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Formats and Editions
1. Why Not Me?
2. Opening Credits
3. Why Not Me? Extended Alternate Version
4. Tony's Car/Back Home
5. Daddy's Favorite Color
6. I Hate My Mom
7. A Life Sentence
8. Mom and Lance Share Drinks
9. The Poison and Family Dinner
10. Death by Suppository
11. Not to Be Trusted
12. Shed Sex
13. Memorial Service
14. Sam's Steakhouse
15. Mom and the Moving Men
16. Stabbed and Back Home Again
17. Murdering the Maid
18. Shed Kiss and The Falling Body
19. Tea Time and The LSD Trip
20. The Truth Revealed
21. Finale
22. Why Not Me?
23. Lance Rocks
24. Motorcycle
25. Elevator Muzak
26. Car Source
27. The Salt and Pepper Polka
More Info:
Dragon's Domain Records presents DIE, MOMMIE, DIE!, featuring music composed by Dennis McCarthy (STAR TREK: THE NEXT GENERATION, STAR TREK: DEEP SPACE NINE, V: THE FINAL BATTLE, MACGYVER) for the 2003 comedy directed by Mark Rucker, written by Charles Busch, starring Charles Busch, Natasha Lyonne, Jason Priestley, Angela Paton, Frances Conroy and Philip Baker Hall. DIE, MOMMIE, DIE! (2003) is a romantic comedy/murder mystery written by and starring female impersonator Charles Busch. Created as a parody/homage to 1950s and '60s women's melodramas, the film is lightly humorous with plenty of dark comedy as it tells the story of fallen pop diva Angela Arden, who schemes to murder her inattentive and berating husband Sol in order to be with her young gigolo lover Tony, only to have his daughter Edith and their son Lance interfere with her carefully wrought plans. The film's musical score is the work of Dennis McCarthy, best known for scoring more than 250 episodes of STAR TREK across four iterations after the original series, THE NEXT GENERATION, VOYAGER, DEEP SPACE NINE and ENTERPRISE. During the 1980's through the 2000's, McCarthy was among the most durable and dependable TV composers in the business. From his experience scoring romantic suspense TV movies, McCarthy immediately understood the kind of musical treatment this film needed. McCarthy's music budget for this film accommodated an orchestra of some 30 instruments; to that group he added a 15-player rhythm section to handle unique flavors and beats as needed. While the orchestral ensemble creates the tension, drama, and mood of the story, the rhythm section defines the period and maintains the rhythm, color, and groove throughout the music cuesEmail Signup
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