Music (Film Scores + Songs)

All music written by Sally Zito (Ascap), except where noted. If you hear a piano, a synth, or a vocal, it’s Sally, except where player/producer credit is indicated. For licensing inquiries and requests, please visit the CONTACT page. (2019)

Thanks for listening!

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Me in the Shadow [song] (2018)

Recorded at: Gilmore House, Lake Balboa, CA

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We, Alone [song] (2018)

Recorded at: Gilmore House, Lake Balboa, CA

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Hickory Heart [song] (2018)

Recorded at: Gilmore House, Lake Balboa, CA

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Traveling Song [multimedia song] (2018)

Millions of innocent individuals everyday are packed onto trucks and sent to slaughter houses right in our midst, in our cities, out of sight, and out of the minds of all those who demand that flesh of animals be supplied for tasting pleasure. People are beginning to Awaken to this cultural horror, and in turn are working tirelessly to awaken the others.

 

Recorded at: Gilmore House, Lake Balboa, CA

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Somethin’ Bad Comin’ [song] (2018)

Sometimes you can pinpoint the exact moment when a relationship breaks…

 

Recorded at: Gilmore House, Lake Balboa, CA

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One Way Or Another (Written by Debbie Harry and Nigel Harrison) [cover song] (2018)

Total living room recording, but so fun to take a song and attempt to reharmonize/change the groove just enough to be different, but not so much it is unrecognizable. Not sure if I rode that line well, but was fun regardless!

 

Recorded at: Gilmore House, Lake Balboa, CA

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Fury of Crows (Music by Barry Zito & S.Zito/Lyrics by S.Zito) [song/incomplete] (2018)

I had the fortune of witnessing a crow funeral made up of hundreds of crows outside my home in Los Angeles. Like most animals, crows mourn their dead and they can give quite a funeral. Also, first-time song collaboration with my brother Barry. Maybe we’ll turn this into full song one day!

 

Recorded at: Gilmore House, Lake Balboa, CA

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Nothing is What it Seems [song] (2018)

Ignorance is bliss…

 

Recorded at: Gilmore House, Lake Balboa, CA

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I Love You, So Long [multimedia song] (2018)

Pre-recorded voices: Joseph Zito (c.2011), Roberta Zito (c.1993;1981), S.Zito & B.Zito (1981). Piano background: J.Zito (1981) playing his own composition.

 

Recorded at: Gilmore House, Lake Balboa, CA

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All That Silence (Live Performance) [song] (2018)

Click HERE to access video

 

Videographer: Mark S. Lane
Recorded at: Chatsworth, CA

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All-Piano Score from the Documentary “The Walk” [score] (2017)

Documentary by Director John Bernard exposing the horrors of the Factory Farming industry, including footage from the live street theater event of the same name that took place in Hollywood, CA on October 29, 2017. The all-piano score composed/performed at the live theater event was then adapted for placement in the documentary, which is what you are hearing now.

 

Recorded at: Gilmore House, Lake Balboa, CA

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End Title/Credits from the Documentary “The Walk” [score] (2017)

Recorded at: Gilmore House, Lake Balboa, CA

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Trapeze / Let Go / I’m Alive (Live Performance w/ the Sally Zito Project Band) [multimedia song] (2013)

Click HERE to watch video

One of the band’s more ambitious attempts, with spoken word by Yolanda Laverde. Though flawed, this performance is one of my favorites ever with the SZP Band. It’s part song and part underscore in three “movements” about a trapeze artist left stranded on his swing, and the only way off is to let go and jump to his own death, which he does and of course splats onto the ground, but his consciousness survives because death is not the end.

 

The Sally Zito Project is/was:  Dave Bauer on drums; Yolanda Laverde on synth; Matt Pensabene on bass, S.Zito on piano/synth/vocals.

Live performance at: T.I.C.,  El Cajon, CA

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Zero Gravity (w/”The In Sound”) [song] (2009)

We made a lot of sound for a trio.  One of my favorite musical passages in all the bands I have played with starts at 3:40 into this song as an accidental homage to one of my musical heroes, Pat Metheny. (Warning: this is a rehearsal recording and contains mishaps!)

