Tobe Hooper (Poltergeist), and Ridley Scott (Alien and Legend). However, his most notable collaboration was arguably that with Franklin J. Schaffner, for whom Goldsmith scored such films as Planet of the Apes, Patton, Papillon, and The Boys from Brazil.

Now, just "fear" the Suite from this greatest score.Really, just Enjoy

http://www.megaupload.com/?d=KLTI4RSR

http://www.filefactory.com/file/b589d15/n/The_Mummy__O_Connell__Suite.mp3

Casino Royale "Bacharach's Suite" (Burt Bacharach)

2011-02-17T00:55:00.004+01:00

Casino Royale is a 1967 comedy spy film originally produced by Columbia Pictures starring an ensemble cast of directors and actors. It is set as a satire of the James Bond film series and the spy genre and is lightly based on Ian Fleming's first James Bond novel.

The film stars David Niven as the original Bond, Sir James Bond 007. Forced out of retirement to investigate the deaths and disappearances of international spies, he soon battles the mysterious Dr. Noah (Woody Allen) and SMERSH.

The film's famous slogan : "Casino Royale is too much ... for one James Bond!" refers to Bond's ruse to mislead SMERSH in which six other agents are designated as "James Bond", namely, Baccarat master Evelyn Tremble (Peter Sellers), millionaire spy Vesper Lynd (Ursula Andress), Bond's secretary Miss Moneypenny (Barbara Bouchet), Bond's daughter with Mata Hari, Mata Bond (Joanna Pettet) and British agents "Coop" (Terence Cooper) and "The Detainer" (Daliah Lavi).

Charles K. Feldman, the producer, had acquired the film rights and had attempted to get Casino Royale made as an EON James Bond movie (i.e. one made by EON Productions); however, Feldman and the producers of the EON series, Albert R. Broccoli and Harry Saltzman, failed to come to terms. Believing that he could not compete with the EON series, Feldman resolved to produce the film as a satire.

The film has had a mixed reception among critics, some of whom regard it as a baffling, disorganised affair, with critic Roger Ebert branding it "possibly the most indulgent film ever made". On the other hand, Andrea LeVasseur called it "a psychedelic, absurd masterpiece" and cinema historian Robert von Dassanowsky has described it as "a film of momentary vision, collaboration, adaption, pastiche, and accident. It is the anti-auteur work of all time, a film shaped by the very zeitgeist it took on."

The original music is by Burt Bacharach. Herb Alpert & the Tijuana Brass performed some of the songs with Mike Redway singing the lyrics to the title song as the end credits rolled. (A version of the song was also sung by Peter Sellers.) The title theme was Alpert's second number one on the Easy Listening chart where it spent two weeks at the top in June 1967 and peaked at number twenty-seven on the Billboard Hot 100.

The 4th chapter of the movie features the song "The Look of Love" performed by Dusty Springfield. It is played in the scene of Vesper Lynd recruiting Evelyn Tremble, seen through a man-size aquarium in a seductive walk. "The Look of Love" was nominated for the Academy Award for Best Song. The song was a Top 10 radio hit at the KGB and KHJ radio stations. A year later a cover version by Sérgio Mendes and Brasil '66 reached #4 of Billboard Hot 100. Dusty Springfield's version was heard again in the first Austin Powers film, which was to a degree inspired by Casino Royale. The German version of the film, however, features a German adaptation of "The Look of Love" sung by Mireille Mathieu. To make room for her credit in the film titles, the credit for Jean Paul Belmondo was removed in the German language version.

In 2010, Kritzerland Records issued a remastered version of the soundtrack (used by me to make the "Suite"). This limited edition of 1,000 units presented the original album tracks in two parts. The first part used what survived of the original album masters (as they had suffered wear over the intervening decades, and the remainder of the score was unavailable for use on the reissue), was digitally and sonically restored using current technology, and was re-edited so as the music is presented in the order they appeared in the film. Some previously unreleased brief cues were added to this mix, including the aforementioned vocal version of the end title music. The second part was presented in the original LP order, and to address the issue of the sound quality of vinyl, part two was remastered directly from pristine vinyl copies of the LP.

Burt F. Bacharach (pronounced /ˈbækəræk/, BAK-ə-rak; born May 12, 1928) is an American pianist, composer and music producer. He is known for his popular hit songs and compositions from the mid-1950s through the 1980s, with lyrics written by Hal David. Many of their hits were produced specifically for, and performed by, Dionne Warwick. Following on with the initial success of this collaboration, Bacharach went on to produce hits with Dusty Springfield, Bobbie Gentry and others.

As of 2006, Bacharach had written 70 Top 40 hits in the US, and 52 Top 40 hits in the UK.

Burt Bacharach was born in Kansas City, Missouri, but grew up in the Forest Hills section of New York City, graduating Forest Hills High School in 1946. He is the son of Irma (née Freeman) and Bert Bacharach, a well-known syndicated newspaper columnist, and is of German-Jewish descent. Bacharach studied music at McGill University, under Helmut Blume, at the Mannes School of Music, and at the Music Academy of the West in Montecito, California. His composition teachers included Darius Milhaud, Henry Cowell, and Bohuslav Martinů. Following service in the Army, Bacharach worked as a pianist, both as a solo player and as an accompanist for singers such as Vic Damone, Polly Bergen, Steve Lawrence, the Ames Brothers and Paula Stewart (who became his first wife). For some years he was musical arranger for Marlene Dietrich as well as touring with her.

Bacharach's music is characterized by unusual chord progressions, striking syncopated rhythmic patterns, irregular phrasing, frequent modulation, and odd, changing meters. Bacharach has arranged, conducted, and co-produced much of his recorded output.

An example of his distinctive use of changing meter is found in "Promises, Promises" (from his score for the musical of the same name). His style is sometimes also associated with particular instrumental combinations he is assumed to favor or to have favored, including the prominent use of the flugelhorn in such works as "Walk on By", "Nikki", and "Toledo".

Now, enjoy the next Suite (I mean, rather, "Divertimento"), and be all of you "James Bond" XD.

http://www.megaupload.com/?d=VWO6RVLJ

http://www.filefactory.com/file/cd278c2/n/00_-_Casino_Royale_quot_Bacharach_s_Suite_quot_.mp3

Dead Space "Isaac's Nightmare" Suite (Jason Graves)

2011-02-13T00:23:00.001+01:00

Dead Space is a survival horror third-person shooter video game, developed by EA Redwood Shores for PlayStation 3, Xbox 360 and Microsoft Windows released in October 2008. The game was made available on Steam on October 20, 2008. The player takes on the role of an engineer named Isaac Clarke, who battles a polymorphic, virus-like, alien infestation which turns humans into grotesque alien monsters called "Necromorphs", on board a stricken interstellar mining ship named the USG Ishimura. A sequel, Dead Space 2, was released on January 25, 2011.

Electronic Arts first announced Dead Space in September 2007. The game was developed at their studio in Redwood Shores, California, whose other titles include The Godfather and The Simpsons Game. The game's executive producer, Glen Schofield, said that the team aimed to create something 'darker and creepier' than their previous titles: "We are all such huge fans of the horror and sci-fi genres; we wanted to create the most terrifying game we could, and keep the player on the edge of their seat the entire time." The design team reportedly spent time analyzing a wide variety of horror films in order to find inspiration for in-game scares.

Previews universally drew attention to the high levels of gore and violence in the game, in particular the tactic of "strategic dismemberment" (emphasized by Schofield as "the primary theme of Dead Space"). The Necromorphs cannot be subdued by a single shot, rather they have to be incapacitated by shooting off their tentacles and appendages. A series of developer diaries released for the game had featured one episode about the system, in which developers mentioned that using conventional tactics, such as aiming for the head or torso would only serve to aggravate some of the Necromorphs. In order to make the corpses look more realistic, the development team studied photos of car crash victims.

The game was originally in development for the original Xbox console

Dead Space's credits refer to two people for the music composition. Audio director Don Veca was quoted in an interview saying "The music credits read 'Music Composed and Conducted by Jason Graves in Association with Rod Abernethy.' Early on, Rod was involved in initial brainstorming, but Jason actually composed, conducted, and arranged all the music." On November 11, 2008, Amazon.com and iTunes released the soundtrack to Dead Space for download. In 2009, Dead Space was nominated for several awards by the non-profit Game Audio Network Guild (GANG): Music of the Year, Audio of the Year, and Sound Design of the Year. By the voting of GANG members, Dead Space was awarded Audio of the Year and Sound Design of the Year.

According to an interview with Don Veca, the game's audio director, composer Rod Abernethy "helped out logistically and was involved in our initial brainstorming" for the music of the game, but Jason Graves "actually composed, conducted, and arranged all the music." On general plans for the direction of the game's audio, Veca said the following:

“

The plan from the very start was to create mood through overall sound design. We weren't going for traditional music composition or memorable themes, but instead approached the entire sound-scape as a single unit that would work together to create a dark and eerie vibe. This is not to say that we didn't use music to help create the atmosphere, because we certainly did; however, the music was used much more texturally than thematically. In this way, Dead Space has really blurred the line between music and sound design. When you get right down to it, music is really just sound design with a lot more rules.

”

In its entirety, over three hours of music was composed by Graves for Dead Space, all of which was recorded in just two recording sessions; each individual instrumental section was recorded separately, including the woodwind, string, brass and percussion sections.

The soundtrack was made available as a digital download through the EA Trax service on November 1, 2008. Also was made available to download from Amazon.com and iTunes ten days later on November 11.

The audio element of Dead Space was widely praised by critics and industry figures, and was nominated for a number of awards. In the GameSpot "Best Games of 2008" awards, the game's music helped it receive nominations for Best Atmosphere (losing out to Fallout 3 by just 3% of votes) and Best Sound Design (which it won with a 42% majority). At the 5th British Academy Video Games Awards Dead Space won the Use of Audio and Original Score awards; at the 2009 Interactive Achievement Awards ceremony the game won the award for Outstanding Achievement in Sound Design and was nominated for the Outstanding Achievement in Original Music Composition award; and at the 9th annual Game Developers Choice Awards the game received the "Audio award".

Jason Graves is a British Academy Award-winning composer who has brought his passion for music to video game franchises such as Dead Space (EA), Star Trek (Bethesda) and Silent Hunter (Ubisoft). His Hollywood expertise allows him to move effortlessly between film, television and games, and he is renowned worldwide for his cinematic, immersive and award-winning music.

Jason was solely responsible for creating an innovative, unique soundtrack for Dead Space, which has become Electronic Art's best-selling original title and called "the scariest game ever made." Jason's ground-breaking score has been hailed by critics as a "truly original soundtrack" and "the best score of the year." It was recognized with a myriad of world-wide nominations and won two BAFTA awards - one for Original Score and one for Use of Audio. For the latter, the Academy stated, "It's the music soundtrack that boasts horror and tension."

Jason's diverse musical background as a classically-trained composer, jazz drummer, keyboardist, guitarist and world percussionist allow him to expertly compose in many different genres of music. As a result, his game credits alone include more than eighty titles, ranging from electronic and rock to full symphonic scores. He performs world percussion and guitar on many of his own scores and has conducted and recorded his live orchestral scores at Air Studios London, Capitol Records, Paramount Pictures, Skywalker Sound, and with the Seattle and Salt Lake City Philharmonic orchestras.

Jason also composes for film and television, including his recent score for the thriller Fatal Flaw. His music has been licensed for television shows such as American Idol and The Amazing Race.

Recent projects include two hybrid electronic/orchestral game scores - one for the popular City of Heroes franchise, entitled Going Rogue (N.C. Soft) and a second for Section 8 (Southpeak Interactive), a first-person shooter set in the distant future. Jason also provided a live orchestral score for Dead Space Extraction, Electronic Art's prequel to the popular and critically-acclaimed horror hit Dead Space.

In addition to the two BAFTAs, Jason's music has been honored with three Academy of Interactive Arts & Sciences (AIAS) Award nominations, winning "Outstanding Achievement in Audio" for Dead Space. He has received seventeen G.A.N.G. nominations and four wins, including "Audio of the Year" for Dead Space, "Best Original Theme" nominations for Star Trek: Legacy and Blazing Angels 2 and "Music of the Year" nominations for Dead Space and King Arthur.

