MY BEST OF STRANGER THINGS SEASON ONE VOLUME ONE

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For me One of best show of the last years so this is my BEST OF the Songs and Music from the STRANGER THINGS Soundtrack.Too easy for one like me comes from John Carpenter Alan Howarth and Tangerine Dream’s Era, Enjoy!

– WHITE RABBIT – Jefferson Airplane

STRANGER THINGS – Kyle Dixon & Michael Stein

-KIDS – Kyle Dixon & Michael Stein

-THIS ISN’T YOU – Kyle Dixon & Michael Stein

-ELEGIA – New Order

-FRIENDSHIP – Kyle Dixon & Michael Stein

-011 – Kyle Dixon & Michael Stein

-A KISS – Kyle Dixon & Michael Stein

-FIELDS OF CORAL – Vangelis

-HAWKINS – Kyle Dixon & Michael Stein

-FRESH BLOOD – Kyle Dixon & Michael Stein

-HALLUCINATION – Kyle Dixon & Michael Stein

-AGENTS – Kyle Dixon & Michael Stein

-WHERE IS WILL – Kyle Dixon & Michael Stein

-THROUGH THE NET – Kyle Dixon & Michael Stein

-SHE WIL KILL YOU– Kyle Dixon & Michael Stein

-RUN AWAY – Kyle Dixon & Michael Stein

-JOYCE AND LONNIE – Kyle Dixon & Michael Stein

-HORIZON – Tangerine Dream

-THEORETICALLY – Kyle Dixon & Michael Stein

-EXIT – Tangerine Dream

-HAWKINS LAB – Kyle Dixon & Michael Stein

-HEROES – Peter Gabriel

MUSIC FOR SOUNDTRACKS

MUSIC FOR SOUNDTRACKS TIPS

DARDUST (ITALY)

I WAS IN TO A BAR SIT AND READING A NEWSPAPER THEIR MUSIC CAME FROM THE TV SET AND TAKE ME…GOD BLESS SHAZAM AND WHEN MUSIC COME TO VISIT ME.OUTSTANDING KEEP AN EYE AND HEAR THEM.

MOKADELIC(ITALY)

FROM ROME THEY ARE WORKING FOR STEFANO SOLLIMA‘S GOMORRA TV SERIES AMAZING MUSIC(DOOMED TO LIVE) , SUPPORT THEM

ENRICO ASCOLI(ITALY)

HE’s FROM MY AREA ,NEVER MEET BEFORE, BUT THIS TRACK HAVE REALLY SHOCKED ME

 

MARIANO NUNEZ-WEST (Argentina)

NOW HE’s BASED AS TUTOR AT GOLDSMITH UNIVERSITY OF LONDON ,HE’s THE AUTHOR OF 1997 GUSTAVO MOSQUERA ‘S MOEBIUS SOUNDTRACK ,AMAZING MOVIE

 

JULY SKIES (England)

UNFORTUNATELY I NEVER HAVE THE LUCK TO MEET THEM ALSO IF THEY BEEN IN RIMINI(2012) FOR ONE SHOW,BUT I MISSED THE APPOINTMENT FOR LOGISTIC REASON; SO IN THESE YEARS I HAD SOME GREAT EMAILS WITH THEIR LEADER ANTONY HARDING  AND HAD BEEN LIKE SHAKE HANDS (HE’S SO GREAT MY NAME IS ALSO CREDITED IN TO THE WEATHER CLOCK EP ).SO CHECK THEIR DISCOGRAPHY FOR UNDERSTAND THE SKYEY OF THEIR MUSIC

GIGI MASIN TEMPELHOF(ITALY)

GIGI MASIN VERY INTERESTING COMPOSER , I HAVE A CHANCE TO LISTEN HIM AT SUPERBUDDA TORINO  MAY 2015 AND HE REALLY IMPRESSED ME , KEEPING SOME GREAT PERSONAL MODULES IN HIS MUSIC THERE ARE SOME ZIMMER AND NEWMAN REMINISCENCE .. TEMPELHOF IS THE ENSEMBLE  WHOM HE HAVE THE MOST FLUENT COLLABORATION

To Be Continued… –つづく…

 

 

 