 

“The In Sound” was Lorenzo Scott on drums, Paul Spence on bass and Sally Zito on Keyboards and lead vocals.
Recorded live in rehearsal at: Los Angeles, CA

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Agazula (w/”The In Sound) [instrumental song] (2009)

(No animals were exploited in the making of this track.  All animal sounds were performed by members of the band.)

 

“The In Sound” was Lorenzo Scott on drums, Paul Spence on bass and Sally Zito on Keyboards.
Recorded at: Hollywood, CA

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Nomad (w/”The In Sound”) [instrumental song] (2009)

“The In Sound” was Lorenzo Scott on drums, Paul Spence on bass and Sally Zito on Keyboards.
Recorded at: Hollywood, CA

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12 Inch Astronaut (w/”The In Sound” ) [instrumental song] (2009)

“The In Sound” was Lorenzo Scott on drums, Paul Spence on bass and Sally Zito on Keyboards.
Recorded at: Hollywood, CA
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Saved (Livingroom Recording) [song] (2009)

 

The longing of youth seems to have everything to do with escaping, and being saved from everyone else holding you back, while the longing of age seems more to do with trying to get back home, and being saved from yourself.

 

S.Zito on piano/synths/vocals, M. Pensabene on bass
Recorded at: Tabor Street, Los Angeles, CA

 

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Cheap & Alive (5-Song EP) (2007)

 

1. The Men Song (4:17)
Produced by Evan Frankfort.

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2. Greenline (3:59)
Produced by Evan Frankfort.

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3. Cheap & Alive (2:54)
Produced by Evan Frankfort and Philip Howard.

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4. Best Intentions (3:38)
Produced by Evan Frankfort and Philip Howard.

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5. She’s Given In (4:39)
Produced by Evan Frankfort and Philip Howard.

 

Album Personnel: Engineered by Brian Vibbert/Mastered by Alan Yoshida at Ocean Way Studios, Hollywood, CA. Piano/Lead Vox:Sally Zito. Bckg Vox:Bonnie Zito & Tanya Winch. Addit. Vox: Philip Howard. Aco. Gtr & Addit. Elec. Gtrs: Barry Zito. Elec. Gtr, Lap-steel Gtr, Addit. Synths: Evan Frankfort. Upright Bass: Brady Steel. Elec. Bass: Audrey Wiechman. Drums:Anders Fransson & Luke Adams. Percusson: Tricia Steel. B3 Organ: Zac Rae. Choir:Kay Montgomery, Anna Montgomery, Audrey Weichman, Marcos Lopez-Iglesias, Greg Jamrok, Brandon Meyer, Philip Howard. Cover Art/Painting: Charlotte Dean.  Graphic Design:  Baumann & Associates.

Recorded at: Would Work Sound, Lake Arrowhead, CA and Sunset Plaza, Los Angeles, CA
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Cheap & Alive (Unreleased Tracks) (2007)

 

1. Desiree (4:37)
Produced by Evan Frankfort and Philip Howard.

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2. Schoolyard Ghosts (4:08)
Produced by Evan Frankfort.

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3. Stunning (Possibly) (4:08)
Produced by Evan Frankfort.

 

Personnel: Engineered by Brian Vibbert/Mastered by Alan Yoshida at Ocean Way Studios, Hollywood, CA. Piano/Lead Vox:Sally Zito. Bckg Vox:Bonnie Zito & Tanya Winch. Aco. Gtr & Addit. Elec. Gtrs: Barry Zito. Elec. Gtr, Addit. Synths: Evan Frankfort. Upright Bass: Brady Steel. Elec. Bass: Audrey Wiechman. Drums:Anders Fransson & Luke Adams. Percusson: Tricia Steel. B3 Organ: Zac Rae.

Recorded at: Would Work Sound, Lake Arrowhead, CA and Sunset Plaza, Los Angeles, CA
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The Center (for Matt) [song] (2006)

This song is more about science than love, but it’s the only love song I’ve ever written.

 

Recorded at: Ocean Way Studios, Hollywood, CA

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You Made it Real (Music by S.Zito/Lyrics by Roberta Zito) [song] (2006)

Pitched to 19 Ent. (American Idol) for end of season song contest.  Such a treat to collaborate with my mama on this one.

