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Previous Soundtracks (January - June 2000)

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Now posted are this editor's choices for:  Top 100 Soundtracks of the Century 

For the best film composer, soundtracks ,compilations,and record labels see:   Best of 1999 and 1998

To find other web sites about film composers,  magazines, soundtracks and record labels, go to:  LINKS

List of CD Reviews for  36 Previous Soundtracks (January - June 2000):

AGNES BROWNE (Paddy Maloney) - March [***]

AMERICAN BEAUTY (Thomas Newman) - January  [***1/2]

ANNA AND THE KING (George Fenton) - BEST OF THE MONTH for January [****]

THE BEASTMASTER and BEAUTY AND THE BEAST (Lee Holdridge) - April [***1/2]

THE CHALLENGE (Jerry Goldsmith) - April [***1/2]

THE CIDER HOUSE RULES (Rachel Portman) - February [***1/2]

THE COMANCHEROS (Elmer Bernstein) - June [***1/2]

DE ESO NO SE HABLA (I Don't Want To Talk About It) (Nicola Piovani) - January [***]

DEVOTION (Erich Wolfgang Korngold) - February [***1/2]

DOLPHINS (Steve Wood) - June [***]

EARTH: FINAL CONFLICT (Mickey Erbe & Maribeth Solomon) - March [***1/2]

EAST-WEST (Patrick Doyle) - March [***1/2]

ESCAPE FROM NEW YORK (John Carpenter/Alan Howarth) - June [**]

THE EGYPTIAN (Bernard Herrmann and Alfred Newman) - BEST OF THE MONTH for February [*****]

ERIN BROCKOVICH (Thomas Newman) - April [**]

FLASH GORDON & AMITYVILLE 3-D (Howard Blake) - May [***1/2]

FOR YOUR EYES ONLY (Bill Conti) - May [***1/2]

THE 4TH FLOOR (Brian Tyler) - May [***]

GALAXY QUEST (David Newman) - February [***]

GIOVANNI FALCONE (Pino Donaggio) - April [**]

GLADIATOR (Hans Zimmer & Lisa Gerard) - BEST OF THE MONTH for May [****]

GODZILLA 2000 - June [***]

HIGH ROAD TO CHINA (John Barry) - May [***1/2]

ISN'T SHE GREAT (Burt Bacharach) - February [***]

JESUS (Patrick Williams) - BEST OF THE MONTH for April [****]

JOURNEY OF MAN (Benoit Jutras) - May [***]

THE LEGEND OF 1900 (Ennio Morricone) - January [****]

MEDAL OF HONOR (Michael Giacchino) - February [***1/2]

MR. SKEFFINGTON (Franz Waxman) - March [****]

THE NINTH GATE (Wojiech Kilar) - March [***1/2]

THE PERFECT STORM (James Horner) - June [***1/2]

P.T. BARNUM (Hummie Mann) - February [***1/2]

SALLY HEMMINGS: AN AMERICAN SCANDAL (Joel McNeely) - BEST OF THE MONTH for June [****]

THE SKULLS (Randy Edelman) - April [**]

SPLASH (Lee Holdridge) - February [***1/2]

SUPERMAN (John Williams) - BEST OF THE MONTH for March [*****]

Ratings of Previous Soundtracks (January - June 2000):

*****   (Superlative) =  2  

 ****    (Excellent)    =  4  

 ***1/2 (Very Good) = 11   

 ***      (Good)          =   4

   **      (Fair)            =   3

     *      (Poor)           =   0

                   TOTAL  = 24             

The CDs have been chosen to cover a broad range of new and vintage soundtracks. The comments and ratings are based on the whole CD package - recorded music, booklet notes and art design.  

=   Editor's Choice - Best of the Month

Previous Soundtrack Reviews (January - June 2000)

AGNES BROWNE (1999)(Total Time = 38:31).  Original Motion Picture Soundtrack. Original music composed by Paddy Moloney.  Songs performed by various artists. Produced by Paddy Moloney.

Music editor: George A. Martin.  Engineered by Brian Masterson at Windmill Lane Studios, Dublin.  Orchestrated & Conducted by Ed Shearmur.

Decca CD 289 466 939-2.  

Rating:  ***

Track Titles:

1.   Opening Theme: The Irish Film Orchestra

2.   Banish The Blues

3.   My Bonnie (Harp Version) - Derek Bell, harp

4.   "She'a A Lady" - sung by Tom Jones

5.   Paddy's Mazurka

6.   Marion's Lament - The Irish Film Orchestra

7.   Faith Of Our Fathers

8.   "Delilah" - sung by Tom Jones

9.   "The Last Rose Of Summer" - The Chieftans & Montserrat Caballe

10.  Grab The Money

11. "My Bonnie" - Laurie Smith with The Chieftans

12. "Puttin' On The Style" - The Fleadth Cowboys

13.  Tripping Up The Stars Reel

14. Marion's Lament (Reprise) - The Irish Film Orchestra

15. "It's Not Unusual" - sung by Tom Jones. 

     This is a simple heartwarming story starring Academy Award-winning actress, Anjelica Huston. It is based on Brendon O'Carroll's popular novel, The Mammy.  The story takes place in 1967, about the title character as wife and mother who lives in a bustling central Dublin neighborhood. After the death of her husband, she must take care of her seven children and the film shows their trials and tribulations.

