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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3:17 $1.29
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3:26 $1.29
1:57 $1.29
3:54 $1.29
4:39 $1.29
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3:36 $1.29
1:47 $1.29
5:17 $1.29
1:15 $1.29
1:41 $1.29
10:26 Album Only
4:49 $1.29
10:22 Album Only
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Customer Reviews

4.5 out of 5

40 Ratings

Amazing, he does it again!

Lotsoflovegirl,

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

Black Sails

Bradthelifter,

Love the show! The theme song as well!

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 the 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 (released by La-La Land.), as well as another straight-to-video feature, Wrong Turn 2: Dead End (La-La Land). The label 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. ~ William Ruhlmann

  • ORIGIN
    Fort Lauderdale, FL
  • GENRE
    Soundtrack
  • BORN
    February 17, 1979

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