Musik-Streaming
Hören Sie dieses Album mit unseren Apps in hoher Audio-Qualität
Testen Sie Qobuz kostenlos und hören Sie sich das Album anHören Sie dieses Album im Rahmen Ihres Streaming-Abonnements mit den Qobuz-Apps
Abonnement abschließenHören Sie dieses Album im Rahmen Ihres Streaming-Abonnements mit den Qobuz-Apps
Download
Kaufen Sie dieses Album und laden Sie es in verschiedenen Formaten herunter, je nach Ihren Bedürfnissen.
Text in englischer Sprache verfügbar
The soundtrack to Michael Mann's 2009 film Public Enemies, which centers on the life of criminal John Dillinger in the 1930s, a time when the public enemies list was exactly that -- public -- and was followed daily like a baseball box score, with the good guys winning sometimes and the bad guys winning sometimes (and yes, everyone was keeping score), unwinds with its own story to tell, one that ends up being a tragic love story, among other things. The sequence is wonderfully atmospheric in spots, moving from track to track almost like in a dream, thanks to the portions of the score by Elliot Goldenthal that are included, and also thanks to tracks like Diana Krall's hushed reimagining of "Bye Bye Blackbird" (a song at the very heart of the film's plot) and Blind Willie Johnson's haunting, wordless moan (which is echoed by his beautiful slide guitar playing) "Dark Was the Night, Cold Was the Ground," originally released on 78 by Columbia Records in 1929. Things start off with a bang, though, with Otis Taylor's driving, modal banjo monster "Ten Million Slaves," which drives its point home and thunders off like a runaway train on steroids. At the other end of the alley, Goldenthal's "Drive to Bohemia" is ghostly, soothing, and brief as the moment it underscores and defines in the film. Some soundtrack albums work all on their own apart from the film they were assembled to support, and some, of course, don't work so well stripped of the visual association. This one, thankfully, is haunting and memorable all on its own, flowing with it's own pacing and telling its own story, ending, in this case, in darkness and tears and Johnson's otherworldly slide guitar.
© Steve Leggett /TiVo
Sie hören derzeit Ausschnitte der Musik.
Hören Sie mehr als 100 Millionen Titel mit unseren Streaming-Abonnements
Hören Sie diese Playlist und mehr als 100 Millionen Tracks mit unseren Streaming-Abonnements
Ab 12,49€/Monat
Teese Gohl, Producer - Michael Mann, Producer - Elliot Goldenthal, Composer, MainArtist - Joel Iwataki, Recording Engineer, StudioPersonnel
℗ 2009 Universal Studios
Teese Gohl, Producer - Michael Mann, Producer - Elliot Goldenthal, Composer, MainArtist - Joel Iwataki, Recording Engineer, StudioPersonnel
℗ 2009 Universal Studios
Teese Gohl, Producer - Michael Mann, Producer - Elliot Goldenthal, Composer, MainArtist - Joel Iwataki, Recording Engineer, StudioPersonnel
℗ 2009 Universal Studios
Diana Krall, MainArtist - Mort Dixon, Author - Ray Hendersen, Composer
℗ 2009 Universal Studios
Teese Gohl, Producer - Michael Mann, Producer - Elliot Goldenthal, Composer, MainArtist - Joel Iwataki, Recording Engineer, StudioPersonnel
℗ 2009 Universal Studios
Kenny Passarelli, Producer, Bass Guitar, Keyboards, AssociatedPerformer - Otis Taylor, Author, Guitar, Vocals, MainArtist, AssociatedPerformer - Ed Turner, Guitar, AssociatedPerformer - Cassie Taylor, Background Vocalist, AssociatedPerformer - Ben Solle, Cello, AssociatedPerformer
℗ 2003 Otis Taylor
Teese Gohl, Producer - Michael Mann, Producer - Elliot Goldenthal, Composer, MainArtist - Joel Iwataki, Recording Engineer, StudioPersonnel
℗ 2009 Universal Studio
Michael Mann, Producer - Elliot Goldenthal, MainArtist - Indian Bottom Association Old Regular Baptists, MainArtist, ComposerLyricist
℗ 2009 Universal Studios
Teese Gohl, Producer - Michael Mann, Producer - Elliot Goldenthal, Composer, MainArtist - Joel Iwataki, Recording Engineer, StudioPersonnel
℗ 2009 Universal Studios
George Gershwin, Composer - Ira Gershwin, Author - Billie Holiday, Vocals, MainArtist, AssociatedPerformer - Wardell Gray, Saxophone, AssociatedPerformer - Howard McGhee, Trumpet, AssociatedPerformer - Charles Mingus, Double Bass, AssociatedPerformer - Lester Young, Saxophone, AssociatedPerformer - Tiny Grimes, Guitar, AssociatedPerformer - ILLINOIS JACQUET, Saxophone, AssociatedPerformer - Dave Barbour, Guitar, AssociatedPerformer - Al McKibbon, Double Bass, AssociatedPerformer - Willie Smith, Saxophone, AssociatedPerformer - Milton Raskin, Piano, AssociatedPerformer - J.C. Heard, Drums, AssociatedPerformer - Charlie Ventura, Saxophone, AssociatedPerformer - Norman Granz, Producer - Dave Coleman, Drums, AssociatedPerformer - Joe Guy, Trumpet, AssociatedPerformer - Kenny Kersey, Piano, AssociatedPerformer - Georgie Auld, Saxophone, AssociatedPerformer
℗ 1946 UMG Recordings, Inc.
