Casino Royale [James Bond 007] - David Arnold: Amazon.de ...

I replaced the music from NO TIME TO DIE trailer with Casino Royale Soundtrack

I replaced the music from NO TIME TO DIE trailer with Casino Royale Soundtrack submitted by AndreasSp_ to promote [link] [comments]

I replaced the music from NO TIME TO DIE trailer with Casino Royale Soundtrack

submitted by AndreasSp_ to everything [link] [comments]

CHRIS CORNELL - YOU KNOW MY NAME (Casino Royale Soundtrack)

CHRIS CORNELL - YOU KNOW MY NAME (Casino Royale Soundtrack) submitted by CrackTheSkye1990 to JamesBond [link] [comments]

Chris Cornell - You Know My Name (Casino Royale Soundtrack) [Rock]

submitted by fondlethecarrot to Music [link] [comments]

Casino Royale Soundtrack and Spectre("LosMuertos Vivos estan")

I am a big JB and overall movie soundtrack buff and i can't believe i completely overlooked Casino Royale's. This has a gentle combination of David Arnold more modern twist with classic James Bond melodies. Favorites are Blunt Instrument and Names Bond James Bond (One of the best JB movie ending music ever i think).
Also listened to Spectre's "Los Muertos Vivos" estan.
Awesome!
submitted by montecarlo1 to JamesBond [link] [comments]

Herb Alpert - Casino Royale [soundtrack] deserves a good listen

submitted by photolouis to Music [link] [comments]

'Miami International' from the Casino Royale Soundtrack: One of David Arnold's Best

'Miami International' from the Casino Royale Soundtrack: One of David Arnold's Best submitted by DocDerz to moviemusic [link] [comments]

CHRIS CORNELL - YOU KNOW MY NAME (Casino Royale Soundtrack)

CHRIS CORNELL - YOU KNOW MY NAME (Casino Royale Soundtrack) submitted by ghostwriternr to ListenToThisKGP [link] [comments]

Chris Cornell - You Know My Name (Casino Royale Soundtrack)

submitted by dr1994 to Music [link] [comments]

Remaining Bond vinyls. Where are they?

While we did indeed get the Casino Royale soundtrack on vinyl last month, we still need (by my estimation) LPs for GoldenEye, Tomorrow, The World is Not Enough and Die Another Day, as well as Quantum. What's the word and/or interest, do you think?
submitted by odatspectre to JamesBond [link] [comments]

I wonder if..

Anyone has ever made a soundtrack style song in Auxy, when i say soundtrack i mean stuff like the Mission Impossible soundtrack or the Casino Royale soundtrack
submitted by Frostbyte3YT to Auxy [link] [comments]

Godzilla characters and there songs

Last I was thinking "what songs fit with what character." And eventually I came up with these songs for these characters.
(These characters are based on the legendary pictures movies)
Godzilla: "You know my name" Chris Cornell (Casino royale soundtrack)
King Ghidorah: "straight to hell" Ozzy Osbourne (ordinary man)
Mothra: "the show must go on" Queen (innuendo)
Rodan: Don't know. (Really)
Comment if you agree or disagree and help me find something for Rodan.
submitted by CyderFaase to GODZILLA [link] [comments]

Once a vinyl purist, now a full-on digital advocate. Here's why.

