Monday, March 18, 2024

Ghostbusters


Ghostbusters
(Original Motion Picture Score)

Music Composed and Conducted by
Elmer Bernstein

Do you believe in UFOs, astral projections, mental telepathy, ESP, clairvoyance, spirit photography, telekinetic movement, full trance mediums, the Loch Ness monster and the theory of Atlantis? If so, prepare to immerse yourself in the otherworldly universe of New York's spectral inhabitants with Renovatio Records' latest release: Elmer Bernstein's score for the 1984 blockbuster film Ghostbusters. Directed by Ivan Reitman and written by Dan Aykroyd and Harold Ramis, Ghostbusters follows the misadventures of a group of eccentric parapsychologists who embark on a ghost-catching enterprise in the heart of New York City. Starring Bill Murray, Dan Aykroyd, Harold Ramis, Ernie Hudson, and Sigourney Weaver, with Rick Moranis, Annie Potts, and William Atherton in supporting roles, the film quickly captivated audiences with its unique blend of humor, action, and supernatural intrigue.

While Ghostbusters soared to cultural phenomenon status, spawning a multi-billion dollar multimedia franchise, including sequels, reboots, animated series, and more, Elmer Bernstein's score often found itself overshadowed by the film's chart-topping songs, notably Ray Parker Jr.'s iconic title song. However, a closer examination reveals a score that deserves recognition for its own charm and creativity. Bernstein seamlessly blends elements of comedy and horror to complement the film's narrative, effectively underscoring the quirky antics of the Ghostbusters as they navigate the paranormal landscape of 1980s New York City.

At the heart of the score lies its main theme, introduced in the cue "Ghostbusters Main Theme." A whimsical and infectious melody, primarily carried by jazzy playful piano arrangements, effectively sets the comedic and fantastical tone of the film. Throughout the score, Bernstein masterfully adapts this theme, ensuring thematic coherence while infusing each rendition with its own unique flair. From the rock-inflected energy in the latter half of "The Library Ghost" to the disco-inspired instrumentation of "We Got One!," Bernstein's versatility shines through, enhancing the film's comedic and action-packed sequences.

Yet, it is in the darker, more foreboding moments of the film that Bernstein's score truly excels. Employing a full orchestra, Bernstein crafts haunting compositions that underscore the malevolent presence of entities like Zuul and Gozer. A menacing brass fanfare, often back by organ accompaniments towards the end of the score, evoke a sense of grandeur, mystery and foreboding, as heard in cues like "Dana's Apartment" and the superb "Gozer The Gozerian." For the ghosts themselves, Bernstein resorts to a haunting leitmotif for wavering high strings and ondes martenot, which plays under most of the ghostly encounters, such as in the cue “Opening”, the middle portions of “The Library Ghost”, and during “Zuul”, which also showcases impressive orchestration techniques. Bernstein also incorporates a love theme for the characters played by Murray and Weaver. This heartfelt theme is presented in full during “Peter & Dana”, reaching an effective climax in “Finish”.

When it comes to its commercial release, Bernstein's score for Ghostbusters has faced significant challenges throughout the years. Various album versions have been plagued by inconsistencies and omissions, leaving fans longing for a definitive representation of the score. In 1984, Arista released an LP with nearly all the songs in the film and only two of Bernstein’s cues. Several bootlegs followed with inferior sound quality, until 2006, when Varèse Sarabande released an extensive limited edition of the score. However, this album was missing a handful of cues. The score received another album release in 2019 by Sony Classical that incorporated new cues but had a questionable track order. With Renovatio Records' latest release, however, fans can finally experience Bernstein's work in all its glory. Presented in chronological order with a cohesive narrative arc and including all of the highlights of the score, this album honors Bernstein's legacy and ensures that his contribution to the Ghostbusters phenomenon receives the recognition it deserves.


