Craig Armstrong Ray [Original Motion Picture Score]
- Released: December 7, 2004
- Originally Released: 2004
- Label: Rhino
- 1.Ray, film score: Ray's Theme
- 2.Ray, film score: Della's Theme
- 3.Ray, film score: Ray Learns To Listen
- 4.Ray, film score: Dreams Of Ray 1
- 5.Ray, film score: Remember Your Promise
- 6.Ray, film score: Water In The Hallway
- 7.Ray, film score: Ray's Theme / Piano
- 8.Ray, film score: George Drowns
- 9.Ray, film score: First Hit
- 10.Ray, film score: Ray And Della
- 11.Ray, film score: Ray Sings To Della
- 12.Ray, film score: Dreams Of Ray 2
- 13.Ray, film score: Ray Leaves Della Behind
- 14.Ray, film score: Heroin In Bed
- 15.Ray, film score: Della Kisses Her Baby
- 16.Ray, film score: Places You Don't Wanna Go
- 17.Ray, film score: Ray Leaves Mother
- 18.Ray, film score: Arrested
- 19.Ray, film score: Alone In The Dark
- 20.Ray, film score: Dreams Of Ray 3
- 21.Ray, film score: Marge's Death
- 22.Ray, film score: Rehab
- 23.Ray, film score: Redemption
- 24.Ray, film score: Ray's Hymn
- 25.Ray, film score: Ray's Hymn Quintet
- 26.Ray, film score: End Credits
Personnel: Craig Armstrong (piano); Craig Armstrong; Metro Voices, Billie Godfrey (vocals); David Donaldson (programming); Simon Chamberlain (piano).
Audio Mixers: Craig Armstrong; David Donaldson.
Audio Remixer: Scott Fraser.
Liner Note Author: Craig Armstrong.
Recording information: Air Studios, Lundhurst, London, England.
Arranger: Craig Armstrong.
Craig Armstrong's score for the film RAY is largely orchestral, although keyboards and synthesizers often supplement the rich arrangements. Armstrong also regularly incorporates clips of dialog from the movie. Along with co-orchestrator Matt Dunkley, Armstrong focuses on the mystical, as he builds emotional climaxes, ghostly interludes, and other atmospheric blankets of sound.
On certain selections, Armstrong uses bluesy piano chords and gospel singers to show the connection between his score and the music of Ray Charles. "Remember Your Promise" is the best example of this, as it is propelled by the soft wail of a female gospel vocalist. Other tracks, such as "Dreams of Ray I" and "Dreams of Ray III," use sleek drum loops to drive the music; on the latter, a choir also sings soft harmonies in the distance. Similarly, "End Credits" uses drum loops, legato strings, and spacey keyboards to accompany a bluesy vocal. The beauty of Armstrong's music lies in his ability to capture the drama of Charles's life. The mix of gospel music with ethereal orchestrations is essential to the film and makes for an intriguing score.
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