"SPY GAME" O.S.T

[Giovanni Dimitropoulos]

Composed, Conducted, and Produced by: Harry Gregson-Williams

Performed by: The London Session Orchestra and Metro Voices


track list:
• 1. Su-Chou Prison (5:00)
• 2. Muir Races to Work (3:32)
• 3. '...He's Been Arrested for Espionage.' (1:23)
• 4. Red Shirt (5:07)
• 5. Training Montage (2:34)
• 6. Berlin (2:18 )
• 7. 'It's Not a Game' (2:34)
• 8. 'You're Going to Miss It' (9:15)
• 9. Beirut, A War Zone (3:20)
• 10. 'My Name is Tom' (2:41)
• 11. All Hell Breaks Loose (6:19)
• 12. Explosion & Aftermath (2:50)
• 13. Parting Company (2:08 )
• 14. Harker Tracks Muir (3:28 )
• 15. The Long Night (1:46)
• 16. Muir's in the Hot Seat (5:08 )
• 17. Back at Su-Chou Prison (2:18 )
• 18. Operation Dinner Out (4:50)
• 19. Spies (Ryebot Remix) (2:16)
• 20. Dinner Out (Rothrock Remix) (2:38 )

 

[Giovanni Dimitropoulos]

Πολύ καλό soundtrack.
Είδα προχθές για 2η φορά την ταινία, και μπήκα στον πειρασμό να αγοράσω την μουσική της.
Αξίζει σίγουρα...........


Μπορείτε να ακούσετε δείγματα αυτού εδώ:

Audio Clips:

10. 'My Name is Tom' (0:30), 150K    
http://www.teletracks.com/audio/spy_game10.ra


12. Explosion & Aftermath (0:30), 150K
http://www.teletracks.com/audio/spy_game12.ra


15. The Long Night (0:30), 150K
http://www.teletracks.com/audio/spy_game15.ra


18. Operation Dinner Out (0:30), 150K
http://www.teletracks.com/audio/spy_game18.ra


   

 

[Giovanni Dimitropoulos]

Διαβάστε και μια κριτική του................

Gregson-Williams


Spy Game: (Harry Gregson-Williams) One of the more highly billed action films of the late 2001 autumn season (that is, one that doesn't involve hobbits or muggles), Tony Scott's Spy Game is a return to the style of film and score that beckons memories of Crimson Tide and Enemy of the State. The espionage thriller once again unites director Scott with a Media Ventures genre of artist. Harry Gregson-Williams has, since The Rock in 1996, begun to build an impressive resume for himself. Often teaming up with another electro-modern composer, Gregson-Williams' music ranges wildly from the harshest of synthetic action scores such as The Replacement Killers to the family oriented spunk often associated with Antz and Shrek. The requirements of Spy Game would allow Gregson-Williams to explore additional elements that lie between those previously established genres, especially in the dramatic weight of the music that would be required for the project. Because of the film melds heavy drama in exotic locations with heart-pounding action/chase sequences, the score would have to reflect the best of both worlds. Those who dislike Gregson-Williams' stereotypical electronic scores would probably call it the "worst of both worlds," but before making such a hasty judgment about Spy Game, you might want to give it a fair listen.

Having only a mild interest in Gregson-Williams' often noisy action scores to date, Spy Game wasn't particularly a score that was high on my list of anticipation for the fall season. And although there are sequences on the score that reaffirm my distaste of relentless synthestic rhythms, there are also several surprisingly engaging and enjoyable cues as well. As to be expected, there is about twenty minutes of eardrum-grinding pounding of electronics in Spy Game, and this material is no more listenable for many people now than it has been in scores past. But beyond those expected cues are a lengthy collection of dramatic underscore and exotic beauty in theme that sets this score apart from others for Gregson-Williams. He employs a host of specialty instruments in his orchestral accompaniment to the synthesizers. Among the most noticable use is the erhu, which may not be as evokative here as in, say, Crouching Tiger, Hidden Dragon, but it's a enjoyable touch when combined with Gregson-Williams' hard-line Western thematic sense. A variety of solo vocal performances is a treat not to be missed on this album. Along with a Western boy soprano, a host of Middle Eastern, Chinese, and Vietnamese vocals are intertwined with a Celtic harp and ethnic flutes to spice up an otherwise typical array of electronics. With a percussion section rich with Middle Eastern and Chinese instruments, Gregson-Williams produces a sound that is even more ethnic in a modern sense than Beyond Rangoon or The Peacemaker were for his mentor, Hans Zimmer. The mingling of so many different ethnic areas enhances the element of espionage in the music, creating a tense, foreign, and often enchanting mood.

I tip my hat to Gregson-Williams for his extensive experimentation and implementation of these exotic elements. He has always had a touch for a thematic congruity and simplicity that was kind to the ear, but those ideas of his were often entrenched in the usually harsh electronics demanded by lower budget projects. The Spy Game score still contains several tracks of irritating chase music --the kind that takes techno pop rhythms far too seriously. But even among these, tracks 1, 2, 14, and 15 contain rhythms that lean more towards pop rather than electronica, and are easily integrated into the flow of the surrounding cues. That great fifteenth track stands as strong evidence towards establishing Gregson-Williams as a composer who can successfully meld a pop rhythm and hints of harsh electronics with a lighter, more orchestral base. If you can sift past the harsher deviations (and those that especially perk up in the latter half of the album) from the heart of this score, then you'll find half an hour (or more...) of impressively dramatic and sensitive underscore. Gregson-Williams even throws in a few fully symphonic bursts of theme that typically his scores with John Powell only offer. The middle portion of the Decca Records album for Spy Game, from tracks 6 to 13, is a remarkable collection of ethnic theme and suspenseful orchestral underscore that ranks highly in Gregson-Williams career, and convinced me that Spy Game is an album to keep. Its generous length from Decca is not to be overlooked, either. The final two tracks on the albums are remixes of Gregson-Williams' motifs for the score, and they are unnecessary in that they really don't deviate much from the original sound. On the whole, I originally put this album into the player with expectations of the same old excess noise... but by the second listen and a knowledge of where the few noisy tracks are, I was hooked. A most pleasant surprise! ****