Track List:

1. Opening (2:19)
2. Ghostbusters Main Theme (3:01)
3. The Library Ghost (2:49)
4. Meet Dana (1:44)
5. Dana's Apartment (2:41)
6. We Got One! (1:51)
7. Sedgewick Hotel (3:03)
8. Peter & Dana (1:28)
9. Spook Central (2:31)
10. Who Brought the Dog? (2:58)
11. Zuul (3:50)
12. Judgment Day (1:19)
13. Gozer the Gozerian (5:10)
14. Final Battle (3:02)
15. Finish (2:14)
16. Ghostbusters (4:05) - Performed by Ray Parker Jr.

Total Running Time: 44:05



Size: 236.5 MB
Files type: FLAC Audio File [.flac]
Channels: 2 (stereo)
Sample Rate: 44.1 KHz
Sample Size: 16 bit
Bit Rate: 1,411 kbps


Cover Artwork:





Credits:

Music Composed and Conducted by Elmer Berstein

Produced by Elmer Bernstein
Orchestrations by Peter Bernstein, David Spear and Patrick K. Russ
Orchestra Contractor: Nathan Kaproff
Performed by The Hollywood Studio Symphony
Ondes Martenot: Cynthia Millar
Scoring Mixer: Robert Fernandez
Supervising Music Editor: Kathy Durning

Score Published by Golden Torch Music Corp. (ASCAP)

"Ghostbusters"
Performed by Ray Parker Jr.
Written by Ray Parker Jr.
Published by Golden Torch Music Corp. (ASCAP) and Raydiola Music (ASCAP)
Produced by Ray Parker Jr.


Cue Assembly:

Track Title

Cue Title

1. Opening

The Library (Edited)

2. Ghostbusters Main Theme

Ghostbusters Theme

3. The Library Ghost

Hello (Edited)

Get Her! (Edited)

4. Meet Dana

Plan (Edited)
Taken (Edited)

5. Dana’s Apartment

Fridge (Edited)
Sign (Edited)
Dana’s Apartment (Edited)
Same Problem (Edited)

6. We Got One!

We Got One (Edited)
We Got One Alternate (Edited)

7. Sedgewick Hotel

Halls (Edited)
Ballroom (Edited)
Trap (Edited)

8. Peter & Dana

Meeting 1
I Respect You

9. Spook Central

Cross Rip
Attack

10. Who Brought the Dog?

Dogs (Edited)
Ghosts!

11. Zuul

Zuul Part 1
Zuul Part 2 Alternate

12. Judgment Day

Judgment Day

13. Gozer the Gozerian

Meeting 2
Stairwell
Gozer (Edited)

14. Final Battle

We’re Going to Save the World (Edited)
Mr. Stay Puft (Edited)
Final Battle

15. Finish

Finish

16. Ghostbusters (Ray Parker Jr.)

Ghostbusters


Motion picture artwork, photos, TM and copyright © 1984 Columbia Pictures Industries, Inc. This compilation and cover artwork © 2024 Renovatio Records.
All rights reserved. Unauthorized duplication is a violation of applicable laws. For promotional use only.

Renovatio Records [0-01702-19088]

Tuesday, March 5, 2024

Constantine


Constantine
(Original Motion Picture Score)
Music Composed by
Brian Tyler
and
Klaus Badelt

Embark on a journey into the supernatural realms with Renovatio Records' latest release, the spellbinding score for the 2005 superhero horror film Constantine, composed by Brian Tyler and Klaus Badelt. Directed by Francis Lawrence, the movie draws inspiration from DC Comics/Vertigo Comics Hellblazer graphic novels and introduces Keanu Reeves as John Constantine, a cynical exorcist gifted with the ability to perceive and communicate with celestial and demonic entities. The stellar cast also includes Rachel Weisz, Tilda Swinton, Pruitt Taylor Vince, Djimon Hounsou, Shia LaBeouf, Gavin Rossdale, and Peter Stormare. In spite of achieving financial success at the time of its release, the film received a mixed reception from critics initially. However, over the years, it has garnered a cult following, not only solidifying its status as a noteworthy entry in the superhero horror genre, but also paving the way for the development of a sequel that was announced in 2022.

