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Posted: |
Oct 8, 2017 - 1:25 PM
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By: |
beth
(Member)
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FOR IMMEDIATE RELEASE
LONG-AWAITED SCORE SOUNDTRACK FROM TV’S #1 SERIES THE WALKING DEAD TO BE RELEASED BY LAKESHORE RECORDS AND SPARKS & SHADOWS
The First Soundtrack Featuring Original Television Series Score Composed By Bear McCreary
“The apocalypse has a theme song in Bear McCreary's haunting score for hit show The Walking Dead" – CNN.com
(October 6, 2017- Los Angeles, CA) - Lakeshore Records and Sparks & Shadows are proud to release the first soundtrack featuring EMMY® award-winning composer Bear McCreary’s (10 Cloverfield Lane, Rebel in the Rye) original score for AMC’s The Walking Dead. The soundtrack will be released digitally and CD on October 20th, on LP October 27, 2017, and is available for pre-order at (http://smarturl.it/TWDscore).
For this long-awaited release, McCreary selected both his personal favorites from the first seven seasons, along with those most frequently requested by fans. He said, “narrowing down the highlights from seven years of work was a tremendous challenge.”
Premiering on Halloween 2010, in 120 countries simultaneously, The Walking Dead became a cultural zeitgeist practically overnight. A deserted car wreck. A policeman walking through it. The back of a little girl. He calls to her. At first she doesn’t respond. Then she turns around… revealing that all is not quite what it seems. The cop left with no choice shoots her, and as she falls, the tremolo string arpeggios of the “Main Title Theme” by McCreary crescendo, drawing millions of viewers into this harrowing world of The Walking Dead.
“When we started discussing the first season we agreed that drama, action, and horror would be felt more intimately if the score were used only in pivotal scenes, and that it should be written with tonal clarity,” McCreary explained of his initial approach to scoring The Walking Dead. During the zombie apocalypse, silence would be the most prevalent – the lack of sound is what survivors would notice. Those moments when McCreary’s music kicks in, viewers know they are about to be treated to something important. “This approach allowed me to create big emotional impacts with sparse musical gestures.”
As the series progressed, McCreary was able to expand the musical palette. For the second and third seasons he did so with “acoustic guitars and drums to connect with the farmhouse setting (check out ‘Message to Morgan’).” He blended these with a small orchestra for the gut-crushing mid-season finale (‘Sophia'). As audiences were introduced to new characters like the Governor, McCreary incorporated a synth pulse to his largely organic instrumentation. When Neegan was introduced a few seasons later, he employed “creepy electric guitar gestures.”
EMMY®-winning composer McCreary is one of the most sought-after talents in the industry today. In 2017, he had an impressive showing at Sundance with three films at the festival: Danny Strong’s drama Rebel in the Rye, the sci-fi thriller Colossal starring Anne Hathaway, and Jennifer Brea’s documentary Unrest.
Some of McCreary’s other film credits include the critically-acclaimed Paramount Pictures and Bad Robot film, produced by J.J. Abrams, 10 Cloverfield Lane, Universal/Blumhouse’s upcoming thriller Happy Death Day, the animated feature Animal Crackers, and Disney’s Step Up 3D. His videogame credits include Sony PlayStation’s highly anticipated new God of War.
McCreary burst onto the scene scoring the influential and revered series Battlestar Galactica. His music for the series was lauded by Variety as “innovative,” and “like no other” by NPR. McCreary won an EMMY® Award for Outstanding Main Title Theme for Da Vinci’s Demons. McCreary also received EMMY® nominations for his work on Black Sails, Outlander, and Human Target. He has twice been awarded “ASCAP Composer of the Year – Television” by his peers. He currently scores Outlander, AMC’s record-shattering global phenomenon The Walking Dead, as well as Marvel’s Agents of S.H.I.E.L.D. McCreary frequently performs in concert throughout North America and Europe, including the Getty Center, the Hagen Philharmonic and Ballet in Germany, the Television Academy, and the Golden State Pops Orchestra. In July 2014, Maestro Gustavo Dudamel conducted a suite of McCreary’s music with the L.A. Philharmonic and L.A. Master Chorale at the Hollywood Bowl.
With all of his professional appearances and outreach to fans, on his blog or through social media, it is The Walking Dead that McCreary is asked about the most. “I am thrilled there is finally a way for fans of this global phenomenon to experience my music in an album format,” he said. “Most of all, I am excited because my experience on The Walking Dead continues. As of this writing, I am gearing up to dive into our eighth season, I look forward to many more years of musical exploration!”
