Sky Captain and the World of Tomorrow

 

Sky Captain and the World of Tomorrow

(Original Motion Picture Soundtrack)

Music Composed and Conducted by

Edward Shearmur

Renovatio Records proudly presents a new release of Edward Shearmur’s remarkable score for Sky Captain and the World of Tomorrow (2004). Directed by Kerry Conran, this visually groundbreaking film stars Jude Law, Gwyneth Paltrow, Angelina Jolie, and Giovanni Ribisi, and adopts a nostalgic comic book style inspired by the 1930s vision of the future. The story follows the daring adventures of Sky Captain and intrepid reporter Polly Perkins as they unravel a global conspiracy led by the enigmatic Dr. Totenkopf. Notable for being the first feature film shot entirely against blue screens with CGI-rendered environments, Sky Captain was a bold cinematic experiment. Although it struggled at the box office, the film has since earned cult-classic status for its innovative style and ambitious storytelling.

To complement the film’s adventurous spirit, British composer Edward Shearmur was chosen by producer Jon Avnet for his expertise in orchestral composition. The result is nothing short of a symphonic masterpiece, performed by the London Metropolitan Orchestra. Shearmur’s sweeping score captures the adventurous energy of 1930s serials while carving out its own identity. Inspired by the likes of Max Steiner, Erich Wolfgang Korngold, and John Williams, the music celebrates classic adventure films while maintaining a fresh and unique voice.

Rich in thematic brilliance, Shearmur’s score is anchored by memorable motifs: Sky Captain’s heroic fanfare, introduced in the opening cue, exudes triumph and larger-than-life charisma, while a secondary, introspective theme reveals his more vulnerable side (heard in full at the outset of “Flight to Nepal”). Contrasting this is Polly Perkins’ theme, introduced in the track “The Chronicle”, which is bold and determined and reflects her courage and tenacity. Out of Polly’s theme, Shearmur crafted a tender love theme shared with Sky Captain. This romantic motif weaves throughout the score, transitioning from comedic charm in “Three in a Bed” to sweeping strings in “Back to Earth,” evoking nostalgia, romanticism and longing. The villainous Dr. Totenkopf and his robotic army are underscored with two ominous ascending and descending themes as well as march-like motifs brimming with menace. These dark, mechanical rhythms dominate tracks like “The Robot Army” and “The Flying Wings Attack.” And last but not least, Jolie’s Captain Frankie Cook is celebrated with a spirited patriotic theme, adding a thrilling dimension to her commanding presence in cues like “Finding Frankie” and "Manta Squadron."

The action sequences are a masterclass in orchestral intensity, blending relentless energy with melodic sophistication. Shearmur’s use of brass and percussion drives the drama forward, while intricate orchestrations ensure harmony remains intact. Tracks like “The Robot Army,” “The Flying Wings Attack,” and “Manta Squadron” showcase his ability to balance bombastic thrills with emotional depth, creating an exhilarating and immersive listening experience.

All in all, Shearmur’s work on Sky Captain and the World of Tomorrow remains a standout in symphonic adventure film music—a seamless fusion of heroic fanfares, tender interludes, and electrifying action cues. It’s a score that not only elevates the film but stands proudly on its own as one of the most entertaining soundtracks of its time.

Over the years, Sky Captain’s score has seen several releases. The original 2004 album by Sony Classical offered a 54-minute selection of highlights, but occasionally faltered in pacing and cohesiveness. In 2017, La-La Land Records unveiled an expanded 2-CD set, offering over 100 minutes of music, including alternate cues and source material. While comprehensive, this edition faced criticism for its overwhelming length and lack of narrative flow. Renovatio Records' new release seeks to rectify these issues by curating a program that emphasizes storytelling and thematic development. By incorporating previously unreleased material and re-editing cues, this edition provides a fresh perspective on Shearmur's work. The result is a listening experience that captures the essence of the film while maintaining a dynamic and engaging structure.

