Road to Perdition [Music from the Motion Picture]
![Road to Perdition [Music from the Motion Picture]](/images/Road-to-Perdition-Music-from-the-Motion-Picture-B000068D1A-L.jpg)
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Category: Music CD
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Music CD Cover
Composer: Thomas NewmanEdition: Music CD
Audio: English (Original Language)
Format: Soundtrack
CD Release Date: 2002-06-25
Music Label: Decca U.S.
Soundtracks:
- Rock Island, 1931
- Wake
- Just The Feller
- Mr. Rance
- Bit Borrowers
- Murder (In Four Parts)
- Road To Chicago
- Reading Room
- Someday Sweetheart
- Meet Maguire
- Blood Dog
- Finn McGovern
- The Farm
- Dirty Money
- Rain Hammers
- A Blind Eye
- Nothing To Trade
- Queer Notions
- Virgin Mary
- Shoot The Dead
- Grave Drive
- Cathedral
- There'll Be Some Changes Made
- Ghosts
- Lexington Hotel, Room 1432
- Road To Perdition
- Perdition - Piano Duet
Free Music Notes for Road to Perdition [Music from the Motion Picture]
Free Music Review: Amazing representation of talent....
Hit: 5 Stars
To be brief, and yet ultimately to the point, if you enjoy listening to classical musical/instrumental ensembles, I would heavily recommend at least glancing at this product. If you enjoy, with even more defined parameters, the ability to enjoy the interestingly-beautiful, and often neglected, sound of the oboe this will be for you.
NOTE: This is a LOT better than the available itunes track. I bought my copy, here, for a lot less and it also included the FULL track list/song set compared to the limited version available on iTunes. Just buy it/wait a few days for it to come in (learn some patience to get more than the 'minimum but want NOW' American mentality we've grown!), and import it into your library.
To be a bit more thorough,
I will make it into an easy to read memo format of text, hopefully that will reduce clutter/otherwise.
On Thomas Newman: The reality is that, albeit my utterly biased opinion, Thomas Newman is one of the greatest composition writers for films of our generation. I would argue he is the best, but we are lucky to have quite a few to choose from. He has written scores and pieces for a variety of movies including The Green Mile, Fried Green Tomatoes, Cinderella Man, WALL-E, and tons more. I would heavily recommend looking up his style of music. He also performed musical numbers for Angels in America and the introduction theme for Six Feet Under (you can actually tell the distinctive use of the oboe as his almost "signature"). WALL-E deviates from that norm, but still performs an amazing package. Thomas Newman has delivered time and time again on dramatic, emotional tales. To be honest, I am not sure what impacts me more in some of the films: the beautiful music correlated with the tale, or the tale with music in the background. I sometimes feel the predecessor...
On this title: What an amazing collection of emotionally-raw and inspiring music. I have endured the suicide of a parent, the loss of two brothers, the failure of a marriage, and a slew of other events in my life. I would like to consider myself, in some capacity, hardened of spirit and heart. However, this track has brought me to tears on an untold number of occasions. It can be your own, or it can be directly correlated to this wonderful movie.
->Personalized: On personalization, I find Rock Island, 1931 to be a great way to start my morning jog. I start around 5:30AM, just as the shades of gray begin to accumulate the blue coloring. While not a religious individual, I sometimes wonder if there's not someone above listening to this very song with a large brush of oil paints at their disposal. This song will get listened to at least three times before I complete my running.
->Music related: Watch the Tommy gun scene with Mr. Rooney, and pay attention closely to the musical score. "Ghosts" song. Battle of blue eyes. You are introduced to an entire environment saturated with water, the soft piano drifts displaying trickling water...it contains a beautiful, repeating song score that is interrupted twice. Consider the main song to be a drone of sorts, and at two specifically placed intervals the abrupt change in the song signal two extremely important events. The first: Paul Newman opens his eyes at the exact time in which you hear it. It's intentional, but it's powerful. You have no sound to this point except this song to keep you at bay...the buildup has been intense in the scene itself, but it's not until the music changes that I feel true solidification of an abrupt change in the story. This occurs at 1:34. At 2:00 you are introduced to the voice of a man that understands the situation, the circumstances, and the only viable remedy. In twenty-six seconds I've just felt heartbreak, satisfaction, awe, woe, sympathy, and ultimately sorrow. The sense of what these characters once represented to each other versus what must be done is so magnificent. If I knew nothing else of this album/song, this would be enough.
I hope you've enjoyed my review, it's the first I have written.
PS. I would suggest checking out other Thomas Newman related soundtracks/scores/etc. I have yet to find one that has not been topnotch.
Regards,
K.
Road to Perdition [Music from the Motion Picture] Poster
Director Sam Mendes's much-anticipated follow-up to his Academy Award®-winning American Beauty found him exploring the period gangster film--but with a moral fiber and undercurrent of family tragedy familiar from his Oscar® triumph. As he did with Beauty, Mendes again wisely entrusts the film's music to Tom Newman, a composer with an instinctive knack for getting inside a film's characters via innovative and often orthodox methods. As many of Newman's preceding scores have been rhythmically driven and rife with improvisation-driven experimentalism, its good to hear his equally distinctive writing for orchestra largely take center stage here again. But Newman's inquisitive musical instincts can't be denied, and his melancholy string writing is leavened first with subtle uilleann pipe flourishes that echo the characters' Irish-American roots, then with savory, yet ever-restrained touches of his own ethnic-defying instrumental color and rhythmic accents. It's another moody and introspective gem, seasoned with some lively period jazz (courtesy of the Charleston Chasers, Fletcher Henderson and his Orchestra, and Chicago Rhythm Kings) and a warm, final surprise: a duet of John M. Williams's autumnal title track performed by none other than stars Tom Hanks and Paul Newman. --Jerry McCulleyMiscellaneous Music CDs
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