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The Haunting Music of Dexter
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DEXTER OFFICIAL SOUNDTRACK:
|"Dexter: Music from the Showtime Original Series" was released on August 28, 2007 and features 25 tracks:|
| 1. Dexter Main Title (Right click, save as) - Rolfe Kent (01:39)|
2. "Tonight's the Night" - Monologue: Michael C. Hall (01:07)
3. Party - Daniel Licht (2:11)
4. House - Daniel Licht (1:15)
5, Need time - Daniel Licht (1:38)
6. Conoci La Paz - Beny Moré (03:02)
7. Carioca - Artie Shaw (3:08)
8. Uruapan Breaks - Kinky (02:21)
9. Flores Para Ti - Raw Artistic Soul, feat. Rafael Cortez (05:16)
10. "Blood" - Monologue: Michael C. Hall (00:58)
11. Con Mi Guaguanco - Ray Armando (07:12)
12. Have You Ever Seen The Rain? - Creedence Clearwater Revival (2:40)
13. Slow Ride - Foghat (3:58)
14. Perfidia - Mambo All-Stars (02:36)
15. "Sometimes I Wonder" - Monologue: Michael C. Hall (00:29)
16. Born Free - Andy Williams (02:25)
17. Make Me Lose Control - Eric Carmen (4:47)
18. Dexter Main Title - Kinky (01:40)
|Tracks 12-25 composed by Daniel Licht:|
| 12. Escalation (02:08)|
13. Shipyard (02:03)
14. Deborah Loves Rudy / The House (03:11)
15. I Can't Kill (02:21)
16. Voodoo Jailtime (02:57)
17. New Legs (02:01)
18. Photo Albums (03:22)
19. Courting the Night (01:21)
20. Hide Your Tears (01:35)
21. Wink (02:07)
22. Astor's Birthday Party (02:00)
23. Epilogue / Bloodroom (03:43)
24. Blood Theme (02:25)
25. Die This Way [Bonus Track] - Composers: Jon & Daniel Licht, Performer: Jon Licht (03:55)
|The ITunes release includes five additional bonus tracks of Daniel Licht's cues from Seasons 1 & 2:|
| "Fight or Flight" - 1:41|
"Nowhere to Hide" - 1:43
"The Ice Truck Killer" - 2:56
"The Fortune" - 1:17
"Second Season Suite" - 2:01
ABOUT THE COMPOSERS:
| Main Title Composer, Rolfe Kent:|
Born in St. Albans, Hertforshire, UK into a non musical family, Kent instinctively knew at age 12 that he wanted to be a film composer, although his early musical training was brief and not so formal. Citing Jarre's Lawrence of Arabia and Morricone's The Good, the Bad and the Ugly as inspirations, Kent took the advise of a early music teacher to avoid rigid course work that would dampen his enthusiasm for music. He followed an entirely different path and, taking a counterpoint to what is often cited as culture mired in cynicism, profited from his early course work in theology to relate it to music. After enrolling in psychology studies at the University of Leeds Yorkshire, Kent's musical career was casually begun at a dance club when the director of a musical revue offered him a chance to "do" the music.
His jump start was his composition for a stage musical "Gross" at the Edinburgh Fringe Festival, a springboard for authors, composers and performers. In the confines of his musically busy studio, one can immediately see why his musical personality is as distinct as his own. Constantly on the go, adventurous and curious, Kent has developed a style that is not only distinct, but indicative of his aversion-to-the-anticipated score in tone, texture and rhythm. The walls are lined with many familiar and many more unfamiliar instruments, gingerly handled and gleefully demonstrated for their sonic qualities. Among his collection are the African percussion instrument, the angklung, the shawm, first used in military maneuvers as a psychological weapon, the melodica, used to light, soothing effect in Kent's jazz-infused score for his Golden Globe-nominated Sideways, and an instrument he discovered and cannot name that sounds like the world's beaches at their most romantic high tide....combined.
At first blush, Kent takes his initial cue from the film's director and infuses it with his own voice, striving to make the difference between looking at a film and being absorbed by it. For a composer who has such a unique musical personality, particularly when scoring for men, Reign Over Me shows a softer side of being 'Rolfed'.
