Perhaps the most significant piece of Star Wars music of the prequel trilogy, "Duel of the Fates" for chorale and orchestra boldly captures the struggle between light and darkness. We discuss the personal influences that composer John Williams brings to his compositions, and do a full musical analysis of the concert arrangement of this dynamic and exciting piece.
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In 1999, Star Wars and its music were about to change forever. In this introductory episode to the Phantom Menace and prequel trilogy, we discuss how George Lucas and composer John Williams had changed the entertainment industry with their genius, and how their work between trilogies is represented by what we see and hear on screen.
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Part 2 of our interview with The Lord of the Rings sound designer David Farmer. We discuss the sounds of the Balrog, the Ents, and other various creatures across all three films. David also describes his technical workflow, and speaks with great fondness about the many months he spent in New Zeland with the crew.
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The Lord of the Rings sound designer David Farmer joins us for an interview about his work on the films of Middle-Earth.
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Part IV of The Two Towers focuses on the love story of Aragorn and Arwen, as well as the poems of Tolkien that can be found in the orchestral score. We also break down an exciting action cue, and look at how Howard Shore's music tells the centuries-long story of Gandalf.
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Part III of our look at The Two Towers focuses on Gollum, Treebeard and more. We also discuss how the music blends themes and story points together.
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Part II of our examination of The Two Towers focuses on the kingdom of Rohan. We examine its modal melodies and how they are first introduced to us, we listen to how they're orchestrated, and we take a deep dive into Rohan's Anglo-Saxon roots.
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Our journey through Middle-earth continues as we begin discussing the music of The Two Towers. We discuss the structural challenges of bringing the middle portion of LOTR's giant story to the silver screen, and examine just how composer Howard Shore's thematic score assists in holding the plot together.
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Our final look at the music of Star Trek puts us in the position of the show's music editors and composers. With so many classic episodes to get through, how did they stretch their music budget to cover an entire season? The music of Sol Kaplan, Joseph Mullendore, Gerald Fried and Fred Steiner is examined, and we also look at a series of clever music edits for tracked scores.
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Music production on a full season of Star Trek begins! Our first two composers get to work, as Alexander Courage and Fred Steiner start writing and recording music at a frantic pace. We'll hear the rest of Courage's work on season one, and listen to Steiner's amazing contributions to Star Trek's musical vocabulary. We also examine the critical role played by the music editors, as they work to establish and shape the music of season one.
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Before making it to air, Star Trek had not one, but two pilots scored by Alexander Courage. Once the first season finally went into production, it took five composers to pull it off. This episode explores the musical, financial and creative realities of 1960s television music production, as we discuss the scores for these two pilots, and the creation of some of the show's musical sound effects. We are also introduced to season one's other four composers.
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The history of television and the origins of Star Trek are explored through the life and career of composer/orchestrator Alexander Courage, television star Lucille Ball, and Desilu music director Wilbur Hatch. The main title melodies for Star Trek are analyzed and discussed, along with their place in the history of 20th Century television music.
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In our final episode on the music of E.T. we listen to the second half of the movie's incredible music, cue by cue. We also discuss the work of film editor Carol Littleton, and vocal sound designer Ben Burtt.
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In Part II we take it from the top, and listen to how the film score for E.T. is constructed in the first half of the movie. We examine multiple themes, and discuss the movie's emotional honesty.
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The film score to E.T. The Extra-Terrestrial is widely considered to be one of the most important film scores of all time. We discuss what makes the music so great as a whole, and we discuss the evolution of the score's most important themes.
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In Part III of our series on Ocarina of Time, we tackle our main quest to save Hyrule by learning more complex melodies, mastering new musical dungeons, and ultimately facing off against our bongo-playing, pipe organ-pounding foes.
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In Part II of our series on The Legend of Zelda: Ocarina of Time, we look at the first act of the game and discuss all of its musical diversity: the dungeons, the distant lands, and the melodic fragments we learn to play on our digital ocarina. The game's over "music" theme is discussed, as well is hidden homages to the Zelda series' musical past.
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The groundbreaking interactive music of The Legend of Zelda: Ocarina of Time is both diegetic and non-diegetic music, as it plays a central role in both the story and gameplay.
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The music to original NES title The Legend of Zelda is discussed. We break down the main overworld theme, talk about its impact, and share memories of the original Zelda experience.
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In part II of our interview with Carlos Rafael Rivera, we discuss how he wrote around diagetic music and sound design. Themes for the main character are discussed, as well as parts of The Queen's Gambit that feel like a sports movie.
