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Spy Game (Harry Gregson-Williams)
 : Spy Game (Harry Gregson-Williams)



from: Decca U.S.


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Price: $24.99
as of 12/13/2017 01:16 EST

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Audience Rating: R (Restricted)
Binding: Audio CD
Brand: Score
EAN: 0044001619021
Format: Soundtrack
Item Dimensions: 4550022575
Label: Decca U.S.
Languages: EnglishPublishedArabicOriginal LanguageEnglishOriginal LanguageFrenchOriginal LanguageGermanOriginal LanguageEnglishUnknown
Manufacturer: Decca U.S.
MPN: AManPro-0038772
Number Of Discs: 1
Number Of Items: 1
Publication Date: November 13, 2001
Publisher: Decca U.S.
Release Date: November 13, 2001
Running Time: 126 minutes
Studio: Decca U.S.




Disc 1:
  1. Su-Chou Prison
  2. Muir Races To Work
  3. '...He's Been Arrested For Espionage.'
  4. Red Shirt
  5. Training Montage
  6. Berlin
  7. 'It's Not A Game'
  8. 'You're Going To Miss It'
  9. Beirut, A War Zone
  10. 'My Name Is Tom'
  11. All Hell Breaks Loose
  12. Explosion & Aftermath
  13. Parting Company
  14. Harker Tracks Muir
  15. The Long Night
  16. Muir's In The Hot Seat
  17. Back At Su-Chou Prison
  18. Operation Dinner Out
  19. Spies (Ryebot Remix)
  20. Dinner Out [Rothrock Remix]
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Editorial Review:

Product Description:
No Description Available
No Track Information Available
Media Type: CD
Artist: SPY GAME
Title: SCORE
Street Release Date: 11/13/2001
Domestic
Genre: SOUNDTRACK

Amazon.com:
Director Tony Scott's buddy pic-cum-espionage thriller shrewdly unites Robert Redford and Brad Pitt, pretty-boy box-office icons from two different generations. But its tense musical score embodies a gratifying sense of cross-cultural experimentation that seems as doggedly genre-expanding as it does dramatically tough. Young composer Harry Gregson-Williams (Shrek, The Replacement Killers, Antz, The Rock) employs haunting Eastern instrumental modalities, symphonic flourishes, and spare choral touches here but crucially weds them to driving, polyrhythmic percussion and pulsing techno club grooves. Continuing a contemporary scoring trend that largely eschews thematic melodies in favor of evocative atmospherics, the composer's studio-savvy fusion has conjured up a soundscape of surprisingly emotional twists and turns, but one that also seems to grow more determinedly electro-modern with each successive cut. This is that rare score that proves that pop trend can indeed inform classical tradition--and much to the benefit of both. --Jerry McCulley



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