Brock Smith and the Dagger of Souls soundtrack includes all original songs composed by Jackson Deshazer, Jeremy’s son. This project has been a family effort from start to finish, even Jackson’s siblings are featured throughout the soundtrack playing different instruments. Jackson and Jeremy have worked closely to create emotional songs that fit moments in the story just right.
Prologue, “We held you once”
“I wrote this song as a tribute to Brock. Halfway through writing his story, I was inspired to learn guitar. This had always been something that I wanted to do but had never put in the time to learn. I committed to playing 10 minutes a day for a year and during this time I wrote this song. “-Jeremy Deshazer
Prologue, “Death of an Immortal”
I wanted to create a montage-type song that told a story of highs and lows. A choir was instrumental to the sound, as well as a great guitar hook.- Jackson Deshazer
14 Years Later (Ch. 2), “Solitude”
A simple riff written on acoustic guitar to encapsulate a feeling of peace, simplicity, and the innocence of childhood.- Jackson Deshazer
The Wellspring Wood (Ch. 3), “A Walk in the Woods”
Inspired by the strong scene of adventure that one feels when presented with an exciting but daunting quest. Original title “Dad song enhanced,” the remastered version became “Dad song enhanced, enhanced.”- Jackson Deshazer
The Stag (Ch. 11), “Alone”
I came up with this song while on the phone with my dad. I really liked the melody and all the parts that were added, so we decided to put it in the soundtrack. This is one that I could have put lyrics to and kept for my band (and who knows, I might still do that) but the contents of the song have enough emotion in it to fill a spot within the story.- Jackson Deshazer
Walter (Ch. 21), “Goodbye”
30 Minutes before a recording session with Anabelle, I sat down to journal and get my thoughts in order and I wrote “I have a feeling I am going to write something good today.” I went down and it was the first thing I played. Lane came up with an amazing theme (See “Love Theme”) and I wanted to create my own. This song is probably my favorite piano piece I have ever written.- Jackson Deshazer
Precipice (Ch. 22), “Precipice”
My favorite of all the songs I have ever written. This one came to me quickly, and with the recent addition of an “E Bow” to my arsenal of musical equipment I wanted to showcase it in the melody. I made the joke early on that with a guitar as high quality as a Martin D-28, every time I pick it up to write a song, there is an added pressure that whatever you write must be of as high quality as the instrument itself.- Jackson Deshazer
Rumination (Ch. 23), “Rumination”
This was a piece I wrote for my brother when I thought I wouldn’t see him for awhile. Isolation and contemplation is what comes to mind when thinking about this one.- Jackson Deshazer
End of Act Two, “Am I brave enough?”
My dad, Annalee, and I were having our Wednesday workdays (AKA Team Nerd meetings) working on a section on the website called “Am I brave enough?” and I grabbed my guitar, just to take a break from mastering songs. It started with that simple guitar intro and I ad-libbed a few lines off a quick melody. My dad and Annalee said right away, “that could be a song!” I sat down later that night and the lyrics came to me quickly. Although they are simple, I wanted to tell a story about having the courage to leave things behind, good or bad, because it keeps you from moving forward.- Jackson Deshazer
The Trials Eve Feast (Ch. 24), “The poet”
The lead line (guitar solo) was something that I was humming that day. At this point, I had written a lot of melancholy themes. and the soundtrack was due for a more uplifting melody. As the song took shape, I realized this could be a perfect song for Eric to add some levity to the main story line.- Jackson Deshazer
Memories of the Past (Ch. 28), “Hopeful Sadness”
Another acoustic riff that I would use to test the resonance of an acoustic guitar. After laying down the acoustic track for this song, I thought it needed full instrumentation to capture the emotion of the song. This song, to me, is neither happy nor sad, but strictly sits somewhere in the middle. Songs that have that quality always stuck with me. I like how so much can be conveyed with such a simple melody.- Jackson Deshazer
The Spider and the Fly (Ch. 29), “Tyrannous Theme”
My sister, Lane, was over to compose a “villain theme” and we encountered a brief moment of writing block. I grabbed my Gibson Les Paul and came up with the main riff on the spot. Together, we transposed it to piano and Lane beautifully played it with much more skill than I am capable of. “Brooding” is the word that comes to mind with this one. - Jackson Deshazer
The Dancing Flames (Ch. 30), “Rage and Fury”
After the theme was developed (see “Tyrannous Theme” description), I set up the mics in front of my amp and I turned on my distortion pedal. This one was a bit of a joke at first, with the working title, “Tyrannous Fun,” but the more I listened to it the more I liked it and saw a place for it in the soundtrack.- Jackson Deshazer