Kent's critically acclaimed score for Reign Over Me follows the delicate nature of Adam Sandler's relationship with an old school friend. Don Cheadle, the pain, loss, and progress of someone whose life has been turned upside down and Cheadle's somewhat inside out. Kent also added three jazz covers to the character themes.The Hunting Party, his forth for Richard Shepard, fuses dark humor, absurdity, drama and suspense with somewhat exotic gypsy themes and instruments.
In addition to Shepard, Rolfe Kent has the distinction of attracting and sustaining relationships with the directors as popular and diverse as Alexander Payne and Mark Waters, with whom he is collaborating on a 5th film, fall 2008 release, The Ghosts of Girlfriends Past. Also in the 2008 pipeline are The Lucky Ones and a teen musical, 17 Again. (taken from Rolfekent.com Website. Movie links courtesy of IMDB.com. Instrument links courtesy of Wikipedia.org)
| Official Website: http://www.rolfekent.com|
Notes: Features a free mp3 of "Dexter Theme" available for download.
| Series Composer, Daniel Licht:|
Upon Graduating from Hampshire College in Massachusetts, where he studied composition, jazz , and world music, Daniel Licht moved to New York City and established himself as a musical artist in the Lower East Side creative music scene. Using New York as a base he traveled to Germany, Holland, and Northern Europe performing and composing music for theatre and dance companies. His studies took him the other direction around the globe traveling to Japan, and particularly Indonesia where he studied the music of the gamelan orchestra on the islands of Java and Bali. In New York City he could be seen playing jazz with Don Cherry, Jaki Byard, and David Amram or performing new music for the gamelan orchestra (indonesian traditional instruments) with Barbara Benary’s group “Gamelan: Son of Lion”.
Daniel Licht also wasted no time in establishing himself as one of New York’s hottest and most eclectic advertising composers, scoring for such unlikely clients as Mercedes Benz, Sony, and A.T.&T. Licht’s eclectic musical tastes and knack for delivering the appropriate cue made his transition to film scoring inevitable. At the prodding of his friend and ex-classmate Christopher Young, he closed up shop and moved to Los Angeles to pursue a career in scoring films.
While working with Christopher, performing, programming and leading the synthesizer sessions, Daniel embarked on his own film scoring career commencing with the independent feature Atrapados, directed by Mathew Patrick. Several low budget features followed, as did the Propaganda Film series Inside Out pairing him with such innovative directors as Lizzie Borden, Jeffrey Freidman and Nigel Dick. This first increasingly busy period culminated in the feature film Children of the Night, a project that marked a career watershed for Licht, providing him with his first soundtrack CD release and earning well deserved notices in the music press.
A series of dark films followed including the first film released by the Dimension Films, Children of the Corn II. This became the second of his scores released by Bay Cities Records and it featured an array of exotic instruments – flutes from India, the Chinese Pipa lute – revealing the wealth of diverse influences accrued during Licht’s education. Many of his scores at this time got soundtrack releases based on the quality of his music and he became known for bringing class and new sounds to what some may have seen as throwaway projects. Notably he became the pick of Clive Barker, England’s master of the macabre, for the third in the Hellraiser Series Bloodline (Dimension Films - Soundtrack on Silva). For one of Mr. Barker’s best Pinhead chronicles, he delivered a score using full orchestra, choir, Tibetan trombones, and chanting monks. Dan’s next excursion into the realm of sonic disquiet was Stephen King’s Thinner, as directed by Tom Holland, followed closely by Morgan Creek’s Bad Moon.
Through his determination and interesting approaches to film scores he started to get noticed by what might be considered a more artistic crowd. He drew on his knowledge of jazz to deliver to the iconoclast director Alex Cox the avant-lounge score of The Winner (Artisan Films- soundtrack on Rycodisc). Leon Ichaso, an Indy favorite chose him for many of his films. Zooman, adapted from an off-Broadway play set the sounds of turntables and hip-hop against a solo trumpet in a lush orchestral bed. For Execution of Justice a film about the assassination of Mayor George Moscone and gay rights activist Harvey Milk, Licht brought in Irish musicians and singers to add that special flavor to the score. On the tele-movie Brave New World for NBC, he got the chance to score an adaptation of a favorite book of his. Aside from composing a score that was a blend electronica and exotica he held the unique honor of co-writing a song with the Aldous Huxley (albeit posthumously). A stanza taken from the book was extended by Licht into a thirty-two bar song and performed by the film’s star and Broadway darling Peter Gallagher.
