Tribute Note to Dr. John


Dear Mac,

It felt like heaven writing music and playing keyboards with you and your band. Now Heaven has the coolest person!

So grateful for all the music and licks you left for us.

- Anthony


A Night in Harlem: The Reverend Shawn Amos

Come see Anthony returning to perform at the piano with long time collaborator, The Reverend Shawn Amos, for an evening of songs and storytelling



In celebration of African American History Month, The Rev will be presenting songs with classic jazz and blues material from Renaissance musicians such as Bessie Smith, Louis Armstrong, Josh White, and Ethel Waters. The American roots song cycle tells the story of 1920s black Americans’ migration from the south to Harlem. It’s a night celebrating the struggle, resiliency, and joy that defines the African-American experience. 

Anthony and Shawn have worked together with Herb Alpert, The Dirty Dozen Brass Band, the documentary film “Mayor of the Sunset Strip” as well as Anthony producing Shawn’s debut album “Thank You Shirl-ee May (A Love Story)”.


You are invited to the hottest new jazz scene in town!

Blackbox @ the Edye — A Night in Harlem featuring Shawn Amos.

Friday, February 1, 2019 at 8:00 PM

The Edye

The Eli and Edythe Broad Stage

1310 11th St. Santa Monica, CA 90405

Santa Monica Blvd. and 11th St.

Buy Tickets:

blackbox @ the edye: The Reverend Shawn Amos


Come see Anthony performing at the piano with long time collaborator The Reverend Shawn Amos.  He’ll be joining Shawn and his world touring band at the Broad Stage this Friday night.
Anthony and Shawn have worked together with Herb Alpert, The Dirty Dozen Brass Band, the documentary film “Mayor of the Sunset Strip” as well as Anthony producing Shawn’s debut album “Thank You Shirl-ee May (A Love Story)”.

You are invited to the hottest new jazz scene in town!
Reverend Shawn Amos’ message of joyful blues is reaching an ever-increasing flock. The Rev’s distinctive blend of black roots music, R & B, and stripped down rock n’ roll brings a bracing, soul-deep musical experience to audiences starved for authenticity and connection.

The Broad Stage - Blackbox @ The Edye
Fri, Sep 7 @ 8:00 PM
The Reverend Shawn Amos, HARMONICA & VOCALS
Chris “Doctor” Roberts, GUITAR
Jennifer Leitham, BASS GUITAR
Dan Schnelle, DRUMS
Anthony Marinelli, PIANO
Vikram Devasthali, TROMBONE


by Mikel Reparaz / August 30, 2018 / 11 minute read

Dead Living Zombies, Far Cry 5's third post-launch adventure, is available now, completing a trilogy that has taken players to the jungles of Vietnam, the barren plains of Mars, and now, the zombie-infested imagination of a D-list horror-movie director. Each of these adventures needed a unique soundtrack to set the right mood, and Ubisoft turned to three distinct composers for the task.

For Lost on Mars, classically trained musician Anthony Marinelli – whose previous work includes playing and programming synthesizers on Michael Jackson's Thriller album – was brought on to set the mood for Hurk and Nick Rye's Martian adventure. Meanwhile, Hours of Darkness and Dead Living Zombies teamed Wade MacNeil – vocalist and guitarist of punk bands Gallows, Black Lung, and Alexisonfire – with movie and TV composer Andrew Gordon Macpherson, who also created the music for Far Cry Arcade. To find out more about how these soundtracks were created, we chatted with Marinelli, MacNeil, and Macpherson about their influences and their approach to each adventure's unique themes.

How familiar were you with Far Cry before composing music for Lost on Mars?

Anthony Marinelli: I've been aware of the Far Cry series since it first came out, and I was very excited to hear that Ubisoft was taking Far Cry into space, specifically Mars. My publishing company is actually named Man on Mars Music. Space exploration, and particularly Mars, have always been very inspiring to me. This was a perfect opportunity to create some really "out there" fun, spacey music.

I really like the music to Far Cry 3: Blood Dragon, I'm a huge fan of Power Glove – they're such gifted artists! They set the bar high with that score. That game and soundtrack of course has an ‘80s feel, so I knew Lost on Mars' retro soundtrack would be compared in some way. I felt a lot of pressure to create something unique and powerful.

Wade MacNeil: I had played the games. But now I see them in my sleep.

