21 Songs, 1 Hour 18 Minutes

EDITORS’ NOTES

The producers of Starz Network’s episodic pirate saga Black Sails aimed for a gritty and authentic edge, and composer Bear McCreary more than rose to the occasion with a salty, organic score that pays an unusual level of attention to musical history. As he did for his Emmy-winning work on Da Vinci’s Demons, McCreary again collaborates with music historian Adam Knight Gilbert to help inform the score’s sense of time and place. "My goal was to create music that sounds improvised by an exhausted crew aboard a ship navigating choppy waters," the composer explains. "I wanted the audience to sense dirt beneath fingernails plucking jangly mandolin strings, to feel urgent strains of a hurdy gurdy crank, and to smell stale air wheezing out of old accordion bellows." Anchored by his trademark massed percussion, the series’ rousing main title has been acclaimed as one of McCreary’s best. But the score’s rich breadth of textures and colors belies its small-ensemble nature, as richly demonstrated by the folksy “Captain Kidd” and the melancholy solo fiddle of “Wondrous Love,” remarkably different takes on the same basic shanty. Notes McCreary: “The only difference is attitude.” 

EDITORS’ NOTES

The producers of Starz Network’s episodic pirate saga Black Sails aimed for a gritty and authentic edge, and composer Bear McCreary more than rose to the occasion with a salty, organic score that pays an unusual level of attention to musical history. As he did for his Emmy-winning work on Da Vinci’s Demons, McCreary again collaborates with music historian Adam Knight Gilbert to help inform the score’s sense of time and place. "My goal was to create music that sounds improvised by an exhausted crew aboard a ship navigating choppy waters," the composer explains. "I wanted the audience to sense dirt beneath fingernails plucking jangly mandolin strings, to feel urgent strains of a hurdy gurdy crank, and to smell stale air wheezing out of old accordion bellows." Anchored by his trademark massed percussion, the series’ rousing main title has been acclaimed as one of McCreary’s best. But the score’s rich breadth of textures and colors belies its small-ensemble nature, as richly demonstrated by the folksy “Captain Kidd” and the melancholy solo fiddle of “Wondrous Love,” remarkably different takes on the same basic shanty. Notes McCreary: “The only difference is attitude.” 

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Ratings and Reviews

4.6 out of 5
42 Ratings
42 Ratings
Lotsoflovegirl

Amazing, he does it again!

This is yet another fantastic production from Bear McCreary. I am so happy he continues to pump out new stuff.

Shayla Rosario

GREAT SOUNDTRACK! but....

This is such a great soundtrack but I wonder when the music for season 2 is coming out? Does anyone know if/when it will be released?

Steampunk Ferret

Simply fantastic!

Bear McCreary has sucessfully created a brilliant piece of music that embodies the gritty feel of the series, while still having a complex musical texture. Once again, McCreary has blown me away. Good show chap! Good show indeed!

About Bear McCreary

Score composer Bear McCreary was born in Fort Lauderdale, Florida, on February 17, 1979, the son of the writer Laura Kalpakian. He obtained degrees in composition and recording arts from the Thornton School of Music at the University of Southern California and became a protégé of film composer Elmer Bernstein, for whom he reconstructed and re-orchestrated the score for the 1963 film Kings of the Sun, resulting in a new recording of the music.

After scoring a number of short films in the late '90s and early 2000s, McCreary was hired to compose the music for a new version of the television series Battlestar Galactica, which premiered on the Sci Fi Channel in 2004. Soundtrack albums of his music were released in 2005, 2006, 2007, and 2009 by La-La Land Records, corresponding to the four seasons of the series. During that time, he also scored the straight-to-video film Rest Stop (released by PlanR) and its sequel, Rest Stop: Don't Look Back, as well as another straight-to-video feature, Wrong Turn 2: Dead End. The latter two scores were released by the La-La Land label, which also issued his music for the Fox TV series Eureka and Sci Fi Channel's Terminator: The Sarah Connor Chronicles, both in 2008. His score for the pilot episode of the Battlestar Galactica prequel Caprica was released in 2009, and he stayed on to write for the series' full one-season run.

That same year, he was tapped to score AMC's popular zombie drama series The Walking Dead, which premiered in October 2010. Over the next few years McCreary's talents becoming increasingly in demand as he took jobs scoring NBC's superhero drama The Cape (2011), the historical fantasy series Da Vinci's Demons (2013), and Marvel's Agents of S.H.I.E.L.D. (2013), just to name a few. In 2015, the first of his Billboard-charting soundtracks to the STARZ time-travel series Outlander was released by Relativity Records. The following year brought a string of film scores in the horror realm that included The Forest, The Boy, and 10 Cloverfield Lane. More genre-related scores followed in 2017, including soundtracks for the sci-fi black comedy Colossal and the slasher thriller Happy Death Day, as well as the J.D. Salinger biopic Rebel in the Rye. McCreary's score for Outlander: Series 3 appeared in 2018. ~ William Ruhlmann

HOMETOWN
Fort Lauderdale, FL
BORN
February 17, 1979

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