...if I post it, well it's because I like it, but I think also that or FLAC link is dead, or been post just at 320 ( HQ Here )...
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Thomas Newman - Road To Perdition (2002) [FLAC]



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01. Thomas Newman - Rock Island, 1931
02. Thomas Newman - Wake
03. Thomas Newman - Just The Feller
04. Thomas Newman - Mr. Rance
05. Thomas Newman - Bit Borrowers
06. Thomas Newman - Murder (in four parts)
07. Thomas Newman - Road To Chicago
08. Thomas Newman - Reading Room
09. Thomas Newman - Someday Sweetheart
10. Thomas Newman - Meet Maguire
11. Thomas Newman - Blood Dog
12. Thomas Newman - Finn McGovern
13. Thomas Newman - The Farm
14. Thomas Newman - Dirty Money
15. Thomas Newman - Rain Hammers
16. Thomas Newman - A Blind Eye
17. Thomas Newman - Nothing To Trade
18. Thomas Newman - Queer Notions
19. Thomas Newman - Virgin Mary
20. Thomas Newman - Shoot The Dead
21. Thomas Newman - Grave Drive
22. Thomas Newman - Cathedral
23. Thomas Newman - There'll Be Some Changes Made
24. Thomas Newman - Ghosts
25. Thomas Newman - Lexington Hotel, Room 1432
26. Thomas Newman - Road To Perdition
27. Thomas Newman - Perdition - Piano Duet






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Rar File = 370 MB
Current Bitrate = [ FLAC ]
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ENJOY !!! XOXO !!! :p

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And my time is a piece of wax fallin' on a termite.... ( Beck - Loser )
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If You Want To Download one of my Posts, Do It As Soon AS Possible, PLZ ( Because It's Difficult For Me to Re-Up )

Thanks Yannis. Another great Newman score :)

Review

Filmtracks

Road to Perdition: (Thomas Newman) The highly acclaimed Sam Mendes adaptation of a graphic novel, 2002's Road to Perdition was Oscar bait in the making, placing Tom Hanks, Paul Newman, and a strong supporting cast in a compelling story of organized crime in 1930's Chicago. Hanks plays a hitman of high talents, but when he becomes the victim when the majority of his family is executed by the jealous son of his employer, he and his remaining young son go on a journey of revenge, discovery, and healing in the setting's gloomy and dark underworld. The successful collaboration between Mendes and composer Thomas Newman continued with Road to Perdition. It was their pairing just a few years prior for American Beauty that earned them both the most heightened critical and popular recognition of their careers, despite an upset of the score at the Oscars. Newman's music for the 2000 hit had taken on a life of its own, with a second generation of his fans becoming attached to his style of extremely eclectic, low-key tones that would continue in Erin Brockovich and Pay it Forward. Whether Newman was experimenting with these kinds of synthetic scores or building upon his more largely established fan base with his complex orchestral works, he always concentrated heavily on character development and tackled setting and time as a secondary task. While Road to Perdition may be a 1930's Chicago gangster film in setting, the core of its drama is still rooted in the same genre of family tragedy that made American Beauty into such an intoxicating experience for many audiences. The difference, though, is that Newman folds many of the intriguing stylistic mannerisms from his quirky scores of the era into a much larger orchestral scope for Road to Perdition, taking the best of both worlds and wrapping them into a far broader and admirable, Academy Award nominated effort. Not only was Road to Perdition a return for Newman to the vastly complicated orchestral works of his past, but it also features some of his most dynamic and successful character development in the 2000's.

Because the film's personality is conveyed in a somber tale of loss and revenge, Thomas Newman's score is no walk in the park. Not only was his aim to compose music to accompany the tragic events on screen, but to also illuminate the thinking of the primary character, a challenge in any such environment. Thus, his music for Road to Perdition is jumpy, unorthodox, melancholy, and colorful all in one. For enthusiasts of Newman's American Beauty style of unpredictable movement, Road to Perdition is surprisingly similar in its experimental rhythmic approach, but it is simply translated this time into a robust form for a full orchestral ensemble. The dark and consistently somber tone of Newman's work is balanced by a fascinating infusion of innovative instrumentation. His precise use of percussion and electronic accompaniment offers a touch of style to nearly every cue, and the ethnic hints meant to represent the characters' Irish-American roots play a strong role without becoming too obvious or burdensome. A wide range of soloists perform such instruments as the Uilleann pipes, low and high whistles, Irish bouzouki, pang glocken, hurdy-gurdy, sponge, and ewi, among countless others. More importantly, however, is the use of bass-heavy strings to help these elements achieve the necessary dramatic weight for the story. Newman, while often criticized negatively for his experimental minimalism in scores like In the Bedroom (which bordered on sound design rather than music), makes the best of his instrumental knowledge for Road to Perdition in several cues that literally crawl with a bizarre array of sounds and rhythms. As such, the score was a welcome relief for most of the composer's early collectors. The plucky rhythms often associated with Newman's trademark style helps introduce "Mr. Rance" and "Meet Maguire" with a strange, but effective combination of both humor and malice. A lazy, distant trumpet is a continuous reminder of the setting and time, keeping the score rooted just enough to its American noir locale. After the overtly prominent Irish tones in "Rock Island, 1931," most of the score is restrained to a level of eerie atmosphere that excels because of its unexpected organic warmth (more often than not).

