PyeFace
01-10-2013, 01:34 PM
Thomas Dolby's soundtrack for Ken Russell's "Gothic" (1987) [mp3-320]
Title: Gothic
Artist: Thomas Dolby
Year: 1987
Format: MP3
Bit Rate: 320Kbps
Size: 100MB
Tracks: 2
Track Listing:
Unfortunately the 26 tracks originally on the vinyl release were combined into 2 single tracks for this cd release.
The 26 tracks are listed below - but I do not know where the break occurs on the cd between part one and part 2.
01 - Fantasmagoria
02 - Byronic Love
03 - Shelleymania
04 - Mary's Theme
05 - Party Games
06 - Gipsygirl
07 - The Crucifix
08 - The Fundamental Source
09 - Sin And Buggery
10 - Impalement
11 - Skullpulse
12 - Leech Juice
13 - Restless Sleep 1, 2 + 3
14 - It's His!
15 - A Trickle Of Blood
16 - Coitus Per Stigmata
17 - Once We Vowed Eternal Love
18 - Riddled With Guilt
19 - Metamorphosis
20 - The Hangman
21 - The Beast In The Crypt
22 - The Final Seance
23 - Funeral By The Lake
24 - No Ghosts In Daylight
25 - To The Grave
26 - The Devil Is An Englishman
http://rapidshare.com/files/525128288/Gothic.zip
From Thomas Dolby's blog (The Official Thomas Dolby Blog � Blog Archive Gothic horror � The Official Thomas Dolby Blog (http://blog.thomasdolby.com/?p=340):)
"I have many good memories of that experience, as a well as some bad ones. It was wonderful to hear my music performed by an orchestra for the first time; and, given how out of control a composer usually is when it comes to scoring a movie, I could have done far worse than to get paired up with Ken Russell, who doesn�t take crap from anyone and who has a deep and scholoarly love of music.
I�m happy to say Ken was always kind to me and I never found myself on the receiving end of PHS. But on the day we recorded the orchestral score, at the Angel Studios, a converted church in North London, I did get to witness it first hand.
I had never worked with an orchestra before, and I�d made the mistake of signing a deal with Virgin where I had to pay all recording costs out of my own fee. I reckoned I could just about afford the London Philharmonic plus an orchestrator for one day. We had 18 cues to record. I carefully prepared and sequenced them all in my Fairlight and gave the recordings to the orchestrator to transcribe. But I don�t read music and have little or no formal training, so I trusted him to transcribe my Fairlight versions faithfully. This he had not done. Orchestral players being heavily unionized as they are, on the dot of 9am they opened their sheet music for the first time. I stood there in the middle of a 96-piece orchastra thrilling at the sounds of my compositions. But every few bars, something was off. I made mental notes as they played each cue through. I had to walk from one section to the next saying, "Ok cellos... that part that goes 'da DAAA da da...' what�s your top note there?" "Erm, A flat?" I thought about it and said "...ok... change that to an A natural will you?"
They obviously thought I was a complete dunderhead. I could see Ken through the control room window, already well into his ever present crate of red wine at this early hour. By late morning we were already 50% behind where we needed to be. At about 2 minutes to 12, I had just made a couple of minor changes to a cue and was ready to run it one last time. "Er sorry Mr Dolby," said the first violin, "it�s almost twelve and we have to go to lunch." "Well they�ve almost nailed it, can�t we just add on the equivalent mintues at the end of your lunch break?" I asked, perplexed. "Sorry, Mr Dolby, that�s the rules."
I was speechless.
They were just beginning to put down their instruments when the heavy studio doors burst wide open, and Ken Russell came storming in the room, flush with Burgundy, the veins sticking out on his neck. He strode to the middle of the floor, glaring around at the musicians. "You... fucking... BASTARDS!!" he screamed: "You have this wonderful gift-from GOD!" (hand outstretched to the heavens) "-to play your instruments, and all your can think about is your FUCKING TEABREAK!" The reverberations died down, leaving a deathly hush in the studio. After a few seconds the silence was broken by the tap of the conductor�s baton on his music stand. "Cue 11a once again please, gentlemen."
I saw Ken in the canteen. He complimented me on how the music was sounding. I said I was sorry he got a bit het up there for a moment. He leaned in to me and whispered: "Well it did the bloody trick Dolby, didn�t it?""
Also from Thomas Dolby's blog, where he is talking about his Howard The Duck sooundtrack (The Official Thomas Dolby Blog � Blog Archive Reviving an 80's classic � The Official Thomas Dolby Blog (http://blog.thomasdolby.com/?p=560):)
"My original musical score was kicked out by the studio because it was 'too weird.' Many of the themes ended up in Ken Russell�s 'Gothic' instead, which was supposed to be a horror film."