Track listing:

1. The World of Tomorrow (1:08)

2. The Zeppelin Arrives (1:53)

3. The Chronicle (2:56)

4. The Robot Army (7:35)

5. Dr. Jennings’ Lab (3:30)

6. The Flying Wings Attack (9:59)

7. Flight to Nepal (4:12)

8. Treacherous Journey (3:03)

9. Three in a Bed (1:05)

10. Finding Franky (4:58)

11. Manta Squadron (6:33)

12. The Island (2:20)

13. Totenkopf’s Ark (5:17)

14. Disabling the Rocket (4:22)

15. Back to Earth (4:22)

Total Running Time: 63:13

Download Link

Size: 354.6 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 Edward Shearmur

Score Produced by Edward Shearmur, Teese Gohl and Steve McLaughlin

Executive Album Producer: Jon Avnet

Score Recorded and Mixed by Steve McLaughlin

Orchestrated by Robert Elhai

Additional Orchestrations by Edward Shearmur, Brad Warnaar and Jeff Toyne

Performed by The London Metropolitan

Orchestra Conducted by Edward Shearmur

Orchestra Contractor: Andy Brown

Production Assistant: Jeff Toyne

Music Editor: Daryl Kell

Additional Music Editing: Tom Chichester Clark

Music Preparation by Vic Fraser, Global Music Service

Music Recorded at Abbey Road and Air Lyndhurst Studios, London

Assistant Engineer: Richard Lancaster

Music Mixed at Hyperion Sound, Los Angeles

Mastered by Vlado Meller at Sony Music Studios, New York

Published by Ensign Music Corporation (U.S.A., Canada, U.K, Australia, New Zealand) and Sky Captain Music (Rest of the World) (BMI)

Cue Assembly:

Track Title	Slate Number & Cue Title
1. The World of Tomorrow	1m01 Logos (Main Title)
2. The Zeppelin Arrives	1m02 Zeppelin
3. The Chronicle	1m04 Telegram (Edited) 1m05 Meet Polly (Edited)
4. The Robot Army	1m09 -13 Robots (Edited)
5. Dr. Jennings’ Lab	2m03-4 Hangar+Car (Edited) 2m05 Jennings Lab (Edited) 3m01 Dr. Jennings is Dead (Edited)
6. The Flying Wings Attack	3m02 Flying Wings, pt1 3m03-4 Flying Wings, pt2+3 (Edited) 3m05 Flying Wings, pt4 3m06 Flying Wings, pt5 (Edited) 3m07 Flying Wings, pt6 (Edited) 3m08 Flying Wings, pt7 (Edited) 3m09 Flying Wings, pt8 (Edited) 3m10 Wiggly Robots 3m11 Cap’s Escape 3m12 Underwater
7. Flight to Nepal	4m01-2 Flight to Nepal 4m03-4 Landing in Nepal (Edited)
8. Treacherous Journey	4m05 Shambala 4m06 Treacherous Journey 4m07 Transmitter
9. Three in a Bed	4m11 Three in a Bed
10. Finding Franky	5m03-5 Romancing the Staff (Edited) 5m06 Buckle Up
11. Manta Squadron	5m09-12 Underwater
12. The Island	6m01 Reflets dans l'eau 6m02 Flying Lizard
13. Totenkopf’s Ark	6m04-5 Ark 6m06 Robot Attack (Edited) 6m07 Outside TK's Office pt1+pt2 (Edited)
14. Disabling the Rocket	7m03 Fight 7m04 Action (Edited)
15. Back to Earth	7m05 Coda 1m01 Logos (Main Title)

Motion picture artwork, photos, TM and copyright © 2004 Paramount Pictures. 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 [0-01702-19068]

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]

Collateral

 

Collateral

(Original Motion Picture Score)

Music Composed by

James Newton Howard

Renovatio Records’ next release celebrates the music of Collateral (2004), the acclaimed action thriller directed by Michael Mann and starring Jamie Foxx, Tom Cruise, Jada Pinkett Smith, Mark Ruffalo, Peter Berg, Javier Bardem, and Bruce McGill.