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We meet and celebrate Carlos Rafael Rivera, the composer for the hit Netflix series The Queen's Gambit. His musical background and career rise are discussed, as well as his overall approach to working with directors. His love for Randy Newman and film music is also covered, and we begin our in-depth discussion of The Queen's Gambit's wonderful score.
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In part II of our interview with Zach Robinson and Leo Birenberg, we discuss the rock and metal influences in Cobra Kai's score. We also talk about their use of thematic material, musical humor, and the show's return to Okinawa.
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We get a chance to sit down with Cobra Kai composers Zach Robinson and Leo Birenberg, as they discuss their music, their process, and their love of film scoring. The various musical styles of the Karate Kid franchise are discussed, as well as their own unique take on this hit TV series.
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In our second episode on the music of Karate Kid, we take a close look at the music of Mr. Miyagi, the pan flute music of Zamfir, and how it tells the story of Miyagi and Daniel's friendship. More songs are discussed, and we hear restored music in the movie's dramatic finale for the very first time.
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The music in 1984's The Karate Kid is both song score and film score, and composer Bill Conti worked with both. We discover how the songs and underscore are musically related, and discuss how main character themes are woven throughout this musically eclectic movie. The history of "You're The Best" is discussed, as is the movie's dramatic finale.
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We take a close listen to the end of Home Alone, breaking down how the music scores the comedy, and when it holds back. Diagetic songs and song scores are discussed, as is the recording of a large collection of Holiday hits. We hear how Williams uses themes to complete the story, bringing it all home with a feel-good conclusion.
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Let's hear it from the top! We take a close look at various parts of Home Alone to break down the compositions, and we examine a scene with omitted music restored. The use of popular Christmas music is discussed, as is the comedic effect of orchestration.
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In our first look at John Williams' score for Home Alone, we discuss the background of the project, and how it greatly influenced the score. We listen to a few leitmotifs, and discuss how they became songs for the film, and we examine their use in the film. Broad styles of Holiday music are also discussed, as are themes of family, fear, and love.
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Our final episode on Superman the Movie takes a close look at the heroic music in Metropolis, as well as the unfolding villainy of Lex Luthor. The heavy use of Superman's fanfare leitmotif is discussed, and we share thoughts from John Williams about the lasting, positive impact of Christopher Reeve as Superman.
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In part three of our look at Superman the Movie, we examine great musical moments from the film score, starting at the beginning. Multiple versions of Krypton are compared, and we listen to more of the music from Smallville.
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We continue our fly-through of Superman (1978) by listening to the love theme from the film score, and discuss a fascinating behind-the-scenes story. Other themes are analyzed and discussed, including a theme for Smallville, Lex Luthor and the March of the Villains, and a theme for the green crystal of Krypton.
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John Williams' iconic Superman score is analyzed in context of a 3-part superhero movie: science fiction in the beginning, Americana growing up in Smallville, and a full-blown comic book in Metropolis. The main themes used in Williams' score are analyzed via breaking down these three influences. The history of Superman is discussed, and behind-the-scenes stories of the making of 1978's Superman are revealed.
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We continue our interview with Robert Lopez and Kristen Anderson-Lopez, discussing the iterative and very personal nature of songwriting, life stories shared in the writers room, Anna's character arc, and the heart-warming struggle that Kristoff faces when trying to express his feelings. We also discuss the inspiration behind Olaf's song "When I Am Older."
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Robert Lopez and Kristen Anderson-Lopez join us in the studio for a 2-part interview about the songs of Frozen II. They discuss their process of discovering the songs that drive the story, their collaboration with Disney, and share fascinating stories of their iterative songwriting adventures into the unknown.
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We conclude our listen to Return of the Jedi, and the whole classic Star Wars trilogy, with the Battle of Endor. Themes are discussed, as are moments where music was omitted. We explore more diagetic music with the Ewoks, and compare multiple versions of the film's ending.
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In part 2 of our analysis, we look at roughly the first half of Return of the Jedi. We discuss each cue, its dramatic effect, and the creative process behind the final presentation. The diagetic, in-world music is also discussed, and we compare the original 1983 music to the changes that were made in the 1997 Special Edition.
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Return of the Jedi is the third Star Wars score from John Williams, and it transforms his overall musical approach to that of an operatic cycle. We look at how familiar themes from the first film are treated, and we explore and dissect some of the major new themes that greatly enrich the classic trilogy.
