OP、EDのTVサイズ、すべてのシーンのBGM全43曲を網羅した全45曲収録。ギリシャ神話をモチーフとした物語と、正義のために戦う少年達の熱き姿を描き「聖闘士(セイント)」「聖衣(クロス)」「小宇宙(コスモ)」などのネーミングなどと共に1980年代後半に爆発的な人気を博した『聖闘士星矢』。漫画の発行部数は2000万部を超え、アニメ化、フィギュアを中心とする多彩な商品化によってファン層を拡大。ほぼ四半世紀もの間人気を維持し続けている。海外においても「聖闘士星矢」シリーズは北米?欧州?中南米?アジアの計20ヶ国以上で放送され、日本の輸出アニメーションの代表的作品のひとつであることは間違いない。聖闘士星矢 THE LOST CANVAS 冥王神話 現在、秋田書店「週刊少年チャンピオン」にて連載中の「聖闘士星矢 THE LOST CANVAS 冥王神話」は、車田正美と手代木史織による新シリーズ。18世紀のヨーロッパを舞台に繰り広げられる聖戦の壮絶さと華麗さ、登場人物たちの織りなすドラマの待望のアニメ化。「聖闘士星矢 THE LOST CANVAS 冥王神話」第一章、全13話のOVAがVAP発売。 【EUROX】シングル「COLD LINE」でデビュー。前身は「バイファム」の主題歌をてがけたTAO。TVアニメーション『機甲界ガリアン』の主題歌やMIKI HOUSEなどのCMソングなどを手掛け、シングル2枚をリリース。シングル「Cold Line」はヨーロッパでも発売、イタリアを中心にスマッシュヒットを収める。その後、Vo.根本が脱し、1986年には新たに長谷川勇が加入、アルバム「MEGATREND」をリリース。同時期に、中森明菜のアルバム「不思議」を中森明菜、EUROXの共同でプロデュース。独特な世界観を持つこのアルバムは、中森明菜ファンの間でも話題となる。デビューから24年を経て再結成し、アルバム「DIG FROM THE PAST」を発表。【生乃麻紀】 GLORY GO!GO! GIRLSの第二弾CD「SPACE MONKEY ANSWERS」への参加をきっかけに音楽活動を開始する。現在は、ストリートや都内ライブハウスなどに出演し、独自の歌とパフォーマンスの確立を形成中。現役女子大生。【和田薫】東京音楽大学作曲科卒。作曲を伊福部昭、池野成、有馬礼子の各氏に師

Lord Of The Rings Online: Riders of Rohan (Official Video Game Score) Original Release Date: October 9, 2012 Label: Watertower Music Copyright: 2012 WaterTower Music / 2012 Warner Bros. Ent. / 2007 Saul Zaentz DBA Middle-Earth Enterprises Total Length: 56:13 Genres: Classical Soundtracks ASIN: B009P11HPC