While criticisms primarily targeted the film's intricate plot and abundance of characters, director Francis Lawrence undeniably succeeded in crafting an atmospheric film that delivers thrills, scares, and unforgettable visuals, thanks to Philippe Rousselot's fine cinematography, and memorable creature designs by Stan Winston Studio.

The score was also a significant matter of discussion. Initially conceived as a solo project by Brian Tyler, the score was poised to be a monumental entry into the genre, with powerful orchestral and choral passages, dissonance and a diverse array of ethnic and percussive soloists. However, Tyler’s original work was met with skepticism from the studio, which considered that it lacked the contemporary flair needed for widespread appeal. As a result, Klaus Badelt was brought in to collaborate with Tyler, infusing the existing large-scale orchestral foundation with a modern electronic approach. The end result, a harmonious amalgamation of both compositional styles, stirred debates among film score enthusiasts, with some considering it an unbalanced fusion.

Despite the divided opinions, the score maintains a consistent use of bass-heavy orchestral and choral elements, creating a staggering soundscape for the demon world. Simultaneously, it introduces beautiful thematic identities on a smaller scale for the main characters, perfectly reflecting the idea of a solo battle against the monumental forces of evil. Noteworthy among these themes is the main motif for John Constantine, unveiled in the cue "Meet John Constantine." This theme, played on an electric cello over synthesized rhythms and bass guitar, effectively encapsulates the character's gritty personality. The theme undergoes various renditions, including poignant piano solos in cues like "John’s Theme" and "John’s Solitude," offering glimpses into the character's more humane side and inner struggles. Similarly, Rachel Weisz's character is adorned with a piano theme introduced in "Confession/Suicide" and explored further in "Encountering a Twin" and the first half of "Angela Crosses Over." Without a doubt, the dynamic application of these themes are the most accomplished aspects of the score for Constantine, effectively providing authentic character development through the use of music. For the evil menace of the demons, Tyler and Badelt provide a basic but fitting six-note phrase mostly on bass strings. This theme is revealed in the opening cue “Spear of Destiny” and is later explored with great effect during cues like "Circle of Hell," "Counterweight," and “The Road to Salvation”.

The score's standout moments are abundant, ranging from action-packed cues like "The Cross Over" and the relentless "Into the Light," to excellent choral passages like the inspiring “Ascension”, to intriguing compositions like the atmospheric chorus in "Deo et Patria" and the waltz-like "Humanity." These moments showcase Brian Tyler's original vision of orchestral and choral power, incorporating complex orchestral dissonance reminiscent of composers like Elliot Goldenthal and Don Davis.

The score for Constantine, initially released in 2005 by Varèse Sarabande, has been considered by many enthusiasts a dichotomy of brilliance and concession, with Tyler's dynamic orchestral and choral masterpiece clashing with Badelt's more electronic inclinations as per studio requirements. Renovatio Records' treatment of the score aims to strike a balance, leaning more heavily on Tyler’s original compositions while retaining some of Badelt’s synthetic elements, particularly in the opening and closing segments. Throughout the album, listeners will also encounter snippets of the themes initially conceived by Tyler for the film, including a duduk theme for John in the latter part of "Spear of Destiny" and a distinct piano identity for Weisz's character in "A Sister Story," an early iteration of the final theme for the character. With a duration of approximately 70 minutes, this new release offers plenty of unreleased material, retaining as much chronological order as possible. We hope you enjoy it.