The eighth season of The Walking Dead premieres Sunday, October 22 at 9PM ET on AMC. Lakeshore Records and Sparks & Shadows will release AMC’s The Walking Dead - Original Television Soundtrack digitally and CD on October 20th, on LP October 27, 2017, and is available for pre-order at (http://smarturl.it/TWDscore).
###
Pre-order link: http://smarturl.it/TWDscore
Direct iTunes only - https://itunes.apple.com/us/album/the-walking-dead-original-television-soundtrack/id1275301944?app=itunes
http://www.lakeshorerecords.com
www.sparksandshadows.com
www.bearmccreary.com
For more information contact KrakowerGroup[at]gmail.com, or @KrakowerGroup on Twitter
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It took seven years, but GOD DAMN it's finally coming out..
Ford A. Thaxton
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Posted: |
Oct 12, 2017 - 5:44 AM
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By: |
DeputyRiley
(Member)
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Everyone saw this, right? Everyone see the tracklisting and times? If not...
(samples not available yet)
1. Theme from Walking Dead (0:49)
2. Rick's Despair (2:10)
3. Glenn's Wheels (1:46)
4. Lord of the Vatos (3:22)
5. Bag of Guns (2:46)
6. Message to Morgan (3:09)
7. Herd on the Highway (2:40)
8. Sophia (3:09)
9. Coalescence (3:55)
10. Eulogy (2:39)
11. Carl (1:38)
12. Farm Invasion (8:49)
13. Beside the Dying Fire (2:58)
14. C-Section (5:33)
15. The Governor (2:31)
16. Bye, Baby Bunting (1:48)
17. A Return to Compassion (5:53)
18. The Badge (1:43)
19. Welcome to the Tombs (6:22)
20. Reconciliation (2:36)
21. Three Questions (2:31)
22. Negan (2:20)
23. The Day Will Come (2:57)
A very roughly added-up total runtime is about 75 minutes. Looks like the seasonal breakdown is as follows (feel free to correct me if I'm wrong):
Season 1: tracks 1-6
Season 2: tracks 7-13
Season 3: tracks 14-16 (maybe through to 18?)
"Welcome to the Tombs" (track 19) is the title of Episode 16 in Season 3, but that track could easily be part of Season 4, as half of that season takes place in the prison (a.k.a. "the tombs") as well. The title of track 19 doesn't necessarily need to belong to the episode it's named after and could just be borrowing its name. Personally, I hope it's the music for either 1) the infirmary crisis in ep. 4 of Season 4, or 2) the final assault by the Governor on the prison in the mid-season finale of Season 4.
"Bye, Baby Bunting" is a vocal piece featuring Bear's frequent collaborator and wife, vocalist Raya Yarborough. I could've personally done without this in favor of more relatively "proper" score, but eh.
Tracks 17-18, not sure what seasons. Up until then, most tracks seem to be in order as far as the Seasons go. It'd be awesome if track 17, "A Return to Compassion," was score for Carol's famous "The Grove" episode, but something tells me it's not. Track 20, no idea. Track 21, "Three Questions," that could really be from anywhere -- although I think the first time the Three Questions were presented was in Season 3 or 4 when Rick met the isolated loco lady in the woods.
Then of course, "Negan" could be from the Season 6 finale or the Season 7 premiere (likely), or less likely anytime during the course of Season 7. "The Day Will Come" could be from the actual episode "The Day Will Come When You Won't Be" which was the Season 7 premiere -- if it's to be taken as a literal track title taken from episode title. That's likely, I suppose, since that episode was pretty iconic (and loved/hated).
Regardless, really looking forward to it! Glad (although not surprised) that "Sophia" is on there. Again, could've done without the Vatos material, one of the lamest subplots on the show's history, and to me the earliest stuff -- although the most acoustic and twangy -- is the weakest. Obviously a ton of great stuff is left off, but I'm sure a lot of this stuff will be stellar. I know "Farm Invasion" will be. It's got a lot of quotes of the main theme, as the earlier seasons tended to do, before the show began to do away with quoting the main theme. Not sure why they dropped that habit.
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I was really surprised that Mercy of the Living was not included on this album. I know it's primarily an ambient cue, but I really like it and was really hoping they would include it. Oh well.
I was hoping for the same. Who knows, maybe some of the cues are suite'd up, and some part of "Mercy of the Living" survived somewhere amongst the earlier tracks. Probably not, but that'd be nice.
Exactly my thoughts too. Mercy of the Living is a beautiful piece of music and one of Bear's best. It's a real testament as to how much wonderful music he has created for this series that a track like Mercy is not included. A little disheartened that this is only 1 disc that covers 7 seasons. It's almost a no-brainer for the first release to be 2-discs worth of music. I hope that the thinking wasn't that this may a one-shot deal. Here's hoping for other volumes of music from this great series.