Andrew Gordon Macpherson: Blood Dragon was my first Far Cry experience, and definitely goes in my top 10. I love the feel of the gameplay, and I love the one-handed grenade launchers.

What information were you given before you started production? Did you get to play the game before?

AM: I traveled to Shanghai and met the Lost on Mars creative team so that we could start to collaborate on a musical direction. I was able to see early artwork, meet with game designers and the audio team, and watch how the whole process worked. In one room I'd see the concept art – the worlds, the weapons, crazy arachnids, maybe a few cows – and then, in the next room, I'd see those ideas come to life in actual gameplay, and get that feeling of immersion into a whole new world.

My favorite part, though, was the gravity belt. That exhilarating-but-almost-vertigo sensation of floating above the Mars surface really inspired the music for the towers. "Gravity Belt Boogie" has a real disorienting tone – dissonant synth cries, bending guitars, and all kinds of sounds flying by you.

AGM: We knew [Hours of Darkness] would be set in Vietnam during wartime, but didn't know much about the characters or mission. We knew the mood was going to be tense and hostile and somewhat hopeless. Outside of that, we didn't know much, but that was enough to get us started with sketching out the emotional feel and musical blueprint for the tracks. As we saw a bit more footage and art, we refined the compositions and collaborated with Kim Uyen Le to get the right instrumentation.

What mood were you trying to set with these soundtrack?

AM: After playing the early versions of the game, the overall feeling I got was a sense of adventure and exploration – fear, but with a whole lot of fun. So when I was told the stylistic direction was generally the music of the ‘70s, I thought "perfect!" The music and sounds of that time were adventurous – all those new electronic sounds and musical experimentation. It seemed like a great way to score the Martian landscape, a new territory for both Far Cry and its fans.

WM: [In Hours of Darkness,] you wake up in a cage at the start of the game. The soundtrack needed to fit that horrible realization. We wanted everything to sound bleak and hopeless. It needed to be scary but find moments of courage/strength. As you get closer to the extraction point, the score starts getting a bit stronger, tougher and more hopeful.

What are some of the techniques you use to evoke emotional responses from the player? How do you decide when and how to try and make them afraid, or empower them?

AGM: It's a combination of sound design and harmony and dissonance. With the right sound design, you can pretty much play one note over a shot of a jungle and know there's danger. So then it becomes imagining the emotional struggle you might need to overcome in this section of the mission, "painting" it with the chords, and then attacking that process with dissonance and sound design. Making the dissonance feel like it's big, but hidden in the jungle and ready to strike. We use a lot of EQ and filter automation into various reverbs to give things the space and size, and it also helps to create really nice melodic "smudges" that texturize the whole score.

What are some examples of tracks that you feel evoke an emotional response most strongly?

WM: Hopefully they all do! "Jungle Rot," I think, was the first track that we sketched, and really felt like it set the tone for the rest of what we would explore. "Upcountry" and "Elephant Grass" are both stealthy cues in the middle of the game, and I think they strike a good balance of the fear/finding courage that needed to resonate. "Haul Ass," "Hammer and Anvil," and "Walking Wounded" are the combat tracks where things really synthesized as far as the musical influences and emotion needed for chaotic jungle combat. "Agent Orange" is one that people react to really strongly – it had to be scary and a little druggy. We made a synth for it out of relentlessly distorted guitar bends, which ended up resurfacing on the Zombies score because it does such a good job accompanying big danger.

In Hours of Darkness, songs like "Light at the End of the Tunnel" and "By The Numbers" feel much more upbeat than other tracks; what inspired that change in tone?

WM: As the gameplay progresses, the musical tone changes. The beginning of the game is very cold-sounding and mostly built around traditional Vietnamese instruments. But as you continue through the game, the music shifts to being more triumphant, and we start bringing in more American rock and roll. It was fun to try and do something that felt like a ‘60s rock tune mixed with the "wall-of-sound" studio compositions of the time.

What was the biggest difference in composing for Dead Living Zombies, as opposed to Hours of Darkness?

WM: Having a supernatural element to the game allows us to make the score a lot more creepy. It gives us the opportunity to explore weirder noises and sounds, and incorporate them into the music.

AGM: The biggest difference was that each level on [Dead Living Zombies] really has a different musical style. So, unlike other scores, where you get to make a bunch of music with the same tools, we were starting from scratch each time we began writing. The key to creating a great horror soundtrack is making every single thing in the track clash with each other just a little bit. It puts you on edge.