Track List:

1. Spear of Destiny (2:24)
2. Meet John Constantine (2:38)
3. The Cross Over (2:42)
4. John's Theme (1:28)
5. Confession/Suicide (2:33)
6. Encountering a Twin (1:04)
7. Deo et Patria (1:13)
8. Hennessy in the Ether (3:49)
9. John's Solitude (1:23)
10. Seplavite Attack (2:04)
11. Trip to Hell (3:28)
12. John Discovers the Symbol (3:18)
13. A Sisters Story (2:58)
14. Circle of Hell (5:37)
15. Angela Crosses Over (4:07)
16. Someone Was Here (1:43)
17. Counterweight (4:17)
18. Flight to Ravenscar (4:16)
19. Into the Light (3:09)
20. The Road to Salvation (2:00)
21. Gabriel Fantastique (2:40)
22. Lucifer (3:41)
23. Ascension (2:19)
24. Humanity (2:58)
25. Rooftop (1:15)
26. Constantine End Titles (2:38)

Total Running Time: 71:42



Size: 376.2 MB
Files type: FLAC Audio File [.flac]
Channels: 2 (stereo)
Sample Rate: 44.1 KHz
Sample Size: 16 bit
Bit Rate: 1,411 kbps


Cover Artwork:





Credits:

Music Composed by Brian Tyler and Klaus Badelt

Produced by Brian Tyler and Klaus Badelt
Co-Produced by Christopher Brooks

Score Conducted by Brian Tyler
Score Recorded and Mixed by Joel Iwataki and Alan Meyerson
Orchestrations by Robert Elhai, Dana Niu and Brad Warnaar
Additional Arrangements by Wolfram De Marco, Ian Honeyman and Andrew Raiher
Sound Programming: Robert Williams

Music Contractor: Sandy DeCrescent
Vocal Contractor: Sally Stevens
Music Preparation: Erick Stonerook

Featured Electric Cellist: Martin Tillman
World Woodwinds: Christopher Bleth
Performed by The Hollywood Studio Symphony
Choir: The Hollywood Film Chorale

Orchestra Recorded at Todd-AO Studios
Music Editors: Joe Lisanti, Gary L. Krause and Daryl Kell
Assistant to Brian Tyler: Dante Dauz
Assistants to Klaus Badelt: Leslie Stevens and Matthew Margeson
Score Production Coordination: Sinead V. Hartmann
Mastered by Erick Labson


Cue Assembly:

Track Title

Slate & Cue Title

1. Spear of Destiny

1m1 Spear of Destiny
1m1Alt Spear of Destiny Alternate (Edited)

2. Meet John Constantine

1m3 Possession – Meet john

3. The Cross Over

1m4 Exorcism (Alternate)

4. John’s Theme

1m5a John at Home

5. Confession/Suicide

1m6Alt Confession – Suicide Alternate (Edited)
1m6 Rites of the Son (Edited)

6. Encountering a Twin

1m9 Encountering Twin (Edited)

7. Deo et Patria

2m10 Deo et Patri

8. Hennessy in the Ether

2m12-13Alt1 Rifling Through Papers Alternate I (Edited)
2m12-13 Rifling Through Papers (Edited)
2m12-13Alt3 Rifling Through Papers Alternate III (Edited)

9. John’s Solitude

2m15aAlt Welcome to My Life Alternate

10. Seplavite Attack

2m17 Seplevite Attack (Edited)
4m31Alt Balthazar Alternate (Edited)
2m14aAlt Vermin Man Alternate (Edited)

11. Trip to Hell

3m18 Trip to Hell (Edited)
3m19 Bracelet

12. John Discovers the Symbol

3m21 Flashback Part I
3m21a Flashback Part II
3m21Alt Flashback Part I Alternate (Edited)
3m23 John Discovers Symbol (Edited)

13. A Sisters Story

3m24 Isabel’s Room (Edited)

14. Circle of Hell

3m26Alt2 Finding Beeman Alternate II

15. Angela Crosses Over

4m27a I Left Her Alone
4m27bAlt Bathtub Alternate (Edited)

16. Someone Was Here

4m29 Someone Was Here
4m29Alt1 Someone Was Here Alternate I (Edited)

