Lakeshore Records
The Walking Dead (Original Television Soundtrack)
by Bear McCreary
superboo07
superboo07
Show should have ended at the season 8 finale, but great soundtrack. Just wish it had all of the tracks from the show.
Favorite track: Theme From The Walking Dead.
Sha1rholder
Michael Stensen Sollien
Sycamore Tree
Stanley
Blake Cole
Matt
sueman
Peter Steiner
Kraftmeier
fauxgenius
synthheaven
hymenopteran250
Peter Janssens
Jacket Audio Podcast
alkemist80
Deufr
groovemover
solliryc
Yonatan
William Latanville
Nobo.1970
Hs_Yeah
Pale Greider
adrian zak
Graham Needham
akinyemibabs
RICK TURNER
Jake Barnes
MisterHMan
Burt Wolf
Death By Neon
Fusion 3.64
Josh Dionio
Em Maginnis
horrorbusiness13
Wayne Butterworth
JustYou
Filippo Tranchina
unitedIstand
SkinVehiclesfan
Chwant Am Blodeuwedd
Ian Gill
øko
Andreas Yvdal
Sn4kebite
GL Tune
Chief Brody
eak1da
vinylmonkey
bigtf
Pedro
Trev Elkin
bota2112
Peter Kil
Mykola Yeriomin
Dr Sci-Fi
Dave Farrance
Martin Shouler
Jesper Mikkelsen
Laurence R Harvey
-
Streaming + DownloadIncludes unlimited streaming via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
Includes Digital BookletPurchasable with gift card$9.99 USD or more
1. |
||||
2. |
Rick's Despair
02:10
|
|||
3. |
Glenn's Wheels
01:46
|
|||
4. |
Lord Of The Vatos
03:22
|
|||
5. |
Bag Of Guns
02:46
|
|||
6. |
Message To Morgan
03:09
|
|||
7. |
Herd On The Highway
02:40
|
|||
8. |
Sophia
03:09
|
|||
9. |
Coalescence
03:55
|
|||
10. |
Eulogy
02:39
|
|||
11. |
Carl
01:38
|
|||
12. |
Farm Invasion
08:49
|
|||
13. |
Beside The Dying Fire
02:58
|
|||
14. |
C-Section
05:33
|
|||
15. |
The Governor
02:31
|
|||
16. |
Bye, Baby Bunting
01:48
|
|||
17. |
A Return To Compassion
05:53
|
|||
18. |
The Badge
01:43
|
|||
19. |
Welcome To The Tombs
06:22
|
|||
20. |
Reconciliation
02:36
|
|||
21. |
Three Questions
02:31
|
|||
22. |
Negan
02:20
|
|||
23. |
The Day Will Come
02:57
|
about
For this long-awaited release, McCreary selected both his personal favorites from the first seven seasons, along with those most frequently requested by fans. He said, “narrowing down the highlights from seven years of work was a tremendous challenge.”
Premiering on Halloween 2010, in 120 countries simultaneously, The Walking Dead became a cultural zeitgeist practically overnight. A deserted car wreck. A policeman walking through it. The back of a little girl. He calls to her. At first she doesn’t respond. Then she turns around… revealing that all is not quite what it seems. The cop left with no choice shoots her, and as she falls, the tremolo string arpeggios of the “Main Title Theme” by McCreary crescendo, drawing millions of viewers into this harrowing world of The Walking Dead.
“When we started discussing the first season we agreed that drama, action, and horror would be felt more intimately if the score were used only in pivotal scenes, and that it should be written with tonal clarity,” McCreary explained of his initial approach to scoring The Walking Dead. During the zombie apocalypse, silence would be the most prevalent – the lack of sound is what survivors would notice. Those moments when McCreary’s music kicks in, viewers know they are about to be treated to something important. “This approach allowed me to create big emotional impacts with sparse musical gestures.”
As the series progressed, McCreary was able to expand the musical palette. For the second and third seasons he did so with “acoustic guitars and drums to connect with the farmhouse setting (check out ‘Message to Morgan’).” He blended these with a small orchestra for the gut-crushing mid-season finale (‘Sophia'). As audiences were introduced to new characters like the Governor, McCreary incorporated a synth pulse to his largely organic instrumentation. When Neegan was introduced a few seasons later, he employed “creepy electric guitar gestures.”
Premiering on Halloween 2010, in 120 countries simultaneously, The Walking Dead became a cultural zeitgeist practically overnight. A deserted car wreck. A policeman walking through it. The back of a little girl. He calls to her. At first she doesn’t respond. Then she turns around… revealing that all is not quite what it seems. The cop left with no choice shoots her, and as she falls, the tremolo string arpeggios of the “Main Title Theme” by McCreary crescendo, drawing millions of viewers into this harrowing world of The Walking Dead.