How does composing a videogame soundtrack compare to other projects you've done in the past?

AM: Each project I work on has its own set of new requirements that are different from the last, so I'm constantly adjusting my processes and workflow to best serve that project. In that sense, this project was no different. But being my first videogame, I had to adjust how I wrote music in a few interesting ways.

Videogame music is loop-based, for the most part, so it can last for quite a long time if need be. Making music that is loopable by design was a new challenge. The starts and ends of each cue had to match up in intensity and instrumentation for the most part. If not, the player will definitely start hearing the loop. With film music, I'm used to having the freedom to have a sparse intro, build throughout the cue and end with a climax. That change in intensity builds interest, keeps the scene moving. I had to find other ways to keep up the interest. It's kind of a Zen paradox to always be there, never building too much, but still going in a direction that is interesting.

Thematic content is a big part of film music. This game required it as well, to a certain degree, but in a different way. Film music themes can often be heavily melodic and identifiable, to underscore a character and pivotal moments. But in a videogame, you never know exactly what will be happening on screen, so a hugely identifiable melody can either take a player out of the action, or repeat so often that the player starts to hear the loop. I tried to stick to smaller motivic melodies, riffs, and also thematic devices that relied less on melody and more on rhythm, instrumentation, and timbre. It's a fresh and valuable way of looking at music for me, one that will affect everything I create moving forward.

WM: I write melody for our scores the same way I do for an Alexisonfire song. It's usually the first idea that comes to me. I take a lot of inspiration from old punk and hardcore in my songwriting, and that's just as important in writing a theme for Far Cry or when I working on Alexisonfire's music.

What is special about the title tracks, and what made them representative of their respective adventures as a whole?

AM: The title track "Lost on Mars" includes a lot of the sounds that appear in the game, and is mostly a traditional western theme performed by vintage ‘70s synths to keep it tongue-in-cheek. There is also acoustic guitar, electric guitar, orchestral percussion, and theremin in the orchestration for extra western and sci-fi fun flavor. It contains a lot of sounds you hear throughout the game.

AGM: We had written that melody early on, but as soon as we heard Kim play it on the Dan Tranh, we knew that needed to be "Hours of Darkness." It was instant. It felt like that one lick, played on that instrument, was the "fingerprint" for the rest of the score.

How do you decide on the names of each track?

AM: After finishing the music, we had some help from a writer on the game to make sure the titles really connected to the story and gameplay. The names are pretty silly, to go along with the over-the-top nature of the game and the Far Cry series. It's so nice, at the end of a project, to hear all the cues back-to-back and finally give each piece a proper name. Then they're ready for the world.

WM: I have a pretty exhaustive list of song titles going at all times. Then, it was a matter of doing some research on wartime slang and history, and combining everything into the title the fit the piece.

What's your favorite track and why?

AM: My favorite track is "Yeti Meltdown." It makes the speakers physically pump in and out, even at low volume. I like the funky Minimoog bassline, along with the wacky harmony created by the retro ‘70s sci-fi orchestra samples. It's quite extreme in punchiness, and sounds unique to me in an old-meets-new kind of way.

AGM: The entire score was a blast, and they're all near and dear to our hearts, but "Thunder Road" may have been the most fun to make. It's built out of a jam where Kim encouraged Wade to play the Moon Lute while she played Dan Tranh over a rhythm track that I had sketched out.

Lost on Mars, Hours of Darkness, and Dead Living Zombies are available now to Far Cry 5 owners, either for individual purchase or through the Season Pass. For more on the game, check out our previous Far Cry 5 coverage.


Far Cry 5: Lost on Mars Soundtrack BEHIND THE SCENES Video

Get a sneak peek behind the scenes of Far Cry 5 Lost on Mars DLC’s music with this inspiring video featuring composer Anthony Marinelli.