 

Recorded at: Sunset Plaza, Los Angeles, CA

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211 – Piece for Nokia Flip Phone, Cow Bell & Percussion (as Palm & Jasper ) [instrumental song] (2006)

Written by Palm & Jasper (a/k/a S.Zito / M. Pensabene). Cow Bell & Percussion: M.Pensabene. Flip Phone: S.Zito
Recorded at: Culver City, CA

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After the Game (feat. Buzz Clifford on Guitar) [song] (2003)

Inspired by my multi-talented, athlete/musician brother, who made it to the Bigs and showed me things I had no business seeing. Featuring the great Buzz Clifford on guitar. Later pitched to HBO as the Theme Song for the show “Baseball Wives.”

 

Buzz Clifford on guitar, Chris Moore on drums, Dave Strauss on bckg vocals, Kevin engineering.
Recorded at:  Lancaster, CA, by “Kevin.”

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Take My Heart Away – Source Cue/Song [score/song] (2002)

A young film director asked me to write a country song for her upcoming film, to be sung by the main character on camera. Of course, I just had to jazz up the chords a bit. Then, producer Philip Howard added his soulful touch, including some gospel organ to the bridge, and wallah! We loved the song! The director, however, listened once and just about ran out of the meeting, saying thanks but no thanks on the way! That’s when I learned I’m not really a country writer.

 

Produced by Philip Howard. Pno/organ/synths: P.Howard; Guitar: unnamed; vocals: S.Zito
Recorded at: Sacramento, CA

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Inaudible [song] (2002)

I got to work with guitar icon and grammy-nominated recording artist Jon Butcher (of the Jon Butcher Axis) on this tune, which he produced. Besides his incredible talent, he was additionally such an amazing, supportive and giving person. This track was just an initial idea track, and we didn’t end up finishing it, but what he added was so tasteful, I fell in love with it. On top of that, this was the first song I ever wrote under the tutelage of my long-time songwriting/lyric-writing mentor, Harriet Schock (grammy-nominated multi-platinum songwriter). I have to say this was an exciting time for me!

 

Produced by Jon Butcher.
Recorded at:  the Electric Factory, Los Angeles, CA.
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Who I Am [song] (2001)

Why is being our true self one of the hardest things we can ever do?

 

Produced by Philip Howard. All instruments: P.Howard; Vocals: S.Zito
Recorded at: Formosa Street, Los Angeles, CA
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Come With Me (for Synth Orchestra and 3 Voices) [song] (2000)

Written for live performance at T.I.C.’s 2000 Spiritual Grand Seminar.

Recorded at: Formosa Street, Los Angeles, CA

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News Theme – Source Cue from the Movie “A Schizo’s Love Story” [score] (2000)

Every film composer I know has at some point had to write a news theme. Here’s mine. (FYI, these cues don’t have endings because they are just placed in for a set amount of seconds and cut off for another scene, so there is no point to write an ending).

 

“A Schizo’s Love Story” was directed by Rob Frenkel.
Recorded at: Sycamore Avenue, Los Angeles, CA

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Travolta-ish Walking Montage – Cue from the Movie “A Schizo’s Love Story” [score] (2000)

“A Schizo’s Love Story” was directed by Rob Frenkel.
Recorded at: Sycamore Street, Los Angeles, CA

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Hot Chick SloMo – Cue from the Movie “A Schizo’s Love Story” [score] (2000)

“A Schizo’s Love Story” was directed by Rob Frenkel.
Recorded at: Sycamore Street, Los Angeles, CA

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Main Title Theme from the Movie “Outside These Walls” [score] (1999)

Conducting at Steven Spielberg was quite special. The acoustics in the room were heavenly, and the stage was so large we only took up a quarter of it, including the grand piano. What a treat!