Current projects include three sequels for different unannounced flagship game franchises and the feature film thriller Nevermore. Jason Graves is represented by The Gorfaine/Schwartz Agency, Inc.

Now, just try to be "relaxed" with the next Suite... XD

NOTE: The following Suite can be difficult to be enjoyed for its atonal content. Idea of the composer to give the tone of nightmare and terror that requires the original game and its atmosphere.

http://www.filefactory.com/file/b55h550/n/Dead_Space__Isaac_s_Nightmare__Suite.mp3

http://www.megaupload.com/?d=18PHNLJI

Please, enjoy.

I'll be back soon

2011-02-07T14:09:00.002+01:00

Sorry, but now i just have a lot of work (heavy work).

Soon i will post new Suites to enjoy everybody.

Just wait.

Sorry

2011-01-14T11:29:00.000+01:00

In order to avoid "more" problems, have eliminated me some entrances from another organism… I'm so sorry (and you do not know whatever).

Inception "Cobb" Suite (Hans Zimmer)

2011-01-02T15:04:00.005+01:00

Inception is a 2010 American science fiction film written, produced, and directed by Christopher Nolan. The film stars Leonardo DiCaprio, Ken Watanabe, Joseph Gordon-Levitt, Marion Cotillard, Ellen Page, Tom Hardy, Cillian Murphy, Dileep Rao,Tom Berenger, and Michael Caine. DiCaprio plays Dominick Cobb, a specialized spy or corporate espionage thief. His work consists of secretly extracting valuable commercial information from the unconscious mind of his targets while they are asleep and dreaming. Unable to visit his children, Cobb is offered a chance to regain his old life in exchange for an almost impossible task: inception, the planting of an idea into one's subconscious.

Inception was officially budgeted at $160 million, a cost that was split between Warner Bros. and Legendary Pictures. Nolan's reputation and success with The Dark Knight helped secure the film's $100 million in advertising expenditure. Inception premiered in London on July 8, 2010, and was released in both conventional and IMAX theaters on July 14, 2010. Released to critical acclaim, the film grossed over $21 million on its opening day, with an opening weekend gross of $62.7 million.

Hans Zimmer scored the film, marking his third collaboration with Nolan following Batman Begins and The Dark Knight. According to Zimmer, it's "a very electronic score". Nolan asked Zimmer to compose and finish the score as he was shooting the film. The composer said, "He wanted to unleash my imagination in the best possible way". At one point, while composing the score, Zimmer incorporated a guitar sound reminiscent of Ennio Morricone and was interested in having Johnny Marr, former guitarist in the influential 80s rock band The Smiths, play these parts. He asked Nolan, who agreed and then Zimmer approached Marr who accepted his offer. Marr spent four 12-hour days working on the score, playing notes written by Zimmer with a 12-string guitar.

For inspiration, Zimmer read Gödel, Escher, Bach: An Eternal Golden Braid by Douglas Hofstadter because it combined "the idea of playfulness in mathematics and playfulness in music". Zimmer did not assemble a temp score but "every now and then they would call and say 'we need a little something here.' But that was OK because much of the music pieces aren't that scene specific. They fall into little categories". While writing the screenplay, Nolan wrote in Édith Piaf's "Non, je ne regrette rien" but almost took it out when he cast Marion Cotillard, who had just completed an Oscar-winning turn as Piaf in the 2007 film La Vie en rose. Zimmer convinced Nolan to keep it in the film and also integrated elements of the song into his score; in particular, the film's iconic brass instrument fanfare resembles a slowed-down version of the song's instrumentation.

The nominees for the 68th Golden Globe Awards were announced on December 14th, 2010, and Inception was nominated for four awards, including Best Picture (Drama), Best Director, Best Screenplay, and Best Original Score.

Now, just dream with this Suite made by me

PS: Happy new Year!

http://www.megaupload.com/?d=2WEZTQNI

http://www.filefactory.com/file/b4g5c96/n/Inception_Cobb_Suite.mp3

Happy New Year to Everyone!

2011-01-01T21:38:00.000+01:00

Wishing you a fabulous 2011 with full of great achievements and experiences.
A meaningful chapter waiting to be written.
HAPPY NEW YEAR!

Castlevania: Lords of Shadow "Gabriel's Suite" (Óscar Araujo)

2010-12-10T14:23:00.002+01:00

Castlevania: Lords of Shadow is a video game in the Castlevania series, and is a reboot of the franchise. It is an action-adventure game in a fantasy setting in Southern Europe during the Middle Ages. The game was developed by MercurySteam (from Spain) and Kojima Productions and published by Konami. Hideo Kojima, producer of the Metal Gear franchise, was involved with the title.

The game was originally announced as Lords of Shadow with no connection to the Castlevania series mentioned. According to Konami, this was to keep their plans to radically change the direction of the Castlevania mythos a secret and to prevent the announcement of the game from upstaging their other series release at the time, Castlevania Judgment.

David Cox stated the game is a reboot of the franchise and is not a part of the original series canon. The setting of Lords of Shadow is during "the end of days" in the year of 1047. The Earth's alliance with the Heavens has been threatened by a malevolent force known as the Lords of Shadow. A dark spell has stopped the souls of the deceased from leaving, while evil creatures inhabit the dying land and attack living people.

The main character, Gabriel Belmont (voiced by Robert Carlyle), is a member of the Brotherhood of Light, an elite group of holy knights who protect and defend innocent people against the supernatural creatures. Gabriel's wife Marie (voiced by Natascha McElhone) was brutally murdered by one of them, and her soul cannot leave as it is trapped in limbo. Because she is now neither alive nor dead, she realizes what is at stake and guides Gabriel to his destiny to save the world as he investigates the dark spell. He travels the destroyed land, meeting other characters such as his mentor Zobek (voiced by actor Sir Patrick Stewart, who additionally narrates the game). Two masks referred to as the God and Devil Masks, lie at the centre of the plot, with the God Mask having powers to resurrect the dead. Gabriel intends to defeat the three factions of the Lords of Shadow in order to obtain the pieces of the God Mask, and bring back his deceased wife.

The game's musical score was written by Spanish composer Óscar Araujo using a 120-piece orchestra. It also features previous Castlevania musical themes. A soundtrack CD was also included in limited editions of the game, with 18-20 tracks in total.

Óscar Araujo is a young spanish composer and photographer, who works on Films, Videogames and others.
His most famous works on films were "El Cid: The Legend", "Gisaku" and "The Appeared". On Videogames were "Severance" (or "Blade: The Edge of Darkness"), "Scrapland" and the last Castlevania, "Lords of Shadow".

Now just enjoy the awesome epic from the Score of "Castlevania: Lords of Shadow" on the next Suite.

http://www.filefactory.com/file/b4a0hh6/n/Castlevania_Lords_of_Shadow_Gabriel_s_Suite_.mp3

http://www.megaupload.com/?d=28BT0B67

Tron: Legacy "Flynn Suite" (Daft Punk)

2010-12-09T11:20:00.007+01:00

Tron: Legacy is an upcoming 2010 American science fiction film produced by Walt Disney Pictures to be released on December 17, 2010. It is a sequel to the 1982 cult film Tron. Joseph Kosinski makes his feature film directorial debut with Tron: Legacy, while the previous film director, Steven Lisberger, returns as a producer. Jeff Bridges reprises his role as Kevin Flynn, and Bruce Boxleitner reprises his roles as Alan Bradley and Tron, while Garrett Hedlund portrays Flynn's now-adult son, Sam.

The other cast members include Olivia Wilde, Beau Garrett, Michael Sheen and John Hurt. According to the latest trailer, the film will be presented in IMAX 3D and Disney Digital 3D. The film will also be released with D-BOX motion code in select theaters and released in 50 Iosono-enhanced cinemas, creating "3D sound".

Electronic music duo Daft Punk composed the film score. At the time of the 2009 Comic-Con, it was revealed they composed 24 tracks for the film. When Kosinski was asked why he decided to have Daft Punk do the film score, he replied, "How could you not at least go to those guys?" Kosinski referred to the score as being a mixture of orchestral and electronic elements. Olivia Wilde stated that the duo may be involved with future promotional events. A teaser trailer features Daft Punk and their track "Derezzed" from the soundtrack. The film score features an 85-piece orchestra, recorded at AIR Lyndhurst Studios in London. A soundtrack album of the film was released on December 6, 2010. A deluxe edition of the album was also released that includes a poster of Daft Punk from the film. The song "Separate Ways" by Journey (appears at 1982 "Tron" film) is also featured in the film. Daft Punk's score was arranged and orchestrated by Joseph Trapanese (composer, arranger, orchestrator and producer of music for film, television, multimedia, theater and concerts). Jason Bentley (a radio disc jockey of electronic music. He also coordinated music for all three Matrix films, as well as The Animatrix and Matrix video game titles. Other films that include his music credits include City of Industry, The Chronicles of Riddick: Dark Fury, Green Street Hooligans, Shooting Gallery, and DOA: Dead or Alive. In the video game field, he has worked on Full Spectrum Warrior, Destroy All Humans!, and The Matrix: Path of Neo) served as the film's music supervisor.

Daft Punk is an electronic music duo consisting of French musicians Guy-Manuel de Homem-Christo (born February 8, 1974) and Thomas Bangalter (born January 3, 1975). Daft Punk reached significant popularity in the late 1990s house movement in France and were met with continued success in the years following.

Daft Punk is also credited with producing songs that were considered essential in the French house scene. They were managed from 1996 to 2008 by Pedro Winter (Busy P), the head of Ed Banger Records. They have released three studio albums along with remix and live albums, and the Tron: Legacy soundtrack.

But... Why the soundtrack looks like MediaVenture style?

At the Score booklet we can read that Bruce Broughton ("Young Sherlock Holmes", "Silverado") appears like "Orchestration consultant", that's good, very good; but the important think its at the last page... "Daft Punk like to thank Brian Loucks (?), Hans Zimmer ("Gladiator", "The Lion King", The Dark Knight"), John Powell ("The Bourne Identity", "Ice Age", "Endurance"), Harry Gregson-Williams ("Shrek", "The Chronicles of Narnia: The Lion, the Witch & the Wardrobe", "Metal Gear Solid 2") & Christophe Beck ("Buffy the Vampire Slayer", "Confidence", "Garfield", "The Seeker") for their generosity".

Did Really Daft Punk composed the Soundtrack entirely? It no sounds like Daft Punk Style... it Sounds like Hans Zimmer & Co Style!

Of course, its a good epic-strong score. Surely the "Thanks" of the french team to that composers is, because, they inspired a lot the "look" and style of the final score... i just suppose. But is strange.
The score It's good, very good, but sounds like Zimmer compositions...

Now, enjoy the Suite made by me.

http://www.filefactory.com/file/b4g5e49/n/Tron_Legacy_Flynn_Suite.mp3

http://www.megaupload.com/?d=ZCDLZ9TQ

Uncharted 2: Among Thieves - "Shambhala's Suite" (Greg Edmonson)

2010-11-07T17:13:00.001+01:00

Uncharted 2: Among Thieves is an action-adventure video game developed by Naughty Dog and published by Sony Computer Entertainment for the PlayStation 3. It is the sequel to the 2007 game Uncharted: Drake's Fortune. Among Thieves revolves around the doomed voyage home of Marco Polo from China in 1292. After spending almost 20 years in the court of the Mongol Emperor Kublai Khan, Marco Polo departed with fourteen ships and over six hundred passengers – but when he arrived at Persia a year and a half later, only one ship and eighteen passengers remained. Polo never revealed what had happened to the lost ships.

Officially announced in the January 2009 issue of Game Informer, it was released in October 2009. A major critical and commercial success, it was named by Metacritic as the most critically acclaimed game of 2009, and won Game of the Year awards on IGN, Giant Bomb, AIAS, X-Play, Reviews on the Run, Game Developers Choice Awards, and the Spike Video Game Awards for the year 2009.