Daniel was hired by Artisan Films and sent to London to help the hugely popular underground band Primal Scream score the film Permanent Midnight. Due to legal wrangling the Primals fell out but to his pleasure he was picked by Artisan and Ben Stiller to provide an edgy techno score for the film. He has also scored the first bio-pic about Jimi Hendrix and has scored the film Splendor, a film from Sundance favorite Gregg Araki – for which Dan enjoys the distinction of being the first composer Araki has ever allowed to score one of his films. He was chosen by academy award winning director Xavier Koller (Journey of Hope – Best Foreign Film) to score his latest film Cowboy Up. He then wrote his second score for the director Tim Hunter of River's Edge fame .
Charting new ground for himself Dan ventured into the world of broad comedy with the Fox Television hit Oliver Beene. and critics favorite Kitchen Confidential as well as two seasons of the popular Jake in Progress for ABC. As well he has recently completed two miniseries for Hallmark and has worked with Michael Apted on a short film and as well contributing to the acclaimed PBS series American Family. He has recently scored two seasons of the hugely successful and groundbreaking Showtime series, Dexter, starring Michael C. Hall of Six Feet Under Fame. After a dark twist with Dexter, Dan found himself back in television with Darren Starr's new comedy, Cashmere Mafia, starring Lucy Liu. Shortly after that season ended Dan began scoring Lifetime's original movie, The Memory Keepers Daughter, which is based on Kim Edward's bestselling novel. The film is set to air April 12th on Lifetime. (taken from the Danlicht.com website. Movie links courtesy of IMDB.com)
Per liner notes of the "Dexter" Soundtrack, Mr. Licht plays electric/acoustic/bowed guitars; electric bass; piano; ethnic flutes; misc percussion; computer sound design; gamelan (a set of instruments of Indonesian origin, ie. xylophones, gongs, that are tuned to coincide with each other).
| Official Website: http://danlicht.com|
Notes: Features links to audio/video clips of Dexter; however, some clips are non-functioning.
Official MySpace: http://myspace.com/danlichtdexter
Notes: Standalone Player features four unreleased cues (streaming only) not on the soundtrack:
"Photos" - 1:49
"On the Move" - 1:15
"Harry's Rule" - 1:18
"Dexter Theme" - 1:08
|Label: Released on Showtime|
|Length: 3:00 Minutes|
|Title: Dexter's Greatest "Hits" AKA 56 Lines About 13 Psychos|
|Summary: A collection of Dexter's greatest "hits" from Season One.|
|View The Video: http://uk.youtube.com/watch?v=JVlclv-Ts4k , http://dexteronshowtime.imeem.com/video/BpxleHhB/dexter_greatest_hits/|
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, Jul 10 2010, 11:28 AM EDT
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|Started By||Thread Subject||Replies||Last Post|
|LaGuerta||Searching for - Previously on Dexter - Song S01E02 [Audio Sample incl]||0||Feb 23 2015, 2:22 PM EST by LaGuerta|
Thread started: Feb 23 2015, 2:22 PM EST Watch
Hey guys, please help me to find this track running in the back ground of the Previously on Dexter segment on episode 2 of season 1.
You can listen to it here (starts at 0:18)
2 out of 2 found this valuable. Do you?
|Jack81D||Dexter Season 1 Episode 10 Seeing red music||1||Sep 18 2014, 6:21 PM EDT by t5000|
Thread started: Feb 2 2014, 10:41 AM EST Watch
I jwas wondering if anyone know what the back groud music was in season 1 episode 10 Seeing red episode at the end when dexter goes back to the hotel room full of blood? so chill and beautiful music, would love to find out what its called.
|MichaelJohnston||What was that Spanish song on Dexter Season 3, episode 2 "Finding Free||3||Apr 9 2014, 9:49 AM EDT by R3Mi_PL|
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