 

“Outside These Walls” directed by Celia. Viola: unnamed;  Synths: unnamed; Piano: S.Zito. Cond. by S. Zito.
Recorded at: Steven Spielberg Soundstage, Los Angeles, CA

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They’re Coming / End Title from the movie “Outside These Walls” [score] (1999)

“Outside These Walls” directed by Celia. Viola: unnamed;  Synths: unnamed; Piano: S.Zito. Cond. by S. Zito.
Recorded at: Steven Spielberg Soundstage, Los Angeles, CA

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End Title/Credits from the Movie “Flowers” [score] (1999)

This was for someone’s student film at USC Film School. I delivered the score but wasn’t at the dubbing session. I assumed my timing notes on where to place the music (i.e., what frame each cue starts on) were fine since I did not hear otherwise. When I went to the screening, the directer had placed all of the cues in completely different places than what I had written for. That was a surprise! I was never sure if she thought that’s what I had intended, or if she just decided to change it. But as long as she liked it, that is all that mattered. 🙂 I only really liked the End Title so that’s all I’m posting.

 

“Flowers” was directed by: Unnamed
Recorded at: Sycamore Street, Los Angeles, CA

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Veils Cue [score] (1999)

This was used in a comedic (satirical) cable TV show.

 

Recorded at: Sycamore Avenue, Los Angeles, CA

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Techno Cue [score] (1999)

I was asked to write a a minute of techno in the style of Fat Boy Slim. I had to look them up and study them a little. I came up with this.

 

Recorded at: Sycamore Avenue, Los Angeles, CA

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Sinister Fantasy Cue [score] (1999)

Who doesn’t love Danny Elfman?? I certainly tried to emulate him a bit in this one.

 

Requested on spec for cable TV show.
Recorded at: El Cajon, CA

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Spanish Waltz Cue [score] (1999)

Castanets! And, an organ solo that I had to record at 15% of the ACTUAL tempo to get it right. I normally would challenge myself to build my chops, but I recall a tight timeline so you gotta do what you gotta do. No shame!

 

Requested on spec for cable TV show.
Recorded at: Sycamore Street, Los Angeles, CA

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Driving Not Speaking – Guitar Mock-up Cue [score] (1999)

These next 3 mock-ups were requested on spec and would have sounded way better with the guitar they were envisioned for, but these were just to show the director basic theme ideas. Director went another direction, so this is as far as they will ever get!

 

Director: unnamed.
Recorded at: Sycamore Avenue, Los Angeles, CA

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Elec. Guitar – Mock-up Cue [score] (1999)

Director: unnamed
Recorded at: Sycamore Avenue, Los Angeles, CA

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7/4 Muted Guitar – Mock-up Cue [score] (1999)

Director: unnamed
Recorded at: Sycamore Avenue, Los Angeles, CA
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Colonizing Outer Space – Cue [score] (1999)

Requested on spec for cable TV show.
Recorded at: Sycamore Avenue, Los Angeles, CA

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Electronica Cue [score] (1999)

Requested on spec for cable TV show.
Recorded at: Sycamore Avenue, Los Angeles, CA

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Cross Country [score] (1998)

I lived in Boston and got to see the Omnimax (Imax) Theater movies all the time. They had a sequence of visuals they would show at the beginning of every movie, and it was astoundingly beautiful. The camera was in a helicopter flying over New England, and you’d get butterflies with motion since the screen was dome shaped and it truly seemed like you were riding in a helicopter. The sweeping view of farms and fields and hills were breathtaking and realistic, and the scene would change on a dime as the helicopter would turn sharply to fly over a mountain range, or suddenly fly over a cliff where a valley below would be revealed. The music was also fantastic, and the orchestration would change on a dime. I wondered if I could write like that — where the musical theme is continuous, but the instrumentation changes on a dime to suit different landscapes. So, I gave myself an assignment and wrote this “cue” just as I would have if scoring for that Omnimax Theater sequence. I still see New England when I hear the recording!

 

Recorded at: El Cajon, CA

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Action Cue [score] (1998)

This was written for an open-call to pitch to the long-running cable TV show “Scorpion”

 

Recorded in home studio at: Gardner Street, El Cajon, CA

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Main Title Theme from the Movie “Wishful Thinking” [score] (1997)

This was my first real non/school film and thank God that Philip Howard, colleague and fellow composer, was willing to help me by recording all of the music in his home studio. All I had to do was write the music and hand him the score and he brought it to life. We were good team and have worked together ever since.