17. Counterweight

4m30 Counterweight
4m31 Balthazar (Edited)
4m31Alt Balthazar Alternate (Edited)
4m33 Pieces – Angela Taken (Edited)
4m32 Last Rites

18. Flight to Ravenscar

5m36 Angela Flown
2m12-13Alt1 Rifling Through Papers Alternate I (Edited)
5m34bAlt After Midnight Part 2 Alternate (Edited)
5m40Alt Angela In Hell Alternate

19. Into the Light

5m42 Into the Light (Edited)
5m42Alt Into the Light Alternate (Edited)
0m0 Black Smoke (Edited)

20. The Road to Salvation

5m43 Gabriel Confronts John

21. Gabriel Fantastique

5m43Alt Gabriel Confronts John Alternate (Edited)
5m44 Piety (Edited)

22. Lucifer

6m45 Lucifer Arrives (Edited)
6m45Alt Lucifer Arrives Alternate (Edited)

23. Ascension

6m46 Ascension

24. Humanity

6m47 Humanity

25. Rooftop

6m48Alt1 Rooftop Alternate I

26. Constantine End Titles

6m49 End Credits



Motion picture artwork and photos ©2005 Warner Bros Ent. Inc. Cover artwork ©2024 Renovatio Records.
All rights reserved. Unauthorized duplication is a violation of applicable laws. For promotional use only.

Renovatio Records [0-01702-19054]

Thursday, February 15, 2024

Robin Hood

 


Robin Hood
(Original Motion Picture Soundtrack)
Music Composed by
Marc Streitenfeld

Our new release features the score for the 2010 action period film Robin Hood, composed by Marc Streitenfeld. In this reimagining of the classic tale, acclaimed director Ridley Scott brings a distinctive vision to a familiar narrative. Led by Russell Crowe in the iconic role of Robin Hood, the film takes a fresh approach by delving into Robin Longstride's involvement in the Crusades and the resulting power vacuum in England after King Richard the Lionheart's demise. Robin, a skilled archer in King Richard's army, becomes entangled in the political machinations of the time as Prince John, portrayed by Oscar Isaac, seizes the throne and exploits the kingdom's vulnerability for personal gain. Teaming up with Lady Marion of Nottingham, played by Cate Blanchett, Robin embarks on a journey to combat corruption, defend the common people, and confront oppressive forces threatening the realm's stability.

While the film's historical liberties and altered events sparked debates among critics and audiences, the plot remains a captivating blend of action, political intrigue, and the enduring spirit of the legendary outlaw. Furthermore, the supporting cast boasts a lineup of seasoned actors, including Eileen Atkins, Mark Strong, William Hurt, Mark Addy, Léa Seydoux, Danny Huston, and Max von Sydow. Additionally, true to the tradition of Ridley Scott's films, the technical aspects are nothing short of exceptional. Cinematographer John Mathieson creates a visual feast, particularly in the battle scenes, which showcase a seamless integration of practical effects and CGI to deliver thrilling and realistic action sequences. Last but not least, Marc Streitenfeld's musical score emerges as a standout element that enhances the film's emotional impact.

Despite some divisive opinions among critics, Streitenfeld's orchestral composition complements the visuals and narrative, providing an evocative backdrop to Robin Hood's heroic journey. Known for his previous collaborations with Scott, Streitenfeld crafts a score that, while not introducing a groundbreaking compositional approach, weaves a rich orchestral tapestry. One of the strengths of the score lies in its orchestration, bringing together a sizable ensemble, a varied choir, and regional instruments. The absence of synthetic tones creates an organic sound that resonates with the film's historical setting. Traditional instruments like lutes, fiddles, uilleann pipes, hurdy-gurdy, and whistles further enhance the score's authenticity.