“When we started discussing the first season we agreed that drama, action, and horror would be felt more intimately if the score were used only in pivotal scenes, and that it should be written with tonal clarity,” McCreary explained of his initial approach to scoring The Walking Dead. During the zombie apocalypse, silence would be the most prevalent – the lack of sound is what survivors would notice. Those moments when McCreary’s music kicks in, viewers know they are about to be treated to something important. “This approach allowed me to create big emotional impacts with sparse musical gestures.”
As the series progressed, McCreary was able to expand the musical palette. For the second and third seasons he did so with “acoustic guitars and drums to connect with the farmhouse setting (check out ‘Message to Morgan’).” He blended these with a small orchestra for the gut-crushing mid-season finale (‘Sophia'). As audiences were introduced to new characters like the Governor, McCreary incorporated a synth pulse to his largely organic instrumentation. When Neegan was introduced a few seasons later, he employed “creepy electric guitar gestures.”
credits
released October 19, 2017
Album Produced by Joe Augustine & Bear McCreary
Score Produced by Bear McCreary & Steve Kaplan
Recorded and Mixed by Steve Kaplan
Conducted by Bear McCreary
Orchestrated by Edward Trybek, Henri Wilkinson
Copyist: Andrew Harris
Scoring Managers: Sam Ewing, Jessica Rae Huber
Scoring Coordinators: Olivia Blissett, Jonathan Ortega, Kaiyun Wong
Scoring Assistants: Jason Akers, Michael Beach, Omer Ben-Zvi, Jonathan Chau, David Matics, Joanna Pane
Music Editor: Michael Baber
Orchestra Contractor: Peter Rotter
Vocal Contractor: Bobbi Page
Studios: The Bridge Recording Studio, Capitol Records, Glenwood Place Recording Studios, Henson Recording Studios
Mastered by Pat Sullivan at Bernie Grundman Mastering, Los Angeles, CA
Representation: Kraft-Engel Management
Executive Album Producers for Lakeshore Records: Skip Williamson and Brian McNelis
Director of A&R: Eric Craig
Art Director: John Bergin
Layout: by Joe Chavez
Lakeshore Records’ Special Thanks: Lynn Hobensack and Don Smith
COMPOSER’S SPECIAL THANKS
I would like to thank all of my creative partners on this series, individuals whose artistry inspires me on every episode. Special thanks are due to Frank Darabont for bringing me into the family. I also must thank Gale Anne Hurd, Glen Mazzara, David Alpert, Greg Nicotero, Robert Kirkman, Thomas GolubiĆ, Jerry Ross, all the brilliant directors and editors I get to work with, Dawn Botti and all of my friends at AMC, and Brian McNelis at Lakeshore Records. I could never have survived the musical apocalypse without the unending support of my friends, family, and my miraculous team at Sparks & Shadows, especially Joe Augustine, who has been working on this record with me for years. This album would not be possible without the endless enthusiasm and support from my producer, and friend, Scott M. Gimple.
FEATURED PERFORMERS
Raya Yarbrough vocals, Chris Bleth woodwinds, Katherine Ortega bassoon, Laura Brenes French horn, Jonathan Ortega percussion, Bryan Taylor drum kit, Steve Bartek electric banjo, guitars, Ira Ingber guitars, Brendan McCreary guitars, Edward Trybek guitars, Mike Valerio electric bass,
Paul Cartwright electric violin, Peter Jacobson solo cello, Gabriel DiMarco solo cello, Bear McCreary hurdy-gurdy, MIDI programming
STRING ORCHESTRA
Violin Julie Gigante, Eun-Mee Ahn, Robbie Anderson, Jacqueline Brand, Bruce Dukov, Tammy Hatwan, Natalie Leggett, Maya Magub,
Serena McKinney, Helen Nightengale, Alyssa Park, Katia Popov, Neli Nikolaeva, Lisa Sutton, Sarah Thornblade, Shalini Vijayan, Roger Wilkie
Viola Robert Brophy, Brian Dembow, Matt Funes, Tom Lea, Shawn Mann, Darrin McCann, Vickie Miskolczy, David Walther
Violoncello Steve Erdody, Giovanna Clayton, Dennis Karmazyn, Erika Duke-Kirkpatrick,
Armen Ksajikian, Tim Landauer, Andrew Shulman, Jacob Szekely, Cécilia Tsan
Contrabass Drew Dembowski, Ed Meares, Mike Valerio
Album Produced by Joe Augustine & Bear McCreary
Score Produced by Bear McCreary & Steve Kaplan
Recorded and Mixed by Steve Kaplan
