James Newton Howard - King Kong - Original Motion Picture Soundtrack (2005)
BAND/ARTIST: James Newton Howard
- Title: King Kong - Original Motion Picture Soundtrack
- Year Of Release: 2005
- Label: Decca Soundtracks
- Genre: Soundtrack, Classical
- Quality: FLAC (tracks) | Mp3 / 320kbps
- Total Time: 01:14:42
- Total Size: 376 MB | 171 MB
- WebSite: Album Preview
Tracklist
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01. King Kong
02. A Fateful Meeting
03. Defeat Is Always Momentary
04. It's In The Subtext
05. Two Grand
06. The Venture Departs
07. Last Blank Space On The Map
08. It's Deserted
09. Something Monstrous... Neither Beast Nor Man
10. Head Towards The Animals
11. Beautiful
12. Tooth And Claw
13. That's All There Is...
14. Captured
15. Central Park
16. The Empire State Building
17. Beauty Killed The Beast I
18. Beauty Killed The Beast II
19. Beauty Killed The Beast III
20. Beauty Killed The Beast IV
21. Beauty Killed The Beast V
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01. King Kong
02. A Fateful Meeting
03. Defeat Is Always Momentary
04. It's In The Subtext
05. Two Grand
06. The Venture Departs
07. Last Blank Space On The Map
08. It's Deserted
09. Something Monstrous... Neither Beast Nor Man
10. Head Towards The Animals
11. Beautiful
12. Tooth And Claw
13. That's All There Is...
14. Captured
15. Central Park
16. The Empire State Building
17. Beauty Killed The Beast I
18. Beauty Killed The Beast II
19. Beauty Killed The Beast III
20. Beauty Killed The Beast IV
21. Beauty Killed The Beast V
Composer James Newton Howard (Batman Begins, Sixth Sense, The Fugitive) has helmed his fair share of action films, but none as daunting as director Peter Jackson's gargantuan remake of King Kong. Not only was he rescoring the life and death of one of cinema's most beloved icons; he had to do it in less than two months. Longtime Jackson collaborator Howard Shore, who took home an Oscar for his work on the Lord of the Rings trilogy, left Kong in a flurry of "creative differences" with the director, scoring just over an hour of material. Keeping that fact in mind, Howard's compositions are nothing short of remarkable. While they lack Shore's epic scope and his myriad of complex and highly melodic character cues, Howard manages to pinch-hit his way through with the confidence of a starting player. Using the Depression era as a launching pad, he deftly whips jazz motifs, thunderous brass sections, and wistful choirs into a stew of "silver screen"-meets-"blue screen" harmony that may not yield any memorable themes, but manages to illuminate the film's terror, humanity, and tragedy with irrefutable professionalism.© TiVo
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