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We continue our listen to Morricone's groundbreaking, stylish scores for director Sergio Leone and his "Spaghetti Westerns," including a close examination of For a Few Dollars More, and The Good, The Bad, and The Ugly. The cultural impact of these movies is also discussed, and we listen to the clever sound editing and effects that made the soundscape so memorable.
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Ennio Morricone's iconic music for the "Spaghetti Westerns" of Sergio Leone had an enormous impact on western soundtracks... especially the violent and stylish trilogy of films that featured Clint Eastwood as "The Man With No Name." We analyze the trilogy's first film, A Fistful of Dollars, and its unique film score by Morricone. The history of how this film was made is discussed, as is the sound design and post-dubbing that makes the soundtrack of Leone's westerns so unique.
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In our second look at The Nightmare Before Christmas, we discuss the enormous contirbutions of the voice talent in this cast. We also continue looking at great moments from the film's score, discuss the orignal motion picture soundtrack album, and analyze the remaining songs from the middle of the film - all the way to it's dramatic finale.
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Danny Elfman's contribution to Tim Burton's The Nightmare Before Christmas is enormous, as the composer not only wrote the score, but helped with story development by writing the songs. He even stars as the lead singer. Elfman's songs are discussed, along with stories behind this musical's development.
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In 1989, Danny Elfman redefined the sound of superheroes on the silver screen. His theme for the Batman is explored, as well as his musical treatment of the Joker and Vicki Vale. Prince's music is also discussed, and we break down Elfman's use of rhythm, themes, and textures.
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Danny Elfman's origin story is as fascinating as his music. We discuss his incredible success with Oingo Boingo, as well as his long-time collaboration with director Tim Burton. We explore the origin of his European "Doom-pah" sound, his humor, and his very first films with Burton: Pee-Wee's Big Adventure, and Beetlejuice.
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The music of The Goonies is a unique mix of classic film scoring, 80s pop, and film nostalgia, all combined with Dave Grusin's contemporary musical sensibilities. The result is a very effective film score that breathes life, adventure, and humor into this cult classic.
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Let's sit back and enjoy Casablanca and its music with this feature-length commentary. Max Steiner's wonderful music is dissected, and many behind-the-scenes stories about Casablanca's production are discussed. The commentary also touches on the fascinating stories behind the actual Warner brothers.
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One of the greatest films to ever be produced by the classic Hollywood studio system features a song that infuriated composer Max Steiner. Regardless, he produced one of the most memorable and effective film scores of his entire career. The history of Casablanca's troubled production is explored, as is the time period: Casblanca debuted shortly after the United States entered World War II.
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Our look at the music and sound of Raiders of the Lost Ark concludes with a breathtaking truck chase, scoring Indy in disguise, and the climactic opening of the Ark.
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Our adventures continue with Indiana Jones in Cairo, where John Williams and Steven Spielberg masterfully use film score and diegetic music to tell a story of mystery, danger, and romance.
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We take a much closer look at the music of Raiders, starting with the opening adventure in South America. Specific musical moments in the film are discussed and analyzed.
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Our musical adventures with Indiana Jones begin by taking a close look at the inspiration behind Raiders and its film score. We break down the main musical themes, including the famous Raiders March, Marion's theme, and a theme for the Ark.
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Author Doug Adams shares his exciting experiences as he was writing his comprehensive book on the music of The Lord of the Rings.
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The languages of Middle Earth are more than just vital to the Lord of the Rings: They are an essential part of Howard Shore’s operatic film score.
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We continue our look at Fellowship by discussing the beautiful and familiar music of the Hobbits, in all its permutations. The musical connections between Hobbits, the One Ring, and Gollum are explored, and we break down the theme for The Fellowship of the Ring itself.
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Our first look at not only the film scores of Middle Earth, but also at composer Howard Shore. The creation of his music for Fellowship is examined, as is the source material for these amazing films. Themes are broken down, and the overall style and approach of Shore's music is analyzed.
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Film music has its roots in 19th century opera. The fascinating and controversial life and music of Wagner is explored, as well as an overview of how film music has its roots in opera. Musical examples are played, and history is uncovered.
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In part 2 of our interview with composer Vince DiCola, we discuss his work on the 1986 animated feature, Transformers the Movie. His influences are explored, and comparisons are made between his approach to songwriting versus film scoring.
