Buy Brother's Keeper soundtrack from



Soundtrack Blog Soundtrack Reviews Soundtrack Features Soundtrack Forum Soundtrack Contest Soundtrack Shop About and Contact Home Listen or subscribe to our podcast - The SoundCast Follow us on Twitter Like us at Facebook Tracksounds:  The Film Music and Soundtrack Experience


Apocalypse World War II
The Best Exotic Marigold Hotel
Music from the Batman Trilogy
The Possession


How to Train Your Dragon 2
Dawn of the Planet of the Apes
Captain America:  The Winter Soldier
Rio 2


2015 Cue Awards Show
In-Context- Guardians of the Galaxy

Interview: Jeff Russo
In-Context- Dawn/Planet of the Apes
Interview: Neil S. Bulk


Twitter Response Show 1 (Ep 4)
The State of the Film Music Theme
The James Horner Legacy
2015 Cue Awards ReactionShow
2015 Cue Awards Show




Brother's Keeper by Bill Brown

Brother's Keeper

Buy online

Brother's Keeper (Soundtrack) by Bill Brown











Brother's Keeper (Soundtrack) by Bill Brown

Brother's Keeper
Composed by Bill Brown
MovieScore Media (2012)

Rating: 7/10

Buy Brother's Keeper (Soundtrack) by Bill Brownl  from Buy Brother's Keeper (Soundtrack)  by Bill Brown from iTunes

More soundclips below provided by AmazonMp3


“...this is a hidden gem, a very impressive drama score that has BROWN echoing the title of the sixteenth cue, 'Got Potential'.”

Bill Brown, A New Man in Town
Review by Edmund Meinerts


A Christian drama film set in 1950s small-town Georgia, BROTHER’S KEEPER deals with the trials and tribulations of two brothers, Andy and Pete, who may be identical twins but whose dispositions are less than similar; whereas Pete is a pacifist with strong faith in God and ambitions to become a preacher, Andy is more cynical, believes in revenge and has no plans for the future. When Pete is framed for a murder, Andy must come to terms with their differences in order to try and clear his name. The title of the film is a Cain and Abel reference, though it seems rather unlikely that this type of heartwarming Sunday School fodder would stick to the same ending. Providing the score is BILL BROWN, who has worked in video games since the late 90s and supplied music to nearly 200 episodes of the crime TV show CSI: NEW YORK – this is one of his first film credits, along with THE DEVIL’S TOMB in 2009, with MovieScore Media releasing both as part of their admirable mission to give exposure to lesser-known scores and composers.

Practically any film score collector, upon spinning BROTHER’S KEEPER for the first time, will instantly know which composer was most heavily featured on the temp track: THOMAS NEWMAN. An obvious choice, considering that he has provided music for a number of Southern drama films stretching back to FRIED GREEN TOMATOES in 1992. Fortunately (or not – more on this later), there aren’t any direct quotations of melody or theme – rather, it’s the way the score’s moody atmosphere is created. “Georgia 1949” (1) opens the score with a vaguely exotic flute flourish and leads into melancholic, echoing piano figures (both recognizable NEWMAN techniques). The harmonic language is actually a cross between NEWMAN and some of JAMES NEWTON HOWARD’s more downbeat writing from UNBREAKABLE and BATMAN BEGINS, a rather enticing combination.

The first half of the score is surprisingly dark, with the piano and flute occasionally joined by a string section whose phrasing, again, is pure NEWMAN in style. Few moments of light exist until the spirited acoustic guitar in “Race Ya” (12), resulting in a half hour or so that is a somewhat muddy listening experience. The problem is compounded by a lack of easily recognizable motifs or thematic representations. Recurring ideas do exist, including the aforementioned piano figure from the first cue, but their foggy, unsure nature makes them similar and hard to remember. “The Attack” (3) and “To the Pen” (5 – PRINCESS BRIDE reference?) are welcome deviations in style, taking the folk instrumentation of the locale (mostly guitars and banjos) and twisting them down dissonant and troubled paths.
Fortunately, the second half of the score is more rewarding. In “Only Way Out” (11), the piano ditches its previous hesitant style and becomes more thematic and flowing. More importantly, a previously unheard emotion can be felt in the cues “Baptism” (13) and “Got Potential” (16): warmth. Most impressive of all is the lengthy “There Is a Plan” (14), which introduces a wealth of new melodic material and is a remarkably well-developed cue that finally allows the strings to really express themselves. “I’m Ready” (18) continues in the same vein, introducing another pretty melody at 3:31 that has a bit of a hymn-like or medieval twist to it (perhaps to reflect the religious themes of the film).

The best is saved for last, however: “Redemption” (20) is the proverbial light at the end of the tunnel. After an hour or so of melancholy, the six-minute finale erupts into a gorgeous expression of warmth and brotherly love, the sweeping strings bolstered for the first and only time on the score by noble horn tones. Having held back for so long, this sudden outburst of emotion has a truly cathartic impact and is a fantastic way to bring the score to a close.

The biggest problem with BILL BROWN’s score to BROTHER’S KEEPER is the lack of a truly unifying thematic structure. Imagine the potential of conflicting themes for the two brothers – one troubled, the other innocent and naïve, which are then brought together in the final cue! The three highlighting thematic cues – the three longest, incidentally – are all excellent standalone melodic pieces, but with the exception of a brief echo of “There is a Plan” (14) at the end of “I’m Ready” (18), they remain self-contained. Also, the blatant similarity of style to THOMAS NEWMAN at times could bother (or please) his ardent collectors. There isn’t any outright dull material here, but cutting about 15-20 minutes of material would probably lead to a much better listening experience (and a higher rating). Still, this is a hidden gem, a very impressive drama score that has BROWN echoing the title of the sixteenth cue. "Got Potential." The final cue in particular is a must-hear.

Rating: 7/10


Track Title Track Time  Rating
1 Georgia 1:23  ***
2 Funeral 3:15  ***
3 The Attack 2:27  ***
4 The Documents 2:08  ***
5 To the Pen 1:44  ****
6 Prayers 2:42  ****
7 It Was Me 2:09  ***
8 Into the Court 0:29  ***
9 Arguments 2:30  ***
10 Guilty 5:20  ***
11 Only Way Out 3:49  ****
12 Race Ya 1:06  ***
13 Baptism 3:17  ****
14 There is a Plan 6:11  *****
15 Don't Worry 3:38  ***
16 Got Potential 3:12  ***
17 Couldn't Take It 2:00  ***
18 I'm Ready 7:21  ****
19 A New Life 2:18  ****
20 Redemption 5:55  *****
  Total Running Time (approx) 63 minutes  


blog comments powered by Disqus



Home  |  Soundtrack ReviewsBlog |  Podcast | News Forum  |  Features  |  About  |  Advertise  |  Links   | Shop - Asian Entertainment products CD Universe - Music, Movies, & Games At Low Prices! iTunes Logo 88x31-1

Copyright ©1998 - 2009. Tracksounds:  The Film Music Experience.   All rights reserved. This material may not be published, broadcast, rewritten or redistributed in any form.  All compact disc artwork is property of the specified record label and appears here for informational purposes only.  All sound clips are in Real Audio format or mp3 and are the exclusive property of their respective record labels. Contact the Webmaster