Ford V Ferrari

Ford v Ferrari

(Original Motion Picture Score)

Music by

Marco Beltrami

and

Buck Sanders

Our new release is the score for Ford v Ferrari by Marco Beltrami and Buck Sanders. The 2019 biographical film, directed by James Mangold, stands out as a thrilling and heartfelt drama that transcends the tropes of a sports film. The movie, starring Christian Bale as British race car driver Ken Miles and Matt Damon as automotive designer Carroll Shelby, recounts the true story of Ford’s ambitious quest to challenge Ferrari’s dominance at the 24 Hours of Le Mans in the 1960s. Celebrated for its stellar performances, sharp editing, and thrilling race sequences, the film masterfully balances humor, drama, and the spirit of competition. It garnered critical acclaim and achieved impressive box office success, further solidifying its place as a modern classic.

At the heart of this cinematic journey lies the evocative score by Marco Beltrami and Buck Sanders, longtime collaborators with Mangold. Known for their ability to infuse emotional depth into diverse narratives, the duo crafted a musical backdrop that perfectly complements the film’s themes of ambition, innovation, and perseverance. The composers opted for a nuanced approach that highlights the human drama as much as the visceral excitement of the races, while also capturing the coolness and sleaze of the 1960s organically.

In crafting the score, Beltrami and Sanders employed a 15-member band, rotating instruments to reflect the shifts in era, genre, and narrative tone. This approach eschewed the traditional orchestral sound of film scores in favor of an intimate yet dynamic palette. Electric and acoustic guitars, string and electric bass, drum kits, piano, organ, saxophone, flute, and brass instruments like trumpets and trombones formed the core ensemble. Notably, each instrument played a vital role in shaping the film’s emotional and temporal identity. For example, earlier scenes incorporate string bass, piano, and trombones to evoke a sense of corporate sophistication, while electric guitars and organ dominate the younger, rebellious sequences.

Additionally, the score is built on a foundation of recurring motifs. One of its standout elements is a five-note motif associated with Ken Miles, predominantly performed by trumpets and trombones. This driving motif emerges at key moments, such as when Miles is closer to victory or triumphs in a race. Tracks like “Daytona - Go Like Hell” and “Chasing Bandini” showcase the motif’s versatility, underscoring the intense action with a sense of purpose and exhilaration.

Reflective cues such as “7000 RPM” and “Wide View” provide an atmospheric counterpoint, enhancing the philosophical undercurrents of the story. The themes introduced here are further developed in tracks like “Perfect Lap” and “Wrench,” which delve into the emotional stakes of the narrative, offering moments of introspection amidst the high-octane drama. The interplay of jazz influences in pieces like “Henry Ford the Second”, “Iacocca’s Idea”, and “The Request” adds a layer of sophistication, evoking the era’s cultural backdrop while highlighting the corporate tension and ingenuity driving the plot.

Notably, the score’s action sequences in the mid portion, such as “Night Driving,” employ rhythmic percussion that mimics the sound of a galloping horse—a subtle nod to the horsepower fueling the story. This inventive approach encapsulates the film’s relentless energy and the endurance required to succeed in the racing world.

The original soundtrack release by Hollywood Records, while showcasing key moments, lacked a cohesive narrative due to its non-chronological track arrangement and omission of several significant cues. This new album from Renovatio Records addresses these shortcomings, presenting the score in its intended order to highlight its narrative flow and thematic depth. The inclusion of previously missing cues enhances the listening experience, offering a fuller appreciation of Beltrami and Sanders’ craftsmanship. In addition to the orchestral pieces, this new album features the song “Polk Salad Annie” by James Burton, a recurring element in the film that captures the rebellious spirit of the 1960s. This track seamlessly integrates with the score’s aesthetic, bridging the worlds of rock, jazz, and cinematic storytelling.

With this release, fans of Ford v Ferrari can rediscover the rich musical tapestry that drives the film’s emotional and narrative momentum. Beltrami and Sanders’ score is not just an accompaniment to the visuals; it is an integral part of the story and a testament to the composers’ creative synergy and adaptability—one that now finds its ultimate expression in this definitive album.