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In our interview with Vince DiCola, we learn about how he became the composer for Rocky IV. We explore his musical background as a drummer and keyboardist, how he was influenced by progressive rock, and we discuss his innovative use of synthesizer. Songwriting for Staying Alive is also discussed, and learn the story of how DiCola made it in Hollywood.
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Our final look and listen to the music of The Empire Strikes Back covers the end of the film, and its main location: Cloud City. We listen to more restored music during the lightsaber duel, explore even more themes like Boba Fett's theme and Lando's Cloud City theme, and we examine how John Williams carefully scores the trap that awaits our heroes, playing against the gorgeous visuals and the illusion of safety that they present.
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Our in-depth look at The Empire Strikes Back continues as we examine the middle of the film: the asteroid field, the planet Dagobah, and more. Continuous changes to the final score are discussed, and we get our first listen to an instrument that makes its debut in the Star Wars saga: the synthesizer.
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We look at the music of the first act of The Empire Strikes Back: the planet Hoth. Multiple cues are discussed, as well as the creative process of iterating on musical ideas. We even get to hear restored music that was written and performed for many long sequences, but was cut from the film. Lastly, we focus on the battle in the snow, and the moment that the Imperial March is established as a theme for Darth Vader himself.
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When approaching the film score to The Empire Strikes Back, the sequel to the unprecedented smash hit Star Wars just three years before, John Williams made it all look easy. It wasn't. The pressure was intense, and the timeline was challenging. We discuss the initial spotting session for Empire, as well as the new, central musical themes that emerge in this sequel... one that changed the Star Wars franchise, and its music, forever.
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We celebrate our first year of The Soundtrack Show with a glimpse behind the scenes on how the show is written. We share listener emails, give a year in review, take a quick look at (and listen to) some holiday music, and offer a sneek-peak of what's to come in 2019.
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In part 2 of our interview, Mike Matessino candidly discusses the challenges facing the music industry, while sharing his insights into the popularity of film scores performed live. Some of his favorite soundtrack releases are discussed, and we get a sample of a new project Mike's been working on.
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Mike Matessino has been producing film and television soundtrack albums for over 20 years, and has worked with some of the most famous film music of all time. We discuss everything that goes into the releases of our favorite albums, and get a few behind-the-scenes stories... including one about how older movie soundtracks often times are barely rescued before they are restored.
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We all know Star Wars, Indiana Jones and Harry Potter... but what about Hook, Dracula, The Cowboys or Catch Me If You Can? We take a listen to excerpts of lesser-known works by John Williams.
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Recorded in just three hours, this iconic score has been an inspiration to athletes all over the world for decades. We look at its creation, and how music is used to tell the story of a down-on-his luck athlete whose life changes forever.
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In our final look at Harry Potter and the Philosopher's Stone, we explore the music for "he who must not be named." The original soundtrack album is also discussed, and we review the 9-part children's suite for orchestra that John Williams penned while he was writing the film score.
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Using musical examples, we explore how the films and books of Harry Potter are a metaphor for common struggles that take place during the normal school year. Themes for Harry, the Potter family, Quidditch, and Hogwarts are also discussed.
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In our first look at the musical world of Harry Potter, we discuss the creative inspiration behind "Hedwig's Theme," "Harry's Wondrous World" and more. We then ask the question: is there a theme for Harry Potter himself?
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In this episode, we'll discuss the creation and usage of some of Ghostbusters' pop songs, including Ray Parker Jr's smash number one single, and how they are an effective songscore when combined with Bernstein's orchestral magic.
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In our first look at Ghostbusters, we call up an in-depth look at the musical contribution from legendary film composer Elmer Bernstein, who gives the movie a light-hearted, comedic touch ... while treating the threat of malevolent spirits very seriously. The main theme is discussed, as is Dana's theme, and so much more.
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In just three days, director and film composer John Carpenter wrote a classic horror film score. Go behind the scenes and hear the story of how it all came together. We'll also analyze the music, and talk about why it still scares us decades later.
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In part 2 of our look at Alfred Hitchcock's Psycho, we discuss how composer Bernard Herrmann skillfully builds tension with his use of repetition early on in the score. In the second half of the film, as a new, 3-note motive emerges, we break down its musical characteristics, and discuss how its used to warn us as the movie shifts from being a psychological thriller, to a classic whodunit.