1. Earth’s Last Hope  0:01
2. Yeti Meltdown  0:48
3. Fist of Fury  1:59
4. Critter Round Up 2:28
5. Galactic Ghost Town 3:14
6. Lost on Mars (End Title)  3:55

The full OST can be downloaded/streamed here:
And it can also be listened on Youtube: 

For more information please visit:

Follow Anthony Marinelli // Music Forever at:
Music by Anthony Marinelli
Music Recorded and Mixed by Beau Bonetti
Music Produced by Anthony Marinelli
MUSICIANS (as featured in the soundtrack):
    Synthesizers Programmed & Performed by Anthony Marinelli
    Baritone Guitar by Tim Pierce
    Rhythm & Wah Guitar by Tommy Organ
    Banjo & Acoustic Guitar by George Doering
    Guitar, Bass & Harmonica by Beau Bonetti
    Dobro & Banjo by Jay Leach
    Vocals by Asdru Sierra
    Ocarina by Anthony Marinelli
Behind the Scenes Video Filmed & Edited by Jen Angkahan
Randy Gerston & Christa Schrott @ Fortress Talent Management
Bénédicte Ouimet
Alain Larose
Elodie Sok
Jeremy Blechet
Sean Petersen
Music Recorded at Music Forever
Original Game Soundtrack Mastered by Richard Addison, Trillium Sound Mastering
About Far Cry 5: Lost on Mars:

Far Cry insanity and the red planet collide in Lost On Mars, the second DLC from the Far Cry 5 Season Pass.

When Nick Rye agrees to help Hurk out of a jam, he never expects it will lead him outside of Hope County … and all the way to Mars! Teleported to a hostile planet and with only Hurk by his side, Nick must master powerful technology to battle alien arachnids and restore power to ANNE – a futuristic AI who represents humanity’s last line of defense against eight-legged invaders with Earth in their sights.  

Soar over the dunes and canyons of Mars with a jet pack, blast deadly arachnids with lasers - and save mankind while you’re at it. Lost on Mars is a Far Cry adventure that’s truly out of this world. 

Far Cry 5: Lost On Mars Launch Trailer | Ubisoft [NA]

℗ & © 2018 Ubisoft Music Inc. / Ubisoft Musique Inc. All Rights Reserved. From the video game Far Cry 5. © 2018 Ubisoft Entertainment. All Rights Reserved. Far Cry, Ubiloud, Ubisoft and Ubisoft logos are registered or unregistered trademarks of Ubisoft Entertainment in the US and/or other countries. Based on Crytek’s original Far Cry directed by Cevat Yerli.

Far Cry 5: Lost on Mars Game and Soundtrack Now Available

Marinelli Lost on Mars_2000x1400.jpg

LONDON, UK — JULY 17TH 2018 — Today, Ubisoft announced that Far Cry® 5: Lost on Mars, the second post-launch adventure, is now available on PlayStation®4 computer entertainment system, the Xbox One family of devices including Xbox One X and Windows 10 PC.


Ubisoft also released the Far Cry 5: Lost on Mars soundtrack , a funky, sci-fi, 70s-inspired spaghetti western track list created and performed by film composer Anthony Marinelli. Marinelli used his original vintage analog synthesizers from iconic films Young Guns, Starman, War Games and Michael Jackson’s Thriller, as well as sci-fi orchestra riffs, baritone guitar, banjo, dobro, wah guitar and funky bass lines to get players grooving with the spiders on Mars.

The soundtrack is available here:

The Game

Lost on Mars continues the uncanny adventures in the Far Cry 5 Season Pass as players travel to Mars as Nick Rye and Hurk eradicate alien arachnids.

Lost on Mars transports the franchise’s insanity to the Red Planet as Nick Rye and Hurk teleport to Mars in an effort to restore power to ANNE, a futuristic AI representing humanity’s last line of defense.

(Pre-Sale) Young Guns - Original Motion Picture Score (LP and iTunes)


From Rusted Wave:

The Young Guns original motion picture soundtrack has never been released...until now! Available for pre-order on both vinyl (limited to 1,000 units) as well as iTunes.

LP: use the promo code YOUNGINSTA and get 20% off!

Pre-order your copy today! (coming January 20, 2017)

Originally released in 1988, Young Guns is an action-packed western about Billy the Kid (Emilio Estevez) and the Regulators (Kiefer Sutherland, Charlie Sheen, Lou Diamond Phillips, Dermot Mulroney and Casey Siemaszko) exacting revenge upon the Santa Fe Ring during the Lincoln County War in 1878.

Composed by Anthony Marinelli & Brian Banks, the Young Guns score brilliantly embodies the off-kilter, emotionally unstable characteristics of Billy the Kid, both the man and the myth. It is epic and powerful, but equally haunting with an underlying melancholy tone.