^{At Sony's E3 media briefing, an Uncharted 2 gameplay demo was shown early in the conference. Critics were very impressed with the demo, which led many to believe Uncharted 2 to be a strong competitor for "Game of the Year" with Uncharted 2winning the most E3 awards of any game. After the game's release, it went on to win numerous awards, including a record eight award nominations in the Spike Video Game Awards and was voted for by fans for three wins, including Game of the Year. IGN, among numerous other video gaming websites and publications, awarded Uncharted 2 their overall game of the year award. The game also won 10 AIAS Interactive Achievement Awards including one for Overall Game of the Year.}

^{The composer of the soundtrack was, like the first part of the saga, by Greg Edmonson.}

^{The Score of the game was a lot of awards at 2009:}

2009	Academy of Interactive Arts & Sciences	Outstanding Achievement in Original Music Composition	Uncharted 2: Among Thieves	Won
	British Academy of Film and Television Arts	Best Original Score	Uncharted 2: Among Thieves	Won
	British Academy of Film and Television Arts	Best Use of Audio	Uncharted 2: Among Thieves	Won
	Game Audio Network Guild	Music of the Year	Uncharted 2: Among Thieves	Won
	Game Audio Network Guild	Best Soundtrack Album	Uncharted 2: Among Thieves	Nominated
	Game Audio Network Guild	Best Interactive Score	Uncharted 2: Among Thieves	Nominated
	Game Audio Network Guild	Best Original Instrumental Song	Uncharted 2: Among Thieves – "Reunion"	Won
	Hollywood Music In Media Award	Best Original Score – Video Game	Uncharted 2: Among Thieves	Nominated

^{Now, enjoy the Suite.}

^{http://www.filefactory.com/file/b42abb8/n/Uncharted_2_Among_Thieves_-_Shambhala_s_Suite_.mp3}

^{http://www.megaupload.com/?d=4WHVEMQH}

Uncharted: Drake's Fortune "Nate's Suite" (Greg Edmonson)

2010-11-05T11:17:00.000+01:00

Uncharted: Drake's Fortune is an action-adventure video game developed by Naughty Dog, and published by Sony Computer Entertainment for PlayStation 3. Combining platforming and third-person shooter elements, the game charts the journey of protagonist Nathan Drake, "Nate"; supposed descendant of the explorer Sir Francis Drake, as he seeks the lost treasure of El Dorado, with the help of friend Victor "Sully" Sullivan and journalist Elena Fisher.

Originally announced at E3 2006, the title was developed for about two years before being released at the end of 2007. Seen as a key title for the PlayStation 3 during the holiday season of 2007, the game was well-received by critics, many of whom cited its technical achievements and its high production values, similar to that of summer blockbuster films. The game went on to sell more than one million copies in ten weeks, and become part of the European best-selling Platinum Range of titles. A sequel titled Uncharted 2: Among Thieves, was released in 2009.

The Soundtrack was composed by Greg Edmonson.

Greg Edmonson is a music composer for television and movies. He is primarily known for composing the soundtrack to the cancelled TV series Firefly. He is also the composer for the successful Uncharted PS3 game series and for a number of episodes of the animated sitcom King of the Hill.

Mr. Edmonson grew up in Dallas, Texas and played the guitar as a youth. He studied jazz composition at North Texas State University. Later, while he was a studio musician and session player, he went to the Musicians Institute of Technology. He has studied with Dr. Albert Harris, the former musical director for NBC and a leading composition teacher and music lecturer.

As a protege of the widely successful and well known TV composer Mike Post (Magnum, pi; Hill Street Blues, The Rockford Files, much more), Edmonson worked on a number of series providing additional scoring for Post (credited and sometimes not credited).

The Uncharted: Drake's Fortune Soundtrack was nominated on Academy on Interactive Arts & Sciences "Outstanding Achievement in Original Music Composition" and Hollywood Music In Media Award "Best Original Score – Video Game" at 2007.

Now, just enjoy the Suite.

http://www.filefactory.com/file/b4220f9/n/Uncharted_Drake_s_Fortune_-_Nate_s_Suite_.mp3

http://www.megaupload.com/?d=P62FMBB0

Back to the Future Trilogy "McFly" Suite (Alan Silvestri)

2010-11-02T19:49:00.001+01:00

Back to the Future is a 1985 American science-fiction comedy film directed by Robert Zemeckis, written by Zemeckis and Bob Gale, produced by Steven Spielberg, and starring Michael J. Fox, Christopher Lloyd, Lea Thompson, and Crispin Glover. The film tells the story of Marty McFly, a teenager who is accidentally sent back in time from 1985 to 1955. He meets his parents in high school, accidentally attracting his mother's romantic interest. Marty must repair the damage to history by causing his parents to fall in love, while finding a way to return to 1985.

Zemeckis and Gale wrote the script after Gale mused upon whether he would have befriended his father if they attended school together. Various film studios rejected the script until the box office success of Zemeckis' Romancing the Stone, and the project was set up at Universal Pictures with Spielberg as an executive producer. Initially singer Corey Hart was offered to screen test for the role of Marty McFly but he declined and Eric Stoltz was originally cast as Marty McFly when Michael J. Fox was busy filming the TV series Family Ties. However, during filming Stoltz and the filmmakers decided that Stoltz was miscast, so Fox was approached again and he managed to work out a timetable in which he could give enough time and commitment to both; the subsequent recasting meant the crew had to race through reshoots and post-production to complete the film for its July 3, 1985 release date.

When released, Back to the Future became the most successful film of the year, grossing more than $380 million worldwide and receiving critical acclaim. It won the Hugo Award for Best Dramatic Presentation and the Saturn Award for Best Science Fiction Film, as well as Academy Awards, and Golden Globe nominations among others. Ronald Reagan even quoted the film in the 1986 State of the Union Address. In 2007, the Library of Congress selected it for preservation in the National Film Registry, and in June 2008 the American Film Institute's special AFI's 10 Top 10 acknowledged the film as the 10th best film in the science fiction genre. The film marked the beginning of a franchise, with Back to the Future Part II and Back to the Future Part III released back-to-back in 1989 and 1990, as well as an animated series and theme park ride.

Alan Silvestri, the Score Composer, collaborated with Zemeckis on Romancing the Stone, but Spielberg disliked that film's score. Zemeckis advised Silvestri to make his compositions grand and epic, despite the film's small scale, to impress Spielberg. Silvestri began recording the score two weeks before the first preview. He also suggested Huey Lewis and the News create the theme song. Their first attempt was rejected by Universal, before they recorded "The Power of Love". The studio loved the final song, but were disappointed it did not feature the film's title, so they had to send memos to radio stations to always mention its association with Back to the Future. In the end, the track "Back in Time" featured in the film, playing during the scene where Marty arrives back in 1985, and again during the end credits. Huey Lewis himself cameoed as the school teacher who dismisses Marty's band for being too loud.

Back to the Future Part II is a 1989 American science fiction comedy film and the second installment of the Back to the Future trilogy. It was directed by Robert Zemeckis, written by Zemeckis and Bob Gale, and starred Michael J. Fox,Christopher Lloyd, Thomas F. Wilson and Lea Thompson. Part II and the third installment of the trilogy, Back to the Future Part III, were filmed back-to-back, with some of the scenes of Part II and Part III filmed concurrently, and released six months apart. Although released in 1989 and 1990, both films continued to portray 1985 as the present, due to them directly following the events of the first film.

Continuing where Back to the Future left off, Marty McFly and Dr. Emmett "Doc" Brown use the DeLorean time machine to travel to 2015. While there, Biff Tannen steals the Delorean to travel back to give his teenage self a sports almanac, creating an alternative 1985. McFly and Doc travel to 1955 to burn the almanac and repair the timeline. The film has a cliffhanger ending that is resolved in Part III. Back to the Future Part II was released in the United States on November 22, 1989. The film was a commercial success, achieving $331.95 million at the international box office and received mixed to positive reviews from film critics.

Back to the Future Part III is a 1990 American science fiction comedy Western film and the third and final installment of the Back to the Future trilogy. It was directed by Robert Zemeckis and starred Michael J. Fox, Christopher Lloyd, Mary Steenburgen, Thomas F. Wilson and Lea Thompson. It was released by Universal Pictures.

Filming took place in both California and Arizona, and the film was released in the United States on May 25, 1990. The film was a commercial success and achieved $244.53 million at the international box office, making it the 6th highest grossing film of 1990. Fan reaction to the film was more positive than to the first sequel, with many stating that this entry to the series reflected the original better than Part II. Critics also gave Part III better reviews than Part II, which had been met with mostly mixed to positive reactions.

Alan Anthony Silvestri (born March 26, 1950) is an American film score composer and conductor.

Silvestri is best known for his collaborations with director Robert Zemeckis, having scored Romancing the Stone (1984), the Back to the Future trilogy (1985, 1989, 1990), Who Framed Roger Rabbit (1988), Death Becomes Her (1992), Forrest Gump (1994), Contact (1997), Cast Away (2000),The Polar Express (2004), Beowulf (2007) and A Christmas Carol (2009).

Silvestri is also known for his work on Predator (1987) and Predator 2 (1990), both of which are considered preeminent examples of action/science fiction film scores. He has also begun a collaboration with director Stephen Sommers, scoring the films The Mummy Returns in 2001, Van Helsing in 2004 and G.I. Joe: The Rise of Cobra in 2009.

Silvestri has also composed music for television shows, including Starsky & Hutch, CHiPs, and Manimal.

Silvestri was 21 years old when he started his film/television composing career. His early style is marked by a strong use of the octatonic scale, as well as an eclectic use of different notes and instruments.

Silvestri has received two Academy Award nominations, one for Best Original Music Score for Forrest Gump (1994) and one for Best Original Song for "Believe" on The Polar Express soundtrack. He also received two Golden Globe nominations: Best Score for Forrest Gump and Best Song for The Polar Express.

He has also received three Grammy Award nominations, winning one award - Best Song Written for a Motion Picture, Television or Other Visual Media, for “Believe” from The Polar Express in 2004. His other two nominations were for Best Soundtrack Album (for Back to the Future and Who Framed Roger Rabbitt).

Now, enjoy the "Back to the Future Trilogy" Suite.

http://www.filefactory.com/file/b41b528/n/Back_to_the_Future_Trilogy_McFly_Suite.mp3

http://www.megaupload.com/?d=WO27DKTU

Battlefield: Bad Company 2 Suite (Mikael Karlsson)

2010-11-02T12:18:00.003+01:00

Battlefield: Bad Company 2, usually known as Bad Company 2, is a first-person shooter video game developed by EA Digital Illusions CE and published by Electronic Arts for Microsoft Windows, PlayStation 3, and Xbox 360 systems. It is a part of the Battlefield series and was released worldwide in March 2010.
The game is primarily a squad-based online first person shooter based around modern warfare. Additionally, the game includes a single player campaign, where the player reassumes the role of Preston Marlowe, the protagonist of the original game. The game's Frostbite 1.5 engine allows for destructible environments, and multiplayer maps contain a wide selection of vehicles, aircraft and emplacements and allow for five different game modes.
The game was announced in February 2009 and free game demos were made available prior to the game's launch. It was met with a positive reception from game critics, garnering a weighted mean of 88% from aggregator Metacritic for all three ports. It has also become a commercial success, having sold in excess of five million units since its initial release. Six VIP map packs, as well as a downloadable game mode have been released thus far with an expansion pack centered around the Vietnam Wardue for release in late 2010. Recently EA announced an iPhone/iPod Touch port of the game due for November of 2010.

The game uses Dolby Digital and Frostbite's High Definition Audio Range technology. The score was composed by Mikael Karlsson and is featured on the Battlefield: Bad Company 2 Official Soundtrack, which was released on February 2, 2010.

Mikael was born in Sweden in 1975, and moved to New York in 2000 after abandoning a stalled career in liquor retail.

Mikael holds a masters degree in composition from the Aaron Copland School of Music and graduated Summa Cum Laude with departmental honors in June of 2005.He has received numerous awards for his compositions and his music has been performed at Carnegie Hall, Lincoln Center, Cathedral of St. John the Divine, Galapagos Art Space, The Stone, LeFrak Concert Hall and many other lovely venues in New York. He has been featured by WNYC's Soundcheck with John Schaefer and by the New York Times.
In 2007, he was an honoree of the 2007 OUT100 top 100 influential people, in the category "noisemakers".