Conducted by Bear McCreary
Orchestrated by Edward Trybek, Henri Wilkinson
Copyist: Andrew Harris
Scoring Managers: Sam Ewing, Jessica Rae Huber
Scoring Coordinators: Olivia Blissett, Jonathan Ortega, Kaiyun Wong
Scoring Assistants: Jason Akers, Michael Beach, Omer Ben-Zvi, Jonathan Chau, David Matics, Joanna Pane
Music Editor: Michael Baber
Orchestra Contractor: Peter Rotter
Vocal Contractor: Bobbi Page
Studios: The Bridge Recording Studio, Capitol Records, Glenwood Place Recording Studios, Henson Recording Studios
Mastered by Pat Sullivan at Bernie Grundman Mastering, Los Angeles, CA
Representation: Kraft-Engel Management
Executive Album Producers for Lakeshore Records: Skip Williamson and Brian McNelis
Director of A&R: Eric Craig
Art Director: John Bergin
Layout: by Joe Chavez
Lakeshore Records’ Special Thanks: Lynn Hobensack and Don Smith
COMPOSER’S SPECIAL THANKS
I would like to thank all of my creative partners on this series, individuals whose artistry inspires me on every episode. Special thanks are due to Frank Darabont for bringing me into the family. I also must thank Gale Anne Hurd, Glen Mazzara, David Alpert, Greg Nicotero, Robert Kirkman, Thomas GolubiĆ, Jerry Ross, all the brilliant directors and editors I get to work with, Dawn Botti and all of my friends at AMC, and Brian McNelis at Lakeshore Records. I could never have survived the musical apocalypse without the unending support of my friends, family, and my miraculous team at Sparks & Shadows, especially Joe Augustine, who has been working on this record with me for years. This album would not be possible without the endless enthusiasm and support from my producer, and friend, Scott M. Gimple.
FEATURED PERFORMERS
Raya Yarbrough vocals, Chris Bleth woodwinds, Katherine Ortega bassoon, Laura Brenes French horn, Jonathan Ortega percussion, Bryan Taylor drum kit, Steve Bartek electric banjo, guitars, Ira Ingber guitars, Brendan McCreary guitars, Edward Trybek guitars, Mike Valerio electric bass,
Paul Cartwright electric violin, Peter Jacobson solo cello, Gabriel DiMarco solo cello, Bear McCreary hurdy-gurdy, MIDI programming
STRING ORCHESTRA
Violin Julie Gigante, Eun-Mee Ahn, Robbie Anderson, Jacqueline Brand, Bruce Dukov, Tammy Hatwan, Natalie Leggett, Maya Magub,
Serena McKinney, Helen Nightengale, Alyssa Park, Katia Popov, Neli Nikolaeva, Lisa Sutton, Sarah Thornblade, Shalini Vijayan, Roger Wilkie
Viola Robert Brophy, Brian Dembow, Matt Funes, Tom Lea, Shawn Mann, Darrin McCann, Vickie Miskolczy, David Walther
Violoncello Steve Erdody, Giovanna Clayton, Dennis Karmazyn, Erika Duke-Kirkpatrick,
Armen Ksajikian, Tim Landauer, Andrew Shulman, Jacob Szekely, Cécilia Tsan
Contrabass Drew Dembowski, Ed Meares, Mike Valerio
license
all rights reserved
tags
Bear McCreary recommends:
If you like Bear McCreary, you may also like:
-
Saw Anthology, Vol. 1 (Music from the Motion Pictures)
by Charlie Clousersupported by 51 fans who also own “The Walking Dead (Original Television Soundtrack)”
It's truly a shame that the favourite track selection is so limited, otherwise I would have absolutely chosen Baptism. It's a spectacularly atmospheric track, makes great use of lietmotif. But in a more general sense I absolutely love the soundtrack to these movies, always conveying emotional beats perfectly, with unconventional sounds that I absolutely love! I'm thrilled that Clouser has stuck with the Saw series to this day, and I sincerely cannot wait to see what gets cooked up for Saw Xi <3
go to album -
Hellraiser 30th Anniversary Edition (Original Motion Picture Score)
by Christopher Youngsupported by 51 fans who also own “The Walking Dead (Original Television Soundtrack)”
This is a masterful composition of darkly romantic themes and terrifying sounds. Simply put I consider Hellraiser one the best horror scores ever written along with its sequel, Hellbound. The first two tracks contain two of the most memorable themes in Young's canon.
go to album -
Black Mirror - San Junipero (Original Score)
by Clint MansellRelive the eeriness of one of this season’s standout “Black Mirror” episodes with the score by Clint Mansell.
go to album