The thematic choices in Robin Hood have ignited controversy, with comparisons to existing ideas from other scores produced by Hans Zimmer’s Remote Control group. However, Streitenfeld's unique interpretation deserves appreciation. The main theme, introduced in full form during "Fate Has Smiled Upon Us," consists of a joyful melody backed by percussive rhythms and minor key ostinatos, perfectly encapsulating Robin's nobility and playful nature. Streitenfeld's versatility stands out in cues like "Planting the Fields" and "Merry Men," where the main theme takes on different renditions with traditional instruments and female solo vocals, capturing the medieval setting. Additionally, the opening cue, "Destiny," introduces an ominous-sounding motif that serves as a foreboding theme that almost seems to work as destiny itself, appearing whenever a significant plot point contributes in making of Robin the legendary noble outlaw he has now become.

The score introduces distinct themes for others characters, such as the menacing progression of staccatos for the main antagonist, Godfrey, a cunning mercenary that plots to allow the French invasion of England. This theme often starts subtlety with a delicate flute and later grows in size, absorbing the entire orchestra as it progresses, effectively symbolizing Godfrey’s expanding threat. The theme appears in cues like "Godfrey," "John is King," and "Godfrey Advances," and is one of the most recognizable motifs of the score. A secondary theme for Lady Marion and her home in Sherwood Forest, Peper Harow, subtly appears in cues like "Marion" and is later performed by the full ensemble in the astonishing cue "Peper Harow." Marion’s theme later evolves into a love theme as she gets romantically involved with Robin, making several playful appearances during the middle portion of the score. And last but not least, the cue “Robin Remembers” introduces a motif that accompanies Robin’s actions to inspire the people of England to join forces and agree on forging the Magna Carta. This theme makes standout appearances during “Robin’s Speech”, “Walter’s Funeral” and during the final battle sequence. All in all, the score, while criticized by some, contributes to the film’s narrative flow, offering a subtle and immersive approach that aligns perfectly with Scott’s somber portrayal of the Robin Hood legend. 

Originally released in 2010 by Varèse Sarabande, the album had its shortcomings, missing crucial cues, such as the impressive “Peper Harow” cue, and lacking a cohesive narrative musical arc. This new release by Renovatio Records addresses these issues, offering plenty of unreleased material in a cohesive program that enriches the score's musical narrative. This new album underlines that Marc Streitenfeld’s score for Robin Hood is far from mere generic music; it is an integral part of the film that captivates the listener from start to finish and deserves more recognition than it has received.


Track List:

1. Destiny (4:01)
2. Chalus Castle Siege (4:39)
3. Godfrey (2:55)
4. A Pact Sworn in Blood (6:40)
5. Fate Has Smiled Upon Us (1:58)
6. John Is King (4:19)
7. Marion (1:53)
8. Sherwood Forest (2:18)
9. Peper Harow (1:30)
10. Rich Country (1:39)
11. Share My Chamber (1:40)
12. Planting the Fields (1:35)
13. Women of Ireland (Mná na h-Éireann) (2:24)
14. Robin Remembers (1:18)
15. Godfrey Advances (3:48)
16. Robin's Speech (2:40)
17. Killing Walter (2:02)
18. Nottingham Burns (3:37)
19. Walter's Funeral (2:25)
20. Landing of the French (3:42)
21. The Last Arrow (7:04)
22. The Legend Begins (1:24)
23. Merry Men (1:47)

Total Running Time: 67:18



Size: 375.3 MB
Files type: FLAC Audio File [.flac]
Channels: 2 (stereo)
Sample Rate: 44.1 KHz
Sample Size: 16 bit
Bit Rate: 1,411 kbps


Cover Artwork:





Credits:

Music Composed by Marc Streitenfeld

Produced by Marc Streitenfeld
Executive Album Producers: Ridley Scott and Brian Grazer
Executive in Charge of Music for Universal Pictures: Mike Knobloch
Music Supervised for Universal Pictures by Harry Garfield
Music Business Affairs for Universal Pictures: Phil Cohen
Director of Scoring for Universal Pictures: Tiffany Jones