His music is on the soundtrack of films by acclaimed experimental filmmakers Barbara Hammer (History Lessons, 2001 - an Official Sundance Selection that year) and Christopher Young (Orpheus and Eurydice 2001 - released by Please Records as a separate soundtrack cd), Bruce LaBruce's latest film Otto; or, Up With Dead People, and many others. His music is moving on to video games with his Tobias Wagner / Roman Vinuesa collaboration, Battlefield - Bad Company.

Mikael is the personal representative of celebrated composer Tobias Picker and was recently awarded a second Extraordinary Talent Visa for the US. He teaches at the Aaron Copland School of Music NYC.

In 2003, he co-founded film scoring collective Please MusicWorks LLC, which has grown to include 5 composers and more than 100 of New York’s best performers. www.pleasemusicworks.com.

In 2006, he released the cd “dog” with Rob Stephenson, and in Dec 2008, the album Privacy.

Now enjoy the suite.

http://www.filefactory.com/file/b41ch7c/n/Battlefield_Bad_Company_2_Suite.mp3

http://www.megaupload.com/?d=LLDDN1IT

LOST - The Complete Collection Suite (Michael Giacchino)

2010-10-15T20:52:00.001+02:00

Lost is an American television series created by Jeffrey Lieber, J. J. Abrams and Damon Lindelof, which originally aired on the American Broadcasting Company from September 22, 2004 to May 23, 2010. The series follows the lives of various individuals and groups of people, most importantly the survivors of the crash of a commercial passenger jet flying between Sydney and Los Angeles, on a mysterious tropical island somewhere in the South Pacific. Episodes typically feature a primary storyline on the island, as well as a secondary storyline from another point in a character's life.

Lost was produced by ABC Studios, Bad Robot Productions and Grass Skirt Productions. Throughout its run, the executive producers of the series were Lindelof, Abrams, Bryan Burk, Carlton Cuse, Jack Bender, Edward Kitsis, Adam Horowitz, and Elizabeth Sarnoff, with Lindelof and Cuse serving as showrunners. Jean Higgins started as a producer on the first season, continuing through the entire series to end as an executive producer. Due to its large ensemble cast and the cost of filming primarily on location in Oahu, Hawaii, the series was one of the most expensive on television. During its run, the series utilized online alternative reality games (like The Lost Experience and Find 815), and references to the series appear in print, film, other television programs as well as Web media.

A critically-acclaimed and popular success, Lost was consistently ranked by US critics on their lists of top fives series of the year. The first season garnered an average of 15.69 million US viewers per episode on ABC. Although audiences lessened during the course of the series, its ratings were high enough to ensure that it remained viable and the sixth season averaged over 11 million US viewers per episode. Lost was the recipient of hundreds of US award nominations throughout its run, and won numerous industry awards, including the Emmy Award for US primetime Outstanding Drama Series in 2005, Best American Import at the British Academy Television Awards in 2005, the Hollywood Foreign Press Association Golden Globe for Best Drama in 2006 and a US Screen Actors Guild Award for Outstanding Ensemble in a Drama Series.

Michael Giacchino (born October 10, 1967) is an American composer who has composed scores for movies, television series and video games. Some of his most notable works include the scores to television series such as Lost, Alias and Fringe, games such as the Medal of Honor and Call of Duty series, and films such as Mission: Impossible III, The Incredibles, Star Trek, Ratatouille, and Up. Giacchino has received numerous awards for his work, including an Emmy, multiple Grammys, and an Academy Award.

Now, a Suite (long one) that contains the most great themes from the all season TV Show. Just enjoy.

http://www.megaupload.com/?d=OPSET6JB

http://www.filefactory.com/file/b4af43h/n/LOST_-_The_Complete_Collection_Suite.mp3

NOTE: Now, new version including ALL most great themes from ALL CDs on sale, including themes from the last final episode.

The Pillars of the Earth Suite (Trevor Morris)

2010-10-11T15:49:00.001+02:00

The Pillars of the Earth is an eight part 2010 TV miniseries, adapted from Ken Follett's novel of the same name. It debuted in the U.S. on Starz and Canada on The Movie Network/Movie Central on July 23, 2010.

The miniseries took about a year to produce, at a cost of $40 million U.S. The project was funded by the German production company, Tandem Communications, the Canadian film company Muse Entertainment and the UK and USA based Scott Free Productions. It was filmed in Austria and Hungary, from 2009. The final aerial shot is of modern day Salisbury with the cathedral altered by computer-generated imagery. Was co-executive producers Scott Brothers (Ridley & Tony)

The composer from the miniseries was Trevor Morris.

Trevor Morris (born 25 May 1970) is a Canadian orchestral composer, music producer, and creator of electronic music. He is probably best known for the creating the soundtracks for the television shows The Tudors and The Pillars of the Earth.

Having previously worked as an assistant to Hans Zimmer, Morris has worked as composer on a number of video games including SimCity Societies, Army of Two and Need for Speed: Carbon as well as films such as The Hills Have Eyes 2.

Enjoy the next Suite from this great score.

http://www.filefactory.com/file/b3e731e/n/The_Pillars_of_the_Earth_Suite.mp3

http://www.megaupload.com/?d=JGB6ROTK

NOTE: Sorry... the FileFactory widget to listen the song its down... i'm searching new ways to listen it into web.

Dante's Inferno Suite (Garry Schyman & Paul Gorman)

2010-09-30T12:57:00.002+02:00

Dante's Inferno is a 2010 action-adventure video game developed by Visceral Games and published by Electronic Arts for the Xbox 360, PlayStation 3 consoles. The game was also released on the PlayStation Portable and was developed by Artificial Mind and Movement. The story is named after Inferno, the first canticle of Dante Alighieri's Divine Comedy, following the exploits of Dante (reimagined as a Templar knight) as he journeys through the nine circles of Hell to reclaim the soul of his beloved Beatrice from the hands of Lucifer. It has sold 1.32 million copies.

Prior to Inferno's release, in June 2009, a protest began during E3 2009 in Los Angeles to oppose the game. Around 20 protesters, claiming to be from a church in Ventura County, held up signs that called the game sacrilegious and labeled it possibly insensitive to people's beliefs. Protesters even went as far as calling EA the anti-christ. This led to many people accusing EA of creating this as a marketing hoax to promote the game. A few days later, it was officially confirmed by EA spokesperson Tammy Scachter that they had hired people to protest the game and that there was no actual protest. However, in the aftermath of this revelation, several Christian bloggers have protested to this, calling it an "anti-Christian" stunt.

Later, in October 2009, it was announced that the game would include an Xbox 360 achievement and a PlayStation 3 trophy entitled "Bad Nanny", which is awarded to players for killing monsters resembling children, supposedly the lost souls of unbaptized infants. This sparked a conflict with the International Nanny Association (INA), in which they encouraged supporters to oppose the game. The INA claimed that the achievement is offensive to real nannies and that it also promotes real-life violence. In retaliation, the INA asked the Entertainment Software Ratings Board (ESRB) to omit the reward and elements of infant violence. The ESRB insisted that its role was merely to label products appropriately, not to censor them, so their request could not be met. Despite this, the INA still attempted boycotting the game with hope of a change before it was released.

Upon its release, Dante's Inferno received fair to generally favorable reviews from critics. While there was praise for the art style and level design, numerous critics drew comparisons with Sony's popular God of War series.

One of the most praised aspects was the game's depiction of Hell, considered creative yet graphic in nature. GamePro found the unique designs of the circle of Hell to be "impressively constructed", getting "a lot of mileage out of the unique setting". While some critics like IGN acknowledged the liberties taken with the original source material, they still observed that "much of what you see is appropriate for a game that tries to explore the extreme nature of Hell and its punishments", calling the overall style "visually impressive". Other critics like GameSpy even found some enemy and setting designs "shocking" yet still could "appreciate that this is Hell, and it's supposed to be disturbing".

However, some reviews felt the creativity waned towards the end of the game, such as GameSpot who felt "Dante's epic quest loses momentum long before you reach the end", praising earlier levels such as Lust and Gluttony yet criticizing the 10 stage challenge level of Fraud and the use of enemies outside of their respective circle. Official PlayStation Magazine UK also echoed this view, saying that the game was "just going through motions for the last three or four hours", despite what it considered to have a "robust fighting system" and being "visually strong".

The most recurring comment over the gameplay of Dante's Inferno was its similarities to the God of War games. Destructoid felt that being similar to what is regarded as a great game is a positive by stating "You're not going to find a wholly original gameplay experience with Dante's Inferno, but that doesn't mean it's not a hell of an entertaining package - it's one that fans of action shouldn't miss." Eurogamer on the other hand felt the game was "a God of War clone at its core", that while "not a terrible game, it's just not an original one", a view Game Trailers echoed by stating "battles can be engaging, but lack some of the grace and refinement exhibited by games like God of War". While Game Informer also found the gameplay to be too familiar, they did find the additional elements such as the punish/absolve mechanic and usable relics to give "Dante’s Inferno some individuality".

Regarding such similarities, in an interview for Official PlayStation Magazine UK, God of War III director Stig Asmussen actually praised the game, stating "We've been intrigued about Dante's Inferno. This is my favourite genre, and the more people that are making [these games] the better", going on to say "and this is a really rich story they're building on, it's very interesting. The day that the demo came out we were trying to download it on PSN at midnight. We all wanted to see it."

United States NPD Group sales data showed that the PS3 and Xbox 360 versions of Dante's Inferno sold 242,500 and 224,700 copies respectively in the month of February 2010. The two editions also debuted together on the UK's top 10 games list for that month.

The Score of the game was composed by two composers, Garry Schyman and Paul Gorman, audio director from the game.

Garry Schyman (born 1954) is an American film, television, and video game music composer. He graduated from the University of Southern California with a degree in music composition in 1978, and began work in the television industry, writing music for such television series as Magnum, P.I. and The A-Team. By 1986, he was composing for movies such as Judgement and Hit List. At the request of a friend in 1993, he composed the music for the video game Voyeur, but after creating the music for two more games he left the industry, citing the low budgets and poor quality of video game music at the time. He continued to compose for film and television, only to return to video games for 2005's Destroy All Humans!. Finding that in his absence the quality and perceived importance of video game music had risen substantially, he has since composed for several games, writing the scores to Bioshock and Dante's Inferno among others. His latest score is that of Bioshock 2, released in 2010. He has won numerous awards for his video game scores, including several "soundtrack of the year" awards. Throughout his career, he has worked on over 25 television shows, 10 films, and 10 video games.

- Interview to Schyman:

After having composed music for games like Bioshock, Destroy All Humans and now most recently Dantes Inferno, we have the chance to get to know film, TV and video game composer Garry Schyman a bit better here...

Firstly, tell us a bit about your musical background and how you got into scoring music for picture?

I studied music composition at and graduated from USC. I knew when I was studying there that I wanted to be a film composer. In fact I was the first composition student that included music from student films that I had scored.

What attracts you to the medium of game scoring? Are you a gamer?

I scored my first game in 1994 for Phillips Interactive. A good friend of mine was an executive there and he asked me to score a few of their new titles. Because it was CD interactive I was able to write and record one of the first orchestral scores for a video game. But after Phillips folder their VG tent I went back to scoring film and TV. To be honest I did not seek out scoring games in 2004 when I got back into it. My agent at the time sent my resume and general demo over to THQ and by chance they dug a cue or two of mine. To make a very long story short they ended up hiring me for Destroy All Humans. I had a fantastic time scoring the game and was blown away by what was happening in the industry. It had grown dramatically and had become infinitely more interesting to a composer like myself. The technology made for fantastic games, the success of the industry meant there were much bigger budgets that permitted orchestras to be hired. On and on – I quickly became very interested in working on games.

I was not a gamer, although since becoming involved in the industry I have become one. I don’t have time to play a lot but when I can I love it. I have a 9-year-old son and we like to play games together as well.

How does your experience in film and television enhance your ability as a composer composing for video games?

