31 Songs, 1 Hour, 18 Minutes

EDITORS’ NOTES

2012’s Skyfall was the first James Bond film scored by Thomas Newman, who also soundtracked The Shawshank Redemption, Road to Perdition, Away We Go, and Finding Nemo. “Grand Bazaar, Istanbul” opens with an air of urgency as dramatic orchestral strikes bite and snap over a foreboding trill and hints of Eastern music tones. This is balanced by the following “Voluntary Retirement,” where soft brass arrangements swell and exhale alongside the gradual layering of skittering rhythms. In “Quartermaster,” the near-human voices of grainy woodwinds rub against the labyrinthine logic of looped electronic textures. Newman’s knack for injecting orchestral organics with elements of electronic music is prevalent throughout the Skyfall score—especially in the outstanding “Komodo Dragon.” There, the classic Bond theme song resonates through a grand orchestra, while off in the distance the pitter-patter of mechanized rhythms slowly builds and overtakes the movement in the middle. “Adrenaline” closes with Eastern-flavored electro kinetics.

EDITORS’ NOTES

2012’s Skyfall was the first James Bond film scored by Thomas Newman, who also soundtracked The Shawshank Redemption, Road to Perdition, Away We Go, and Finding Nemo. “Grand Bazaar, Istanbul” opens with an air of urgency as dramatic orchestral strikes bite and snap over a foreboding trill and hints of Eastern music tones. This is balanced by the following “Voluntary Retirement,” where soft brass arrangements swell and exhale alongside the gradual layering of skittering rhythms. In “Quartermaster,” the near-human voices of grainy woodwinds rub against the labyrinthine logic of looped electronic textures. Newman’s knack for injecting orchestral organics with elements of electronic music is prevalent throughout the Skyfall score—especially in the outstanding “Komodo Dragon.” There, the classic Bond theme song resonates through a grand orchestra, while off in the distance the pitter-patter of mechanized rhythms slowly builds and overtakes the movement in the middle. “Adrenaline” closes with Eastern-flavored electro kinetics.

TITLE TIME
5:14
2:22
2:32
1:18
1:50
1:26
3:22
0:56
1:04
1:31
4:58
2:29
3:20
4:46
1:13
1:58
1:32
1:29
2:32
2:14
2:49
2:02
2:32
2:22
3:21
3:53
2:39
5:11
1:48
2:18
1:47

About Thomas Newman

A second-generation member of Hollywood's preeminent musical dynasty, composer Thomas Newman carried on his family's legacy through a series of Academy Award-nominated film scores. He was born in Los Angeles on October 20, 1955, the son of Alfred Newman and the nephew of Lionel and Emil Newman, all three renowned composers and conductors from Hollywood's golden age. (Thomas' brother David also followed in the family business, as did their cousin, the sardonic singer/songwriter Randy Newman). Thomas studied piano and violin as a child, following a two-year stay at the University of Southern California by earning a Master's degree in music from Yale. Although his early musical theater project Three Mean Fairy Tales was championed by Stephen Sondheim, Newman spent the better part of the late '70s playing keyboards in the rock band the Innocents and the improvisational combo Tokyo 77. In 1983, he broke into the film industry by orchestrating a John Williams cue from Return of the Jedi, composing his first full score, Reckless, the following year.

Newman's ethnic-inspired score to the 1985 Madonna vehicle Desperately Seeking Susan proved his breakthrough, and he further honed his distinctive electro-orchestral approach on subsequent projects including 1987's The Lost Boys and Less Than Zero. Films including Fried Green Tomatoes, The Rapture, and Scent of a Woman followed before Newman earned a pair of Oscar nominations in 1994 for his work on The Shawshank Redemption and Little Women; a year later, he received another nomination for Unstrung Heroes. Newman's fourth Oscar bid arrived with 1999's American Beauty. Released by DreamWorks, the soundtrack album went on to win a Grammy Award for best score. Newman received further Academy Award nominations in successive years for his work on Road to Perdition (2002), Finding Nemo (2003), and Lemony Snicket's A Series of Unfortunate Events (2004). He won another two Grammys for his theme for the television series Six Feet Under, best instrumental composition and best instrumental arrangement. His eighth Oscar nomination came with The Good German (2006), which was followed by nominations for WALL-E (2008), Skyfall (2012), and Saving Mr. Banks (2013). Meanwhile, he won two more Grammys for WALL-E and Skyfall.

Newman continued in kind with notable scores for other critically acclaimed films, including the documentary He Named Me Malala, Steven Spielberg's Bridge of Spies, and another James Bond installment, Spectre, all in 2015. The composer then returned to Disney Pixar for the highly anticipated sequel to Finding Nemo, 2016's Finding Dory. That same year, he provided music for the space drama Passengers, which earned him his 14th Oscar nomination. He next supplied the score for director Stephen Frears' 2017 film Victoria & Abdul. ~ Jason Ankeny & William Ruhlmann

  • ORIGIN
    Los Angeles, CA
  • BORN
    October 20, 1955

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