Track listing:

1. Le Mans 59 (2:44)

2. 7000 RPM (1:28)

3. Willow Sprints (2:48)

4. Henry Ford the Second (1:05)

5. Iacocca's Idea (3:33)

6. Not a Ford Man (1:51)

7. Miles Isn't Going (2:43)

8. Wide View (1:33)

9. Daytona - Go Like Hell (4:50)

10. Walk the Track (1:54)

11. Le Mans Rough Start (3:57)

12. Rain Coming In (3:15)

13. Night Driving (3:00)

14. Chasing Bandini (4:31)

15. The Request (2:30)

16. Perfect Lap (2:44)

17. Team Player (3:13)

18. Last Lap (2:31)

19. Wrench (1:45)

20. Polk Salad Annie (3:30) - Performed by James Burton

Total Running Time: 55:25

Download Link

Size: 325.0 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 Produced by Marco Beltrami and Buck Sanders

Orchestrated and Conducted by Mark Graham

Recorded by Chandler Harrod at Capitol Studios, Studio A  (January 18, March 22, April 8, 20 & 28, 2019)

Mixed by Tyson Lozensky and Paul Massey

Music Editor and Music Supervision Ted Caplan

Band Contracted by Peter Rotter

Music Preparation by JoAnn Kane Music Service

Mastered by Erick Labson

Flute/Sax/Bass Clarinet: Dan Higgins, Greg Huckins (+Bari Sax)

Trumpets: Wayne Bergeron, Rob Schaer, Mike Rocha, Dan Fornero, Michael Stever

Trombones: Andy Martin, Bill Reichenbach, Craig Gosnell, Alex Iles

Bass: Kevin Axt, Alex Boneham

Guitars: George Doering, Andrew Synowiec, John Goux, Buck Sanders, Dean Parks, Paul Jackson Jr.

Pedal Steel Guitar: Drew Taubenfeld

Piano/Organ: Jeff Babko, Jim Cox, Randy Kerber, Marco Beltrami, Tom Hensley

Drumkit: Bernie Dresel, Christian Euman

Percussion: Alex Acuna, Wade Culbreath, Brian Kilgore

"Polk Salad Annie"

Written by Tony Joe White

Performed by James Burton

Courtesy of A&M Records

Under license from Universal Music Enterprises

Cue Assembly:

Track Title	Slate & Cue Title
1. Le Mans 59	1m01ALTv1 Shelby Races le Mans with Pedal OD 3m01v4 Shelby Speech
2. 7000 RPM	1m02ALTv1 Shelby Drives Mulholland
3. Willow Sprints	1m06v2 Willow Springs 1m01v3 Shelby Races Le Mans
4. Henry Ford the Second	1m03v5 Ford Arrives 1m04v1 Lee's Got An Idea (Edited)
5. Iacocca’s Idea	2m02v4 Buy Ferrari Speech REPLACE 2m01v3 We are Buggered (Edited) 2m03v2 Arrival in Italy 2m04ALTv1 Photos to Flat
6. Not a Ford Man	3m02v4 30 Minutes 2m06v2 Henry Ford's Revenge (Edited) 3m03v2 Not A Ford Man
7. Miles Isn't Going	4m01v2 Miles Isn't Going NEW
8. Wide View	4m03v3 Perfect Lap Chat
9. Go Like Hell	5m03v4 Daytona-They Won (Edited)
10. Walk the Track	6m01v3 Walk the Track
11. Rough Start	6m02v1 Countdown to Race (Edited) 6m03v3 Door Jam (Edited) 6m04v2 Catching Up (Edited)
12. Rain Coming In	6m05v1 Rain Coming In 6m06Av3 Driving in the Rain
13. Night Driving	6m06BALTv2 Rain - Part 2 6m06Bv3 Rain - Part 2 (Edited)
14. Chasing Bandini	6m09v4 Catching Bandini 8m03v2 End Credits (Edited)
15. The Request	7m01ALTv2 Shelby Asks Miles To Slow Down
16. Perfect Lap	7m02v3 Miles Drives Angry 7m03v1 Perfect Lap
17. Team Player	7m04ALTv1 Team Player
18. Last Lap	7m05v2 Walking Away Together 7m06v1 Last Lap
19. Wrench	8m02v4 Wrench
20. Polk Salad Annie - James Burton	Polk Salad Annie - James Burton

Motion picture artwork, logos and photos © 2019 Twentieth Century Fox Film Corporation. 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 [0-01702-19090]

I, Robot

I, Robot

(Original Motion Picture Soundtrack)

