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Shrek 2 (Original Motion Picture Score)

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Download links and information about Shrek 2 (Original Motion Picture Score) by Harry Gregson - Williams. This album was released in 2004 and it belongs to Theatre/Soundtrack genres. It contains 22 tracks with total duration of 40:25 minutes.

Artist: Harry Gregson - Williams
Release date: 2004
Genre: Theatre/Soundtrack
Tracks: 22
Duration: 40:25
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Tracks

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No. Title Length
1. Prince Charming (featuring Metro Voices) 2:05
2. Leaving Home (featuring Metro Voices) 1:12
3. Far Far Away (featuring Metro Voices) 1:44
4. Family Dinner (featuring Metro Voices) 2:10
5. Fiona's Room (featuring Metro Voices) 1:01
6. We Need To Talk (featuring Metro Voices) 1:32
7. The Poison Apple (featuring Metro Voices) 1:20
8. The Factory (featuring Metro Voices) 1:40
9. By the Ol' Oak (featuring Metro Voices) 2:02
10. Annoying Talking Animal (featuring Metro Voices) 2:56
11. The Potion Room (featuring Metro Voices) 3:08
12. Deep Fried (featuring Metro Voices) 2:02
13. Not Meant To Be (featuring Metro Voices) 2:49
14. The Ball (featuring Metro Voices) 1:09
15. The Prince of Her Dreams (featuring Metro Voices) 2:16
16. Tonight On "Knights" (featuring Metro Voices) 0:48
17. Magic Tea (featuring Metro Voices) 1:50
18. The Mission (featuring Metro Voices) 1:29
19. Muffin Man (featuring Metro Voices) 1:10
20. Get the Wand (featuring Metro Voices) 2:08
21. All Is Revealed (featuring Metro Voices) 3:16
22. Dragon!! (featuring Metro Voices) 0:38

Details

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For a film dominated by offbeat musical numbers by the likes of Tom Waits and Nick Cave, as well as a cover of "Livin' la Vida Loca" by Eddie Murphy and Antonio Banderas, the fact that an original score even exists is impressive to say the least. Varese Sarabande rescues composer Harry Gregson-Williams' orchestral score for the hit animated film, which at a scant 40 minutes barely has time to register — it was heard even less in the actual film. That's too bad, because Williams, who also worked on the first Shrek, has great fun with the genre. Choirs, Renaissance-style marches, and big-band numbers co-exist with nary an awkward segue, resulting in a finished product that's undeniably superficial, but as mischievous and likeable as the ogre himself.