Well I would say that writing music makes you a better composer all around. I wrote hours and hours of music in just about every conceivable style. It was a great experience and I still love scoring film and TV. So just writing lots and lots of music under deadline and working with orchestras and conducting my music made me a seasoned professional. That has served me well with video games. I feel like there’s nothing they can throw at me that I can’t do! At least I feel that way. J

There are big differences as well as similarities between the two mediums. But I have picked up what I need to know in the VG industry relatively easily.

How and when did you get involved with Dante's Inferno?

The audio director Paul Gorman contacted me and asked me if I was interested. I was extremely interested once he described the project to me. It sounded awesome. It turned out to be one of the best scoring experiences of my career. They wanted utterly fantastic music to accompany hell! And I loved writing it. We then got to go to London and record at Abbey Road Studio for a week with amazing players. Just a great gig all around.

What was the music brief for Dante's Inferno? Describe the musical styles featured in the score. What were your musical inspirations and references for the score?

Paul and I discussed it and thought that it needed to have religious elements and frightening and grotesque music as well to match the visuals of both Dante (his descriptions) and the game itself. Paul in particular referenced some mid 20th Century scores. At first I thought the music ought to have early music references (perhaps from the 12th or 13th Century) from Dante’s time. As it turned out I was only able to use that once or twice in the game. I started listening to an old favorite of mine, composer George Crumb and thought his music had some very interesting and grotesque elements. He was definitely an inspiration for the score though few will literally hear it. Of course St. Luke's Passion by Penderecki was something both Paul and I thought was worth referencing (not literally of course). One last reference was an interesting and little known Italian composer named Giacinto Scelsi. His music is absolutely otherworldly and was definitely an inspiration for me.

How familiar were you with the game's inspiration and source material, Dante Alighieri's fourteenth-century epic poem Divine Comedy?

I certainly am not a Dante scholar. Of course I was aware of the work and even read a book called Inferno by Larry Niven (a current update of the tale). But I have never ready Inferno and still haven’t. But you know I don’t even like reading scripts for films I have scored because they don’t give me a good impression of the feel and emotions of the project. Similarly I respond best to the actual project be it a game or a movie.

What would you say were the biggest challenges scoring the nine circles of hell?

Really it was just inventing something really appropriate and fresh for the music. I think I found that in the score I wrote and I am very pleased with how it turned out. I think it is some of my best writing ever. One big challenge is that I was tasked to write tons of combat and chase cues and with the complexity of the music I wrote it was a major challenge. Just tons of work! Whew! Glad I did it and glad it’s over! J

You conducted and recorded the choral and symphonic score with the London Philharmonia Orchestra and the Metro Voices Singers at the historic Abbey Road Studios in London. Tell us about the recording experience.

It was one of the best experiences of my career. Don’t get me wrong there are equally amazing players in LA but it was just so much fun and so exciting to go to London and record with the Philharmonia Orchestra (best horns in the world!) and then to work with this fantastic choir (Metro Voices) at one of (if not) the best studios in the world was amazing. There were ghosts of John Williams and the Fab Four everywhere! I just felt like I had arrived. In the end it was a fantasy fulfilled and it felt and went great! I love the sound of the entire mix. Much thanks to Dan Blessinger my long time engineer who came with us and poured his heart and soul into making it sound great!

The game's audio director Paul Gorman also wrote some music for the game. Did you collaborate together on any compositions?
We didn’t directly collaborate together. He knew what I was doing because he had to approve everything but I really didn’t know what he was working on. In the end he did not use the orchestra at all but did take good advantage of the Metro Voices in London. He was great to work with because he is a composer and really understands the process and we could communicate on a very high level. He also secured the resources we needed to make it sound fantastic. It was a wonderful collaboration from that standpoint. His music is also lovely for the project.

How does this score compare with your previous works? How do you keep a fresh approach for each new project you work on?

This score feels pretty unique to me because of the demands. I really pushed myself to create something new and fresh for this. I was very inspired by the material I was scoring so it came pretty quickly once I had established the theme. It can be hard to keep it fresh if you are being asked to write a similar score over and over. I have been fortunate to be asked to write really different music on most of my projects.

What do you think is the most unique aspect of the score for Dante's Inferno? What do you hope gamers will feel when they hear your music in the game?

Well without getting technical I hope the players will feel that I have captured the mood of the various levels of hell. That the score feels different and unique and drives the action in a way they have not quite felt before. I think the orchestral colors and especially some of the effects I asked the choir to do will also feel very different from what they have heard before - certainly in other games.

Now, enjoy that "diabolic music" on to the next Suite.

http://www.filefactory.com/file/b3bc2ad/n/Dantes_Inferno_Suite.mp3

http://www.megaupload.com/?d=19QNNYRM

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Indiana Jones Saga Suite (John Williams)

2010-09-21T11:46:00.002+02:00

Dr. Henry Walton "Indiana" Jones, Jr. Ph.D. is a fictional American adventurer, OSS operative, professor of archaeology, and the central protagonist of the Indiana Jones franchise. George Lucas created the character in homage to the action heroes of 1930s film serials. The character first appeared in the 1981 film Raiders of the Lost Ark, to be followed by Indiana Jones and the Temple of Doom in 1984, Indiana Jones and the Last Crusade in 1989, The Young Indiana Jones Chronicles from 1992 to 1996, and Kingdom of the Crystal Skull in 2008. Alongside the more widely known films and television programs, novels, comics, video games, and other media also feature the character, Jones is also featured in the theme park attraction Indiana Jones Adventure, which exists in similar forms at Disneyland and Tokyo DisneySea.

Jones is most famously played by Harrison Ford and has also been portrayed by River Phoenix (as the young Jones in The Last Crusade), and in the television series The Young Indiana Jones Chronicles by Corey Carrier, Sean Patrick Flanery, and George Hall. Doug Lee has supplied Jones's voice to two LucasArts video games, Indiana Jones and the Fate of Atlantis and Indiana Jones and the Infernal Machine, while David Esch supplied his voice to Indiana Jones and the Emperor's Tomb.

Particularly notable facets of the character include his iconic look (bullwhip, fedora, and leather jacket), sense of humor, deep knowledge of many ancient civilizations and languages, and fear of snakes.

Indiana Jones remains one of cinema's most revered movie characters. In 2003, he was ranked as the second greatest movie hero of all time by the American Film Institute. He was also named the sixth greatest movie character by Empire magazine. Entertainment Weekly ranked Indy 2nd on their list of The All-Time Coolest Heroes in Pop Culture. Premiere magazine also placed Indy at number 7 on their list of The 100 Greatest Movie Characters of All Time. Since his first appearance in Raiders of the Lost Ark, he has become a worldwide star. On their list of the 100 Greatest Fictional Characters, Fandomania.com ranked Indy at number 10. In 2010, he ranked #2 on Time Magazine's list of the greatest fictional characters of all time, surpassed only by Sherlock Holmes.

Raiders of the Lost Ark (also known as Indiana Jones and the Raiders of the Lost Ark) is a 1981 American action-adventure film directed by Steven Spielberg, produced by George Lucas, and starring Harrison Ford. It is the first film in the Indiana Jones franchise, and pits at 1936 Indiana Jones (played by Ford) against the Nazis, who search for the Ark of the Covenant, in an attempt to make their army invincible. The film co-starred Karen Allen as Indiana's former lover Marion Ravenwood; Paul Freeman as Indiana's nemesis, French archaeologist René Belloq; John Rhys-Davies as Indiana's sidekick, Sallah; and Denholm Elliott as Indiana's colleague, Marcus Brody.

The film originated with Lucas' desire to create a modern version of the serials of the 1930s and 1940s. Production was based at Elstree Studios, England, and filming also took place in La Rochelle, Tunisia, Hawaii, and California from June to September 1980.

Indiana Jones and the Temple of Doom is a 1984 adventure film directed by Steven Spielberg. It is the second film in the Indiana Jones franchise and prequel to Raiders of the Lost Ark (1981). At 1935 after arriving in India, Indiana Jones is asked by a desperate village to find a mystical stone. He agrees, stumbling upon a Kali Thuggee religious cult plotting child slavery, black magic and ritual human sacrifice.

Producer and co-writer George Lucas decided to make the film a prequel as he did not want the Nazis to be the villains once more. The original idea was to set the film in China, with a hidden valley inhabited by dinosaurs. More rejected plot devices included the Monkey King and a haunted castle in Scotland. Lucas then wrote a film treatment that resembled the final storyline of the film, with Lawrence Kasdan turning down the offer to write the script. Willard Huyck and Gloria Katz wrote the script.

The film was released to financial success but mixed reviews, which criticized the on-screen violence which later contributed to the creation of the PG-13 rating. However, critical opinion has improved since 1984, citing the film's intensity and imagination. Some of the film's cast and crew, including Spielberg, retrospectively view the film in an unfavorable light. The film has also been the subject of controversy due to its portrayal of India and Hinduism.

Indiana Jones and the Last Crusade is a 1989 adventure film directed by Steven Spielberg, from a story co-written by executive producer George Lucas. It is the third film in the Indiana Jones franchise. Harrison Ford reprises the title role and Sean Connery plays Indiana's father, Henry Jones, Sr. Alison Doody, Denholm Elliott, Julian Glover, River Phoenix, and John Rhys-Davies also have featured roles. Set largely in 1938, Indiana searches for his father, a Holy Grail scholar, who has been kidnapped by Nazis.

After the mixed reaction to the dark Indiana Jones and the Temple of Doom, Spielberg chose to compensate by completing the trilogy with a movie lighter in tone. During the five years between Temple of Doom and Last Crusade, he and executive producer Lucas reviewed several scripts before accepting Jeffrey Boam's. Filming locations included Spain, Italy, England, and Jordan.

The film was released in North America on May 24, 1989 to mostly positive reviews. It was a financial success, making $474,171,806 at the worldwide box office.

Indiana Jones and the Kingdom of the Crystal Skull is a 2008 adventure film. It is the fourth film in the Indiana Jones franchise, created by George Lucas and directed by Steven Spielberg. Released nineteen years after the previous film, the film acknowledges its star Harrison Ford's age by setting itself in 1957. It pays tribute to the science fiction B-movies of the era, pitting Indiana Jones against Soviet agents—led by Irina Spalko (Cate Blanchett)—for a psychic alien crystal skull. Indiana is aided by his former lover Marion Ravenwood (Karen Allen) and their son Mutt Williams (Shia LaBeouf). Ray Winstone, John Hurt, and Jim Broadbent are also part of the supporting cast.

Screenwriters Jeb Stuart, Jeffrey Boam, Frank Darabont, and Jeff Nathanson wrote drafts, before David Koepp's script satisfied the producers. Shooting began on June 18, 2007, and took place in various locations: New Mexico; New Haven, Connecticut; Hawaii; Fresno, California; and on soundstages in Los Angeles. To keep aesthetic continuity with the previous films, the crew relied on traditional stunt work instead of computer-generated stunt doubles, and cinematographer Janusz Kamiński studied Douglas Slocombe's style from the previous films.

Marketing relied heavily on the public's nostalgia for the series, with products taking inspiration from all four films. Anticipation for the film was heightened by secrecy, which resulted in a legal dispute over an extra violating his non-disclosure agreement and the arrest of another man for stealing a computer containing various documents related to the production. Indiana Jones and the Kingdom of the Crystal Skull was released worldwide on May 22, 2008, and was a financial success, grossing over $786 million worldwide, becoming the second highest-grossing film of 2008 and the highest-grossing film ever produced by Lucasfilm. The film received mostly positive reviews from critics and fans.

The score for the four films were composed by John Williams. The score most notably features the well-known "Raiders' March." This piece came to symbolize Indiana Jones and was later used in Williams' scores for the other three films. Williams originally wrote two different candidates for Indy's theme, but Spielberg enjoyed them so much that he insisted that both be used together in what became the "Raiders' March".

Now enjoy the Suite, separated into two parts for the long duration of it (more than three hours of music). I Just used cues from the Concord Music Group Release of the four soundtracks (the first three films with extended or unreleased tracks). I perform the Suite ordering the films in plot year order (first "Temple of Doom", followed by "Raiders", "Crusade" and the last, "Skull"). It's like to see the life of Indy, his great adventures.

Just enjoy the excellent music of Williams.