Widely regarded as one of the most compelling thrillers of its time, Collateral blends a gripping narrative with standout performances and the atmospheric allure of nighttime Los Angeles. Foxx plays Max, a Los Angeles cab driver, who is offered a high fare by Vincent (Cruise) to drive to several locations throughout the city. Max agrees but soon finds himself taken hostage by Vincent, who turns out to be a cold-blooded hitman hired to eliminate a number of targets. With Mann’s signature attention to detail, Collateral not only achieved critical acclaim but also performed strongly at the box office, earning $220 million worldwide. Its exploration of themes like morality, chance, and human connection struck a chord with audiences, while the visually striking cinematography and tightly woven narrative solidified its place as a modern classic.

Integral to the film’s immersive experience is its music—a compelling blend of original score and carefully curated songs that enhance its emotional and thematic depth. The music of Collateral exemplifies the challenges and artistry of scoring a Michael Mann film, marked by his unorthodox and collaborative approach. Although James Newton Howard is the primary credited composer, the score is a mosaic that also includes contributions from Antonio Pinto and Tom Rothrock, as well as various temp tracks Mann retained in the final cut. This fragmented methodology reflects the director’s penchant for experimenting with musical textures, sometimes at the expense of a unified score.

Howard, aware of Mann’s exacting standards, approached the project with tempered expectations, even humorously noting he would be pleased if half of his compositions were used. In the end, only 15 minutes of his 50-minute score made it into the film. Meanwhile, Mann simultaneously tasked Pinto and Rothrock with composing for overlapping scenes, creating a rich but eclectic musical landscape. Despite its patchwork nature, the resulting score captures the film's haunting and nocturnal ambiance, contributing significantly to its mood.

Pinto’s compositions bring an emotional resonance to Collateral, reflecting cab driver Max’s journey through trauma and catharsis. His standout tracks, such as "Night Shift" and "Requiem," blend noir-inspired string melodies with electronic and orchestral textures, encapsulating the film’s delicate interplay of tension and fleeting beauty. Rothrock, on the other hand, provides hard-edged rock cues for a few of the film’s more kinetic sequences, particularly those involving law enforcement, adding a raw, energetic layer to the score.

In contrast, Howard’s work emphasizes rhythmic suspense and introspection, skillfully blending orchestral and synthetic elements. Tracks like "Island Limos" introduce intriguing motifs, while "Felix" and "Surveillance" showcase Howard’s innovative use of layered guitar textures. The mournful vocal lament in "Daniel Is Killed" and the pulse-pounding brass and percussion of “Max Steals Briefcase”, "The Final Target", and "Metro" deliver thrilling intensity in the film’s climactic moments, and will surely satisfy the avid fans of the composer. Howard himself described the score as “less note-y, much less orchestral” than his typical work, reflecting the minimalist yet impactful tone Mann sought.

Over the years, Collateral has seen a number of soundtrack releases, each with its strengths and shortcomings. The original 2004 album by Hip-O Records featured a mix of songs and score, offering a broader overview of the film’s music but limiting the depth of its score presentation. In 2016, Intrada Records focused exclusively on Howard’s work, offering a comprehensive collection of the score, though it leaned heavily into its darker, more subdued elements, which proved to be overwhelming for casual listeners. Renovatio Records’ new release seeks to deliver the definitive listening experience, curating a balanced selection of tracks from Howard, Pinto, and Rothrock. This album captures the essence of the film’s musical identity while standing as an engaging standalone experience.

Track listing:

1. Briefcase - Tom Rothrock (2:06)

2. Night Shift - Antonio Pinto (1:47)

3. Stalk - James Newton Howard (3:10)

4. The Second Hit - James Newton Howard (2:09)

5. You Like Jazz? - James Newton Howard (2:51)

6. Daniel Is Killed - James Newton Howard (2:52)

7. Max Panics - Antonio Pinto (2:30)

8. Max Steals Briefcase - James Newton Howard (1:47)

9. Island Limos - James Newton Howard (1:32)

10. Crime Scene - Antonio Pinto (1:35)

11. Felix - James Newton Howard (1:52)

12. Surveillance - James Newton Howard (3:44)

13. Club Fever - Antonio Pinto (2:58)

14. Last Stop - Antonio Pinto (1:15)

15. The Final Target - James Newton Howard (6:53)

16. Metro - James Newton Howard (5:13)

17. Would Anyone Notice? - James Newton Howard (3:46)

18. Requiem - Antonio Pinto (2:01)

Total Running Time: 50:01

Download Link

Size: 243.8 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 James Newton Howard