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Posted: |
Oct 13, 2017 - 10:11 AM
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By: |
jigawatts
(Member)
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Hoping it's inserted in the "Message to Morgan" cue since that music was first introduced with his character.
It's not. That track is only 3:09 and the full Mercy of the Living would be around 6 or 7 minutes. Message to Morgan is the opening to season 2 episode 1. It's a really great cue, too, and one that I was also hoping would be on this release and it is, so I guess I shouldn't complain about not getting Mercy of the Living. I mean, we're getting Rick's Despair, Message to Morgan, Sophia, Farm Invasion, C-Section, The Governor, Reconciliation, among others. Hopefully this one will sell really well and we'll get future volumes.
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Posted: |
Oct 13, 2017 - 10:25 AM
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By: |
emusician
(Member)
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Hoping it's inserted in the "Message to Morgan" cue since that music was first introduced with his character.
It's not. That track is only 3:09 and the full Mercy of the Living would be around 6 or 7 minutes. Message to Morgan is the opening to season 2 episode 1. It's a really great cue, too, and one that I was also hoping would be on this release and it is, so I guess I shouldn't complain about not getting Mercy of the Living. I mean, we're getting Rick's Despair, Message to Morgan, Sophia, Farm Invasion, C-Section, The Governor, Reconciliation, among others. Hopefully this one will sell really well and we'll get future volumes.
The version of "Mercy of the Living" on the Global Orchestra CD runs 1:09. The real version on YouTube runs the same time except that it is looped about 4 or 5 times.
How long does the "Message to Morgan" cue run in the show?
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Posted: |
Oct 13, 2017 - 10:40 AM
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By: |
jigawatts
(Member)
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Hoping it's inserted in the "Message to Morgan" cue since that music was first introduced with his character.
It's not. That track is only 3:09 and the full Mercy of the Living would be around 6 or 7 minutes. Message to Morgan is the opening to season 2 episode 1. It's a really great cue, too, and one that I was also hoping would be on this release and it is, so I guess I shouldn't complain about not getting Mercy of the Living. I mean, we're getting Rick's Despair, Message to Morgan, Sophia, Farm Invasion, C-Section, The Governor, Reconciliation, among others. Hopefully this one will sell really well and we'll get future volumes.
The version of "Mercy of the Living" on the Global Orchestra CD runs 1:09. The real version on YouTube runs the same time except that it is looped about 4 or 5 times.
How long does the "Message to Morgan" cue run in the show?
The Message to Morgan cue in the show runs about 3 minutes. There is a version of Mercy of the Living on YouTube that is ripped straight from the show's audio (so it has some sound effects in it), and it is 5:43 long. If you watch it in that first episode, Days Gone Bye, that's about how long it lasts. There's a lot more variation in it than in those looped versions. I think most of those took Bear's 40-50 second sample he had on his website and just looped it several times.
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Posted: |
Mar 18, 2018 - 5:24 PM
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By: |
DeputyRiley
(Member)
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I'm currently rewatching the series. I have held off from watching Season 8 because I wanted to wait until it was finished so I could watch it through quickly, not having to wait week after week for a new episode. So please, not even the slightest spoiler about Season 8!
Anyway, I'm rewatching the series for the first time since I first saw it, leading me up to Season 8. Just watched episode 4.6, "Live Bait" -- featuring the return of The Governor, only this time as a shell of a man who has lost everything, now calling himself 'Brian'.
Not here to talk about the show really, though -- but the music! I really do enjoy the Governor's Theme, it is so perfect for the character. It was retired in Season 3 when his own rampaging madness did him in and led to his fall. The theme that Bear wrote for The Governor is so perfect for that character.
In "Live Bait," he became 'Brian' and met Lily, Tara and Megan. There is a powerful moment at the end of the episode that demonstrates Bear's immeasurable skill as a dramatist and as a composer. Walkers are closing in on the quartet of survivors and Megan runs into the Governor's arms for the first time after being frozen in fear; Bear wrote a breathtaking statement of the Governor Theme just as they embrace, developing to a quick emotional crescendo, and it's the first time we hear his theme again since he fell from grace the previous season. I think it's just a stroke of genius that he chose that exact moment to re-introduce the four-note Governor Theme -- it was as though Megan running into his arms finally and irrevocably flipped the switch from 'Brian' back to the Governor. An occasion of the score working with the narrative in a thematic way that defines the magic of film and TV music.
A stellar score moment in a series full of them.
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