Walking Toward Death (Ch. 32), “Death is not the end”
The very first song written on the, new at the time, “Yamaha Upright.” I really wanted to write a powerful melody to showcase the rich tone of the piano. At the climax of the song, I had the idea to put a wash of electric guitar anchored by some percussion.”- Jackson Deshazer
Blizzard Pass (Ch. 36), “Blizzard Pass”
Blizzard Pass was also a song that I came up with while I was on the phone with my dad. At first I thought this was a strong candidate for “Lily’s Theme” but after adding the “B” section where the song shifts tone completely, I realized I needed to find a different use for it. It was actually my dad’s idea to place it in the “Blizzard Pass” chapter when Lily and Timothy have to run abruptly in the middle of the night. Then, the “B” section made sense. The bass riff on the change and following that is my favorite part of the song.- Jackson Deshazer
Elara (Ch. 39) “The Race”
What comes to mind right away when I think about riding horses is the video game “Red Dead Redemption.” I originally made this song as a bit of a joke, like “oh, they are riding horses? I will do the most stereotypical song for that.” But the more we listened to it, the more we liked it, so it ended up on the song list.- Jackson Deshazer
The Well of Sacrifice (Ch. 48), “The Well of Sacrifice”
Of all the songs in the soundtrack. this one has the most unique cord structure. It tested my guitar skills more than any other and took many takes to achieve what I wanted. This was the first song that featured Annabelle’s voice. Recorded after a jam with my band, most of the melody was ad-libbed by Annabelle. It conveys a sense of wonder and mystery with an ethereal air that perfectly captures the scene described in the title of the song.- Jackson Deshazer
Receive (Ch. 49), “Bridge to Another World”
A spur of the moment song, I remember sitting down on the couch after recording a different song that day, with my “Martin” in ‘Drop-D” and plucking that simple melody that the song is based on. My mom, when I showed it to her for the first time, called it a “Spa song.” I wanted to emulate a mood of wonder but longing at the same time. This song features the heaviest use of electronic elements out of all on the soundtrack but I felt it was the only way to achieve the mood described above.- Jackson Deshazer
The Crucible (Ch. 50), “The Crucible”
Began on an old “Wurlitzer” school-house piano and seemed epic from the start. The idea to add electric guitar was to make the moment feel as big, and the stakes as high as I possibly could. I have always loved big orchestrated songs with electric guitar like “Pink Floyd” and “Radiohead” and that was my take on it. - Jackson Deshazer
The Horizon (Ch. 55), “Beyond the Sky”
The soundtrack needed a song with lyrics, so I dusted off an old piano melody I had written years prior and went to work with Anabelle, the singer of the song. The main chorus of the song actually came to me in the shower, melody and all, and I had to rush out and record it on my phone before it was forgotten.- Jackson Deshazer
The Walnut House (Ch. 58), “Lily’s Theme”
A theme for Lily eluded me for almost an entire year. Her being such a great character put the pressure on me to match that with music. Nothing presented itself as “the theme” until I was playing a guitar that was at my local Luthier’s shop, tuned to “DADGAD.” Immediately I said to myself, '“there’s something” and went home and recorded it. It had that sense of adventure and maturity that I was searching for. Each section of the song tells a different side of her character, the “A” section reminds me of her backstory, or early life in the city. The “B” section makes me think of her going off on her own adventure, and the “C” section, or bridge, is the uncertainty of the future.- Jackson Deshazer
The Spirit Temple (Ch. 63), “Love Theme”
I give all the credit to my sister, Lane, on this one. The song started as two different chord progressions that I had been trying to turn into something. Nothing seemed to fit right, until Lane played this beautiful arrangement with melodies effortlessly weaved in, better than I could ever play myself. We worked together on how to mash the songs together, and the result is one of my favorite piano melodies I’ve ever heard. I give all the props to Lane for turning this song into what it is.- Jackson Deshazer
Eyes Forward (Ch. 68) “Showdown”
This is the kind of “battle song” I would like to see at the end of a movie and that is why it sounds the way it does. Electric guitars are epic, throw some of those in there! Strings? Epic as well. And nothing would be complete without a guitar solo to bring the song to an epic conclusion. Electric guitars are also the instruments for Tyrannous so it had to be in there.- Jackson Deshazer
Wall of Light (Ch. 69), “Wall of Light”
Originally the “Hospital Scene” riff but I wanted to put full orchestration behind it for the finale of the journey to book-end the first leg of our heroes journey.- Jackson Deshazer