Music by

Marco Beltrami

Renovatio Records invites you on a journey into the future to revisit Marco Beltrami’s thrilling score for the 2004 science fiction action film I, Robot, directed by Alex Proyas and inspired by Isaac Asimov's works. Starring Will Smith, Bridget Moynahan, Bruce Greenwood, James Cromwell, Chi McBride, and Alan Tudyk, the film is set in the year 2035, in a world where robots are an integral part of everyday life, designed to serve and protect humans. The story follows Detective Del Spooner, played by Smith, who is skeptical of robots despite their widespread acceptance. When Dr. Alfred Lanning (Cromwell), a pioneer in robotics, is found dead, Spooner suspects foul play involving a robot, which seems impossible due to the robots' programming to follow the Three Laws of Robotics. As Spooner investigates, he uncovers a conspiracy that could threaten humanity's safety. Alongside Dr. Susan Calvin (Moynahan), a 'robopsychologist', Spooner discovers that an advanced robot named Sonny might hold the key to unraveling the mystery.

Despite mixed reviews from critics, who praised its innovative visual effects but criticized some aspects of its acting and overall plot, I, Robot performed well at the box office. The film offers a well-rounded experience with thrilling action set pieces, remarkable production design, and astounding cinematography. Additionally, it explores themes of trust, autonomy, and the ethical implications of artificial intelligence, culminating in a thrilling confrontation that questions the very essence of what it means to be human.

For the score, Proyas turned to composer Marco Beltrami after Trevor Jones, with whom the director had previously worked on Dark City (1998), had to leave the film due to scheduling conflicts. Despite the challenging circumstances and a tight deadline of 17 days to write and record the score, Beltrami managed to deliver a compelling musical composition that enhances the cinematic experience. Proyas himself praised the score, claiming that when seeing the film with Beltrami’s music, he felt that he was watching it for the first time, the experience taking him back to the excitement he had when reading Asimov’s stories.

Beltrami’s score for I, Robot stands out for its blend of orchestral and electronic elements, creating a soundscape that perfectly mirrors the film’s dichotomy of human and robotic worlds. Thematically, Beltrami resorts to a main theme, a memorable minor-key melody mostly played by the string section and appearing in one form or another in nearly every cue. This primary identity is unquestionably the highlight of the entire score, its progression of sustained notes being both evocative and haunting, encapsulating the film's exploration of the fine line between humanity and artificial intelligence. The theme reaches a dramatic peak during the mid-portion of the cue “Spooner Spills Secret,” as Spooner narrates the traumatic events that have led him to resents robots. Other standout performances of this theme appear during the cue “Round Up,” this time in a lighter tone accompanied by chorus, and in the form of a full ensemble performance to close the score during the end titles (“I, Robot Theme”).

A secondary ‘evil’ theme exists for the robots and their increasing menace to humanity. This theme is hinted at the outset of the cue “Sonny in the Box” and is then developed and heard in full during the cue “Gangs of Chicago,” which finds the robots at their highest point, starting to inflict fear on human society.

One of the most impressive aspects of Beltrami's work is his adept use of orchestration. With a 95-piece orchestra and a 25-member choir, he crafts a rich and dynamic sound, with the electronics playing a complementary role to add texture. The score's orchestral foundation is thus powerful and immersive, providing a robust and dramatic backdrop to the film's intense action sequences and poignant moments. While it can be argued that Beltrami's choice to prioritize the orchestra over electronic elements is a bold decision in a futuristic film such as I, Robot, the composer's approach lends a timeless quality to the score that distinguishes it from other contemporary sci-fi soundtracks.

The action cues, such as "Tunnel Chase,” “Gangs of Chicago,” and “Spiderbots," are particularly noteworthy. These tracks showcase Beltrami's skill in building tension and excitement, with propulsive rhythms, sharp brass ostinatos, and hyperactive strings accompanied by electronic embellishments, all of it fittingly moving like clockwork. The choral inclusions add an epic dimension, heightening the sense of scale in the confrontation scenes of the film’s final act.

While some critics might argue that the score occasionally lacks cohesion, Beltrami's work is undeniably engaging, and his thematic development is both complex and compelling. The emotionally charged solo performances, particularly the electronically altered violin solos, are highlights that add depth and nuance to the score.

Beltrami’s music was released in 2004 by Varèse Sarabande in the form of a 44-minute album that contained its highlights. However, this presentation was not in chronological order and was missing some standout cues. Renovatio Records steps in to address these concerns, presenting a new program that follows the film’s order of cues while introducing previously unreleased material, contributing to the narrative arc of the work.