PROMETHEUS Original Soundtrack review

ORIGINAL MOTION PICTURE SOUNDTRACK

RIDLEY SCOTT’S PROMETHEUS,ONE OF MOST AWAITED MOVIES OF 2012, SO LET’S SPEAKING ABOUT MUSIC ,25 TRACKS FOR TELLING US WHAT HAPPENED 30 YEARS BEFORE THE NOSTROMO LANDED OVER LV 426;THIS IS AN OUTSTANDING SOUNDTRACK KEEP INTO ITS MUSICAL DNA JERRY GOLDSMITH’s ORCHESTRAL CRESCENDO AND MINIMALISM (FOCUSING ON TRACKS “LIFE” AND “FRIEND FROM THE PAST” WHO’S A GREAT MODERN HOMAGE TO A L I E N MAIN TITLE) ; THIS SOUNDTRACK ACUTALLY IS COMPOSED BY MARC STREINTENFELD AND HARRY GREGSON WILLIAMS UNDER  SONY MASTERWORK LABEL ,LET ME SAY,THERE’S ONE THING THAT IMPRESSED ME.. THIS SOUNDTRACK ON THE TRACK “GOING IN” ,FOR MY KNOWLEDGE,HAS SOME REFERNCES JOHN CARPENTER AND ALAN HOWARTH’S PRINCE OF DARKNESS(1987) ONE OF GREATEST MESMERIZING ELECTRONIC HORROR SOUNDTRACK OF EVER…ANYWAY JUST A PERSONAL THOUGHT, I CAN’T WAIT TO SEE THIS MOVIE MEANWHILE I WILL GRAB THE CD AND THE BLU RAY(THANKS TO 20TH FOX STRATEGY ITALY IS ONE OF LAST , OCTOBER 2012 “Absence diminishes mediocre passions and increases great ones, as the wind extinguishes candles and fans fires.”

1. A Planet 2:37
2. Going In 2:03
3. Engineers 2:29
4. Life 2:30
5. Weyland 2:04
6. Discovery 2:32
7. Not Human 1:49
8. Too Close 3:20
9. Try Harder 2:03
10. David 3:00
11. Hammerpede 2:42
12. We were right 2:42
13. Earth 2:35
14. Infected 1:56
15. Hyper Sleep 2:01
16. Small Beginnings 2:11
17. Hello Mommy 2:04
18. Friend From The Past 1:14
19. Dazed 4:29
20. Space Jockey 1:29
21. Collision 3:05
22. Debris 0:44
23. Planting the Seed 1:35
24. Invitation 2:16
25. Birth 1:24
RELEASED JUNE 12 2012 CATALOG NUMBER: B007TBCTRK Total Album Time: 56:54

The Man from Liverpool

jmmod

God gave me the pleasure to Meet John Murphy on Imdb,since that time ,feeling myself lucky to trade ideas with him,I discovered a Man,A good e-Friend, beyond the Artist.

There are not such words for describe his great choice to share with his supporter or simply fan or simply audience his outstanding music(A.K.A “Shit”),his soundtracks are the real fortune of any films either for other the right/proper and perfect translation of beautiful sweep images in music.

In this his birthday day I would wish all the best lucky possible and a great career to this dude come from Liverpool(god Bless Reds) and his unforgettable and outstanding Sharp Trademark in make music matter,definitely for me a post modern Ennio Morricone

“Youth is happy because it has the capacity to see beauty. Anyone who keeps the ability to see beauty never grows old.”
Frank Kafka


 

murphy Original soundtracks that I own

SNATCH

28 DAYS LATER

MIAMI VICE

28 WEEKS LATER

LAST HOUSE ON LEFT

Cd Promos
Millions
Sunshine
Miami Vice
28 Weeks later
Basic Instinct 2
Armored

Deep into HEAT

 

immagine-87As far as this soundtrack, in my view Michael Mann’s masterpiece, is concerned it is really possible to talk about “Miscellaneous Artists”. To be true, it all began to find out the beautiful piece The Last Lagoon by William Orbit (famous English, electronic music producer and arranger) and after several years of searching I could understand, quite totally, the very core of this film music.
Michael Mann maximises the emphasising of the visual impact together with the sound one by drawing profusely from famous and brillant authors such as the Kronos Quartet and Elliot Goldenthal (Alien 3).
Other tracks are omitted in the score official version, maybe both for room and royalties reasons, but anyway used in the film.
It is specifically these latter that I am going to consider mainly by listing aside the context they have been matched with:

– Get Up To This – New world beat
(Vincent at the disco’s office discover who “Slick” is;probably the Disco’s Background music fading…)
– Gringatcho Demento – William Orbit
(background music when Waingro is looking for a job in a bar) – track from Strange Cargo III album
– The thrill is gone – BB King
(During the ball of Vincent and Justine…)
– Concerto for Violoncello and Orchestra Boulez conducted by Ligeti
(the Platinum robbery) track from the namesake album
– The Monkey King William Orbit
(Chris, Neil and Michael mislead the guard by gesticulating) track from Strange cargo III
– Arabic Agony James
(L.A.P.D. Smile!…a picture from above)
– In November – David Darling
(Neil finds out from some documents who Vincent Hanna is) track from Cello album
– Late Evening in Jersey – Brian Eno
(Chris and Michael in the underground car park hack into the computer altering the bank alarm /Charlene and Dominique ask for the police safeguard)
– Black Cloud – Steve Roach /Elmar Schulte performed by Solitaire
(Waingro meets Roger Van Zant/ Donald stops what he was doing…) track from Ritual Ground album
– Celon – Lisa Gerrard / Pieter Bourke
(News of the bank robbery on TV)
– Will Gaines – Eric Clapton
(Neil devises with Nate a new escape plan / Vincent and Casalas visit Hugh Benny)
– The Last Lagoon – William Orbit
(Vincent says about Neil: “… He’s is still here…”I feel it” … Neil runs after Eady on the hill at dawn)
– The Mighty Limpopo – William Orbit
(Chris understands Charlene’s wave and leaves) – track from Strange Cargo I album

The piece The Last Lagoon by William Orbit (taken from Strange Cargo II album) replace Run Up Hill scene written by Elliot Goldenthal and included in the official soundtrack.
The same is true for the track Refinery Surveillance (scene of the surveillance in the refinery) afterwards replaced by three pieces: The Monkey King by William Orbit, In November by David Darling mixed with Arabic Agony by the James, this latter is taken from Wah Wah album.
Celon by Lisa Gerrard is used in the film but omitted in the soundtrack edition; all the three pieces by Lisa Gerrard are included in The Mirror Pool album.
New Dawn Fades, a shorter, not sung version, is used during the motorway chase between Vincent and Neil and it is a remake by Moby of the namesake piece by the Joy Division; the song integral version is available in the album I Like to Score by Moby.
Armenia by the Einstűrzende Neubauten (taken from Drawings of Patient O.T. album) used for a few seconds during the first “sceptical” meeting of Neil and Eady will be present also in other ”Hard” parts of Heat as well as in “The Insider”; the piece Late evening in Jersey by Brian Eno has recently been recorded on a compilation of unpublished works called Curiosities Vol. 1 (Opal Records).
Top O’ The Morning To Ya written by Eric Schrod, Leon Demant and Willie Dixon is played by the House Of Pain (taken from the House of Pain album) and it is in background during the meeting between Vincent and the informer Richard Torena in the Disco Club; By The Time I Get To Phoenix written by Jimmy Webb is probably droned by Vincent Hanna during the informer Albert Torena questioning.
Will Gaines by Eric Clapton is a piece taken from the soundtrack of Rush, a 1991 film directed by Lili Fini Zanuck.
As far as Ultramarine by Michael Brook is concerned, there is a special, unreleased version used when Vincent Hanna, in an understandable fit of hysteria, throws away his TV set at a traffic light.
There are two versions of the End Title composed by Moby and called God Moving Over the Face of the Waters: the “soft” one included in the official CD and the one included both in the single That’s When I Reach for My Revolver God Moving Over the Face of the Waters Heat Mix and in the above quoted album I like to score.However, the one in the film is slightly different from both these latter.
The pieces composed by Elliot Goldenthal and produced by Mathias Gohl are listed below among the others; the composer has made use, for some pieces, of the collaboration of the Kronos Quartet, the contemporary string quartet already known for collaborating with Philip Glass and with the The guitar orchestra Deaf Elk leading Page Hamilton of metal band Helmet

