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Music from The Shank

by Eric Endres

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1.
My Name is Red 01:29
lyrics
This cue plays at the top of the show, establishing the bittersweet mood, and giving a sense of slow time in prison. Red begins his opening monologue just after the first repeat of the music begins again at the 30 second mark, and his "rats wearing uniforms" punch line fits nicely in the space from 0:52-0:59, leaving some space for the inevitable laughs there. This piece is a recurring motif throughout the show, with variations. Sometimes just the final phrase of the section (i.e., 0:22-0:30) returns as a button, including after Red's next monologue ("We all knew about Andy Dufresne long before he came to The Shank"), and at the end of Act One. During Brooksie's ladder speech on Page 50, beginning with "I won't be able to get a library card," just the chords of this motif are softly heard in between his sentences. An alternate version of this theme, used twice in the show, is included as a separate track in this collection (called "Inner Light"), with its own notes about context.
2.
Fresh Fish 00:32
lyrics
This cue begins right after Red says "I wanna tell you about a guy named Andy Dufresne," at the end of his opening monologue in Act 1, Scene 1. The new "fresh fish" cons are led out, and this plays as Rooster, Bogs, and Dawkins tease them. If Rooster starts his first line after the first walkdown in the music, the cue should end with one more phrase coming just after Rooster's final line of "dead or alive." After the deliberately slow pace of the intro piece, I wanted something here that injected a little bit more energy and rhythm into the show, so the expectation wouldn't be that the whole show's scoring would have a glacial feel to it. It's also meant to feel like something fitting for cat calls or a strip tease, without being too on-the-nose, a la "The Stripper."
3.
Parole Time Again 00:21
lyrics
This cue first appears after the baseball game recording on Page 10, as Red says, "It's parole time again." A shorter version comes in after the following scene with Red and Stammas. A similar version is heard at the end of Act 1, Scene 9 (Page 25) after Red says "I was wrong about that." And then it's heard again for Red's next parole hearing near the end of Act 2.
4.
Roll Call 00:14
lyrics
This cue, with varying lengths, appears three times. Under the two roll calls (Act 1, Scene 3; Act 2, Scene 12), and as a scene change before the landings conversation of Act 2, Scene 4. The harmonics are meant to evoke time ticking, and the order/routine of the roll calls.
5.
In the Yard 00:52
lyrics
This piece is heard in full twice, at the beginning of Act 1, Scene 4 as Rooster and Red have their conversation (ending just before Red says, "Andy Doo-freen"); and in Act 2, Scene 8 as Rico is questioning The Bible (ending as he shifts to reading from Lady Chatterly's Lover). A shorter version is heard at the beginning of Act 2, Scene 13, as Red describes life after Andy's breakout (ending before Dawkins' first line). The laid back funky nature of this is meant to be a soundtrack for a typical day hanging out in the yard, and the end of each phrase connects back to the intro theme. This piece is an example of where being able to play it live would be an advantage, as sometimes the cue would start, but the lights weren't up yet, so the dialogue began later than expected. In the ideally timed version, Red's punch line of "next time, drink the wine and eat the effin chocolates" fits under that callback phrase. Regardless, it worked well enough as a quiet background for these sections.
6.
Rock Hound 00:28
lyrics
These three chords are heard as Andy is telling Red about his interest in rocks in Act 1, Scene 4; the suspended chord evoking Andy's meditative focus, and eons of time passing in geology. The first chord comes after he says, "Let me show you something," the second after "silted granite," and the third after "side of the hill." In our production, we split these to be three separate cues in order to time them better between the dialogue. At a few other points in the show, the first chord is heard again, such as when Andy discovers his new rock hammer in Act 1, Scene 9, and at the beginning of the "butterfly" piece later in Act 2.
7.
Captain Hadley 00:21
lyrics