This is going to roll some heads, but before you go nuts on the downvotes, let me at least pander my case for digital audio, and why I believe it to be superior in terms of sonic accuracy. I am not referring to the emotion of holding, smelling, hunting, seeking out and taking home vinyl, as the intimacy of pulling a jacketed virgin vinyl out of it's jacket sends chills up and down your arms in ways only a woman can. This is strictly referring to sonic accuracy, and not in terms of listening preference. I am not saying that those who prefer the sound of vinyl are wrong for preferring that sound. That is completely asinine. I love bass; that does not make my listening preference moot. I am simply talking about vinyl being inferior for reproduction of audio accurately, when compared to digital. That is all.
We are currently in a bit of a catch-22 with music, and let's start with the one thing that makes both formats either shine, or suck: mastering.
When vinyl was pretty much the main way to listen to music, the mastering artists had a bit of a problem with vinyl mastering. Namely, vinyl mastering has to essentially have exceedingly exaggerated treble and relaxed bass, because of various factors such as groove distance and amplitude of the etching on the surface. For reference, watch this video on vinyl mastering. It provides an excellent comparison between mastering for vinyl, and for digital.
The catch-22 of mastering is that because of these limitations, only the most skilled and the most attuned ears could be successful (cost of entry, rarity of equipment, sonic knowledge), so the quality of audio recordings were generally excellent. Vinyl inherently prevents compression, because that would require all sounds to essentially be equal volume, which means that a needle would literally be running on sandpaper as every sound competes to be just as loud as the next.
So recording studios went for softer recordings, which allowed more dynamic range and then meant that panned instruments and little garnishes would separate their vinyl from the rest (think DSOTM).
However, to prove my theory on mastering, one should look at vinyl pressed in the late 80's, namely club vinyl. These vinyl came at a time when synthetic sounds and big, splashy bass was a thing. If you listen to the quality of a club track on vinyl, especially one that was cut to be loud, you can hear noticeable distortions when you get to parts of tracks that have loud vocals clashing with big bass lines. A physical needle, no matter how light, still has to deal with physics.
So when we started venturing into the digital realm of audio, the problem of vinyl was not having enough resolution to encapsulate exceedingly loud and dynamic tracks (think mid to late 90's, when Carl Cox and Tiesto were the names to know). Digital recordings, in comparison especially high-resolution files, have so much dynamic range with NO NOISE FLOOR. Which brings me to my second point: noise floor.
I recently did a comparison between an immaculately cleaned, never played before vinyl from Missy Elliot- Get Your Freak On.
(I am aware that most of you are currently spinning in your seats at me using a pop master, but I chose this because when referring to sonic accuracy, a medium should never be part of the problem in the reproduction of any sonic composition, whether it be Moody Blues, The Brothers Four, or Eminem beating Kim Kardashian to a beat.)
It was a club single, on a 33 1/3rd vinyl, but I had a digital version on hand that I got from the studios themselves. I was at Stereo Exchange, and I had the Bowers and Wilkins 805D's paired to a Devialet 120, which for those of you who don't know, is literally the best sounding amp on the market, period. Look at the specs for yourself, and trust me, it's not snake oil. It really is as good as they say. The reason it's the best? Try having:
Only a year ago, specs like that were a dream in most audio component manufacturing labs. Now, it's in something you can buy for your home.
The vinyl version sounded great; the massive bass line sounded splashy and gorgeous, but there was still minor distortions, but mainly, a faint, soft hum that those diamond tweeters really put forward. That hum is simply the drag of the needle against the surface of the record. No needle, no turntable, no magic interconnects will eliminate the simple laws of physics. Then, as you turn up the volume, that hum gets more noticeable. Most vinyl purists can tune it out, but when you get to soft passages, nothing ruins your listening more than that hum.
With Digital recordings, if there is no noise present from the time of recording, there will be no noise on the track. Sure, even the most advanced mics, mixing boards, and computer soundcards will have some trace element of hiss from, you know, being powered by electricity, but it would be such an incomprehensible amount that it might as well just be called nonexistent for audio listening purposes.