Score Recorded and Mixed by Peter Cobbin
Music Editors: Del Spiva and Joe Bonn
Conductor: Ben Foster
Orchestrations: Benjamin Wallfisch
Music Preparation: Dave Foster, Phil Knight
Music Programmer: Sunna Wehrmeijer
Orchestra Contractor: Isobel Griffiths
Assistant Orchestra Contractor: Lucy Whalley
Digital Recordist: Kirsty Whalley
Additional Recordings: Andrew Dudman
Score Recordist: Sam Okell
Assistant Engineers: Stanley Gabriel, Gordon Davidson
Pre-Record Laybacks: Alex Lu
Playback Operator: Peter Clarke
Music Production Assistant: Sven Faulconer
Score Recorded at Abbey Road Studios
Score Mixed at Todd Ao, West Lantana
Mix Technicians: Gregg Hayes, Craig Mann
Album Mixed and Mastered at Abbey Road Studios
Album Mastered by Christian Wright

Solo Vocals: Kathleen MacInnes
Solo Violin: Thomas Bowes
Solo Cello: Caroline Dale
Flutes & Whistles: William Lyons
Solo Flute: Eliza Marshall
Fiddle & Rebec: Giles Lewin
Lutes: Jacob Heringman and James Akers
Uillean Pipes: Robert White and Troy Donockley
Hurdy Gurdy: Nigel Eaton
Ethnic Percussion: Paul Clarvis
Percussion: Frank Ricotti, Gary Kettel and Glynn Matthews
Timpani: Tristan Fry
Choir: Metro Voices and Bach Choir
Choir Masters: Jenny O'Grady and David Hill

Score Published by Universal Pictures Music (ASCAP)


Cue Assembly:

Track Title

Slate & Cue Title

1. Destiny

1m1 Destiny (Edited)
1m2 Creatures

2. Chalus Castle Siege

1m4 Here Comes The King (Edited)
1m5 French Castle Siege (Edited)
2m11 King Is Dead (Edited)

3. Godfrey

1m6 King Philip

4. A Pact Sworn in Blood

1m10 Godless
2m15 The Crown
2m16 Kill the Horse (Edited)
2m17 Pact Sworn In Blood (Edited)

5. Fate Has Smiled Upon Us

2m18 Fate Has Smiled Upon Us

6. John Is King

3m24 John Is King (Edited)
3m31 Pass The Ring (Edited)

7. Marion

2m19 Sheriff Hits On Marion

8. Sherwood Forest

3m27 Greenwood

9. Peper Harow

3m32 Peper Harrow

10. Rich Country

4m40 Rich Country

11. Share My Chamber

4m37 Share My Chamber

12. Plating the Fields

5m46 Moonlight

13. Women of Ireland (Mná na h-Éireann)

6m54s Woman Of Ireland

14. Robin Remembers

6m55 Walter Helps Robin Remember

15. Godfrey Advances

4m39 Stab The Pigeon
5m47 Open The Gates (Edited)

16. Robin’s Speech

6m59 Robin's Speech

17. Killing Walter

6m62 I'm The One Who Killed Him (Edited)

18. Nottingham Burns

7m65 Burn The Villagers
7m66 Robin Brings An Army

19. Walter’s Funeral

7m69 Walter's Funeral

20. Landing of the French

7m70 Landing Of The Frogs (Edited)
7m71 This Is My First Time (Edited)
8m73 Charge

21. The Last Arrow

7m72 That's A Lot Of French
8m74 Clash (Edited)
8m76 Tickle In My Throat

22. The Legend Begins

8m78 A Nail

23. Merry Men

8m81 Merry Men


Motion picture artwork and photos ©2010 Universal Studios. This compilation and cover artwork ©2024 Renovatio Records. All rights reserved. Unauthorized duplication is a violation of applicable laws. For promotional use only.

Renovatio Records [0-01702-19064]