First version of Hadley's theme, more ominous and foreboding than aggressive. This first appears as a scene change after Hadley is introduced in Act 1, Scene 4 and says, "What is this, a mother's meeting?" It is heard again after the Andy/Hadley/Stammas stare down at the end of Act 2, Scene 5; and at the end of Act 2, Scene 9 when Hadley says, "For the night. Yes, sir." The more aggressive version of this ("Hadley Actin' Badly") was written first, and was initially intended as a theme for Stammas, giving off a Darth Vader type of vibe. But for Stammas, that seemed to telegraph his evil and corruption too much, whereas it made a great fit for Hadley, who we can tell right away is a bad dude. And several of Hadley's moments also seemed to connect to scene endings, where his theme would fit well for subsequent scene changes. I added this fingerstyle version later for variety's sake, but also to be able to save the heavier version for Hadley's more violent moments.
8.
Brooksie Rolls On 00:20
lyrics
A rolling blues riff that becomes Brooksie's theme, First heard as he is rolling out his library cart in Act 1. Scene 5, ending just before he says, "Welcome to the library!" This riff returns for scene changes that lead into or out of Brooksie-related scenes, including after Act 1, Scene 10; after Act 2, Scene 1; and before Act 2, Scene 5.
9.
Sweet Music to Dawkins' Ears 00:35
lyrics
A little transition at the end of Act 1, Scene 5. The cue starts right after Dawkins says, "Done!" And then he continues with "I just love reeling you in, Red. Sweet music to my ears," at which point the guitar lick comes in. Then there's the funky rhythmic piece that leads into the chess game. That funky piece is also heard as a scene change after Act 2, Scene 6.
10.
Hadley Actin' Badly 00:18
lyrics
A more rhythmic and aggressive version of Hadley's theme, when he's being more overtly violent. First heard after Hadley says "Move your ass!" and throws Andy down at the end of Act 1, Scene 6. Other versions of this, with different lengths (and sometimes only including the later part), are heard at the end of Act 1, Scene 12 (it's not Hadley being violent, but it fits really nicely under the "piece of shit" chant, and also leads into the next scene where we see Hadley with Stammas); and in Act 2, Scene 7 as Hadley drags Andy away to solitary.
11.
Hadley's Flashlight 00:23
lyrics
Just the chords from Hadley's theme, ringing slowly. This cue is heard as Hadley shines his flashlight on Andy after his beating from the Sisters in Act 1, Scene 7, and a longer version plays under Red's solitary monologue in Act 2, Scene 7.
12.
Roof Beer 00:44
lyrics
Two lazy major chords that ring out slowly as Red describes the cons drinking beer on the roof in Act 1, Scene 11. An allusion to the ringing rock hound chords, the cons are now getting a taste of that centered peaceful feeling that Andy carries with him. The timing of this was tricky in our production... another example of where having a live guitarist would be most ideal... but when it landed right or close, it was really sweet. The intention is to start just before Red begins his monologue ("That's how, on the first day of the job...") and have the last chord ring out as he begins to refer to Andy ("Andy didn't even drink").
13.
Inner Light 00:27
lyrics
An alternate version of the main theme from the intro, heard twice; as Red transitions to talking about Andy's "inner light" at the end of the roof beer scene (Act 1, Scene 11), and as Red is reading the letter from 'Peter Stevens' in Act 2, Scene 13, starting after the line "you might be willing to come a little further," and ending just before the final line of "your friend, Peter Stevens."
14.
Head of Education 00:18
lyrics
A quirky little blues riff for the scene change after Act 2, Scene 2.
15.
Brooksie's Exit 00:40
lyrics
A slower variation of Brooksie's riff, that plays as he gets down from the ladder in Act 2, Scene 5, ending as he is being led out. The chords at the end of this piece are heard again after Red reads the letter in Act 2, Scene 8. Pieces from the first part of this cue are heard as Red and Andy are going through Brooksie's package in Act 2, Scene 10, and then after Red is paroled in Act 2, Scene 13, as an allusion to Red being in the same situation as Brooskie was after being paroled.
16.
Rock of Ages (intro) 00:18
lyrics
A bluesy intro to Rico singing "Rock of Ages" at the end of Act 2, Scene 10. Originally, I had a lick that was the same as the melody of Rico's opening line from the song, but that felt a little too "performative" or something. This lick felt better to give the same essential intro for the song, without it being completely on the nose.
17.
Silent Night 01:07
lyrics
A verse of "Silent Night" that begins after Red says, "Merry Christmas, Andy," in Act 2, Scene 11, ending just before Andy says, "When I get out of here..."
18.
Zihuatanejo 00:27
lyrics
A shorter version of this cue (without the chords at the end) plays after Andy first says "Zihuatanejo" in Act 2, Scene 11. Then this cue plays after Red says, "So this is what you've been dreaming about," and Andy repeats "Zihuatanejo." The chords at the end are a callback to the chords in the roof beer scene.