Despite playing back this record on a custom 20 or so pound turntable, with one of Ortofon's finest cartridges (Xpression), it could not in any way hold a candle to the digital version. Bass notes went from being splashy to exceedingly tight, yet having way more body and impact. Missy leapt out the center of your soundstage and right between the eyes. Switch to a quiet, super dynamic and haunting passage like "Vesper" (Casino Royale Soundtrack) and softer elements seamlessly shine through, with quavering reverb, and silence when there should be silence. There are no pops, no hisses, no hums, no noise where there shouldn't be noise. Just piano notes, bow strings, and the faintest sound of air in the recording studio, mixed with the subtle weight shifts of the pianist and orchestra. The depth and scope of the recording shines through.
So back to mastering: what is this catch-22? Well, no more are the days of complex machinery to capture audio, cut it onto a record with a sapphire needle, make a reverse press plate, etc. Now, recording was as simple as a few microphone preamps, an ASIO soundcard, and a DAW.
As synths and software progressed, the music industry could now deliver pop smash hits with tons of compression (loudness) that to 99% of people, would sound purely awesome compared to records of old. So dance music, and hard driving beats became the norm. People wanted more of this newfound sound (deep and substantial bass, with crisp and edgy highs). Equalization moved towards the "V", and we all went down with the ship.
But the problem many vinyl enthusiasts misappropriate to being digital is not because it is digital, but because of what digital has created: higher quality becoming normal to deliver lower quality.
Have you ever really thought about the fact that with digital recordings, you can get as low as 15hz or as high as 22khz (or even higher)? Most vinyl recordings don't go past 18khz because it would just be physically impossible to do that. Also, think about the fact that you can make sounds so soft blend with sounds so loud with no noise or crosstalk between them that the speakers you're playing these songs on, or the amp that drives them, will be the only reason why you either hear them, or not. But because you can now get loudness and complexity with no distortion, or you can get stupidly high loudness with just a touch of distortion, why choose the former when people like the latter? Now that music is almost purely driven by revenue, do you think that big conglomerate music organizations will spend time on mastering, when the people who keep their money rolling in want BASS AND TREBLE?
Then there is the issue of "teaching older dogs new tricks". Most people spent their lives listening to vinyl, and AM/FM radio, over speakers that, when compared to today's hifi, are downright laughable. Over the years, that sound of relaxed, "warmth" (which is really sonic coloration) becomes normal and anything outside of it causes turmoil within the mind. Sure, they are now listening to those records on thousands of dollars of modern equipment, but they say that digital sounds "cold". No, it's not cold sounding. It's more accurate. I'm not in any way, shape or form, writing off what they think is good, but I'm saying that they need to stop writing off digital for sounding "cold" and "digital", because you can't admit that your preference is not accuracy, but emotion.
Yet, I run into vinyl hardcore guys time after time, but when they leave, they're looking for digital tracks. Why? Well, when you play a 192khz/24bit symphony piece over a quality hifi setup, especially at loud volumes where the timpani hits are felt, and the vibration of a cello's strings rattle your chest, and the brass section blares through just as loud as being front row at the Philharmonic Orchestra, yet there's some sort of bell off to your upper right that you just realized was there, they realize what they've been missing.
The lack of hiss, hum, but the presence of barely heard syllabic sounds like fingers on a guitar string still being heard despite the deafening roar of a wailing guitar is a reminder that while yes, most digital music nowadays sucks, writing it all off is you blaming digital for human mistakes.
Blame not the format, but the person behind the board.
I challenge the most hardcore vinyl purists to compare "Vogue" by Madonna off of a vinyl, to a proper quality digital version (you might need to get an older CD that wasn't "remastered" (given more compression) to do this comparison). I say this because this song is easy to find on vinyl thanks to the popularity of it at the time. But this track has excellent mastering for what it is, being a pop track, and when compared vinyl to digital, really shows which format excels at transmitting the song best.
Heck, even Janet Jackson's "Let's Wait A While" is an excellent comparison choice.
Just try it.
submitted by CapturedSociety to audiophile [link] [comments]