Title: Gothic
Artist: Thomas Dolby
Year: 1987
Format: MP3
Bit Rate: 320Kbps
Size: 100MB
Tracks: 2
Track Listing:
Unfortunately the 26 tracks originally on the vinyl release were combined into 2 single tracks for this cd release.
The 26 tracks are listed below - but I do not know where the break occurs on the cd between part one and part 2.
01 - Fantasmagoria
02 - Byronic Love
03 - Shelleymania
04 - Mary's Theme
05 - Party Games
06 - Gipsygirl
07 - The Crucifix
08 - The Fundamental Source
09 - Sin And Buggery
10 - Impalement
11 - Skullpulse
12 - Leech Juice
13 - Restless Sleep 1, 2 + 3
14 - It's His!
15 - A Trickle Of Blood
16 - Coitus Per Stigmata
17 - Once We Vowed Eternal Love
18 - Riddled With Guilt
19 - Metamorphosis
20 - The Hangman
21 - The Beast In The Crypt
22 - The Final Seance
23 - Funeral By The Lake
24 - No Ghosts In Daylight
25 - To The Grave
26 - The Devil Is An Englishman
http://rapidshare.com/files/525128288/Gothic.zip
From Thomas Dolby's blog (The Official Thomas Dolby Blog � Blog Archive Gothic horror � The Official Thomas Dolby Blog (http://blog.thomasdolby.com/?p=340):)
"I have many good memories of that experience, as a well as some bad ones. It was wonderful to hear my music performed by an orchestra for the first time; and, given how out of control a composer usually is when it comes to scoring a movie, I could have done far worse than to get paired up with Ken Russell, who doesn�t take crap from anyone and who has a deep and scholoarly love of music.
I�m happy to say Ken was always kind to me and I never found myself on the receiving end of PHS. But on the day we recorded the orchestral score, at the Angel Studios, a converted church in North London, I did get to witness it first hand.
I had never worked with an orchestra before, and I�d made the mistake of signing a deal with Virgin where I had to pay all recording costs out of my own fee. I reckoned I could just about afford the London Philharmonic plus an orchestrator for one day. We had 18 cues to record. I carefully prepared and sequenced them all in my Fairlight and gave the recordings to the orchestrator to transcribe. But I don�t read music and have little or no formal training, so I trusted him to transcribe my Fairlight versions faithfully. This he had not done. Orchestral players being heavily unionized as they are, on the dot of 9am they opened their sheet music for the first time. I stood there in the middle of a 96-piece orchastra thrilling at the sounds of my compositions. But every few bars, something was off. I made mental notes as they played each cue through. I had to walk from one section to the next saying, "Ok cellos... that part that goes 'da DAAA da da...' what�s your top note there?" "Erm, A flat?" I thought about it and said "...ok... change that to an A natural will you?"
They obviously thought I was a complete dunderhead. I could see Ken through the control room window, already well into his ever present crate of red wine at this early hour. By late morning we were already 50% behind where we needed to be. At about 2 minutes to 12, I had just made a couple of minor changes to a cue and was ready to run it one last time. "Er sorry Mr Dolby," said the first violin, "it�s almost twelve and we have to go to lunch." "Well they�ve almost nailed it, can�t we just add on the equivalent mintues at the end of your lunch break?" I asked, perplexed. "Sorry, Mr Dolby, that�s the rules."
I was speechless.
They were just beginning to put down their instruments when the heavy studio doors burst wide open, and Ken Russell came storming in the room, flush with Burgundy, the veins sticking out on his neck. He strode to the middle of the floor, glaring around at the musicians. "You... fucking... BASTARDS!!" he screamed: "You have this wonderful gift-from GOD!" (hand outstretched to the heavens) "-to play your instruments, and all your can think about is your FUCKING TEABREAK!" The reverberations died down, leaving a deathly hush in the studio. After a few seconds the silence was broken by the tap of the conductor�s baton on his music stand. "Cue 11a once again please, gentlemen."
I saw Ken in the canteen. He complimented me on how the music was sounding. I said I was sorry he got a bit het up there for a moment. He leaned in to me and whispered: "Well it did the bloody trick Dolby, didn�t it?""
Also from Thomas Dolby's blog, where he is talking about his Howard The Duck sooundtrack (The Official Thomas Dolby Blog � Blog Archive Reviving an 80's classic � The Official Thomas Dolby Blog (http://blog.thomasdolby.com/?p=560):)
"My original musical score was kicked out by the studio because it was 'too weird.' Many of the themes ended up in Ken Russell�s 'Gothic' instead, which was supposed to be a horror film."