In need of special recognition are the two or three frenetic action cues (including "Dirty Money" and "Shoot the Dead") that explode with Newman's talent for colorful rhythmic bursts. These optimistically choppy, but tense explosions of sound from mainly strings and percussion are the score's most extroverted side, and they were probably among the most interesting cues of Newman's career at the time. While the score is lacking in terms of memorable thematic development, several partially and slowly maturing ideas are woven deeply into the string performances that meander throughout the score (culminating in the concluding "Road to Perdition"). On the whole, Road to Perdition is a work that may sound somewhat simplistic and disappointingly restrained during a casual listen, but its ability to maintain a tightly dramatic emotional atmosphere of such seasoned depth should not be ignored. If Newman's knack for addressing the best in human character is indeed his compositional specialty, then maybe it's easier to both hear and enjoy that talent when he is given the diversity of a full orchestra and an ensemble of soloists. His music for Road to Perdition, while disturbing in its introspective and moody spirit, has several moments of harmonic beauty hidden in its ranks (including "The Farm," and "Cathedral"). The album for Road to Perdition features vibrant sound quality that allows the crisp precision of especially the robust rhythmic portions to be conveyed without the restrictions of many of the dull soundscapes of Newman's 1999 to 2001 efforts. The lengthy product offers a healthy dose of Newman's work (especially compared to his shorter releases of the period), as well as a handful of more lively jazz of the era from the likes of the Charleston Chasers, Fletcher Henderson and his Orchestra, and Chicago Rhythm Kings. The scene in which Hanks and Paul Newman perform a piano duet on screen is included at the end of the album, too (and yes, the two of them are really performing that short piece). Between Newman's somewhat upbeat resolution in his final score cue and the Hanks/Newman duet, the album ends on a surprisingly warm note. Otherwise, Road to Perdition is a somber, though fascinating score that will appeal greatly to listeners who were eager for the composer's return to the dramatic depth of The Shawshank Redemption.

Review by William Ruhlmann ~ Allmusic

Thomas Newman has a talent for composing disquieting little motifs played on unusual instruments (think of his theme music for the television series Six Feet Under), and he puts it to use in his score for the Depression-era gangster film Road to Perdition. Director Sam Mendes, who called Newman in to work on American Beauty, which earned him an Academy Award nomination, brings him back for a similar role here. Even discounting the inclusion of period (Fletcher Henderson's "Queer Notions," the Chicago Rhythm Kings' "There'll Be Some Changes Made") and period-sounding ("Someday Sweetheart" by the Charleston Chasers) source music, this is a long soundtrack, but it is one consisting of small and subtle effects. Newman likes dissonance, but he places it unobtrusively within quiet passages, so that it creates odd and comic tones. He is also capable of writing more conventional cues, such as "Dirty Money," with its martial percussion and contrasting sections carried by strings and brass, but it is the dark, slow-paced pieces that dominate this score.

Editorial Reviews ~ Amazon.com

Director Sam Mendes's much-anticipated follow-up to his Academy Award(R)-winning American Beauty found him exploring the period gangster film--but with a moral fiber and undercurrent of family tragedy familiar from his Oscar(R) 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 McCulley

Thank you share!

Thank, Yannis.

MAy i have the link please and thank you

Link it's on the Post ;) and work ( I check it )...

You have good taste :) LOVE THIS SCORE

Thank you for another great lossless upload :)

Yannis, thank you for link.

Hey Yannis, any chance for a new link! I am desperately looking for this flac soundtrack.. I would really appreciate it ! Thanks in advance