Intrada proudly presents complete orchestral score from original digital session elements, including bonus suite of music from Silvestri's unused electronic score. The Judgment Night soundtrack was years in the making, from Run DMC & Aerosmiths Walk This Way, to Anthrax and Public Enemys Bring the Noise. Composer visits incredibly dark inner-city world of PREDATOR 2 (another collaboration with director Hopkins), gives chase thriller a meld of both unyielding danger from gang of killers, vivid percussion-driven soundscapes for unforgiving urban terrain. Silvestri underscores their plight with intense score featuring lengthy suspense material for strings, ferocious outbursts for brass, percussion.
Judgment night soundtrack release date movie#
1993 Stephen Hopkins movie puts quartet of suburbanites (including Emilio Estevez, Cuba Gooding, Jr.) in harm's way as witnesses to gangland execution in underbelly of Chicago. What a time to be alive.World premiere release of original soundtrack for JUDGMENT NIGHT, composed and conducted by Alan Silvestri. We haven’t even touched on Slayer and Ice-T covering The Exploited or Sir Mix-A-Lot working with Mudhoney on another song about…big butts. If Run-DMC rapping over some incredible Vernon Reid riffs doesn’t excite you, we’re not really sure what to say. Released by Music On Vinyl in 2010 (MOVLP232) containing music from Judgment Night (1993). Arguably the best of these collabs, though, is Living Colour + Run-DMC’s “Me, Myself & My Microphone”. Judgment Night soundtrack from 1993, composed by Various Artists. Cypress Hill joins Sonic Youth this time for “I Love You Mary Jane”, a song title that really doesn’t need any introduction. Some of the pairings, while more out of left-field, are nonetheless exciting ones. Plus, Onyx and Biohazard had already collaborated on “Slam”, so you know they had to do it again. It also works incredibly well, considering Biohazard were one of the biggest purveyors of hardcore-influenced rap-metal – they were from NYC, after all. You also have the title track, featuring Biohazard and Onyx – no doubt one for the hardcore fans out there. For the House Of Pain fans who might only have been familiar with their megahit “Jump Around” at the time, it proved a more hardcore hip-hop version of a popular sound. Setting the tone for the record immediately, it adeptly pairs Helmet’s influential (and abrasive) alternative metal sound with the hip-hop of House Of Pain, making for a rhythmic barrage that really comes to life. Take Helmet and House Of Pain’s “Just Another Victim”, for instance. Many of the collaborations sound like what you’d expect. Seriously, Pearl Jam and Cypress Hill on “Real Thing”? Alt-metal vanguards Therapy? and the rap stylings of Fatal on “Come And Die”? Who thinks of this stuff, anyway? It all seems like a fever dream, except it really wasn’t.
The result was the Judgment Night soundtrack, and the concept was simple – bring together some of the biggest grunge // alt-metal // alt-rock + hip-hop acts to create something new and fresh.Īrmed with the big budgets of Immortal Records and Epic Soundtrax, there are some massive collabs here that still hold a lot of staying power. View at (CD Sold Out) World premiere release of original soundtrack for JUDGMENT NIGHT, composed and conducted by Alan Silvestri. Cypress Hill and Faith No More made entire albums with these influences (and a host of others, too), while even mainstream (or soon to be) acts like Red Hot Chili Peppers would incorporate elements of these influences.Ĭonsidering the explosion of alternative rock, alternative metal, grunge, and hip-hop in the early ’90s, it only made sense that a link between these worlds would become more of a possibility. Interestingly, the revamped song was also the catalyst for Aerosmith’s mid-career recovery, as well as one that proved hip-hop was a commercially viable form of music that would only continue to explode in the years after its release. Previously, those collaborations resulted in songs like Run-DMC and Aerosmith’s revamped version of “Walk This Way”, which opened up many doors for these kinds of crossovers. Though the collision between those seemingly disparate musical worlds existed many years before the soundtrack’s release, it was 1991’s Anthrax // Public Enemy version of “Bring The Noise” that proved heavier metal and hip-hop could, in fact, co-exist.
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