A compilation featuring the best film music of 2012, this, the latest in the acclaimed Silva Screen series, is a great way to make sure you haven’t missed anything!

Includes: Skyfall, The Dark Knight Rises, Prometheus, Lincoln, Brave, The Hobbit and many more!

“Music is a high point in the film – mingling folk songs, Christian hymn and country.” – Terry Mulcahy, Film4.com

Described by Cyberpresse as an “unusual blend of comedy, musical, thriller and horror” and on Twitter as “The Empire Strikes Back to The Wicker Man’s Star Wars”, the Robin Hardy 2010 update to The Wicker Man is the second part of The Wicker Man trilogy.

John Scott’s career spans over sixty years. As an arranger and conductor his work appears on many classic 1960s hits, not least playing flute on The Beatles’ You’ve Got To Hide Your Love Away and lead sax on Goldfinger. His film and TV composing career extends to over 140 titles (Greystoke: The Legend Of Tarzan, Lord Of The Apes, The Cousteau Odyssey).

Traditional Scottish artist and composer Keith Easdale provides songs that propel the story. He was present throughout the production to supervise the music which has been described as the spine of the film.

The mini-series will not only star Kevin Costner but the soundtrack will also feature the Kevin Costner & Modern West Single ‘I Know These Hills’.

The music is composed by John Debney and Tony Morales.

John Debney had invited his friend and fellow composer Tony Morales to join him in what he called the, “incredible journey/to create a score that is modern yet grounded in rich melodies”

Both Debney and Morales hoped that the listener could sit back and enjoy what would be an emotion conjuring musical journey which would then give an insight into the feelings of the real-life characters.

“Early creative discussions hinged on creating a memorable score that honored the time and region while maintaining a contemporary sound. The use of Appalachian instruments was a natural choice, but it took some experimenting to come up with the right balance of traditional and contemporary elements.” – John Debney

From Julie London’s purr to Bo Diddley’s muscular blues, from the Dance King of Havana, Beny Moré, to the Genius of Soul, Ray Charles, the soundtrack of Miami Beach 1959 was like the city itself – glamour and heat. Sunkissed families swam and limboed by the hotel pool to sweet Frankie Avalon by day and hookers, hustlers and gamblers swayed in the same exact cabanas to wild Johnny Otis at night. My hometown was a world of opposites, of extremes: blasting sun or velvety tropical nights, the giddy kiddie pool or the dark caves of the hotel lounges. It was a fantasy built to dazzle tourists and a hard reality of mobsters and the CIA dumping bodiesin Biscayne Bay.

It was the Magic City… and this is its soundtrack.

- Mitch Glazer

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