Companies etc Phonographic Copyright (p) – WaterTower Music Copyright (c) – WaterTower Music Credits: Art Direction, Coordinator [Soundtrack Coordination] – Sandeep Sriram Bass – Lee Sklar* Cello [Solo] – Martin Tillman Co-producer – Hans Zimmer, Peter Asher Composed By [Music], Arranged By [Music], Written-By [Music] – Hans Zimmer Conductor [Music] – Atli Örvarsson, Junkie XL, Nick Glennie-Smith Contractor [Assistant Orchestra Contractor] – Megan Wintory, Yvonne Tran-MacDonald Contractor [Orchestra] – Peter Rotter Coordinator [Score Coordinator And Studio Manager] – Czarina Russell Copyist [Music Preparation] – Booker White Drums [Drum Orchestra] – Bernie Dresel, Curt Bisquera, Danny Carey, Jason Bonham, Jim Keltner, John JR Robinson*, Josh Freese, Matt Chamberlain, Pharrell Williams, Ryeland Allison, Satnam Ramgotra, Sheila E., Toss Panos, Trevor Lawrence Jr., Vinnie Colaiuta Edited By [Assistant Music Editor] – Nevin Seus Engineer [Assistant] – Christian Wenger, John Chapman, Peter Nelson Executive-Producer – Charles Roven, Christopher Nolan, Deborah Snyder, Emma Thomas (2), Zack Snyder Executive-Producer [Executive In Charge Of Music For Water Tower] – Jason Linn Executive-Producer [Executives In Charge Of Music For Warner Bros. Pictures] – Darren Higman, Paul Broucek Guitar – George Doering Leader [Orchestra] – Belinda Broughton Mixed By [Score] – Alan Meyerson, Stephen Lipson Music By [Additional Music] – Andrew Kawczynski, Atli Örvarsson, Junkie XL, Steve Mazzaro Orchestrated By [Orchestrator] – Carl Rydlund, Kevin Kaska, Yvonne Suzette Moriarty* Pedal Steel Guitar [Pedal Steel Orchestra] – Boo Bernstein, Chas Smith, JD Maness*, John McClung, Marty Rifkin, Peter Frieberger, Rick Schmidt, Skip Edwards Performer [Steel Sculptures] – Chas Smith Photography By [Anne Marie Calhoun] – Zoë Zimmer Photography By [Brass And Strings At Eastwood] – Michael Osment Photography By [Chas Smith Studio And Pedal Steel At Eastwood] – Eric Matthies Photography By [Drums At Eastwood And FOX] – Dan Pinder Photography By [Guitar, Bass And Cello At Remote Control] – Jessica Rotter Producer – Stephen Lipson Programmed By [Synth Programming] – Hans Zimmer, Howard Scarr Recorded By [Additional] – Daniel Kresco Recorded By [Drums And Steel Score] – Tommy Vicari Recorded By [Orchestra Score] – Alan Meyerson Sound Designer [Ambient Music Design] – Mel Wesson Sound Designer [Digital Instrument Design] – Mark Wherry Sound Designer [Rhythm Design] – Junkie XL Sound Designer [Sample Development] – Ben Robinson, Claudius Brüse, Raul Vega, Tauress Habib Sound Designer [World Engine Sound Design] – Eric Norris Supervised By [Score Wranglers] – Bob Badami, Melissa Muik Supervised By [Supervising Orchestrator] – Bruce L. Fowler*, Walter Fowler* Technican [Warner Scoring Stage Team] – Jamie Olvera, Richard Wheeler Jr, Ryan Robinson, Tom Hardisty Technician [DTS HeadphoneX Mix Prepared By], Mastered By – Nathaniel Kunkel Technician [DTS Team] – Fred Maher, Geir Skaaden, Rory Kaplan Technician [Fox Scoring Stage Team] – Christine Sirois, Denis St. Amand, Stacey Robinson, Tim Lauber, Tom Steel Technician [Music Production Services] – Steven Kofsky Technician [Technical Consultant] – Brian Wherry, Chuck Choi Technician [The Drum Doctor] – Ross Garfield Violin [The Artot-Alard Stradivarius] – Ann Marie Calhoun* Voice – Hilda Örvarsdóttir

这是一部非常优秀的电影原声作品，虽然单单听曲子使整张专辑显得有一些散，但作为一部动作影片的原声带，整体性并不是作曲家首要考虑的目标（并不象如《Brave heart》等史诗性的影片那样），如何配合影片的动作场面与剪辑才是首要的目的。这部电影在影片与音乐的配合方面做的非常突出，在欣赏电影的同时绝对不能忽视音乐的存在。这张电影原声带的作曲家有三人，分别为Nick Glennie Smith, Hans Zimmer与Harry Gregson Williams，这三位作曲家同在一家由Hans Zimmer创办的“媒体公司”（Media Venture）中工作，这家电影音乐公司在Hans Zimmer的带领下之做出了大量的电影音乐作品。上面所说的几部非常有名的影片音乐大部分都是以几人合作的形式出台的，但都带有比较明显的统一的风格。这也说明电影音乐在国外已走上产业化的道路，从而使其更完备、更有效率。提到Hans Zimmer，应该非常熟悉，说到《The Lion King》《Crimson Tide》;《Broken Arrow》;《The Preacher’s Wife》;《The Thin Red Line》;《As Good As It Gets》与《The Prince of Egypt》，我想大家应该能够明白Hans Zimmer在好莱坞的地位。是的，Hans Zimmer的名字与许多好莱坞的大片紧紧的联系在一起。应该说Hans Zimmer创造了一种电影音乐的风格，如同《The Rock》的导演Michael Bay一样，他的那种风格在很多部影片中都有很好的体现。这部影片也是秉承作曲家一贯的作风，为电影的成功奠定了基础。Hans Zimmer的配乐是一种充满现代气息的音乐，虽然他仍然运用管弦乐团作为音乐的主体构成，但是非常强调如架子鼓等打击乐器的作用，并把管弦乐与电子合成器结合起来，使得音乐自始至终被鲜明的节奏所充斥、包围，这样的音乐运用在动作片中烘托紧张的气氛是再合适不过了。另外，他善于表现铜管与弦乐气势恢宏、宽广壮阔的一面，善于表现宏大的电影场面。“The Rock”是全剧的总结与概括，作曲家充分运用了各种手段使其表现主题，其鲜明的个人风格也表露无疑。