Additional Music by Antonio Pinto

Music Produced by James Newton Howard

Additional Score Produced by Antonio Pinto

Executive in Charge of Music for Paramount Pictures: Randy Spendlove

Executive Music Supervisor: Kathy Nelson

Music Supervisor: Vicki Hiatt

Orchestra Conducted by Pete Anthony and Bruce Fowler

Orchestrations by Pete Anthony, Jeff Atmajian, Brad Dechter, Ed Cortês, Michael G. Fisher and Bruce Fowler

Orchestra Recorded at 20th Century Fox Newman Scoring Stage, Los Angeles, and Todd-AO, Studio City, CA

Orchestra Recorded and Mixed by Shawn Murphy

Additional Score Recorded by Michael Farrow

Scoring Crew: Jason Lloyd, Tom Steel

Stage Engineer: Bill Talbott

Electronic Score Recorded and Mixed by James T. Hill

Score Recordists: Tim Lauber, Mike Ging, Thomas Graham

Music Editors: Jim Weidman, Todd Kasow, Philip Tallman, James Flamberg

Additional Music Editors: Del Spiva, David Olson, Mike Boustead

Additional Programming by Charlie Clouser

Score Coordinators: Gui Amabis, Annica Ackerman

Music Contractor: Sandy De Crescent

Music Preparation: Jo Ann Kane Music Service

Soloists:

Oboe: Tom Boyd

French Horn: James Thatcher

Guitar: George Doering

Rabeca Violin, Tenor Violin, Hurdy-gurdy: Siba and Craig Eastman

"Briefcase"

Written by Tom Rothrock

Produced and Mixed by Tom Rothrock

Engineered and Edited by Mike Tarantino and John Paterno

Music Published by SKG Songs (ASCAP)

Cue Assembly:

Track Title	Slate & Cue Title
1. Briefcase - Tom Rothrock	Briefcase
2. Night Shift - Antonio Pinto	Night Shift
3. Stalk - James Newton Howard	1m2 Vincent Stalks Building 2m1 Vincent Reveals ID (Edited) 2m2 Vincent and Max Talk (Edited)
4. The Second Hit - James Newton Howard	2m1 Vincent Reveals ID (Edited) 2m3 Cops/Arriving at Second Hit (Edited) 2m4 Sylvester Clarke
5. You Like Jazz? - James Newton Howard	3m1 You Like Jazz? Part 1 (Edited) 2m3 Cops/Arriving at Second Hit (Edited) 3m3 Daniel
6. Daniel Is Killed - James Newton Howard	3m2 Fanning at Crime Scene 3m4 Daniel is Killed (with VOX)
7. Max Panics - Antonio Pinto	Max’s Panic
8. Max Steals Briefcase - James Newton Howard	3m8 Max Steals Briefcase
9. Island Limos - James Newton Howard	4m2 Island Limos
10. Crime Scene - Antonio Pinto	LAPD Crime Scene
11. Felix - James Newton Howard	4m5 Max Meets Felix
12. Surveillance - James Newton Howard	4m3A I’m Vincent 5m1 Cops Pursue 4m4 Surveillance at El Rodeo (Edited)
13. Club Fever - Antonio Pinto	Club Fever Untitled (Edited)
14. Last Stop - Antonio Pinto	Last Stop
15. The Final Target - James Newton Howard	6m3 Race to Annie (Edited) 6m4 Vincent Cuts Power
16. Metro - James Newton Howard	6m5 Cat and Mouse (Edited) 7m1 Race to the Metro (Edited) 7m2 Vincent Hops on Train (Edited)
17. Would Anyone Notice? - James Newton Howard	7m3 Finale
18. Requiem - Antonio Pinto	Requiem

Motion picture artwork, logos and photos © 2004 DW Studios L.L.C. 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 [0-01702-19069]