I love vinyl. I really do. But here's why I think digital is better.

This is going to roll some heads, but before you go nuts on the downvotes, let me at least pander my case for digital audio, and why I believe it to be superior in terms of sonic accuracy. I am not referring to the emotion of holding, smelling, hunting, seeking out and taking home vinyl, as the intimacy of pulling a jacketed virgin vinyl out of it's jacket sends chills up and down your arms in ways only a woman can. This is strictly referring to sonic accuracy, and not in terms of listening preference. I am not saying that those who prefer the sound of vinyl are wrong for preferring that sound. That is completely asinine. I love bass; that does not make my listening preference moot. I am simply talking about vinyl being inferior for reproduction of audio accurately, when compared to digital. That is all.
We are currently in a bit of a catch-22 with music, and let's start with the one thing that makes both formats either shine, or suck: mastering.
When vinyl was pretty much the main way to listen to music, the mastering artists had a bit of a problem with vinyl mastering. Namely, vinyl mastering has to essentially have exceedingly exaggerated treble and relaxed bass, because of various factors such as groove distance and amplitude of the etching on the surface. For reference, watch this video on vinyl mastering. It provides an excellent comparison between mastering for vinyl, and for digital.
The catch-22 of mastering is that because of these limitations, only the most skilled and the most attuned ears could be successful (cost of entry, rarity of equipment, sonic knowledge), so the quality of audio recordings were generally excellent. Vinyl inherently prevents compression, because that would require all sounds to essentially be equal volume, which means that a needle would literally be running on sandpaper as every sound competes to be just as loud as the next.
So recording studios went for softer recordings, which allowed more dynamic range and then meant that panned instruments and little garnishes would separate their vinyl from the rest (think DSOTM).
However, to prove my theory on mastering, one should look at vinyl pressed in the late 80's, namely club vinyl. These vinyl came at a time when synthetic sounds and big, splashy bass was a thing. If you listen to the quality of a club track on vinyl, especially one that was cut to be loud, you can hear noticeable distortions when you get to parts of tracks that have loud vocals clashing with big bass lines. A physical needle, no matter how light, still has to deal with physics.
So when we started venturing into the digital realm of audio, the problem of vinyl was not having enough resolution to encapsulate exceedingly loud and dynamic tracks (think mid to late 90's, when Carl Cox and Tiesto were the names to know). Digital recordings, in comparison especially high-resolution files, have so much dynamic range with NO NOISE FLOOR. Which brings me to my second point: noise floor.
I recently did a comparison between an immaculately cleaned, never played before vinyl from Missy Elliot- Get Your Freak On.
(I am aware that most of you are currently spinning in your seats at me using a pop master, but I chose this because when referring to sonic accuracy, a medium should never be part of the problem in the reproduction of any sonic composition, whether it be Moody Blues, The Brothers Four, or Eminem beating Kim Kardashian to a beat.)
It was a club single, on a 33 1/3rd vinyl, but I had a digital version on hand that I got from the studios themselves. I was at Stereo Exchange, and I had the Bowers and Wilkins 805D's paired to a Devialet 120, which for those of you who don't know, is literally the best sounding amp on the market, period. Look at the specs for yourself, and trust me, it's not snake oil. It really is as good as they say. The reason it's the best? Try having:
Only a year ago, specs like that were a dream in most audio component manufacturing labs. Now, it's in something you can buy for your home.
The vinyl version sounded great; the massive bass line sounded splashy and gorgeous, but there was still minor distortions, but mainly, a faint, soft hum that those diamond tweeters really put forward. That hum is simply the drag of the needle against the surface of the record. No needle, no turntable, no magic interconnects will eliminate the simple laws of physics. Then, as you turn up the volume, that hum gets more noticeable. Most vinyl purists can tune it out, but when you get to soft passages, nothing ruins your listening more than that hum.
With Digital recordings, if there is no noise present from the time of recording, there will be no noise on the track. Sure, even the most advanced mics, mixing boards, and computer soundcards will have some trace element of hiss from, you know, being powered by electricity, but it would be such an incomprehensible amount that it might as well just be called nonexistent for audio listening purposes.
Despite playing back this record on a custom 20 or so pound turntable, with one of Ortofon's finest cartridges (Xpression), it could not in any way hold a candle to the digital version. Bass notes went from being splashy to exceedingly tight, yet having way more body and impact. Missy leapt out the center of your soundstage and right between the eyes. Switch to a quiet, super dynamic and haunting passage like "Vesper" (Casino Royale Soundtrack) and softer elements seamlessly shine through, with quavering reverb, and silence when there should be silence. There are no pops, no hisses, no hums, no noise where there shouldn't be noise. Just piano notes, bow strings, and the faintest sound of air in the recording studio, mixed with the subtle weight shifts of the pianist and orchestra. The depth and scope of the recording shines through.
So back to mastering: what is this catch-22? Well, no more are the days of complex machinery to capture audio, cut it onto a record with a sapphire needle, make a reverse press plate, etc. Now, recording was as simple as a few microphone preamps, an ASIO soundcard, and a DAW.
As synths and software progressed, the music industry could now deliver pop smash hits with tons of compression (loudness) that to 99% of people, would sound purely awesome compared to records of old. So dance music, and hard driving beats became the norm. People wanted more of this newfound sound (deep and substantial bass, with crisp and edgy highs). Equalization moved towards the "V", and we all went down with the ship.
But the problem many vinyl enthusiasts misappropriate to being digital is not because it is digital, but because of what digital has created: higher quality becoming normal to deliver lower quality.
Have you ever really thought about the fact that with digital recordings, you can get as low as 15hz or as high as 22khz (or even higher)? Most vinyl recordings don't go past 18khz because it would just be physically impossible to do that. Also, think about the fact that you can make sounds so soft blend with sounds so loud with no noise or crosstalk between them that the speakers you're playing these songs on, or the amp that drives them, will be the only reason why you either hear them, or not. But because you can now get loudness and complexity with no distortion, or you can get stupidly high loudness with just a touch of distortion, why choose the former when people like the latter? Now that music is almost purely driven by revenue, do you think that big conglomerate music organizations will spend time on mastering, when the people who keep their money rolling in want BASS AND TREBLE?
Then there is the issue of "teaching older dogs new tricks". Most people spent their lives listening to vinyl, and AM/FM radio, over speakers that, when compared to today's hifi, are downright laughable. Over the years, that sound of relaxed, "warmth" (which is really sonic coloration) becomes normal and anything outside of it causes turmoil within the mind. Sure, they are now listening to those records on thousands of dollars of modern equipment, but they say that digital sounds "cold". No, it's not cold sounding. It's more accurate. I'm not in any way, shape or form, writing off what they think is good, but I'm saying that they need to stop writing off digital for sounding "cold" and "digital", because you can't admit that your preference is not accuracy, but emotion.
Yet, I run into vinyl hardcore guys time after time, but when they leave, they're looking for digital tracks. Why? Well, when you play a 192khz/24bit symphony piece over a quality hifi setup, especially at loud volumes where the timpani hits are felt, and the vibration of a cello's strings rattle your chest, and the brass section blares through just as loud as being front row at the Philharmonic Orchestra, yet there's some sort of bell off to your upper right that you just realized was there, they realize what they've been missing.
The lack of hiss, hum, but the presence of barely heard syllabic sounds like fingers on a guitar string still being heard despite the deafening roar of a wailing guitar is a reminder that while yes, most digital music nowadays sucks, writing it all off is you blaming digital for human mistakes.
Blame not the format, but the person behind the board.
I challenge the most hardcore vinyl purists to compare "Vogue" by Madonna off of a vinyl, to a proper quality digital version (you might need to get an older CD that wasn't "remastered" (given more compression) to do this comparison). I say this because this song is easy to find on vinyl thanks to the popularity of it at the time. But this track has excellent mastering for what it is, being a pop track, and when compared vinyl to digital, really shows which format excels at transmitting the song best.
Heck, even Janet Jackson's "Let's Wait A While" is an excellent comparison choice.
Just try it.
submitted by CapturedSociety to vinyl [link] [comments]

Chris Cornell Spotify Playlist I made a few months ago

Track list

Source

1 Revelations - Audioslave 2 Original Fire - Audioslave 3 Shape Of Things To Come - Audioslave 4 Wide Awake - Audioslave 5 Nothing Left To Say But Goodbye - Audioslave 6 Moth - Audioslave 7 Your Time Has Come - Audioslave 8 Out Of Exile - Audioslave 9 Be Yourself - Audioslave 10 Doesn't Remind Me - Audioslave 11 Heaven's Dead - Audioslave 12 The Worm - Audioslave 13 Yesterday To Tomorrow - Audioslave 14 Dandelion - Audioslave 15 #1 Zero - Audioslave 16 The Curse - Audioslave 17 Show Me How to Live - Audioslave 18 Gasoline - Audioslave 19 What You Are - Audioslave 20 Like a Stone - Audioslave 21 Set It Off - Audioslave 22 Shadow on the Sun - Audioslave 23 I Am the Highway - Audioslave 24 Hypnotize - Audioslave 25 Bring Em Back Alive - Audioslave 26 Light My Way - Audioslave 27 Getaway Car - Audioslave 28 The Last Remaining Light - Audioslave 29 My Wave - Soundgarden 30 Fell On Black Days - Soundgarden 31 Mailman - Soundgarden 32 Superunknown - Soundgarden 33 Black Hole Sun - Soundgarden 34 Spoonman - Soundgarden 35 Limo Wreck - Soundgarden 36 The Day I Tried To Live - Soundgarden 37 Fresh Tendrils - Soundgarden 38 4th Of July - Soundgarden 39 Like Suicide - Soundgarden 40 Been Away Too Long - Soundgarden 41 By Crooked Steps - Soundgarden 42 Pretty Noose - Soundgarden 43 Blow Up The Outside World - Soundgarden 44 Burden In My Hand - Soundgarden 45 Rusty Cage - Soundgarden 46 Outshined - Soundgarden 47 Jesus Christ Pose - Soundgarden 48 Call Me A Dog - Recorded Live At Queen Elizabeth Theatre, Toronto, ON on April 20, 2011 - Chris Cornell 49 Can't Change Me - Explicit / Recorded Live At Borgata Hotel Casino & Spa - Music Box, Atlantic City, NJ on April 15, 2011 - Chris Cornell 50 I Am The Highway - Recorded Live At Queen Elizabeth Theatre, Toronto, ON on April 20, 2011 - Chris Cornell 51 Thank You - Recorded Live At Esplanade Arts & Heritage Centre, Medicine Hat, Alberta, Canada on April 27, 2011 - Chris Cornell 52 All Night Thing - Recorded Live At Sixth & I Historic Synagogue, Washington, DC on April 17, 2011 - Chris Cornell 53 Doesn't Remind Me - Recorded Live At Fitzgerald Theatre, St. Paul, MN on April 24, 2011 - Chris Cornell 54 Imagine - Recorded Live At Pabst Theatre, Milwaukee, WI on April 23, 2011 - Chris Cornell 55 The Keeper - Chris Cornell 56 Scream - Chris Cornell 57 No Such Thing - Chris Cornell 58 Billie Jean - Chris Cornell 59 You Know My Name - From "Casino Royale" Soundtrack - Chris Cornell 60 Can't Change Me - Chris Cornell 61 Flutter Girl - Chris Cornell 62 Preaching The End Of The World - Chris Cornell 63 Wave Goodbye - Chris Cornell 64 Moonchild - Chris Cornell 65 Sweet Euphoria - Chris Cornell 66 Steel Rain - Chris Cornell 67 Sunshower - Great Expectations Soundtrack - Chris Cornell 68 Say Hello 2 Heaven - Temple Of The Dog 69 Reach Down - Temple Of The Dog 70 Hunger Strike - Temple Of The Dog 71 Call Me A Dog - Temple Of The Dog 72 Times Of Trouble - Temple Of The Dog 73 All Night Thing - Temple Of The Dog 74 Nearly Forgot My Broken Heart - Chris Cornell 75 Higher Truth - Chris Cornell 76 Wrong Side - Chris Cornell 77 Only These Words - Chris Cornell
URL For playlist
submitted by adinezza to pearljam [link] [comments]

[2018-11-01] /r/music

Click Here for Today's Top Songs from /Music
Title Submitter Reddit Youtube
Blue Oyster Cult - (Don't Fear) The Reaper (Audio) t0zny Permalink Youtube
The Nightmare Before Christmas - This is Halloween blood_bag Permalink Youtube
Werewolf Bar Mitzvah - FULL SONG BustaTron Permalink Youtube
You Know My Name (From "Casino Royale" Soundtrack) HopelesslyFamous Permalink Youtube
Roulette Dares (The Haunt Of) Poverty_4_Sale Permalink Youtube
Dragula AtLeastJake Permalink Youtube
Hex Girls Funky_Monks Permalink Youtube
"Creepy Castle" Donkey Kong 64 Brass Quintet Cover robbyduguay Permalink Youtube
Jamiroquai - Virtual Insanity (Official Video) najing_ftw Permalink Youtube
Dead Man's Party 0borowatabinost Permalink Youtube
The Misfits - Halloween [Punk] pickle_popsicle Permalink Youtube
Porcupine Tree - DeadWing OrbitronFactory Permalink Youtube
Nightmare Revisited Marilyn Manson "This is Halloween"((LYRICS IN DESCRIPTION)) MacNCheezOnUrKneez Permalink Youtube
88 - Bailay Cameron BailayCameron Permalink Youtube
For Your Love - Yardbirds Ciscoblue113 Permalink Youtube
Redbone - Come And Get Your Love [Studio Music] jaye310 Permalink Youtube
Type O Negative - All Hallows Eve nkLottery Permalink Youtube
Feed My Frankenstein n3v3r_3n0u9h Permalink Youtube
The Worst Witch (1986) "Halloween Song" MilhouseVsEvil Permalink Youtube
The Misfits "Day The Earth Caught Fire" Music Video mrojek Permalink Youtube
AFI - Total Immortal n3v3r_3n0u9h Permalink Youtube
Bad Moon Rising MyWaffleDoesNotJudge Permalink Youtube
Bang a Gong (Get It On) (Remastered Version) Klotzster Permalink Youtube
King Diamond - Evil / Come to the Sabbath, Phoenix, AZ 7-3-15 Son_of_Phoebus Permalink Youtube
Horrorpops - Walk like a zombie Mehdals_ Permalink Youtube
submitted by daily_playlist_bot to dailyplaylists [link] [comments]

{ Album } Chris Cornell, Soundgarden & Temple of the Dog Chris Cornell Descargar album

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Track List: ​ 1.Loud Love
  1. Outshined
  2. Hunger Strike (25th Anniversary Mix)
  3. Seasons
  4. Black Hole Sun
  5. Can't Change Me
  6. Like A Stone
  7. Be Yourself
  8. You Know My Name (From "Casino Royale" Soundtrack)
  9. Billie Jean
  10. Long Gone (Rock Version)
  11. Call Me A Dog (Live At Queen Elizabeth Theatre, Toronto, ON/2011)
  12. Been Away Too Long
  13. Nearly Forgot My Broken Heart
  14. Nothing Compares 2 U (Live At SiriusXM/2015)
  15. The Promise
  16. When Bad Does Good

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Track List: ​ 1.Loud Love
  1. Outshined
  2. Hunger Strike (25th Anniversary Mix)
  3. Seasons
  4. Black Hole Sun
  5. Can't Change Me
  6. Like A Stone
  7. Be Yourself
  8. You Know My Name (From "Casino Royale" Soundtrack)
  9. Billie Jean
  10. Long Gone (Rock Version)
  11. Call Me A Dog (Live At Queen Elizabeth Theatre, Toronto, ON/2011)
  12. Been Away Too Long
  13. Nearly Forgot My Broken Heart
  14. Nothing Compares 2 U (Live At SiriusXM/2015)
  15. The Promise
  16. When Bad Does Good

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Track List: ​ 1.Loud Love
  1. Outshined
  2. Hunger Strike (25th Anniversary Mix)
  3. Seasons
  4. Black Hole Sun
  5. Can't Change Me
  6. Like A Stone
  7. Be Yourself
  8. You Know My Name (From "Casino Royale" Soundtrack)
  9. Billie Jean
  10. Long Gone (Rock Version)
  11. Call Me A Dog (Live At Queen Elizabeth Theatre, Toronto, ON/2011)
  12. Been Away Too Long
  13. Nearly Forgot My Broken Heart
  14. Nothing Compares 2 U (Live At SiriusXM/2015)
  15. The Promise
  16. When Bad Does Good

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[2018-09-21] /r/music

Click Here for Today's Top Songs from /Music
Title Submitter Reddit Youtube
Im Afraid Of Americans David Bowie Music Video HD 1080p(Best Quality) socialmeatloaf Permalink Youtube
Band of Horses - The Funeral (lyrics in description) Justanothercrow421 Permalink Youtube
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Elvis Presley - Polk Salad Annie Live (High Quality) i_have_a_daughter Permalink Youtube
The Smiths - This Night Has Opened My Eyes rikroll666 Permalink Youtube
You Know My Name (From "Casino Royale" Soundtrack) ROCKISASELLOUT Permalink Youtube
The Cardigans - My Favourite Game “Stone Version” NEONCiTiZEN Permalink Youtube
Alicia Bridges - I Love The Nightlife - ( Alta Calidad ) HD Rollakud Permalink Youtube
Donald Fagen - New Frontier (Video) rikroll666 Permalink Youtube
Lucky You (Feat. Joyner Lucas) [Official Audio] oldbauer Permalink Youtube
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Jungle Love cherrykushhh Permalink Youtube
Earth, Wind & Fire - September ziggystelladust Permalink Youtube
Sundown flowerhoney10 Permalink Youtube
Avenged Sevenfold - Blinded in Chains Lyrics HD NoiseComplaint57 Permalink Youtube
submitted by daily_playlist_bot to dailyplaylists [link] [comments]

James Bond Ripple/Flourish

I have no idea what this is really called but is there a name for a piece of music that thematically repeats over the course of a series? I don't mean the major part of the bond theme, it is a much softer underlying sequence of notes that is usually played during exposition or a reveal of a plot point or scenic overlook. The track "Aston Montenegro" from the Casino Royale soundtrack has it very strongly. What is the name of that technique....is there one?
submitted by Ke77elrun to musictheory [link] [comments]

Ads for 2016-12-12 (2 / 2)

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videos Why Facebook and Google Isn't Free Facebook
funny This guy on Facebook is fed up of seeing "Tag a friend" posts Facebook
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videos Actor T.J. Miller Arrested after Hitting His Uber Driver Uber
Showerthoughts I am now using Reddit more so than Google to search for answers to questions I have because of the general noise from Google search results. Thanks guys! Google
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007 Casino Royale (Expanded soundtrack) SUITE - YouTube Casino Royale Original Soundtrack - 01 Main Title Theme ... Casino Royale: Original Motion Picture Soundtrack - YouTube

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"Casino Royale" FULL SOUNDTRACK ALBUM 1967 STEREO - YouTube

1st track of David Arnold's Casino Royale Soundtrack. Enjoy! "License: 2 Kills" The main title theme to the 1967 James Bond spoof 'Casino Royale' and the first track of the soundtrack composed by Burt Bacharach (taken from the original v... Share your videos with friends, family, and the world Casino Royale Soundtrack 007 Casino RoyaleExpanded soundtrackBy David Arnold"007 Casino Royale Expanded Soundtrack SUITE" ...since I'm uploading spy-themed soundtracks, here's one of the best ever!The ORIGINAL "Casino Royale!"(This was dubbed from an exceptionally clean original...

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