Bio:
1963 Born
1972 Saw David Bowie perform 'Starman' on Top of the Pops.
1972 Bought my first album 'The Rise & Fall of Ziggy Stardust'.
1975 School
1977 Heard Ramones 'Sheena Is A Punk Rocker'
1978 Saw Ramones,Blondie,The Clash.
1981 Left school, formed band.
1982 Played first gig
1986 Recorded first single-5 tracks,7 minutes for £55,including lunch
1987 Made first album
1996 Met Darren Aronofsky
1997 scored first film ‘Pi’...
"and the rest, as they say………."
Credits:
Scoring Credits:
Rebecca 2020
Happy New Year, Colin Burstead 2018
Out of Blue 2018
Mute 2018
Loving Vincent 2017
The New Radical 2017
Black Mirror - San Junipero 2016
High-Rise 2015
Noah 2014
Filth 2013
Stoker 2013
Mass Effect 3 2012
United 2011
Black Swan 2010
Last Night 2010
Blood The Last Vampire 2009
Farewell 2009
Moon 2009
The Wrestler 2009
Definitely, Maybe 2008
Wind Chill 2007
Smokin Aces 2007
Trust The Man 2006
The Fountain 2006
Doom 2005
Sahara 2005
Suspect Zero 2004
11:14 2003
The Hire: Ticker 2002
Sonny 2002
Murder By Numbers 2002
Abandon 2002
The Hole 2001
Requiem for a Dream 2000
Pi 1998
The Recôncavo is an almost invisible center-of-gravity. Circumscribing the Bay of All Saints, this region was landing for more enslaved human beings than any other such throughout all of human history. Not unrelated, it is also birthplace of some of the most physically & spiritually uplifting music ever made. —Sparrow
"Dear Sparrow: I am thrilled to receive your email! Thank you for including me in this wonderful matrix."
—Susan Rogers: Personal recording engineer for Prince, inc. "Purple Rain", "Sign o' the Times", "Around the World in a Day"... Director of the Berklee Music Perception and Cognition Laboratory
I'm Pardal here in Brazil (that's "Sparrow" in English). The deep roots of this project are in Manhattan, where Allen Klein (managed the Beatles and The Rolling Stones) called me about royalties for the estate of Sam Cooke... where Jerry Ragovoy (co-wrote Time is On My Side, sung by the Stones; Piece of My Heart, Janis Joplin of course; and Pata Pata, sung by the great Miriam Makeba) called me looking for unpaid royalties... where I did contract and licensing for Carlinhos Brown's participation on Bahia Black with Wayne Shorter and Herbie Hancock...
...where I rescued unpaid royalties for Aretha Franklin (from Atlantic Records), Barbra Streisand (from CBS Records), Led Zeppelin, Mongo Santamaria, Gilberto Gil, Astrud Gilberto, Airto Moreira, Jim Hall, Wah Wah Watson (Melvin Ragin), Ray Barretto, Philip Glass, Clement "Sir Coxsone" Dodd for his interest in Bob Marley compositions, Cat Stevens/Yusuf Islam and others...
...where I worked with Earl "Speedo" Carroll of the Cadillacs (who went from doo-wopping as a kid on Harlem streetcorners to top of the charts to working as a janitor at P.S. 87 in Manhattan without ever losing what it was that made him special in the first place), and with Jake and Zeke Carey of The Flamingos (I Only Have Eyes for You)... stuff like that.
Yeah this is Bob's first record contract, made with Clement "Sir Coxsone" Dodd of Studio One and co-signed by his aunt because he was under 21. I took it to Black Rock to argue with CBS' lawyers about the royalties they didn't want to pay. They paid.
MATRIX MUSICAL
The Matrix was built below among some of the world's most powerfully moving music, some of it made by people barely known beyond village borders. Or in the case of Sodré, his anthem A MASSA — a paean to Brazil's poor ("our pain is the pain of a timid boy, a calf stepped on...") — having blasted from every radio between the Amazon and Brazil's industrial south, before he was silenced. (that's me left, with David Dye & Kim Junod for U.S. National Public Radio) ... The Matrix started with Sodré, with João do Boi, with Roberto Mendes, with Bule Bule, with Roque Ferreira... music rooted in the sugarcane plantations of Bahia. Hence our logo (a cane cutter).