Warner Bros 9362-46144-2

1 Heat-Performed by The Kronos Quartet 7:42
2 Always Forever Now-Passengers 6:55
3 Condensers 2:35
4 Refinery Surveillance-Performed by The Kronos Quartet 1:46
5 Last Nite-The Chasers 3:29
6 Ultramarine – Michael Brook 4:35
7 Armenia – Einstürzende Neubauten 4:58
8 Of Helplessness 2:40
9 Steel Cello Lament 1:44
10 Mystery Man – Terje Rypdal 4:40
11 New Dawn Fades – Moby 2:50
12 Entrada & Shootout 1:49
13 Force Marker – Brian Eno 3:37
14 Coffee Shop 1:38
15 Fate Scrapes 1:34
16 La Bas[Edited Version] – Lisa Gerrard 3:11
17 Gloradin – Lisa Gerrard 3:57
18 Run Uphill 2:51
19 Predator Diorama – The Kronos Quartet 2:40
20 Of Separation 2:21
21 God Moving Over the Face of the Waters – Moby 6:58

MY HEAT B-SIDE CDR SOUNDRTRACK

 

Soundtrack:Halloween III 25th Anniversary Edition

Here in Italy it’s still a fixture on late-night TV and on the shelves of what were VHS stores and are now DVD outlets, even though 25 years have gone by since the Dino De Laurentis Corporation – with a budget of $2.5 million in 1982 – produced this cinematographic gem, inserting it chronologically following John Carpenter’s Halloween (1978). It is probably this connection that enabled the film, directed by Tommy Lee Wallace, former set designer for Halloween, to gross nearly 15 million dollars.

The film was technically a box office success, but the critics, contrary to my personal opinion, remained harsh and negative, most of all those who expected to see more of John Carpenter’s direction and Michael Myers, with kitchen knife in hand, carving up characters before they had time to scream. At first, this expectation distracts one’s attention from the terrifying yet fascinating story in which advanced technology is applied to Gaelic rituals drawn out of diabolical shadows.

Although somewhat dated and not entirely free of defects, the principal points of interest in this film lie in its superior cinematography – in Panavision Anamorphic format 2.35:1 processed by Technicolor, by accomplished Director of Photography Dean R. Cundey, ASC, who also take care of the previous two installments of the series – capable of immerging one in not only visual but tangible sensations, like the insalubrious humidity that the characters breathe in that Halloween night, a feeling supported by the convincing performance of the actors, above all a splendid Dan O’Herlihy in the role of Druid Conal Cochran; the able direction of Tommy Lee Wallace (Fright Night II), capable of stirring up and enlivening the scenographic landscape of Nigle Kneale’s script; and above all the evocative, even mesmorizing soundtrack, composed by John Carpenter in association with Alan Howarth, once again using the best technology available at the time, setting themselves apart as pioneers with new methods and ideas that work.
On the occasion of the 25th anniversary of the film, directly from his production studio in La La Cañada, a suburb of Los Angeles, Alan Howarth, former sound designer, composer and editor, collaborating with James Nelson of Digital Outland in Tacoma for Editing and Masterization, assembled and produced a limited release of 1000 copies of the soundtrack containing all of the tracks previously omitted in the MCA 6115 vinyl and Varese Sarabande VSD 5243 CD editions, both of which became collectors’ items and the objects of hot auctions involving hundreds of dollars on eBay.