NOTE: I just only listened carefully the "complete" Suite. If you listen errors at Pt.01 or 02 please comment. Lately I undergo "render" errors in my sound editing program, and I don't know why...

http://www.filefactory.com/file/b38f369/n/Indiana_Jones_Saga_Suite_Pt01.mp3
http://www.megaupload.com/?d=GG9R79KP

http://www.filefactory.com/file/b38fc1d/n/Indiana_Jones_Saga_Suite_Pt02.mp3
http://www.megaupload.com/?d=SR5MVBPV

Complete Suite:
http://www.filefactory.com/file/b393g88/n/Indiana_Jones_Saga_Suite.mp3

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Superman Suite (John Williams)

2010-09-16T13:56:00.000+02:00

Superman (also known as Superman: The Movie) is a 1978 superhero film based on the DC Comics character of the same name. Richard Donner directed the film, which stars Christopher Reeve as Superman, as well as Gene Hackman, Margot Kidder, Marlon Brando, Glenn Ford, Phyllis Thaxter, Jackie Cooper, Marc McClure, Valerie Perrine and Ned Beatty. The film depicts the origin of Superman, from infancy as Kal-El of Krypton and growing up in Smallville. Disguised as reporter Clark Kent, he adopts a mild-mannered attitude in Metropolis and develops a romance with Lois Lane, while battling the villainous Lex Luthor.

The film was conceived in 1973 by Ilya Salkind. Several directors, most notably Guy Hamilton, and screenwriters (Mario Puzo, David and Leslie Newman and Robert Benton) were associated with the project before Donner was hired to direct. Donner brought Tom Mankiewicz to rewrite the script, feeling it was too campy. Mankiewicz was credited as creative consultant. It was decided to film both Superman and Superman II simultaneously.

Principal photography started in March 1977 and ended in October 1978. Tensions rose between Donner and the producers, and a decision was made to stop filming Superman II and finish the first film. Donner had already shot 75% of the planned sequel, eventually giving birth to Superman II: The Richard Donner Cut. Superman was released with critical acclaim and financial success. Reviewers noted parallels between the film's depiction of Superman and Jesus. The film's legacy helped create a reemergence of science fiction films and the establishment of the superhero film genre.

Jerry Goldsmith, who scored Donner's The Omen, was originally set to compose Superman. Portions of Goldsmith's work from Planet of the Apes were used in Superman's teaser trailer. He dropped out over scheduling conflicts and John Williams was hired. Kidder was supposed to sing "Can You Read My Mind", the lyrics to which were written by Leslie Bricusse, but Donner disliked it and changed it to a composition accompanied by a voiceover.

John Towner Williams (born February 8, 1932) is a prolific American composer, conductor, and pianist. In a career spanning six decades, he has composed many of the most recognizable film scores in the history of motion pictures, including those for Jaws, the Star Wars Saga, Superman, the Indiana Jones films, E.T. the Extra-Terrestrial, Hook, Jurassic Park, Schindler's List, Home Alone, and three Harry Potter films. He has composed the music for all but two of director Steven Spielberg's feature films.

Other notable works by Williams include theme music for four Olympic Games, the NBC Nightly News, the rededication of the Statue of Liberty, the DreamWorks Pictures production logo, and the television series Lost in Space. Williams has also composed numerous classical concerti, and he served as the principal conductor of the Boston Pops Orchestra from 1980 to 1993; he is now the orchestra's conductor laureate.

Williams has won five Academy Awards, four Golden Globe Awards, seven BAFTA Awards, and 21 Grammy Awards. With 45 Academy Award nominations, Williams is, together with composer Alfred Newman, the second most nominated person, after Walt Disney. Williams was inducted into the Hollywood Bowl Hall of Fame in 2000, and was a recipient of the Kennedy Center Honors in 2004.

Williams worked with director Richard Donner to score the 1978 film Superman. The score's heroic and romantic themes, particularly the main march, the Superman fanfare and the love theme, known as "Can You Read My Mind," would appear in the four sequel films. For it's score Williams won two Grammys.

Now, enjoy "Superman" by Williams.

I used cues from Superman: The Music (1978-1988) 8-CD set from Film Score Monthly.

http://www.filefactory.com/file/b372gdc/n/Superman_Suite.mp3

http://www.megaupload.com/?d=34SP0FEC

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Red Dead Redemption "John Marston" Suite (Bill Elm and Woody Jackson)

2010-09-12T01:47:00.001+02:00

Red Dead Redemption is an open world action-adventure Western video game, developed by Rockstar San Diego and published by Rockstar Games. It was released for the PlayStation 3 and Xbox 360 in May 2010. It is a spiritual successor to 2004's Red Dead Revolver game.

Most of the game's story takes place in the year 1911 in the American Old West and follows John Marston, a former outlaw, while he sets out to hunt down his former gang members. Marston's wife and son are taken hostage by the government in exchange for his services. Having no other choice, he sets out to bring his three former gang members to justice.

Upon its release, Red Dead Redemption was met with universal critical acclaim averaging 95% on both review aggregate websites Metacritic and GameRankings, making it one of the highest rated video games for both the PlayStation 3 and Xbox 360 on both websites. Reviewers praised the visuals, the music, the open world gameplay, and the story. According to the NPD Group Red Dead Redemption has sold two million copies in the month of June alone.

The music was mainly composed by "Friends of Dean Martinez" member Bill Elm and ex-member Woody Jackson along with additional contributions from various musicians. It far reminds Ennio Morricone Western's Style. Recorded at 130 beats per minute in A minor, most of songs featured are constructed from stems in the game's dynamic soundtrack.

Friends of Dean Martinez is an instrumental rock band featuring members of Giant Sand, Calexico, and Naked Prey. FoDM has been described as a combination of bits of electronic static intertwined with surf rock guitar inspired leads, reminiscent of pre "dark side" Pink Floyd, all droning to the beat of Nick Mason-esque drums, stretched over 30 minute intervals.

The band was originally formed in Tucson, Arizona as an experimental side project by various members of Giant Sand, Calexico and Naked Prey. Originally called "The Friends of Dean Martin," they were forced to change their name after Dean Martin refused to give his blessing. It worked out for the best, as "Martinez" provided a south-western spin to their retro lounge sound, with their debut album, "The Shadow of Your Smile," released with Sub Pop in 1995.

The band has gone through a variety of line-ups, moved to Los Angeles, and are now settled in Austin, Texas. Currently the trio includes Bill Elm on steel guitar and organ, Mike Semple on guitar, and Andrew Gerfers on drums. Originally a guitar player, Elm first started experimenting on the steel guitar with the formation of "Friends". Pushing beyond the instrument's country twang traditions, he pioneered a distinctive new sound for the pedal steel guitar. By using an e-bow it acts more like a voice rather than merely a background instrument.

The "Friends" performed a live score to the silent film masterpiece The Cabinet of Dr. Caligari at the Alamo Drafthouse in Austin. Feature film scoring work has included the Richard Linklater film Fast Food Nation and the John Waters narrated feature documentary Plagues & Pleasures on the Salton Sea.

Upon seeing Plagues & Pleasures on the Salton Sea for the first time, Elm recollects, "I felt I could really write music for this. It was a nice fit for what we do, the images, and the story. It felt natural to watch it and want to write music. It was inspiring, and that's the most you can ask for when you score something or write music."

"The music we play supports things well," adds Semple, "and I think that the Salton Sea is very compatible with that because of the vastness, the openness and the people that live there - there are certain qualities to them that leaves space for interpretation. I think leaving things open and not entirely filling up all the spaces is the commonality between the music and the desert."

In an interview with UK Xbox magazine "360", Rob Nelson, the art director for the videogame Red Dead Redemption, revealed that Bill Elm and Woody Jackson was doing the soundtrack for the game. They do an excellent work on this.

Now, just enjoy that excellent music into this Suite.

http://www.filefactory.com/file/b35f558/n/Red_Dead_Redemption_John_Marston_Suite.mp3

http://www.megaupload.com/?d=JPIVDK66

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Killzone 2 "Helghan" Suite (Joris de Man)

2010-09-03T00:43:00.000+02:00

Killzone 2 is a first-person shooter for the PlayStation 3, developed by Guerrilla Games and published by Sony Computer Entertainment. It is the third installment in the Killzone series that began on the PlayStation 2 with Killzone and continued on the PlayStation Portable with Killzone: Liberation. The game was first announced at E3 2005, with a tech demo on display, while the first gameplay footage was shown two years later at E3 2007. Killzone 2 was released worldwide late February 2009.

Killzone 2 follows the events of Killzone and Killzone: Liberation, and is set entirely on the planet Helghan, the home-world of the Helghast who invaded an Interplanetary Strategic Alliance (ISA) colony. Two years after the Helghast assault onVekta, the ISA launched an assault on the enemy's homeworld of Helghan. The ISA goal is to capture the Helghast leader, Emperor Scolar Visari, and bring the Helghast war machine to a halt. Players assume the role of Sergeant Tomas "Sev" Sevchenko, a battle-hardened veteran of the special forces unit the "Legion" assigned to Alpha team, who goes on a mission to take out the Helghast threat.

During the invasion of Helghan, Sev's unit is deployed behind enemy lines to assist the main invasion force. Tasked with securing the enemy capital of Pyrhus, Helghan's first true city, the team quickly discovers that the Helghast are a more formidable enemy on their home planet. Not only are they well-adapted to Helghan's hostile conditions, they have also harnessed the power of the freakish lightning storms that always occur on Helghan which they can now use against the ISA. A cold, barren, unforgiving world, Helghan provides a ready defense with thick, acidic air, dust clouds, and violent surgical lightning storms. Sev discovers his squad is not just fighting enemy forces—their fiercest opponent may be the planet itself.

The Game has been met with critical acclaim. Based on 95 reviews, Killzone 2 currently holds a Metacritic score of 91/100 and 90.13% on Game Rankings based on 79 reviews.

The debut sales of Killzone 2 in the United States were 323,000 within 48 hours of launch. The game failed to meet expectations in March and April, when it sold 296,000 and 58,000 units respectively; by the beginning of May, the game had sold 677,000 copies in the United States. Killzone 2 debuted at number one in UK sales to become the fourth fastest-selling Sony published title ever. In Japan, the game debuted at number 3, selling 41,000 units. On the 16th of April, Sony announced that sales of Killzone 2 had surpassed one million worldwide.

Killzone 2 won Best PS3 Shooter from IGN. It won Best Competitive Multiplayer, Best Sound Design, Most Improved Sequel and Best Shooter from GameSpot editor's choice. It won Best Graphics in the G-Phoria 2009 Awards. It also took in Game of the Year from Gamereactor.

The score to Killzone 2 was composed by Joris de Man, who scored 60 minutes of in-game music and 30-minutes of live orchestral score for the game, recorded at Abbey Road Studios in London, with the Nimrod Studio Orchestra.

The soundtrack also won gaming's first Ivor Novello Award

Joris de Man is a freelance composer and sound designer working from his studio on the South Coast near Brighton. Born in the Netherlands into a musical family, Joris has been surrounded by music since his very conception so it's no wonder his ear is so attuned.

Playing violin at six, Joris' musical learning included study of sonology at The Hague's Royal Conservatory and music technology at the Hogeschool voor de Kunsten in Utrecht. He later exchanged violin for synthesizer and computer, searching for a musical identity which led him from hard-edged industrial to ambient electronica and everything in between, though never leaving his classical roots far behind.

He's been creating sounds and music in games for nearly 15 years but Joris was a renowned chip music creator on the Atari demo scene before his career started at the illustrious Bitmap Brothers in London.

He moved to Amsterdam in 2000 and has been at the core of Guerilla / Sony's Killzone music since the franchise began. Originally the developer's Audio Director, looking at music and sound design, his return to the UK in 2005 allowed him to focus on the game's rousing score, of which the latest, Killzone 2, was recorded at Abbey Road.

As well as work in games, Joris has developed sound design and programming for concert pieces, working with composers such as Louis Andriessen, Peter Eotveos, Alexander Knaifel and Johan de Meij on his much lauded 'Planet Earth' symphony.

With a style that has been described as epic, powerful, sweeping and grandiose in orchestral-based pieces, writing for live orchestra is Joris' favourite way to realise his musical ambitions. Equally versed in creating powerful and bombastic midi renditions his versatility for composing extends to styles suiting action, drama, children, comedy, fantasy and romance.

