Bill Conti

Bill Conti

A prolific composer of film and television music, Bill Conti remains most closely associated with his work on the successful Rocky films. Born April 13, 1942 in Providence, Rhode Island, he learned piano from his father, and later took up the bassoon. While studying composition at Louisiana State University, Conti also performed with the school's symphony orchestra, spending his evenings playing jazz in area clubs; he subsequently earned his Master's degree from Julliard before relocating to Italy in 1967. There he first broke into films, composing and arranging music for productions including Juliette de Sade and Candidate Per un Assassino. In 1971 Conti scored Vittorio de Sica's Oscar-winning Il Giardino dei Finzi-Contini, bringing his music to the attention of international audiences; he subsequently returned to the U.S., where he composed the soundtracks for features including 1973's Blume in Love and 1974's Harry and Tonto.
Conti shot to fame in 1976 with his score for Rocky; the soundtrack album went platinum, and the main theme, "Gonna Fly Now," topped the U.S. pop charts. Conti and star Sylvester Stallone subsequently reunited for chapters two, three and five in the Rocky series, as well as 1978's F.I.S.T. and Paradise Alley; in 1981 he scored the James Bond feature For Your Eyes Only, scoring a Top Five hit with the title track, sung by Sheena Easton. After two previous nominations, Conti won an Oscar in 1983 for his work on The Right Stuff; at about the same time he became a prolific composer of televison themes, writing music for series including Dallas, Falcon Crest, Cagney and Lacey and Lifestyles of the Rich and Famous. He also served as musical director for a number of Academy Awards telecasts, winning an Emmy for his work on the 1992 ceremony. ~ Jason Ankeny, All Music Guide Hide

Dave Grusin

Dave Grusin


Dave Grusin has been a highly successful performer, producer, composer, record label executive, arranger, and bandleader. His piano playing ranges from mildly challenging to competent to routine, but he's primarily an accomplished film and television soundtrack composer. Grusin played with Terry Gibbs and Johnny Smith while studying at the University of Colorado. He was the assistant music director and pianist for Andy Williams from 1959 to 1966, and then started his television composing career. Grusin recorded with Benny Goodman in 1960 and recorded with a hard bop trio who included Milt Hinton and Don Lamond in the early '60s. He also played and did a session with a quintet including Thad Jones and Frank Foster. Grusin did arrangements and recorded with Sarah Vaughan, Quincy Jones, and Carmen McRae in the early '70s. He played electric keyboards with Gerry Mulligan and Lee Ritenour in the mid-'70s, then helped to establish GRP Records out of a production company. GRP developed into one of the top contemporary jazz and fusion companies; they were later taken over by Arista, then by MCA. Grusin continued recording through the '80s and '90s, doing numerous projects, from fusion and pop to working with symphony orchestras. He has also conducted the GRP Big Band, scored such films as The Fabulous Baker Boys, and performed duet sessions with his brother, Don, and Ritenour. In addition to his numerous GRP releases, Grusin has also recorded for Columbia, Sheffield Lab, and Polygram. ~ Ron Wynn, All Music Guide Hide

Randy Newman

Randy Newman

Randy Newman was an anomaly among early-'70s singer/songwriters. Though he was slightly influenced by Bob Dylan, his music owed more to New Orleans R&B and traditional pop than folk. Newman developed an idiosyncratic style that alternated between sweeping, cinematic pop and rolling R&B, which were tied together by his nasty sense of humor. Where his peers concentrated on confessional songwriting, Newman drew characters, creating a world filled with misfits, outcasts, charlatans, and con men. Though he occasionally showed sympathy for his characters, he became well known for his biting sense of satire, highlighted by his fluke 1978 hit "Short People" and his parody of '80s yuppies, "I Love L.A." While Newman's records consistently received strongly positive reviews, he made his money through composing film scores for films like Ragtime and The Natural. His albums may never have sold in large amounts, but his work influenced several generations of songwriters, including Lyle Lovett and Mark Knopfler.
Born into a musical family -- his uncles Alfred and Lionel were both noted film composers -- Randy Newman had become a professional songwriter by the time he was 17, working for a Californian publishing house. Newman pursued a B.A. in music from UCLA, but he dropped out of college when his friend Lenny Waronker landed him a record contract with Reprise Records. His eponymous debut album received little attention upon its 1968 release, but over the next few years, his reputation as a songwriter grew as Judy Collins, Dusty Springfield and Peggy Lee recorded his songs. Three Dog Night took his "Mama Told Me Not to Come" to number one in 1970, the same year Harry Nilsson recorded an entire album of Randy's songs, Nilsson Sings Newman.
Newman's second album, 1970's 12 Songs, was widely praised upon its release, but the record failed to sell. Live repeated the same pattern in 1971, but 1972's Sail Away became a moderate hit, due to positive reviews and Newman's constant touring. He followed the record album in 1974 with Good Old Boys, an ambitious concept album about the South that received considerable controversy over its song "Rednecks," whose ironic sense of humor was misunderstood by many. The song set the stage for 1977's "Short People," a simple satire of bigotry and prejudice taken from Little Criminals. While the irony in "Short People" was barely hidden, the song offended many listeners, and the ensuing furor helped the single reach number two on the charts. Newman supported the album with his first tour since 1974.
In 1979, he returned with Born Again, which received mixed reviews, and Newman began a career as a film composer two years after its release. His first score was for Milos Forman's Ragtime, and his work was nominated for two Academy Awards. Newman released Trouble in Paradise to strong reviews in 1983, and the album spawned "I Love L.A.," a parody of shallow yuppie culture that was misinterpreted and became an anthem for '80s greed. Newman didn't release another album until 1988's Land of Dreams, which contained his first attempts at personal songwriting. Like most of his records, the album was greeted warmly by the critics, yet it failed to sell; "It's Money That Matters," a rewrite of "I Love LA," did become a minor hit.
Newman spent most of the '90s composing film scores and working on a musical adaptation of Dr. Faust. The resulting musical, Faust, was initially released as a concept album in the fall of 1995 to mixed reviews. A stage version of Faust opened the same month as the album's release, and it received better reviews. Newman garnered another Oscar nomination in 1996 for "You've Got a Friend," which was featured in the Disney computer-animated film, Toy Story. His career was celebrated in 1998 with the release of the four-disc box set Guilty: 30 Years of Randy Newman.
Newman split with his longtime record company Reprise in early 1999. He signed with DreamWorks and released Bad Love, his first proper album since 1988's Land of Dreams, in the summer of 1999. ~ Stephen Thomas Erlewine, All Music Guide Hide

Howard Shore

Howard Shore


Howard Shore has composed the scores for over 50 films, including The Silence of the Lambs, Philadelphia, After Hours, and Seven. His collaborations with David Cronenberg have resulted in scores for the films The Brood, Scanners, Videodrome, The Fly, Dead Ringers, Naked Lunch, M. Butterfly, and Crash, spanning a nearly 20-year period by the year 2001. Shore's formal education came at the Berklee School of Music in Boston. From 1969-1972 he recorded with the group Lighthouse. He was one of the original creators of Saturday Night Live and served as its musical director from 1975-1980. In 2000, Shore began work on one of the most expansive projects of his career when he signed on to produce scores for film adaptations of the Lord of the Rings series. He spent a year just working on the first film, using Tolkien's texts and drawing from eighth and ninth century music sources to try to evoke the books' magical worlds. Upon the completion of the Lords series in 2001, Shore created the scores for several Hollywood blockbusters including Panic Room (2002), Aviator (2005), A History of Violence (2005), The Departed (2006), and The Last Mimzy (2007). ~ Stacia Proefrock, All Music Guide Hide

Henry Mancini

Henry Mancini

If the recognition of one's peers is the true measure of success, then few men are as successful as composer, arranger, and conductor Henry Mancini. In a career that spanned 40 years, writing for film and television, Mancini won four Oscars and twenty Grammys, the all-time record for a pop artist. For 1961's Breakfast at Tiffany's alone, Mancini won five Grammys and two Oscars. Breakfast at Tiffany's includes the classic "Moon River" (lyrics by Johnny Mercer), arguably one of the finest pop songs of the last 50 years. At last count, there were over 1,000 recordings of it. His other notable songs include "Dear Heart," "Days of Wine and Roses" (one Oscar, two Grammys), and "Charade," the last two with lyrics by Mercer. He also had a number one record and won a Grammy for Nino Rota's "Love Theme From Romeo and Juliet." Among his other notable film scores are The Pink Panther (three Grammys), Hatari! (one Grammy), Victor/Victoria (an Oscar), Two for the Road, Wait Until Dark, and 10. His television themes include "Peter Gunn" (two Grammys, recorded by many rock artists), "Mr. Lucky" (two Grammys), "Newhart," "Remington Steele," and The Thorn Birds television mini-series.
As a child, Mancini learned how to play a variety of musical instruments and as a teenager, he became enamored with jazz and big bands. He began to write arrangements and sent a few to Benny Goodman, who wrote the teenager back, encouraging him to pursue a career in music. Mancini enrolled in the Julliard School of Music in 1942, but his studies were cut short when he served in the military during World War II. After the war, he was hired by Tex Beneke, the leader of the Glenn Miller Orchestra, as a pianist and arranger. In the late '40s, he began writing scores for record and film studios, first for a recording session by the Mel-Tones, which featured his wife Ginny O'Connor, and then the Abbot & Costello film Lost in Alaska, the first movie he scored.
Lost in Alaska led to more film scores, in particular 1954's The Glenn Miller Story and 1956's The Benny Goodman Story, which both showcased his big band roots. Soon, he was working on a large number of films and television, including Orson Welles' Touch of Evil and the TV show Peter Gunn. Mancini's scores frequently straddled the line between jazz and Hollywood dramatics, making his music both distinctive and influential.
Mancini's heyday was the early '60s, when his score for Breakfast at Tiffany's (1961) yielded the Oscar-winning hit single "Moon River," which instantly became a pop standard. The following year, he wrote the music for Days of Wine and Roses, which also won an Oscar for its title song. Throughout the next three decades, he continued to be one of the most successful film composers in the world, as well as a popular concert conductor. He continued working until his death in 1994; just prior to his demise, he was writing the score for the musical adaption of Victor/Victoria.
What kept Mancini's work fresh was his ability to write in almost any style imaginable and his successful experimentations with unusual sounds and instruments. In his 1989 memoir Did They Mention the Music?, Mancini's co-author Gene Lees wrote that "More than any other person, he Americanized film scoring, and in time even European film composers followed in his path," and that Mancini wrote scores that "contained almost as many fully developed song melodies as a Broadway musical." Had he not remained true to his first love, film scoring, Mancini would have more than likely made as large an impact on the Broadway stage as he made on the silver screen. ~ Kenneth M. Cassidy & Stephen Thomas Erlewine, All Music Guide Hide

Jerry Goldsmith

Jerry Goldsmith


For over four decades, Jerry Goldsmith ranked among the film and television industry's most highly-regarded and prolific composers; at the peak of his activity during the 1960s, he was estimated to have scored an average of about six films annually. Born in Los Angeles on February 10, 1929, Goldsmith studied music at the University of South Carolina, and after accepting a job as an office clerk at CBS television later graduated to the network's music department in 1950. There he composed themes for series including Gunsmoke, Perry Mason, Have Gun Will Travel, The Twilight Zone and The Man from U.N.C.L.E. before turning to film in 1957, debuting with the score to Black Patch. Under the tutelage of the great Alfred Newman, Goldsmith rose to prominence with 1962's Lonely Are the Brave, and subsequently emerged as one of Hollywood's most prolific composers. Among his credits were such diverse offerings as Patton, Planet of the Apes, Seconds, Chinatown, Poltergeist and Rambo: First Blood Part II; while nominated for over a dozen Academy Awards, Goldsmith won only one, for 1976's The Omen. Additionally, he regularly toured concert halls, performing his music and conducting the likes of the San Diego Symphony and Britain's Royal Philharmonic. ~ Jason Ankeny, All Music Guide Hide

Hans Zimmer

Hans Zimmer

Composer Hans Zimmer was born September 12, 1957 in Frankfurt, Germany; after relocating to London as a teen, he later wrote advertising jingles for Air-Edel Associates, and in 1980 collaborated with the Buggles on their LP The Age of Plastic and its accompanying hit "Video Killed the Radio Star." A stint with Ultravox followed before Zimmer next surfaced with the Italian avant-garde group Krisma; he then formed a partnership with film composer Stanley Myers, and together they founded the London-based Lillie Yard recording studio. Zimmer and Myers' movie work of the period, which included material for pictures including Moonlighting, Success Is the Best Revenge, Insignificance, and the acclaimed My Beautiful Launderette, made significant strides in fusing the traditional orchestral aesthetic of film composition with state-of-the-art electronics, and proved highly influential on countless soundtracks to follow.
In 1986 Zimmer joined David Byrne and Ryuichi Sakamoto on their Oscar-winning score to The Last Emperor; his work on the apartheid drama A World Apart was his first major solo credit, and led to his Academy Award-nominated score for 1988's Best Picture-winning smash Rain Man. The following year Zimmer again composed the soundtrack for a Best Picture winner, this time Bruce Beresford's Driving Miss Daisy; a remarkably prolific writer, by the time the '90s dawned his music was a Hollywood staple, with a list of hits including Black Rain, Backdraft, Thelma & Louise, A League of Their Own, and Days of Thunder. Zimmer scored his biggest commercial hit in 1994 with his work on Disney's The Lion King; the film's soundtrack garnered countless awards, including an Oscar, a Golden Globe, and two Grammys. Later adapted for the Broadway stage, The Lion King took home the 1998 Tony for Best Musical as well.
In 1995, Zimmer also earned a Grammy for his work on Crimson Tide, which was honored as Best Original Score Written for a Motion Picture. Another Academy Award nomination followed for 1996's The Preacher's Wife; that same year, he earned BMI's prestigious Richard Kirk Award for lifetime achievement. 1997 saw Zimmer earn another Oscar nom for his work on the James L. Brooks comedy As Good as It Gets, repeating the feat for the third consecutive year in 1998 with his score for the Terence Malick masterpiece The Thin Red Line. His contributions to The Prince of Egypt also earned a Golden Globe bid earlier that same year.
The 2000s marked an auspicious time in the composer's career, as he continued scoring the biggest A-list films of the season, averaging two or three blockbusters a year, including Hannibal, Gladiator, The Last Samurai, Batman Begins, and The Da Vinci Code. In 2007, Silva Screen Records released Film Music of Hans Zimmer, a double-disc set highlighting his achievements as a movie-music maker. Later in 2007, he reworked Alf Clausen's zany Simpsons theme into a traditional symphonic film score on The Simpsons Movie. ~ Jason Ankeny, All Music Guide Hide

John Williams

John Williams

The most popular film composer of the modern era, John Williams created music for some of the most successful motion pictures in Hollywood history -- Star Wars, E.T. the Extra Terrestrial, and Jurassic Park are just three of the credits in his extensive oeuvre. Born February 8, 1932, in Long Island, NY, he was himself the son of a movie studio musician, and he followed in his father's footsteps by studying music at UCLA and Juilliard; initially, he pursued a career as a jazz pianist, later working with Henry Mancini to compose the score for the hit television series Peter Gunn. Williams then went solo to pen a number of TV soundtracks for series including Playhouse 90, Wagon Train, and Bachelor Father; in 1959 he ventured into film with Daddy-O, and spent the majority of the 1960s alternating between the silver screen (The Killers, The Plainsman) and its smaller counterpart (Gilligan's Island, Lost in Space).
In 1968 Williams earned his first Academy Award nomination for his work in Valley of the Dolls; in 1970, he garnered nods for both The Reivers and Goodbye, Mr. Chips, and two years later finally won for Fiddler on the Roof. A slew of Oscar nominations followed, for features including The Poseidon Adventure, Images, Tom Sawyer, and The Towering Inferno. In 1974 he first teamed with a young filmmaker named Steven Spielberg on a movie titled The Sugarland Express; the two frequently reteamed over the years to come, with often stunning results -- Jaws, Close Encounters of the Third Kind, Raiders of the Lost Ark, E.T., Jurassic Park, and Schindler's List were just a few of the Spielberg/Williams pairings, with Jaws, E.T., and Schindler's List all winning the composer Academy Awards.
Williams' other most frequent collaborator was George Lucas; beginning with 1977's Star Wars -- yet another Williams Oscar winner -- they later teamed for 1980's The Empire Strikes Back and 1983's Return of the Jedi, with the composer agreeing to score Lucas' subsequent Star Wars films as they went into production in 1997. He even celebrated his 30th anniversary of working with Steven Spielberg with 2002's Minority Report soundtrack. Other scores of note included 1979's Superman, 1987's The Witches of Eastwick, 1988's The Accidental Tourist, 1991's JFK, and 1995's Nixon. In 1980, Williams also took over for the late Arthur Fiedler as the conductor of the Boston Pops. ~ Jason Ankeny, All Music Guide Hide

Ennio Morricone

Ennio Morricone

Ennio Morricone is probably the most famous film composer of the 20th century. He is also one of the most prolific composers working in any medium. No exact figure is available, but he's scored several hundred films over the past several decades, perhaps as many as 500. While these have been in almost every imaginable musical style (and for almost every imaginable kind of movie), he is most identified with the "spaghetti Western" style of soundtracks, which he pioneered when providing the musical backdrop for the films of director Sergio Leone. Morricone's palette is extraordinarily diverse, drawing from classical, jazz, pop, rock, electronic, avant-garde, and Italian music, among other styles. Esteemed by such important figures in modern music as John Zorn (not to mention contemporary directors like Martin Scorsese), he is increasingly placed among not just the finest soundtrack composers, but the most important contemporary composers of any sort.
Morricone began studying music at Rome's Conservatory of Santa Cecilia at the age of 12. Urged to concentrate on composition by his instructors, he supported himself by playing trumpet in jazz bands, and then worked for Italy's national radio network after graduating from the conservatory. He didn't begin scoring films until the early '60s, and didn't begin attracting international notice until he began collaborating with Leone, starting with A Fistful of Dollars in the mid-'60s. (Morricone had previously worked on other Italian Westerns with other directors.)
The spaghetti Westerns only comprised a phase of Morricone's career, but for many his work in this field remains his best and most innovative. Morricone amplified the film's plots and drama through ingenious use of diverse arrangements and instrumentation. Jew's harps, dissonant harmonicas, dancing piccolos, bombastic church organs, eerie whistling, thundering trumpets, oddly sung gunfighter ballads, and ghostly vocal choruses -- all became trademarks of the Morricone-Leone productions, then of the spaghetti Western genre as a whole. The influence of rock & roll was felt in the low, ominous twanging guitars, which reflected (intentionally or unintentionally) the sound of contemporary recordings by the Ventures, Duane Eddy, the Shadows, and John Barry. Morricone's most famous composition, the theme to The Good, the Bad and the Ugly, made number two in the U.S. when it was covered by Hugo Montenegro.
Even while he was busy with collaborations with Leone, Morricone found time for various other film projects, such as the agitprop classic Battle of Algiers and Burn! By the 1970s, Morricone was winding down his involvement with both Leone and the spaghetti Western, working with numerous other directors all over the world. Grand orchestration and memorable motifs were commonplace in Morricone's work; Warren Beatty, for instance, once told the Los Angeles Times that "there's nobody better than Ennio to create a haunting theme." His scores also began to utilize more contemporary electronic influences, with mixed results.
Age has not slowed Morricone in the least. In fact, the 1980s, '90s, and 2000s saw his commercial success and widespread recognition at an all-time peak. He garnered an Academy Award nomination for The Mission in 1986. Since then he's worked for such top directors as Pedro Almodovar, Brian DePalma, Roman Polanski, Mike Nichols, Oliver Stone, and Barry Levinson. Cinema Paradiso is probably the most renowned of his recent scores.
With such an abundance of recordings, collecting Morricone remains a daunting proposition. It's doubtful that anyone will collect all of his soundtracks under one roof; after all, the composer himself doesn't even remember how many films he's worked on. RCA's The Legendary Italian Westerns, Virgin's two Film Music volumes, and Rhino's Anthology are useful collections, and the DRG label has reissued other noteworthy compilations of his work. ~ Richie Unterberger, All Music Guide Hide