Feel free to get your favorite Asimov book and read it while you enjoy Marco Beltrami's music for I, Robot, a score that, as the famous sci-fi author, is as intellectually stimulating as it is emotionally impactful.

Track listing:

1. Main Titles (1:35)

2. Chicago 2035 (2:05)

3. Suicide at USR HQ (3:02)

4. Sonny in the Box (2:46)

5. 1001 Robots (3:29)

6. New Arrivals (1:39)

7. Tunnel Chase (3:15)

8. Spooner Spills Secret (4:22)

9. Dead Robot Walking (5:09)

10. Gangs of Chicago (3:18)

11. Man on the Inside (2:26)

12. Need Some Nanites (2:50)

13. Spiderbots (4:22)

14. Round Up (4:40)

15. I, Robot Theme (3:22)

Total Running Time: 48:20

Download Link

Size: 258.1 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 by Marco Beltrami

Produced by Marco Beltrami

Executive in Charge of Music for Twentieth Century Fox: Robert Kraft

Music Supervised for Twentieth Century Fox: Michael Knobloch

Fox Music Business Affairs: Traci Dallas-Opdahl

Score Conducted by Pete Anthony and Marco Beltrami

Orchestrations by Pete Anthony, Frank Bennett, Bill Boston, Chris Guardino, Jim Honeyman, Randy Kerber, Jon Kull, Carlos Rodriguez, Dennis Smith, Ceiri Torjussen, and Marcus Trumpp

Score Recorded and Mixed by John Kurlander

Music Preparation by Jo Ann Kane Music Services

Performed by The Hollywood Studio Symphony

Orchestra Contracted by Sandy De Crescent

Choir: The Hollywood Film Chorale

Vocal Contractor: Sally Stevens

Synth Design by Buck Sanders

Score Recorded at Newman Scoring Stage at Twentieth Century Fox

Recordist: John Rodd

Engineer: Bill Talbott

Stage Managers: Tom Steel and Jason Lloyd

Score Mixed at The Robert Wise Mixing Stage

Recordist: Matt Patterson

Stage Engineer: William Stein

Digital Recordist: Kevin Globerman

Music Editor: Alex Gibson

Assistant Music Editor: Jeremy Raub

Original Film Score Published by T C F Music Publishing, Inc. (ASCAP)

Cue Assembly:

Track Title	Slate Number and Cue Title
1. Main Titles	1m1 Main Titles
2. Chicago 2035	1m3 Chicago 2035 (Edited) 1m5 Purse Pursuit (Edited)
3. Suicide at USR HQ	1m7 Back in the USR (Edited) 2m1a Dr. Calvin (Edited)
4. Sonny in the Box	2m3 Sonny’s Interrogation (Edited) 2m1b Sonny in the Box (Edited) 1m1 Main Titles (Edited) 2m1bAlt Sonny in the Box (Edited)
5. 1001 Robots	2m2 1001 Robots (Edited) 3m1 AM-PM (Edited)
6. New Arrivals	3m3 Dream Weaver 3m4 Bad News City Music (Edited)
7. Tunnel Chase	3m6 Tunnel Chase (Edited)
8. Spooner Spills Secret	4m5 Spooner Spills
9. Dead Robot Walking	5m1 Dead Robot Walking (Edited)
10. Gangs of Chicago	5m2 Rock 'em Sock 'em Robots (Edited)
11. Man on the Inside	5m3 Gangs of Chicago (Edited) 5m4 Man on the Inside (Edited)
12. Need Some Nanites	6m1 Need Some Nanites (Edited)
13. Spiderbots	6m2 Spiderbots (Edited)
14. Round Up	6m3 Round Up
15. I, Robot Theme	7m1 End Credits

Motion picture artwork, photos, and Fox Trademarks and Logos © 2004 Twentieth Century Fox Film Corporation. 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 [0-01702-19067]

The Thing

THE THING (Original Motion Picture Soundtrack)