With a desire to score for film, Joris attended the prestigious ASCAP Film and Television Scoring Workshop in LA and is developing his work for broadcast, shorts and feature.

Now, just enjoy the Suite.

http://www.filefactory.com/file/b32g152/n/Killzone_2_Helgan_Suite.mp3

http://www.megaupload.com/?d=ADTV5OGV

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Batman "Jack Napier" Suite (Danny Elfman)

2010-08-31T01:20:00.000+02:00

Batman is a 1989 superhero film based on the DC Comics character of the same name, directed by Tim Burton. The film stars Michael Keaton in the title role, as well as Jack Nicholson, Kim Basinger, Robert Wuhl and Jack Palance. The film, in which Batman deals with the rise of a powerful villain known as "The Joker", is the first installment of Warner Bros. Batman film series.

After Burton's hiring as director, Steve Englehart and Julie Hickson wrote film treatments before Sam Hamm wrote the first screenplay. Batman was not greenlit until after the success of Burton's Beetlejuice (1988). Numerous A-list actors were considered for the role of Batman. Nicholson was cast as the Joker in a deal that included both salary and a portion of the box office profits.

Filming took place at Pinewood Studios from October 1988 to January 1989. The budget escalated from $30 million to $48 million, while the 1988 Writers Guild of America strike forced Hamm to drop out. Uncredited rewrites were performed by Warren Skaaren, Charles McKeown and Jonathan Gems. Batman was a critical and financial success, earning over $400 million in box office totals. The film received several Saturn Award nominations and was nominated for an Academy Award and a Golden Globe. It also inspired the Emmy Award-winning Batman: The Animated Series, paving the way for the DC Animated Universe, and has left a legacy over the modern perception of the superhero film genre.

Burton hired Danny Elfman, his collaborator on Pee-wee's Big Adventure and Beetlejuice, to compose the music score. For inspiration Elfman was given The Dark Knight Returns. Elfman was worried, as he never had worked on a production this large in budget and scale. In addition, producer Jon Peters was skeptical of hiring Elfman, but was later convinced when he heard the opening number. Peters and Peter Guber wanted Prince to write music for the Joker and Michael Jackson to do the romance songs. Elfman would then combine the style of Prince and Jackson's songs together for the entire film score.

Burton protested the ideas, citing "my movies aren't commercial like Top Gun." Elfman enlisted the help of Oingo Boingo lead guitarist Steve Bartek and Shirley Walker to arrange the compositions for the orchestra. Elfman later was displeased with the audio mixing of his film score. "Batman was done in England by technicians who didn't care, and the non-caring showed," he stated. "I'm not putting down England because they've done gorgeous dubs there, but this particular crew elected not to." Batman was one of the first films to spawn two soundtracks. One of them featured songs written by Prince while the other showcased Elfman's score. Both were successful, and compilations of Elfman's opening credits were used in the title sequence theme for Batman: The Animated Series, also composed by Shirley Walker.

Elfman won in 1990 one BMI Film Music Award and two Grammy Awards for the score of this film.

Now, enjoy the Music of Elfman into this Suite.

http://www.filefactory.com/file/b3232b0/n/Batman_Jack_Napier_Suite.mp3

http://www.megaupload.com/?d=M2G7XTX0

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Predator "Dutch" Suite (Alan Silvestri)

2010-08-23T20:02:00.003+02:00

Predator is a 1987 American science fiction action film directed by John McTiernan ("Die Hard"), starring Arnold Schwarzenegger, Carl Weathers, Jesse Ventura, and Kevin Peter Hall. It was distributed by 20th Century Fox.

The story follows an elite special forces team, led by 'Dutch' (Arnold Schwarzenegger), on a mission to rescue hostages from guerrilla territory in Central America. Unbeknownst to the group, they are being hunted by a technologically advanced form of extraterrestrial life, the Predator.

Predator was scripted by Jim and John Thomas in 1985 and was originally titled Hunter. Filming began in April 1986 and creature effects were devised by Stan Winston. The film's budget was around $15 million and when the film was released in the United States on June 12, 1987, it grossed $98,267,558. Was #1 at the US box office in its opening weekend, with a gross of $12 million that was second to Beverly Hills Cop II in 1987. The film grossed $98 million, of which $60 million was from the US box office.

Initial critical reaction to Predator was mixed, with criticism focusing on the thin plot. However, in subsequent years critics' attitudes toward the film warmed, and it has appeared on a number of "best of" lists. Its popularity lead to the making of two sequels, Predator 2 (1990) and Predators (2010), as well as two crossover films with the Alien franchise, Alien vs. Predator (2004) and Aliens vs. Predator: Requiem (2007).

The soundtrack was composed by Alan Silvestri, who was coming off the huge success of Back to the Future in 1985. Predator was his first major action movie and the score is full of his now familiar genre characteristics: heavy horn blasts, staccato string rhythms, and undulating timpani rolls that highlight the action and suspense. Little Richard's song "Long Tall Sally" is featured in the helicopter en route to the jungle. Mac also recites a few lines from the song as he's chasing the Predator after it escapes from their booby trap. Silvestri returned for the sequel, making him the only composer to have scored more than one film in either the Alien or Predator series.

In 2003, Varèse Sarabande released the soundtrack album as part of its limited release CD Club collection; the album also includes the Elliot Goldenthal arrangement of the Fox fanfare used on Alien 3. In 2010, the same year Predators featured an adaptation of Silvestri's score by John Debney, Intrada released the album in a 3000-copy limited edition with remastered sound (i used this for the Suite), many cues combined and renamed, and most notably (as with Intrada's release of Basil Poledouris's score for Robocop) presenting the end credits music as heard in the film.

An epic action film. Now enjoy the Suite to enjoy the great Score of Silvestri.

http://www.filefactory.com/file/cd27f77/n/00_-_Predator_quot_Dutch_quot_Suite.mp3

http://www.megaupload.com/?d=Z7TL1JCO

Gears of War 2 (Steve Jablonsky)

2010-08-18T21:41:00.000+02:00

Gears of War 2 is a third-person shooter video game developed by Epic Games with lead design by Cliff Bleszinski, and published by Microsoft Game Studios for the Xbox 360. It is the second installment of the Gears of War series. The game was officially released in North America, the United Kingdom, and Australia on November 12, 2008. The game expands technically on the previous game by using a heavily -modified Unreal Engine 3 engine. The development team also brought in comic book writer Joshua Ortega to help write the plot for the game.

In Gears of War 2, the human Coalition of Ordered Governments (COG) forces continue their fight against the Locust horde, who are attempting to sink all of the cities on the planet Sera by using a big riftworm to eat the ground beneath them. Sergeant Marcus Fenix leads Delta Squad into the depths of the planet to try to stop the worm from eating but instead they discover the true intent of the Locust actions. The player controls Fenix in the main mission campaign, with the ability to play cooperatively with a second player controlling Fenix's best friend and fellow Squad member Dominic "Dom" Santiago. The game includes several existing and new multiplayer modes including five-on-five battles between human and Locust forces, and a "Horde" mode that challenges up to five players against waves of Locust forces with ever-increasing strength. New weapons and gameplay mechanics such as "hockey fights" and the ability to use downed foes as "meatshields" were added to the game.

On its release weekend, Gears of War 2 sold over two million copies, and within two months of release, had sold four million copies. It was the seventh best selling video game of 2009 and received several accolades. The game received similar praise as its predecessor, with the new gameplay and multiplayer modes seen as outstanding additions.

The soundtrack for Gears of War 2 was released on November 25, 2008, under the record label Sumthing Else Music Works. The music was composed by Steve Jablonsky.

Jablonsky is an American music composer for film, television and video games. He has composed the soundtracks to the movies The Texas Chainsaw Massacre (2003), Steamboy (2004), The Island (2005),Transformers (2007), D-War (2007) and Transformers: Revenge of the Fallen (2009). He was also a contributor on Team America: World Police (2004) among many others. In addition, he helped compose some of the music to the video game Metal Gear Solid 2: Sons of Liberty, and composed the theme music in 2003 for the BBC's Seven Wonders of the Industrial World. He continues to write music for the television show Desperate Housewives (2004-current) since the fourth episode . His track "Trailblazing" served as the opening theme for WrestleMania X8 and WrestleMania XIX.

Steve also wrote the music for Command & Conquer 3: Tiberium Wars, taking the place of the former Command & Conquer music composer Frank Klepacki, who was unable to write the game's score due to his involvement with Universe at War: Earth Assault.

Jablonsky's most recent projects include the scores for the Michael Bay live action feature film Transformers, the South Korean film D-War, Gears of War 2 for the Xbox 360 gaming console, and music for The Sims 3. He works in Hans Zimmer's studio Remote Control Productions (Mediaventures).

Now, just enjoy the suite from the sequel of "GoW".

http://www.filefactory.com/file/b2h4a73/n/Gears_of_War_2_COG_Suite.mp3

http://www.megaupload.com/?d=WGWS0SJH

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Gears of War (Kevin Riepl)

2010-08-18T21:31:00.001+02:00

Gears of War is a third-person shooter video game developed by Epic Games and published by Microsoft Game Studios. It was initially released as an exclusive title for the Xbox 360 in November 2006 in North America, Australia, and most of Europe. Despite the initial statements of Xbox 360 exclusivity, a Microsoft Windows version of the game was developed in conjunction with People Can Fly and released a year later, featuring new content including additional campaign levels, a new multiplayer game mode, and Games for Windows LIVE functionality.

The game focuses on the troops of Delta Squad as they fight to save the human inhabitants of the fictional planet Sera from a relentless subterranean enemy known as the Locust Horde. The player assumes the role of Marcus Fenix, a former prisoner and war-hardened soldier. The game is based on the use of cover and strategic fire for the player to advance through the scenarios; a second player can play cooperatively through the main campaign to assist. The game also features several online multiplayer game modes for up to eight players.

Gears of War sold over three million copies in just ten weeks and was the fastest-selling video game of 2006, and was the second-most played game over Xbox Live during 2007. The game has since sold over five million copies by September 2008. The game was well-received by critics, praising its gameplay and detailed visuals, and won several "Game of the Year" awards in 2006. The success of the game has led to the development of the Gears of War franchise, including the 2008 sequel Gears of War 2 and the upcoming sequel Gears of War 3 announced April 12, 2010, when Epic Games Cliff Bleszinski was a guest on Late Night with Jimmy Fallon, with adaptations to books, comics, and a feature film also on the way.

The soundtrack was released on July 31, 2007 by Sumthing Else Music Works. The music was composed by Kevin Riepl who has previously worked with Epic Games on soundtracks for Unreal Tournament 2003 and Unreal Championship.

^{Kevin Riepl's music has enhanced the visual mediums of television, films and, most notably, video games.
Riepl’s themes range from energetic and rhythmic to emotive to simply macabre and other worldly. Fans of the highly praised Unreal series by Epic Games have been familiar with his work since 2002. It wasn’t until
the hit game Gears of War that brought Riepl to the forefront of the video game music world.

After many years of private instruction and further studies at The Mannes College of Music in New York, Riepl
moved from his home town in New Jersey, to pursue his dream of composing music for film, television & video games,in Los Angeles, California. Working with a few composers in the Los Angeles area, Kevin learned the ins and outs of the business. He was a long time assistant/writing partner with video game and television composer
Kevin Manthei, and then moved on to learn a few tricks of the trade through renowned composer
Michael Giacchino.

When he was growing up as a young boy, Riepl’s fascination with movies and television, led to his understanding of how important a role music played in this medium....how it was able to help tell a story and enable the audience to identify with that story and the images on screen. It was the one element he connected with most.

As with many composers the one melody that set Riepl on his journey was the theme and music from
John Williams’ score for Star Wars. He was amazed of the impact that this music along with the visuals had on him. He wasn’t sure at that time what it was but he knew he loved it. It wasn’t until he was in 4th grade during an
instrument demonstration class where he heard again the Star Wars Theme being played by a trumpeter. It was
at that precise moment he knew what he wanted to do for the rest of his life.