Quentin Tarantino wraps up his dizzy double-dose of martial arts film tribute cum informed paean to junk cinema with the throw-it-all-against-wall abandon that's become his cliched trademark, if not necessarily his true strength as a filmmaker. That sensibility has long informed his quirky, world-pop savvy soundtracks as well, though this chapter's collection gratifyingly sacrifices a dollop of eclecticism in favor of a little more focused nuance. Revolving loosely around a decidedly international, free-floating axis of Latin rhythm (Chingon's "Malaguena Salerosa, " the flamenco-demento of Lole Y Manuel's "Tu Mira") and Western twang, Tarantino's choices include Morricone both familiar (The Good, the Bad and Ugly's evocative "Il Tramonto") and less so (Il mercenario's "l'arena," "A Silhoutte of Doom"), fellow Roman film scorer Luis Bacalov's slinky, guitar-driven "The Summertime Killer" and a couple disparate slices of Americana by country legend Johnny Cash and rockabilly loose cannon Charlie Feathers. The director's pop fare covers less adventuresome territory, though Malcolm McLaren's trip-hop take on the Zombie's British Invasion chestnut "She's Not There" somehow seems all-of-a-piece with the retro groove of Shivaree's "Goodnight Moon" and melodramatic kitsch of Japanese actress Meiko Kaji's "Urami Bushi." It's all interspersed with excerpts of Tarantino-penned dialog from the film, snippets that only inspire an even greater admiration for his adventurous taste as musical compiler/supervisor. -- Jerry McCulley

音乐从来都是昆汀·塔伦蒂诺电影中不可或缺的一部分，有时候可能被赋予了更重于演员角色的意义，而被用于《杀死比尔》功夫片断的乐章《Kill Bill Vol.1》显然也不例外。昆汀当然是这张唱片的执行制作人，而他明亮又阴郁的特质，只会让这张唱片更加迷人。这里收录的对话片段极少，而动听的曲子却不少，比如Santa Esmeralda的天才作品“Don't Let Me Be Misunderstood”。而Charlie Feathers的“That Certain Female”伴着酷酷的摇滚味吉他；Luis Bacalov的“西部意粉味”，还有来自Wu Tang Clan的RZA作品“Ode to Oren”。这些都不是常规虚弱的作品，打破电影中连续性规则之后，音乐显然为听众制造了无限种可能

Back in the Golden Age of the Hollywood epic, composer Miklós Rózsa lavished much scholarly research on his scores for Quo Vadis (1951), Ben-Hur (1959), El Cid (1961) and others, gracing those movies with music that had as its wellspring authentic (or at least authentic-sounding) melodies from the period. For Ridley Scott's revival of the Roman epic, Gladiator, Hans Zimmer eschews such learned academia in favour of his own more contemporary, wall-of-sound approach (honed to perfection on movies like Tony Scott's Crimson Tide). In truth, no one is quite sure what Roman music sounded like, and Zimmer's unscholarly rock music background is temperamentally better suited to Scott's all-action movie anyway. Gladiator's score is a stylistic conflation of some audacity, incorporating lavish synthesised, percussive action sequences (a Zimmer trademark), "ethnic" instrumentation including Spanish guitar, Chinese dulcimer and Armenian duduk, and--most suprisingly of all for Zimmer--unabashed plagiarism of Wagner (his cue "The Might of Rome" is "Siegfried's Funeral March" in all but name) and Holst ("The Battle" and "The Barbarian Horde" lean heavily on "Mars"). Vocalist and co-composer Lisa Gerrard (fresh from working on The Insider, coincidentally also starring fellow-Australian Russell Crowe) adds her ethereal vocalisms to the music's more intimate scenes ("Sorrow" and "Elysium" for example). Her contribution brings an exotic, Oriental flavour to a score that in its broad musical canvas reflects the movie's depiction of the vast scope of the Roman Empire. If not the equal of Zimmer's career best work on The Thin Red Line (1998), this is still a hugely entertaining and diverse soundtrack. --Mark Walker

Original soundtrack to the second season of the hit HBO series with music composed by Ramin Djawadi.

电影原声大蝶，历史上最成功的歌舞片，独特音乐魅力不同凡响，《芝加哥》非看不可的电影，非听不可的原声大蝶。