Music Composed by Marco Beltrami

Renovatio Records brings you yet another Marco Beltrami score: The Thing (2011). The film, directed by Matthijs Van Heijningen Jr. and starring Mary Elizabeth Winstead, Joel Edgerton, Ulrich Thomsen, Adelawe Akinnuoye-Agbaje and Eric Christian Olsen, serves as a prequel to John Carpenter's 1982 take and details the events that led to the destruction of the Norwegian camp (gruesome deaths, in between) that is later to be visited by Kurt Russell in the original. Filmmakers have put a lot of effort in making the prequel look just like Carpenter's film, with a touch of modernity added in; practical creature effects have been largely replaced by CGI shots in this one. Regarding the music, the original counted with Ennio Morricone's minimalist and synthetic yet effective score. For the prequel, filmmakers went into the opposite direction and hired Marco Beltrami to compose a large scale symphonic score with a melodic approach. The result is a brilliant horror score with significant thematic passages that will make the listener remember the work of Jerry Goldsmith.

Being a regular horror film composer, Beltrami is clearly in his comfort zone here and he manages to introduce interesting concepts into the genre. Such ideas involve a few electronic pulsing rhythms and an original motif for the creature itself that involves an orchestral wail that moves up and down, like if it were a actual living breathing "thing"! The score was officially released in 2011 by Varèse Sarabande, providing a lengthy album that contained several long suspense material, which made the listening experience rather unimpressive. Renovatio Records brings you this new release, with previously unreleased material and a fair balance between horror elements and thematic content. The Thing definitely stands out in Beltrami's career and is a score that horror film music collectors cannot miss!

Track listing:

1. Overture (1:29)

2. Journey To Antarctica (2:58)

3. Eye of the Survivor (2:57)

4. First Night (2:02)

5. Breakout (1:38)

6. First Attack (2:51)

7. Fillings (3:35)

8. Juliette (4:07)

9. Burning Corpses (2:21)

10. Not All Of Us Are Human (5:00)

11. Following Sander (3:41)

12. In The Ship (2:41)

13. Can't Stand The Heat (2:32)

14. Safe (2:35)

15. Final Immolation (2:34)

16. Who Goes There?* (3:41)

*Bonus track not featured in film

Total running time: 46:42

Download The Thing by Marco Beltrami

Cover artwork:

Mimic

MIMIC (Original Motion Picture Soundtrack)
Music Composed and Conducted by Marco Beltrami

Renovatio Records presents the score for 1997 horror flick Mimic, composed by Marco Beltrami. Directed by Guillermo Del Toro, the film stars Mira Sorvino, Jeremy Northam, Giancarlo Giannini, Josh Brolin, Charles S. Dutton and F. Murray Abraham, and revolves around a group of scientists that discover a miraculous cure that stops the spread of a deadly disease. However, three years later, their creation has evolved into a horrifying lifeform, able to mimic and hunt down its prey: man. With dark muddy sets and hideous insect-like creatures, the B-rate movie stands as one of Del Toro's most characteristic works. The same could be said about Beltrami's score, one that definitely set the composer in the horror genre mainstream.

The score's most characterizing feature is that it is quite accessible within this genre, which usually provides dissonant and cliched scores. Beltrami achieves in offering a strong thematic content, empowered by a large orchestra and a lot of intricate percussive passages. Most importantly, the score virtually lacks post-production work, as it was written and recorded with old-school techniques. What you hear is exactly what the orchestra performed!

Varèse Sarabande issued an album at the time of the movie release that was quite short, missing a considerable amount of good music. In 2011, the same label produced a Deluxe edition that included the complete score, with many short tracks resulting in a rather slow listening experience. Now, Renovatio Records brings you a new arrangement of this score, a clear tribute to the works of Christopher Young and Jerry Goldsmith in the horror genre. Mimic is definitely a must-have in a Beltrami collection!!

Track listing:

1. Main Titles (2:52)

2. Children's Hospital (1:27)

3. Release the Judas (2:29)

4. The Alley (2:52)

5. Delancey St. Station (1:17)

6. Susan Meets Chuy (1:09)

7. Problems in the Lab (5:18)

8. Pregnancy Test (2:55)

9. Chuy Steps Out (3:19)

10. Manny's Search (1:50)

11. In The Den (4:19)

12. Chased by a Bug (1:17)

13. Josh's Dead End (4:22)

14. Race To The Subway (2:15)

15. I'll Go (1:04)

16. Fleeing Terror (4:51)

17. The Leucistic's Alive (1:28)

18. Reunited (2:51)

19. End Credits (2:04)

Total running time: 49:59

Download Mimic by Marco Beltrami

Cover Artwork: