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Sin City: A Dame to Kill For (Original Motion Picture Soundtrack)


Download links and information about Sin City: A Dame to Kill For (Original Motion Picture Soundtrack). This album was released in 2014 and it belongs to Theatre/Soundtrack, Instrumental genres. It contains 25 tracks with total duration of 50:27 minutes.

Release date: 2014
Genre: Theatre/Soundtrack, Instrumental
Tracks: 25
Duration: 50:27
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No. Title Length
1. Main Title (Robert Rodriguez) 1:28
2. Johnny on the Spot (Robert Rodriguez) 1:47
3. Johnny Enters Bar (Robert Rodriguez) 1:34
4. Marv vs Frat Boys (Carl Thiel) 3:35
5. Nancy's Kiss of Death (Robert Rodriguez) 1:52
6. Joey (Carl Thiel) 2:37
7. Kadie's (Robert Rodriguez) 1:18
8. Ava (Robert Rodriguez, Carl Thiel) 2:51
9. Dwight Spies on Ava (Robert Rodriguez, Carl Thiel) 3:24
10. Ava in Bed (Robert Rodriguez) 1:34
11. Uh Huh (feat. Marci Madison) (Robert Rodriguez) 1:11
12. Marv & Dwight (Carl Thiel) 2:20
13. Ava Seduces Mort (Robert Rodriguez) 1:47
14. Mort's Descent (Carl Thiel) 2:01
15. Sin City Waltz (Robert Rodriguez) 1:39
16. The End of Ava (Robert Rodriguez, Carl Thiel) 1:43
17. Dr. Kroenig (Robert Rodriguez) 2:06
18. Johnny Down & Out (Robert Rodriguez) 2:17
19. I'm Lonely (Rebecca Rodriguez) 1:33
20. Nancy Visits Grave (Robert Rodriguez, Carl Thiel) 1:31
21. Skin City (feat. Steven Tyler) (Robert Rodriguez) 2:38
22. Marv & Nancy Ride (Carl Thiel) 2:01
23. Marv Attacks (Robert Rodriguez, George Oldzley) 1:03
24. Roark (Carl Thiel) 2:25
25. End Titles (Robert Rodriguez) 2:12



Though this sequel is a decade belated, Composer Carl Thiel says director/musician Robert Rodriguez “wanted to keep that same original Sin City vibe, but add more to the musical atmosphere; taking the existing character motifs (originally composed by John Debney, Graeme Revell and Rodriguez) and expanding them to include new characters like Ava, Joey and Johnny.” Carl says the director/sometime composer offered Ava a theme that was “very slick and had a lot of ‘bendy’ strings that followed her character. It was inspiring to work off because the melody he wrote for her is very unpredictable, a lot like her character.” Thiel notes that on most collaborations with Rodriguez “music takes a backseat to the story. But when I started working on this new Sin City he told me, “For this movie we really need to go over the top. The music is just as important as the narration and the visuals, so it gave us the freedom to take more chances than we would have done on a regular score.”