Teese Gohl, Producer - Michael Mann, Producer - Elliot Goldenthal, Composer, MainArtist - Joel Iwataki, Recording Engineer, StudioPersonnel
℗ 2009 Universal Studios
Albumbeschreibung
The soundtrack to Michael Mann's 2009 film Public Enemies, which centers on the life of criminal John Dillinger in the 1930s, a time when the public enemies list was exactly that -- public -- and was followed daily like a baseball box score, with the good guys winning sometimes and the bad guys winning sometimes (and yes, everyone was keeping score), unwinds with its own story to tell, one that ends up being a tragic love story, among other things. The sequence is wonderfully atmospheric in spots, moving from track to track almost like in a dream, thanks to the portions of the score by Elliot Goldenthal that are included, and also thanks to tracks like Diana Krall's hushed reimagining of "Bye Bye Blackbird" (a song at the very heart of the film's plot) and Blind Willie Johnson's haunting, wordless moan (which is echoed by his beautiful slide guitar playing) "Dark Was the Night, Cold Was the Ground," originally released on 78 by Columbia Records in 1929. Things start off with a bang, though, with Otis Taylor's driving, modal banjo monster "Ten Million Slaves," which drives its point home and thunders off like a runaway train on steroids. At the other end of the alley, Goldenthal's "Drive to Bohemia" is ghostly, soothing, and brief as the moment it underscores and defines in the film. Some soundtrack albums work all on their own apart from the film they were assembled to support, and some, of course, don't work so well stripped of the visual association. This one, thankfully, is haunting and memorable all on its own, flowing with it's own pacing and telling its own story, ending, in this case, in darkness and tears and Johnson's otherworldly slide guitar.
© Steve Leggett /TiVo
Informationen zu dem Album
- 1 Disc(s) - 16 Track(s)
- Gesamte Laufzeit: 00:46:30
- Künstler: Elliot Goldenthal
- Komponist: Various Composers
- Label: Decca Soundtracks
- Genre: Soundtracks Original Soundtrack
© 2009 Decca Label Group ℗ 2009 Decca Label Group
Verbesserung der AlbuminformationenWarum Musik bei Qobuz kaufen?
-
Streamen oder downloaden Sie Ihre Musik
Kaufen Sie ein Album oder einen einzelnen Track. Oder hören Sie sich mit unseren hochqualitativen Streaming-Abonnements einfach den ganzen Qobuz-Katalog an.
-
Kein DRM
Die heruntergeladenen Daten gehören Ihnen ohne jegliche Nutzungsbeschränkung. Sie können sie sooft herunterladen wie Sie möchten.
-
Wählen Sie das Format, das am Besten zu Ihnen passt
Sie können beim Download Ihrer Einkäufe zwischen verschiedenen Formaten (FLAC, ALAC, WAV, AIFF...) wählen.
-
Hören Sie Ihre Einkäufe mit unseren Apps
Installieren Sie die Qobuz-Apps für Smartphones, Tablets und Computer und hören Sie Ihre Musikeinkäufe immer und überall.