23 Songs, 1 Hour 13 Minutes

EDITORS’ NOTES

Three seasons on, Steven Moffat and Mark Gatiss’ playful BBC reinvention of Arthur Conan Doyle’s legendary Victorian detective has become an international sensation. But while Benedict Cumberbatch and Martin Freeman have garnered much acclaim for their quirky contemporary takes on Holmes and Watson, the muscular musical contributions of composers David Arnold and Michael Price are responsible for much of the show’s nervy edge and frequently off-camber emotional aura. Anchored by the driving club beats of “How It Was Done” (which interpolates their memorable waltz of a main theme as screaming metal guitar riff), Arnold and Price use the season’s unlikely developments to infuse their often-dark electro-organic musical tapestry with eclectic new colors and dry wit. The aggressive “John Is Quite a Guy” even manages to channel the show’s instant-classic theme into Led Zep-“Kashmir” territory with tongue (presumably) in cheek, while a melancholy solo violin offers up a traditional “Waltz for John and Mary” that Doyle himself might have enjoyed.

Mastered for iTunes

EDITORS’ NOTES

Three seasons on, Steven Moffat and Mark Gatiss’ playful BBC reinvention of Arthur Conan Doyle’s legendary Victorian detective has become an international sensation. But while Benedict Cumberbatch and Martin Freeman have garnered much acclaim for their quirky contemporary takes on Holmes and Watson, the muscular musical contributions of composers David Arnold and Michael Price are responsible for much of the show’s nervy edge and frequently off-camber emotional aura. Anchored by the driving club beats of “How It Was Done” (which interpolates their memorable waltz of a main theme as screaming metal guitar riff), Arnold and Price use the season’s unlikely developments to infuse their often-dark electro-organic musical tapestry with eclectic new colors and dry wit. The aggressive “John Is Quite a Guy” even manages to channel the show’s instant-classic theme into Led Zep-“Kashmir” territory with tongue (presumably) in cheek, while a melancholy solo violin offers up a traditional “Waltz for John and Mary” that Doyle himself might have enjoyed.

Mastered for iTunes
TITLE TIME

Ratings and Reviews

4.9 out of 5
120 Ratings
120 Ratings
Rosielocks0327 ,

Ridiculously Excited!!

The score of this season has surpassed those of the other two, and the others were incredible as well. Really happy and waiting not-so-patiently for this to come out =]

AshleyHamishHolmes ,

SO GOOD

Sherlock is one amazing show. I have the first two soundtracks, and according to the previews, they just keep getting better and better (along with the show)!

Dasselrond ,

Fabulous!

Again David Arnold and Michael Price create a score that not only enhances the writing and the acting, but they do so in a way that adds additional layers and depths. "Addicted to a Certain Lifestyle" continues to slay me as it is so full of the confusion and despair that John is feeling when he realizes nothing is what he thought it was ...not even his own needs.

About David Arnold & Michael Price

David Arnold is a film and television composer most recognized for his work in the James Bond franchise, with directors Roland Emmerich and John Singleton, and on the Sherlock TV series. Also a producer, arranger, and multi-instrumentalist, he's crossed over to the pop/rock realm to work with artist such as Damien Rice and Garbage.

Born in Luton, England, Arnold grew up with an interest in music and participated in school music ensembles and later played in bands, both through college. He learned composing and scoring largely on his own by volunteering to score student films at the National Film and Television School. After earning credit for several film shorts and documentaries, college flatmate and frequent collaborator Danny Cannon asked his friend to score his 1993 feature The Young Americans. In the process, Arnold co-wrote "Play Dead" with Björk, resulting in a British Top Ten hit for the film.

With a copy of his breakthrough soundtrack in hand, Arnold visited Los Angeles and secured an assignment to score Roland Emmerich's 1994 sci-fi adventure film Stargate. His dynamic score, which integrated Middle Eastern folk music and limited electronics into symphonic adventure fare, led to work on the subsequent Emmerich films Independence Day (1996) and Godzilla (1998).

In the meantime, Arnold was welcomed into the James Bond franchise for 1997's Tomorrow Never Dies, starring Pierce Brosnan. It included the song "Surrender," which was produced and co-written by Arnold and performed by k.d. lang. He was invited back to score the Bond films The World Is Not Enough (1999), Die Another Day (2002), Daniel Craig's debut Casino Royale (2006), and Quantum of Solace (2008). Among several other film and TV projects during the 2000s, Arnold also became a regular collaborator with director John Singleton, composing music for his Shaft (2000), Baby Boy (2001), 2 Fast 2 Furious (2003), and Four Brothers (2005).

Highlights of Arnold's screen work in the 2010s included The Chronicles of Narnia: The Voyage of the Dawn Treader, released in 2010, the Simon Pegg-Nick Frost feature Paul from 2011, and the popular BBC series Sherlock, which he co-composed with Michael Price. The show received individual season soundtracks by the Silva Screen label. ~ Marcy Donelson

HOMETOWN
Luton, Bedfordshire, England
BORN
January 23, 1962

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