Trick 'R' Treat (CD)

• Category:  Music  »  Rock & Pop  »  General Rock & Pop
• Format: CD   Learn more about the CD format using Tower WIKI.
• Release Date: September 29, 2009
• Number of Discs: 1
• Label: La-La Land Records
• UPC: 826924110324
• WAPI (Tower ID): 113718290
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• Tower.com Sales Rank: #30656 in Music (See Top 100 Music Bestsellers)
• #10609 in Rock & Pop (See Top 100 Rock & Pop Bestsellers)
• #6726 in General Rock & Pop (See Top 100 General Rock & Pop Bestsellers)

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Personnel: Ann White, Fletcher Sheridan, Debbie Hall Gleason, Sandie Hall, Sally Stevens, Walt Harrah, Teri Koide (vocals); Lorenz Gamma, Alyssa Park, Irina Voloshina, Anatoly Rosinsky, Nina Evtuhov, Katia Popov, Sharon Jackson, Ana Landauer, Lisa M. Sutton, Sungil Lee, Jay Rosen, Kevin Connolly, Richard Altenbach, Roberto Cani, Agnes Gottschewski, Natalie Leggett, Roger Wilkie, Marina Manukian, Armen Garabedian, Galina Golovin, Josefina Vergara, Julie Ann Gigante, Rafael Rishik, Endre Granat, Tereza Stanislav (violin); Rick Gerding, Marlow Fisher, Brian Dembow, Steven Gordon, Keith Greene, Jennie Hansen, David Walther, Darrin McCann, Robert Berg (viola); George Kim Scholes, Kirkpatrick, Antony Cooke, Andrew Shulman, David Speltz, Cecilia Tsan, John Walz, Christine Ermacoff, Steve Erdody (cello); Geraldine Rotella, David Shostac, Heather Clark (flute); Steven Roberts, Donald Foster, Ralph Williams, James M. Kanter (clarinet); Phillip Ayling (oboe); Jon Lewis, Malcolm McNab (trumpet); Andrew Malloy, George Thatcher (trombone); Doug Tornquist (tuba); Kristy Morrell, David Duke, Phillip Edward Yao, Brian O'Connor (horns); Alan Estes, Gregory Goodall, Peter Limonick (percussion).

Audio Mixer: Brad Haehnel.

Recording information: Warner Bros. Eastwood Scoring Stage.

In his liner notes, which take up seven of the 12 pages of the CD booklet for the TRICK `R' TREAT soundtrack album, writer/director Michael Dougherty reveals that at one point in the production process for the film, composer Douglas Pipes was told "that the score would have to be a synthesized abomination" due to budget constraints. This did not turn out to be the case, no doubt at least in part because of Dougherty's strong feelings about film music in general and music for horror films in specific. ". [A] lot of today's scores tend to be just random shifting tones and electronic droning," he complains, adding, "Modern horror music tends to be a forgetful hodgepodge of white noise and loud [strings] without a single note that evokes a moment or character from the film." Clearly, Dougherty was determined this would not be the case with a film that represented the first screenplay he ever wrote and his directorial debut, even if it was a straight-to-video horror anthology. Thus, he not only brought in Pipes, who had distinguished himself with his score to MONSTER HOUSE, but he also spent the money to hire an 85-piece orchestra of first-call Hollywood musicians. With Dougherty's inspiration, Pipes has delivered a score that pays obvious homage to the kind of music his writer/director admires, specifically the dramatic and romanticized work of Bernard Herrmann in his scores for Alfred Hitchcock's films on the one hand, and the delicate, contemplative keyboard themes used by John Carpenter on the other. That makes this score far more ambitious than one might expect for a picture that isn't being given a theatrical run, but it demonstrates the composer's talent and will add to the enjoyment of horror fans who will seek the film out in its digital, home video, and television distribution.

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