When Riepl’s appreciation for video games grew, he thought what better than to marry the two elements in his
life that appealed to him the most. This in turn led Kevin on a path and career of scoring for video games,
television and film.}

^{Now enjoy the Suite form the first "GoW".}

^{http://www.filefactory.com/file/b2h3g6g/n/Gears_of_War_Locust_Suite.mp3}

^{http://www.megaupload.com/?d=0ONW76P1}

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North by Northwest Suite (Bernard Herrmann)

2010-08-17T15:49:00.003+02:00

North by Northwest is a 1959 American suspense film directed by Alfred Hitchcock, starring Cary Grant, Eva Marie Saint and James Mason, and featuring Leo G. Carroll and Martin Landau. The screenplay was written by Ernest Lehman, who wanted to write "the Hitchcock picture to end all Hitchcock pictures".

North by Northwest is a tale of mistaken identity, with an innocent man pursued across the United States by agents of a mysterious organization who want to stop his interference in their plans to smuggle out microfilm containing government secrets (a classic MacGuffin).

Author and journalist Nick Clooney praised Lehman's original story and sophisticated dialogue, calling the film "certainly Alfred Hitchcock's most stylish thriller, if not his best".

This is one of several Hitchcock movies with a music score by Bernard Herrmann and features a memorable opening title sequence by graphic designer Saul Bass. This film is generally cited as the first to feature extended use of kinetic typography in its opening credits.

Have you ever wondered how or why music has such a pleasantly emotional effect on people, or on the other hand, what the world would be like without the power of music? For as long as I remember, music has had such an inspiring effect on me, and it all started from listening to movie soundtracks. After I started playing piano at six, I would go out and buy soundtracks and listen to them over and over again until I could play along with each track on my piano. I also loved to just listen to the CD’s and formulate my own “movies” in my mind as the music played. Through that process, I became increasingly interested in classical music until I finally decided that music is my main passion and hobby. On a family trip to a TV Studio (my father worked into a TV Channel), a man took us into a studio and had us watch a suspenseful scene from a scary TV movie. When it was over, we watched the scene thing again, but with the music track turned off. The scene lost so much of it’s suspense that it was almost boring. As much as music means to me, I am sure I can speak for everyone in saying that a movie would just not be the same without music. This is certainly true in Alfred Hitchcock’s North by Northwest. Even though Bernard Herrmann wrote the marvelous score to the movie, as the director, Hitchcock had the final say in how, where, when, and for what purpose the music would be included. Parallel to his genius cinematography techniques, Hitchcock seems to have an artistic vision and purpose for this movie’s music as well.

Music’s main function in a movie is to enhance the mood and guide the emotions of the audience. During the final chase on Mt. Rushmore in North by Northwest, the soundtrack and the action sequences are inseparable. The most obvious aspect of the music in this scene is the speed. The fast tempo gets the audience’s adrenaline rushing. On top of that, the music contains a lot of half-step intervals played as loud chords by the brass sections of the orchestra along with strange, augmented scales in the strings which, altogether, creates an ominously dissonant, clashing effect. Overall, this effect represents the “clashing” of two sides. The music directly resembles not only the physical conflict in the final chase, but it also represents Thornhill’s consistent, internal frustration throughout the movie with the loss of his true identity.

The music also plays a significant role when the focus turns to Thornhill and Ms. Kendall. Once Roger is safe on board the train, he walks to the dining cart where he finds a beautiful woman (Eve Kendall) waiting for him at a table (North by Northwest). During this scene, as well as every time Roger and Eve are alone, a slow and romantic melody accompanies the scene. The extent of their relationship is a mystery throughout the movie; however, one can easily solve their mystery by listening to the mood of the music. In all styles and genres of music, there are two fundamental modes, or keys: major and minor. Music in a “major” key creates a sense of happiness while the minor key evokes a sad, tragic effect. In the case of Ms. Kendall and Mr. Thornhill, the music underlying their scenes together is in a major key, so the audience can therefore predict that the two lovers will end up happily together rather than tragically separated

Artistic foreshadowing struck me as being one of Hitchcock’s major strengths. He succeeds in using music as a form of emotional foreshadowing, but he also achieves his artistic vision of plot foreshadowing by using clever camera techniques to capture symbolic elements. In keeping with the romantic theme, the same train scene where Roger meets Ms. Kendall also contains an example of scene foreshadowing. Upon entering a train station, the man at the ticket office calls the police to catch Roger. Roger escapes, however, by boarding a train (North by Northwest). Immediately before the scene changes from the chaotic chase scene to inside the train, Hitchcock zooms in on an extremely beautiful and romantic sunset off in the distance, and then slowly turns the camera towards the moving train on the right. Hitchcock seems to calm and prepare our minds for the meeting between Roger and Eve by capturing this sunset.

As the story continues, Hitchcock uses even more symbolic foreshadowing when Roger runs into Ms. Kendall once again at a hotel. Roger comes to her room to ask her out for dinner, but she refuses. Moments later, Ms. Kendall’s phone rings. She writes something down on a slip of paper, hangs up her phone, and walks to put the slip into her purse (North by Northwest). At this point, the audience is already suspicious of Ms. Kendall because of her sudden change of character from being playfully seductive to being worried and almost frightened. At the very moment she puts the paper into her bag, Alfred Hitchcock zooms in on the other contents of her bag where a small handgun becomes clearly visible on top of everything. This gun, or rather Ms. Kendall merely owning a gun, symbolizes some sort of conspiracy, meaning that she is not in fact as innocent as she had first appeared to be. Even though the audience eventually finds out that Ms. Kendall is really on Thornhill’s side, the truth that she is hiding her true identity as an agent still remains.

The wonderful music in North by Northwest along with the camera angles are only some of many examples of the artistic genius of Alfred Hitchcock. Without music in some of the key scenes or the transitional guidance of the camera angles, the movie would loose most of its intensity and become dull. Being a musician myself, the music naturally stood out to me above everything else, but someone else might notice something completely different. Fortunately, Alfred Hitchcock leaves a seemingly infinite number of subliminal clues and symbols for his audience to discover, all which give this movie more depth and, in the end, more appeal.

Now enjoy the Suite of one of the Masterpieces of Film Story.

http://www.filefactory.com/file/b2h39b8/n/North_by_Northwest_Suite.mp3

http://www.megaupload.com/?d=UC0RAR84

NOTE: Now including a new version of the Suite using the Re-Recorded Soundtrack directed by Joel McNeely.

http://www.filefactory.com/file/b4chd89/n/North_by_Northwest_Re-Recorded_Suite.mp3

http://www.megaupload.com/?d=AV4VV078

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Psycho "Mr. Bates" Suite (Bernard Herrmann)

2010-08-12T23:32:00.000+02:00

Psycho is a 1960 American film directed by Alfred Hitchcock. The film is based on the screenplay by Joseph Stefano, who adapted it from the 1959 novel of the same name by Robert Bloch. The novel was based on the crimes of Wisconsin serial killer Ed Gein.

The film depicts the encounter between a secretary, Marion Crane (Janet Leigh), who is in hiding at a motel after embezzling from her employer, and the motel's owner, Norman Bates (Anthony Perkins), and the aftermath of their encounter.

Psycho initially received mixed reviews, but outstanding box office returns prompted a re-review which was overwhelmingly positive and led to four Academy Award nominations. Psycho is now considered one of Hitchcock's best films and is highly praised as a work of cinematic art by international critics. The film spawned two sequels, a prequel, a remake, and a television movie spin-off.

The film is often categorized by multiple sources as a drama, horror, mystery and thriller film.

Mr. Hitchcock insisted that Bernard Herrmann (An Academy Award-winner film composer for The Devil and Daniel Webster, 1941. Herrmann is particularly known for his collaborations with director Alfred Hitchcock, most famously Psycho, North by Northwest, The Man Who Knew Too Much, and Vertigo. He also composed notable scores for many other movies, including Citizen Kane, The Ghost and Mrs. Muir, Cape Fear, and Taxi Driver. He worked extensively in radio drama, most notably for Orson Welles, composed the scores for several fantasy films by Ray Harryhausen, and many TV programs including most notably Rod Serling's The Twilight Zone and Have Gun – Will Travel.) write the score for Psycho, in spite of the composer's refusal to accept a reduced fee for the film's lower budget. The resulting score, according to Christopher Palmer in The Composer in Hollywood (1990) is "perhaps Herrmann's most spectacular Hitchcock achievement." Hitchcock was pleased with the tension and drama the score added to the film, later remarking "33% of the effect of Psycho was due to the music."

Herrmann used the lowered music budget to his advantage by writing for a string orchestra rather than a full symphonic ensemble. He thought of the single tone color of the all-string soundtrack as a way of reflecting the black and white cinematography of the film. Hollywood composer Fred Steiner, in an analysis of the score to Psycho, points out that string instruments gave Herrmann access to a wider range in tone, dynamics and instrumental special effects than any other single instrumental group would have.

The main title music, a tense, contrapuntal piece, sets the tone of impending violence, and returns three times on the soundtrack.Though nothing shocking occurs during the first 15–20 minutes of the film, the title music remains in the audience's mind, lending tension to these early scenes. Herrmann also maintains tension through the slower moments in the film through the use of ostinato.

There were rumors that Herrmann had used electronic means, including amplified bird screeches to achieve the shocking effect of the music in the Shower Scene. The effect was achieved, however, only with violins in a "screeching, stabbing sound-motion of extraordinary viciousness." The only electronic amplification employed was in the placing of the microphones close to the instruments, to get a harsher sound. Besides the emotional impact, the Shower Scene cue ties the soundtrack to birds. The association of the Shower Scene music with birds also telegraphs to the audience that it is Norman, the stuffed-bird collector, who is the murderer rather than his mother.

Herrmann biographer Steven C. Smith writes that the music for the Shower Scene is "probably the most famous (and most imitated) cue in film music," but Hitchock was originally opposed to having music in this scene.

When Herrmann played the Shower Scene cue for Hitchcock, the director approved its use in the film. Herrmann reminded Hitchcock of his instructions not to score this scene, to which Hitchcock replied, "Improper suggestion, my boy, improper suggestion." This was one of two important disagreements Hitchcock had with Herrmann, in which Herrmann ignored Hitchcock's instructions. The second one, over the score for Torn Curtain (1966), resulted in the end of their professional collaboration. A survey conducted by PRS for Music, in 2009, showed that the UK public consider the score from 'the shower scene' to be the scariest theme from any film.

^{Now enjoy a Suite to recall one of the greatest movies of all time (and one of the Scores).}

^{NOTE: For the Suite, I used cues from the re-recorded soundtrack directed by Joel McNeely.}

^{http://www.filefactory.com/file/b2fcha0/n/Psycho_Mr._Bates_Suite_.mp3}

http://www.megaupload.com/?d=D98D1BK3

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Dances with Wolves Suite (John Barry)

2010-08-12T21:39:00.002+02:00

Dances with Wolves is a 1990 American epic western film based on the book of the same name which tells the story of a Civil War-era United States Army lieutenant who travels to the American frontier to find a military post, and his dealings with a group of Lakota.

Developed by director/star Kevin Costner over five years, with a budget of only $18 million, the film has high production values and won 7 Academy Awards including Best Picture and the Golden Globe Award for Best Motion Picture - Drama.

It is considered one of the best films of the 1990s and is credited as a leading influence for the revitalization of the Western genre of filmmaking in Hollywood.

In 2007, Dances with Wolves was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant."

The original score was composed by John Barry. Barry is best known for composing 11 James Bond soundtracks and was hugely influential on the 007 series' distinctive style, and is one of the most brilliants film composers ever.

Barry won for this film the 1991 Academy Award for Best Original Score and the 1992 Grammy Award for "Best Instrumental Composition Written for a Motion Picture or for Television." Barry was also nominated for the 1991 Golden Globe Award for Best Original Score (lost to the score of The Sheltering Sky) and the 1992 BAFTA Award for Best Film Music (lost to the score of Cyrano de Bergerac).

Now enjoy the epic of "Dances with Wolves" on the next Suite.

http://www.filefactory.com/file/b2fbb3d/n/Dances_with_Wolves_Suite.mp3

http://www.megaupload.com/?d=3XZBT82S

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