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J. J. Starbuck ("Gone Again") - music by Mike Post, lyrics by Stephen Geyer performed by Ronnie Milsap; The Jack Benny Program (end credit theme, "The J & M Stomp") – Mahlon Merrick; The Jackie Gleason Show ("Melancholy Serenade") – Jackie Gleason; Jackpot, 1974–75 version ("Jet Set") – Mike Vickers (later used for This Week in Baseball)
The mournful music during the ninth episode's action sequence was praised; [43] [44] [45] IGN ' s Cardy felt it reflected the scene's regretful tone, [46] and Total Film ' s Russell considered it among the season's strongest musical moments. Russell similarly lauded the increasing tension of the music during the season's final scene. [47]
"The Beginning" – Fallout (Prime Video) – Gursimran Sandhu "Fear of the End" – Evil – Rockne S. O'Bannon and Nialla LeBouef "First Date" – Mr. and Mrs. Smith (Prime Video) – Francesca Sloane and Donald Glover "Olivia" – Sugar – Mark Protosevich "Pilot" – Elsbeth – Robert King and Michelle King
“Transformers One” director Josh Cooley wanted an end credits song that captured the tone of his new animated feature. He had already enlisted composer Brian Tyler to compose the film’s ...
Music manager Jonathan Mayer felt that the game's action music was atypical for video game action music, stating that it is "relatively low-key", and that taking it out of context changes the immediate reaction to it. [7] The game's theme, "The Last of Us", was the first piece of music that the team received, and they were very impressed. [7]
After the credits draw to a close, we're taken to a snowy spot with snowman Olaf center-stage. In a callback to one of the funniest scenes of "Frozen 2," he dramatically re-enacts some of the ...
The first album, Real Steel – Music from the Motion Picture, was released on October 4, 2011 by Interscope Records. [ 1 ] [ 2 ] It consists of 13 tracks featuring artists including Foo Fighters , Tom Morello , Eminem , Royce da 5'9" ( Bad Meets Evil ), The Crystal Method , Yelawolf , 50 Cent and Limp Bizkit . [ 3 ]
On July 25, 2014, it was announced that Hans Zimmer, who co-scored the first two instalments with John Powell, would return to score the film. [2] Zimmer collaborated with renowned Asian musicians as "the only way you can really connect with a culture is to be respectful of the people who actually are that culture and play from that culture". [3]