 

“Wishful Thinking” was directed by Anthony Hania. Score recorded and performed by Philip Howard of THE RIGHT MUSIC.
Recorded at: Huntington Avenue, Boston, MA

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Artie-Montage – Cue from the Movie “Wishful Thinking” [score] (1997)

Produced by and co-written with Philip Howard.
Recorded at: Huntington Avenue, Boston, MA

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Silences (School Project) [score] (1997)

The final project at Berklee as a Film Scoring major was to score a short film, requiring about 10 minutes of music. We would have to contract the players, compose the score, write out the score and ALL the parts (for a small orchestra, this could take 48 hours without sleep as it was all written by hand), then of course, conduct the session. Mine didn’t go so well … I had been up close to a week without sleep and could not get all my parts copied. It was a nightmare session for me. Some of the players didn’t even take the money I’d left for them on their music stands, because they felt bad for me. It was utterly humiliating for me. But, it was the best lesson I learned in all of my college years. Never ONCE after that was I unprepared for a music assignment. That is worth the humiliation. A year later, just to memorialize some of the themes I had come up with for the film, I recorded this condensed version of the 10 minute score in my home studio using only Kurzweil keyboards — not nearly as good as it would be with live players, but better than nothing.

 

Recorded at:  Berklee College of Music Film Scoring Studio. Engineered by “Fred” (of course)

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TV Sit-Com Theme (School Project) [score] (1996)

We had to score a sit-com main title theme to picture. Mine was to the opening of “NURSES.” To me, the BEST JOB, the FUNNEST JOB, is to be a TV sit-com theme song writer – you get to write a 90 second piece full of hooks — just the good stuff!

 

Keyboard: Sal Lopilato; Guitar: J.C.; Bass: unnamed; Drums: unnamed; Sax: Frank Bozak; Vocals and conducting: S. Zito
Recorded at: Berklee College of Music, Boston, MA

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Short Piece for Piano, Saxophone, and Trumpet [instrumental piece] (1995)

My favorite part of this recording is the end, where you can hear George Monseur, beloved among his conducting students, say, “Nice, Sally!” in that special world-traveled voice so many conductors have. Miss you, George.

 

Performed by Berklee Ensemble (piano, sax, tpt). Conducted by S. Zito
Recorded at Berklee College of Music, Boston, MA.

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If It’s Time (Live Performance by Joseph and Roberta Zito) [song] (1994)

Elec. Piano:  Joseph Zito; Vocal: Roberta Zito

There is no higher honor than having someone else perform music I’ve written, except one: to have my own endlessly talented mother and father perform this piece in concert.

 

Recorded live in concert at:  Lemon Grove, CA

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Pizz (Orchestral Writing Experiment) [instrumental piece] (1993)

I wrote a series of self-prescribed tutorials on orchestration, like this theme that I wrote for no other reason than to apply different orchestration principals I was learning. I treated it various ways, with different tempos/different instruments in the foreground, etc., but this version I liked best.

 

Recorded at: Hull Street, Boston, MA

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Gregorian Chant (School Project) [instrumental piece] (1993)

This was a fun project to do at Berklee. We had to orchestrate a Gregorian Chant of our choice. Gregorian Chants of the 11th century had no instruments, just voices, often only in unison, so there was a lot of freedom in choosing the harmony. And of course, trying to get a handle on orchestration principals all the while (first timpani roll!).

 

Recorded at: Hull Street, Boston, MA
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Horsey Whoa – Live Band Improvisation (w/”Cyrus Meadows”) [song] (1989)

A spur of the moment improvisational band piece with John Mullen, an exceptional drummer, CHOOSING to play the drum machine, and me singing ridiculous things while Dave hits the “record” button and strums his guitar. What a time…

 

Cyrus Meadows was: Dave Jass on guitar and vocals, John Mullen drums and drum machines, Sally Zito on keyboards and vocals
Recorded at: Banker Hill, San Diego, CA

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Lost Boy [song] (1987)

3rd song I ever wrote. At 17 years old there were surely better writers my age; however, I did write, arrange, and play every single note on the recording, so at least that!

 

Recorded at:  Soundtrack Studios, New York, NY, by generous and encouraging pros.

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