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In part 1 of our look at Alfred Hitchcock's Psycho, we discuss the history of both Hitchcock and film composer Bernard Herrmann, and explore the strength of their collaborations. We give detailed history on the production of Psycho and its film score, and provide a breakdown of several pieces of music... including the most famous horror scene of all time.
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Universal created a rich cast of fascinating monsters ... and evolved their film scoring techniques through the process.Through the creation of Dracula, Frankenstein, The Invisible Man, The Wolf Man, the Mummy, and more, we hear the evolution of film scoring progress through each movie, culminating in some of the most important and innovative scores of the early 20th Century.
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We take a detailed look at the film score for Tron, examining multiple cues and breaking down their melodic and rhythmic qualities. The history of the film score's creation is also discussed, as are the songs written for the movie, We even listen to music that was omitted from the final film, and compare it with a famous sequence that was released without music.
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Tron's film score is as innovative and groundbreaking as the movie itself: part synth score, part orchestral score, it carefully balances tech-savvy storytelling with the triumph of the human (and program) spirit. We discuss the plot to Tron, how it was received by critics and audiences in 1982, and how the movie, and music has aged in the years since.
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In our final look at Back to the Future, we discuss how themes are used, and how often. Secondary themes are examined, taking a close listen to how they're all related. We discuss the relationships between characters, and how music functions as a storytelling device. We even talk about the blues, and how Marty McFly was able to jam out with very little instruction given to his bandmates.
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In part II of our analysis of the music in Back to the Future, we focus on how the orchestral score is presented to us, and its important relationship to the pop music in the movie. The decision to use pop music is also analyized, as we musically break down the movie's transition from teen comedy, to science fiction and time traveling adventure.
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In our first look at Back to the Future, we take a deep look at the past, discussing stories that brought composer Alan Silvestri, director Robert Zemeckis, and producer Steven Spielberg together. The main themes fo Back to the Future are also discussed, and a musical breakdown is given for why they fit the story so perfectly. We compare Back to the Future to other famous works, play clips, and so much more.
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In part 2 of our interview with former Disney Music President Chris Montan, we discuss his work with legendary film composers like Hans Zimmer, Jerry Goldsmith, Randy Newman and more. Mr. Montan takes us back to the early days of Pixar, and describes how Toy Story invented their magic musical formula. Different composer's styles and sound are discussed, as are the challenges of adapting Disney classics for Broadway, and so much more.
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In part 1 of our interview with former Disney Music President Chris Montan, we discuss his incredible career as an executive music producer on some of the most memorable soundtracks, musicals and song scores of the past 35 years, including The Lion King, Beauty and the Beast, The Little Mermaid, and even live action films like Pretty Woman, Beaches, Sister Act, and more. Beyond film, his Broadway and television music is also covered, with incredible behind-the-scenes stories about working with the most talented musicians and songwriters in show business.
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We take a first look at the work of composer Max Steiner, and sample his work from King Kong, Casablanca, Gone With The Wind and more. We also discuss the incredible influence that Steiner has on today's most beloved film franchises, and the important role he played in the development of modern film music techniques.
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In Part II, David watches the second half of Jurassic Park. More behind-the-scenes stories and insights are revealed, as well as discussions about script-writing, character arcs, and how music was used to reinforce the drama.
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In Part I, David watches the first half of Jurassic Park. Characters, musical themes, sound design and story are heavily discussed, as are background stories about the film's technical achievements.
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Jurassic Park doesn't always function like a typical film score. In this episode, we discuss the role that music plays throughout the film. We also touch on the film's amazing sound design, the appearance of "Dies Irae," a breakdown of a theme for predators, and so much more.
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In our first episode dedicated to Jurassic Park, we explore the emotion behind the music. How is it different than Spielberg and Williams' first monstrous collaboration, Jaws? We delve into the history of Jurassic Park's development, discuss the differences between the film and the original novel, and the critical role those differences play in the creation of the film's beautiful sountrack.
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In Part II of our interview with Robert Lopez and Kristen Anderson-Lopez, we discuss the inspiration and stories behind their Oscar-winning song from Disney/Pixar's film Coco, as well as their musical influences, what it's like to work with some of the most talented musicians in the world, and where they see their already-stellar careers headed in the future.
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In our first interview, we talk with Disney and Broadway songwriting team Robert Lopez and Kristen Anderson-Lopez, who have penned hit songs for Frozen, Coco, Winnie the Pooh, Finding Nemo, and more for Disney. We discuss their creative process as songwriters, their work-life balance, and the challenges of bringing Frozen, the hit Disney animated musical, to Broadway earlier this year.