19.
Fly, Butterfly 00:12
lyrics
This is cued as Andy throws his butterfly sculpture and it is seen flying away at the end of Act 2, Scene 11.
20.
Shitpipe Shitpipe Shitpipe 00:22
lyrics
This is cued just after Stammas rips the poster of Rita Hayworth off the wall in Act 2, Scene 12, after saying "half-naked Jezebel on their wall." The initial chord slide is a callback to the same chord being played in Act 1, Scene 4 after Red says, "Andy Doo-freen." The rest of this cue plays underneath the chaos of Stammas telling Hadley to go into the sewer pipe, and the cons laughing and cheering.
21.
Fast Times 00:58
lyrics
This begins after Red says "I had no idea how fast everything is out here," in Act 2, Scene 13. Ideally, parts of it land at certain times... ending as Red says, "I kept hearing Andy's voice, etc." This is an example where playing it live would be better, as there are laughs of different lengths that push back the timing of the dialogue. That being said, some of the variations imposed by the differences of timing were nice.
22.
Buxton 00:46
lyrics
This cue begins just before Red says, "Well, here I am in Buxton," in Act 2, Scene 13. Ideally, the chords would land in between certain phrases, with the last chord ringing out right before he says, "I gotta get busy living, etc." The combination of the suspended chord moving to the major chord is meant to combine the meditative focus of Andy as the rock hound, with the blissful calm from the roof beer scene. Red is now feeling the inner light he described in Andy at the end of that roof beer scene, and it compels him to continue on and read the letter.
23.
Hello, Zihuatanejo 00:58
lyrics
This is cued as Red says "My God, I'm shaking like a leaf" in Act 2, Scene 13, and ideally the shift in the music begins right after he says, "how could I forget a place like that." The final chords ring out as Red and Andy embrace. The choice to include percussion and violin here is meant to symbolize that Red is now fully outside of the prison, where that single lonely guitar sound was the only thing ever heard. Given more time (or another opportunity), I would probably add more to this arrangement; bass, acoustic guitar, steel drums, and maybe some "ooh/ahh" vocals.
24.
BONUS TRACK: Goosey Miss Lucy 01:07
lyrics
At the top of Act 2, there is a reference to the cons listening to The Beatles' cover of "Twist and Shout." (The script specifies: "Sound effect: An early 60's rock song; something like the famous cover of "Twist and Shout.") We had expected to be able to use the actual Beatles recording for the show, but apparently the Beatles catalogue is not part of ASCAP or BMI, which our theater pays for the use of. And unfortunately, we didn't know that we wouldn't be able to use "Twist and Shout" until the night before Opening NIght. So the next day, in about an hour, I threw together this recording. I imagined it being what someone like Alf Clausen might have done for The Simpsons... The music and melody is very "Twist and Shout"-ish (with an allusion to another Beatles' cover, "Dizzy Miss Lizzy"), but not exactly "Twist and Shout" enough to have to pay for licensing or royalties. For the lyrics, knowing that the vocals would be mixed low and with a good amount of 60's reverb added, I decided to take the inspiration from our dog, Lucy. As a frame of reference, Lucy is also known to her family by several other names that include Goose and Nerkle, and she often barks in a way that sounds more like "boof" than "woof" or "bark." That having been explained, below are the words of the song that was played during all 8 performances of The Shawshank Redemption at The Little Theatre of Walla Walla. Yes, I was smirking a little inside to know that. :) But (almost) nobody else among the nearly sold out run had any idea that the show included a special tribute to a very special Shorkie. (I say "almost," because Lucy's mom (my wife, Kim) knew of the Lucy lyrics, and she happened to be at the one performance when, due to a tech glitch, the full song was played instead of being cut off as intended, which Kim especially appreciated.) Come on, boof it now (Come on, Lucy) You make me goosey, Miss Lucy (Nerkle, Nerkle) The way you boof all night (Boof all night) You make me goosey, MIss Lucy (Nerkle, Nerkle) You make me feel alright It should perhaps be noted that were Lucy to boof all night, it would *not* make me feel alright. But hey, I only had an hour to write and record this. And rock and roll doesn't always make sense. "Wop-bop-a-loo-bop, a wop-bam-boom" was probably about Little Richard's dog.