In the summer of 1982 at Pi West Electronic Music Studio in Glendale (Los Angeles), the score of Halloween III was performed using Linn LM-1, an electronic musical instrument with a unique sound, programmable with an internal mixer with 13 channels capable of reproducing rhythms that imitated the sounds of drums and other percussion instruments. Many of these samples contain repetitious tones above the Nyquist frequency, a defect which creates in them a unique crackling sound, characteristic of the analog polyphonic synthesizers Prophet-10W and 5W Poly Sequencer (1978) and Sequential Circuits Programmer Mdl 700 (from the mid-70’s), running on microprocessor CMOS logic technology with RAM driven 6-bit or 5-octave 0-5V DC Control Voltages, which occupy important places in the history of synthesizers.
Defining the sound was the A.R.P. Sequencer 1601, loaded with sixteen sliders for each tuning step with which the user can program voltage controls that can be emitted in not only one line of sixteen steps but also in two simultaneous independent 8-step lines (a and b); in this way it’s possible to realize one line of melody and an accompanying harmony track or to manage accent notes using the voltage controls on the filter or the amplifier, all this combined with the famous and infamous ARP Avatar, an expensive guitar-controlled synthesizer produced in 1977 by Alan R. Pearlman, which in its time of fledgling analog/digital hybrid technology had more than a few problems, in the translation from frequency to voltage, in the delay of the emission of synthetic notes, and last but not least, an extreme sensitivity to every imprecision in the guitarist’s playing, like it’s particular tendency to yodel every time the level dropped below the sensitivity threshold of the detention circuit.
These instruments, often used by artists such as Heaven 17, WCO, Jean-Michelle Jarre, Todd Rundgreen, Art of Noise, Peter Gabriel, Rick Wakeman, Vangelis, Gas Chamber Orchestra and Tangerine Dream, are in a difficult period of audio engineering, experimental and at times defect-ridden, sometimes spurious or almost subliminal, but the soundtrack of HALLOWEEN III includes 25 tracks that flow nicely like part of a well-oiled machine, perfect to listen to in its melodies and frequencies.

As for noteworthy songs, we begin with the MAIN TITLE, recorded in 2 stages, rhythmically introduced before the images and then successively modified with electronic samplings to synchronize it with the electric pumpkin that is appearing on the screen, thereby embracing the style or, rather, the melodic mood of what will be Halloween III, which continues in the track called H3 CLOSE / OPEN. CHARIOTS OF PUMPKINS follows closely, in sync with the tail melody of the Main Title (which is also used in the End Titles), and highlights the race as Harry Grimbridge (Al Berry) attempts to flee from gray suited man, who later take his life in a memorable scene set within the walls of a hospital. That scene is elevated by the beautiful HEY BOOM, a piece that shows Carpenter and Howarth’s ability to improvise, compositionally and creatively; a piece in which the only rule is not to have rules. This was facilitated by the use of a system of synchronicity in which the film was transferred to a time coded videotape and synchronized to a 24-track master audio recorder, thus allowing them to compose the music for the visual images. The entire process, which Carpenter called, “A musical Electronic Coloring Book,” went quickly and offered “instant gratification,” allowing the composers to evaluate the score in sync with the film’s images, and this was an incalculable advantage in the advent years of digital Sequencers and Samplers.
MASK TEST ONE is another piece of absolute ambient beauty in it’s foreshadowing of the fate of the Kupfer Family, while WHERE IS SHE and IT WILL SOON BE MORNING are effectively an extended play of HELLO GRANDMA, which forms the backdrop of the capture of Doctor Challis, after fighting a Man in Gray and uncovering his robot nature.

Clearly a work that has become popular or even acquired a cult following, a work that is sought-after by collectors that can finally enjoy in it’s totality the achievement of John Carpenter and Alan Howarth, who deserve credit goes for not forgetting those memorable times and those who lived them.

I N S T R U M E N T S

Prophet-10 w Poly Sequencer
Prophet-5 w Poly Sequencer
ARP Avatar (2)
ARP Sequencer
Sequential Circuits Programmer Mdl.700
Linn LM-1 Drum Computer eq.

Written By Fabio Pirovano(Cigliano) Translated by Alisa Facchini(L.A)


The Album The Bonus Tracks
1 Main Title 2:55 13 Hey Boom 3:34
2 Chariosts of Pumkins 3:24 14 Mask Test One 1:46
3 Drive to santa Mira 2:29 15 I really Love this 1:28
4 Starker and Marge 1:53 16 Local Boy,No Way 1:28
5 First Chase 3:09 17 The Factory 0:45
6 Robots at the Factory 2:00 18 I think its Time 1:43
7 Halloween Montage 1:38 19 The Man Who Killed 2:01
8 Hello Grandma 4:53 20 A pleasure doing business 3:37
9 The Rock 3:25 21 Halloween III Close/Open 2:41
10 Challis Escape 3:30 22 Where is She 3:30
11 South Corridor 2:58 23 It will morning Soon 2:43
12 Goodbye Ellie 4:09 24 Stonehenge 3:28
25 I do Love A good Joke 3:20

Total Running time 67:55