Mastered from the original recordings and pressed on heavyweight 180 gram vinyl. LP cover in smooth matte finish, with a full-color liner note insert from Mr. Marinelli. Also to be released digitally on iTunes, Amazon and other platforms.

This is a must-have for soundtrack and music lovers alike. Regulators, mount up!


1.    Main Title 2.    Splendid Reading 3.    The Confrontation 4. The Watch 5.    Tunstall’s Death 6. Howdy 7.    Poet With A Big Gun 8.    McCloskey’s Death 9.    Pass The Peyote Please 10.    Dick’s Death 11.    Top O’ The Morning Girls 12.    Turn In Your Badges 13. Kinney Chase 14.    The Campfire 15.    Bring In The Troops 16.    Crazy Charlie 17.    The Shootout 18. Pals 19.    End Credits 20.    Coda (Poet Reprise)



It’s that time of year.

Here’s a new soundtrack for a Halloween scare.


Supernatural Thriller | Suspense | Horror

“Are you afraid? That's what they like.”

Based on True Events:
ALTERGEIST portrays King’s Ransom Winery as one of the most haunted places in North America. Gruesome suicides and murders, suspicious fires, and strange otherworldly phenomena appear with disturbing frequency throughout the history of the estate. Perhaps more disturbing, however, is the fact that these are all based on true events.

In the late 1800s, a woman took her own life in the attic of the historic Korbel House (real world Korbel Champagne Cellars in Guerneville, California), which served as the set for the old Till family homestead in ALTERGEIST. Having scrawled mad writings across the walls of the attic, this formerly reserved cook’s wife was clearly struggling against dark forces she could not understand. In the end she turned to suicide as the only means of escape.

Grounds keepers at Korbel have experienced strange happenings in and around this house, and some refuse to approach it at night. Our cast and crew also felt the presence of spirits from the winery’s past, both in the house and elsewhere on the grounds.

The white lady of the Korbel house, strange orbs of light that move through the redwood forests at night, and stories of other tragic deaths in the area all served as inspiration for the twisted history of King’s Ransom Winery in ALTERGEIST.


Directed & Written by Tedi Sarafian
Music by Anthony Marinelli
Produced by Aaron Heck, John Negropontes, Loma Paul, Fiore Talarico and Jared Talarico
Starring Kristina Anapau, Mark Hapka, David Weidoff, Lindsey Godfrey, Brendan Fletcher, Alexis Cruz, Sarah Oh and Olivia Stuck


“If you burn for a ghost story with an extraterrestrial twist, consider your cinematic thirst quenched…. ALTERGEIST bravely attempts to mesh these two themes into one film, creating both an ambiguous, creepy and rather enjoyable paranormal matrimony.…”

- Fangoria Magazine by Michael Alexander, November 12, 2014

Young Guns Soundtrack Vinyl Release

After over 2 decades of requests for Anthony's score to Young Guns, we are thrilled to announce that pre-release digital download or 180 gram vinyl LP orders can be made now. Anthony worked closely with Jake Lamme from soundtrack label Rusted Wave on this release and loves what they did.  They're presenting  pristine newly mastered versions and did a beautiful job with the artwork.

Check out this Kickstarter link today to pre-order the digital download or 180 gram vinyl LP:   

It looks great on the special edition t-shirt, signed vinyl copies too.

Henry Diltz and Anthony Marinelli

Famed rock photographer and Modern Folk Quartet member Henry Diltz modeling the new eyesaBOve sunglasses with Music Forever's Composer, Producer and Musician Anthony Marinelli.

Henry is the founder of the rock photography gallery The Morrison Hotel

eyesaBOve are designed in Australia by a MAD Irishman...

Anthony with Ozomatli for "Ozo-fied" Record release party


Anthony seen 3rd from right with longtime collaborators Ozomatli at their album release party in Hollywood. The new record “Ozo-fied” pays homage to the bands latin roots performing traditional Mexican songs with a reggae feel produced by Sly & Robbie (Bob Dylan, The Rolling Stones, Peter Tosh, Jimmy Cliff, Madonna, No Doubt)


US Bank - "Typical Jingle"


Anthony Marinelli composed and produced this award winning song for US Bank.
A takeoff on the typical airline jingles of the 60s and 70s.
Concept: Be smarter with your credit cards - US Bank can help keep you out of debt.

“Don’t always listen to jingles like this, though we may offer you unending bliss - It’s only Advertising!"

Lyrics by Dave Newman