about

Music from The Shank is a sampling from the music cues composed and recorded for the production of The Shawshank Redemption, which was staged from January 19 to February 4, 2024, at The Little Theatre of Walla Walla, in Walla Walla, WA.

If you are producing the show and would like to use this music, either as pre-recorded cues, or with a live guitarist performing the cues, please contact me (Eric) at ericendres@gmail.com or 509-942-8363. Depending on my proximity (Pacific Northwest) and availability, I would love the opportunity to perform these cues live for a production of the show, if an arrangement can be made for that. But otherwise, I'm happy to offer these sound cues (or the scored music for someone else to perform) for a small compensation/credit that we can discuss.


-- NOTES/BACKGROUND

The ideal version of these cues would be to perform them live, to best match the timing for some of the scene changes and underscored parts. However, for the production that these recorded parts are from, I was cast for the role of Dawkins, and well, that would have made my performing the cues live extremely difficult. There are many very capable guitarists who could have performed these parts, but as it was, I had limited time to compose the cues, and would not have also had the time to score/tab them for someone else to play. (I will be making a full score for a future production to use.) The recordings worked very well, though.

Once I began composing music for the show, I first considered more of a full arrangement (guitar, bass, drums, strings, horns, etc.). But with limited time, and a desire to keep things simple, I imagined that a single lonely guitar would be a nice way to go, almost as if it is the musical commentary of an inmate (with a guitar privilege) in the cell block over. The panning and reverb on the recorded clips is meant to evoke that. Depending on a particular theater's space, I would be willing to remix the cues to have more or less reverb and presence... I personally would have liked it all to sound a little more "far away," but for the first production, I decided to err on the side of clarity.

Take the following along with the huge personal bias coming from its source, but the audience reaction to the music cues was very effusive. Many people went out of their way to tell me how much they loved the music, and how it added a lot of color and layers to the show, and helped to give the stage production a personality distinct from the film version, which of course is so iconic.

Each of the individual clips has notes (click the "lyrics" link) about where they come in and their purpose/context. I do have a full demo of the whole show that uses the audio recording from a rehearsal, along with the cues attached for context. I would be willing to share that demo privately with prospective producers of the show, but I cannot post that here for copyright reasons.

There were 53 total cues for our production. I'm sharing about 20 or so of the cues here, but several of those 53 total include repeated motifs from among these 20. The cues are roughly in order of appearance, not accounting for some of them which repeat or have a variation at different times.

Any questions or comments, please reach out.

Best,
Eric Endres

credits

released February 15, 2024

All pieces written and performed by Eric Endres, (c) 1997-2024.

"Silent Night" composed by Franz Gruber (1818).

Bryson Jacob (violin) and Thorin Zanger (percussion) performed on the track, "Hello, Zihuatanejo."

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Eric Endres Walla Walla, Washington

Best known as the popular kids' music performer, Eric Herman, Eric Endres is also an accomplished musician and songwriter of "adult" material. Eric has created a wide range of music including progressive/alt-rock, orchestral, folk-acoustic, as well as a full-length musical. Eric lives in Walla Walla, WA, and regionally performs solo shows, and with the bands Mennon & LaCartney and Bottled Boogie. ... more

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