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Bonus episode! We conclude our look at Star Wars by discussing the 2nd half of the movie. We chat more about temp scores, the creative challenges of mixing, the incredible end battle sequence, and so much more. Grab a snack, sit back, and watch the 2nd half with The Soundtrack Show!
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Bonus episode! In part one, David watches the first half of Star Wars and provides commentary about its soundtrack, unscripted. Orchestral music history, opera, sound design, and dialog recording are also discussed. Grab a bucket of popcorn, sync up the Soundtrack Show at the top, and watch along!
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Our musical analysis of Star Wars comes to a conclusion as we examine music cues that didn't make the final cut of the film. We discuss the creative process, and listen to what could have been, speculating on why certain pieces were omitted or changed. We also break down Star Wars musical themes by the numbers, discovering which themes are most dominant in the movie. Plus musical storytelling techniques, listener feedback, and more!
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We continue our journey through the legendary music of Star Wars from 1977, discussing how music is placed strategically throughout the film. We also take a listen to a long-forgotten theme for Darth Vader, the playful jawas, and we explore the scum and villainy of the jazzy Mos Eisley cantina. Plus, movie clips, listener feedback, and more!
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Star Wars and its characters are driven by musical motifs, or themes. We dive into Luke's theme, the Force, Obi-Wan Kenobi, The Rebel Alliance, and Princess Leia. We take a close look at how these themes tell the story of Star Wars, plus we hear some listener feedback, interview clips, and much more.
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As we begin our journey into that galaxy far, far away, we discuss the life of George Lucas, the development of Star Wars, and the early temp scores that led to a symphonic masterpiece: the soundtrack for Star Wars: Episode IV - A New Hope.
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Before Star Wars and Superman, there were the film scores of child prodigy Erich Wolfgang Korngold. When revisited today, his music and life story are both incredibly powerful. Discover how Korngold changed film scores forever, how music saved him and his family, and how he blazed the trail for decades of film scores to come.
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Jump in and explore the music of Super Mario Bros, in all of its 8-bit glory. We discuss the surprising power of video game music, the technology and innovation that drove it, and the creative process that led to this 1985 classic.
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Ahoy! Our look at Jaws concludes with the sea voyage of the Orca, as our characters attempt to hunt the hunter. The score focuses on the human spirit, and resurrects the swashbuckling film scores of classic Hollywood. Take a listen to how Jaws ushers in a renaissance of classic orchestral film scores in this action-packed climax.
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Our "deep dive" into the music, sound and story of Jaws begins as we look closely at the first half of the movie. What we find are fascinating surprises, interesting stories, the terror of the shark, a moving family bond ... and even a dark sense of humor.
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Kicking off our first score analysis, we set the stage by discussing the problems that haunted the production of Jaws... and how these same problems were turned into advantages through the creative genius of Steven Spielberg and John Williams. We also give a brief biography of Williams' early life and career, and discuss how his experiences and technique brought a wealth of knowledge and tradition to this groundbreaking movie.
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Music makes you feel, but sound makes it real. Let's discuss the other aspects of a movie mix. While often transparent to audiences, the sound design, Foley and dialog work are "50 percent of the motion picture experience." We discuss how, using examples from The Lord of the Rings: The Two Towers, Toy Story, and Star Wars Episode V: The Empire Strikes Back.
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Music is a language, and composers have a musical word that means "Death." It's been used to convey doom and gloom for over 100 years, and without knowing it, you've heard it in some of your favorite movies. From The Lord of the Rings to The Shining, we'll listen to clips that may surprise you. Composers speak with music, and now we'll know it when we hear it.
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What is music? How do we define something so abstract? Something we can't see, and can only hear? This episode arms listeners with the ability to talk about their favorite soundtracks, using examples from Rocky, Superman, 2001: A Space Odyssey and more.
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In our first episode, we breakdown themes from Star Wars, Indiana Jones, Star Trek and Back To The Future, showcasing the artistry and storytelling that goes into each composition. We also discuss the origins of the word "Soundtrack," give a basic music theory demonstration, and talk about the language of music.
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The Soundtrack Show takes listeners on a tour of movies, TV shows, video games and theater -- through their sound. Host David W. Collins breaks it all down so anyone who loves entertainment can appreciate it in a whole new way.
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The Soundtrack Show is a weekly look at film scores and soundtracks for some of the most popular movies, TV shows, video games and theater pieces of all time.
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