     The soundtrack features original music composed by Paddy Moloney and features his best-selling Irish group, The Cheiftans. There are also three hit songs by Tom Jones, who appears in the film playing himself.  A special treat is hearing the heartfelt arrangement by Moloney of Thomas Moore's old song, "'Tis The Last Rose Of Summer," sung by opera singer, Montserrat Caballe, and accompanied by The Cheiftans, with John Feely playing on guitar. Madame Caballe has a lovely voice but her diction is pretty bad and the words are very hard to understand, unless you already know this melancholy song.   There are also several versions of "My Bonnie" (one of the earliest hit songs for The Beatles before they had that name):  the first one is a version for harp, beautifully played by Derek Bell.  The other version is sung by Laura Smith with The Chieftans, in an arrangement by Smith and Moloney that is not so hot, at least to this reviewer's ears.  But immediately following that song is a "Puttin' On The Style," sung by The Fleadh Cowboys.  This is a really rousing rip-snortin' country & western song, as arranged by Paddy Moloney.  

     What the fans of  traditional Irish music will especially enjoy are the instrumental tunes, including: "Banish The Blues," "Paddy's Mazurka," "Grab The Money," and "Tripping Up The Stairs Reel" (all composed by Moloney).  There are also a few more melancholy themes.  The best of these is "Marion's Lament" (performed twice by The Irish Film Orchestra).  Another one is the traditional song, "Faith Of Our Fathers," arranged by Moloney, and featuring Dave Mullaney on accordion; Kieran Hanrahan on banjo; and Ray Fean on percussion.  

     As for the Tom Jones songs, I must admit to not being a big fan of his showy singing.  His voice is surely strong, but with little shading to it.  But if you like his singing, then you'll enjoy hearing three of his biggest hits: "She's A Lady"; "Delilah"; and his first hit, "It's Not Unusual."

     The color insert flyer has a few color film stills and all the track titles and performers.      

     This is a good soundtrack souvenir from the film, especially recommended to fans of Paddy Moloney and The Chieftans.  Moloney has put together a most diverse soundtrack, with lots of variety.  Will you like it all?  That depends on your taste.  I didn't like it all, but there is still plenty to enjoy on this CD to make it worth purchasing.

--review by Roger Hall, 2 March

 AMERICAN BEAUTY (1999)(Total Time = 37:31). Music by Thomas Newman.  Produced by Thomas Newman and Bill Bernstein. Orchestrations:  Thomas Pasatieri.  Various instrumental soloists.  Dreamworks CD 004450233-2.  Rating: ***1/2

Track Titles:

1.   Dead Already (3:18)

2.   Arose (1:05)

3.   Power of Denial (1:44)

4.   Lunch w/The King (2:25)

5.   Mental Boy (1:43)

6.   Mr. Smarty-Man (1:11)

7.   Root Beer (1:05)

8.   American Beauty (3:05)

9.   Bloodless Freak (1:36)

10. Choking the Bishop (1:51)

11. Weirdest Home Videos (2:02)

12.  Structure & Discipline (3:05)

13.  Spartanette (0:59)

14.  Angela Undress (1:43)

15.  Marine (1:34)

16.  Walk Home (1:19)

17.  Blood Red (0:38)

18.  Any Other Name (4:06)

19.  Still Dead (2:46)

     This is quite an unusual score by Thomas Newman.  At times it bubbles with percussive propulsion.  Other times it's dreamy and quiet.  Mostly it sounds minimalistic.    

     The opening track, "Dead Alright," features mostly percussion  instruments and sounds quite eerie and repetitious.  But it lingers in the mind after it ends.  Other tracks follow the same idea of repetition, such as track 3 ("Power of Denial").  But there's also plenty of variety and unusual sound combinations, such as track 10 ("Choking the Bishop") and track 15 ("Marnie").  Track 8 ("American Beauty") is one of the quieter cues with slow moving piano chords and a subdued background accompaniment.  Another one is track 12 ("Structure & Discipline").   

     Since the soloists are often never mentioned in other reviews, I'll give their names here: Michael  Fisher (tablas, kim-kim drums, bird calls); George Doering (mandola, appalachian dulcimer, lap steel guitar); Rick Cox (banjo ukelele, bass tin whistle); Steve Kujala (flute); George Budd (processed bass flute, phonograph); Chas Smith (pedal steel guitar); Steve Tavaglione (flute, ewi); Bruce Dukov (arpeggiated violin); Thomas Newman (sax, piano).

     Unfortunately the insert folder gives no information about this score, besides the performers and other credits.  That's too bad because this is such an unusual score that it would have been helpful to have some description by Thomas Newman or someone else who was was there for the recording sessions.

     A very inventive and satisfying score.  Recommended for the adventurous listener.

review by Roger Hall, January 2000 (All Rights Reserved)          

Editor's Choice - Best of the Month, January 2000

ANNA AND THE KING (Total Tine = 59:13).  Original motion picture soundtrack.  Music composed and conducted by George Fenton.  Album produced by George Fenton.  Song produced by Kenneth "Babyface" Edmonds. Orchestrations: Geoffrey Alexander and Jeff Atmajian.  LaFace Records/ Fox Music CD 73008-26075-2.  Rating: ****

Track Titles:

1.   "How Can I Not Love You" (4:34) - music & lyrics by George Fenton, Kenneth "Babyface" Edmonds and Robert Kraft

2.   Arrival at the Palace (Main Title Theme) (6:00)

3.   Meeting the Children (1:32)

4.   Tuptim (1:32)  

5.   Letter of the Week (1:38)

6.   The House (1:38)

7.   The Rice Festival (4:23)

8.   Rajah Attack (0:58)

9.   Anniversary Polka (3:30)

10.  "I Am King, I Shall Lead" (2:28)

11.   Flowers on the Water (4:22)

12.   Moonlit Beach (1:42)

13.   Betrayed (1:32)

14.   Chowfa's Death (1:28)

15.   The Execution (4:19)

16.   Anna Returns (3:44)

17.   The Bridge (6:42)

18.   I Have Danced With A King (6:17)

     "Anna and the King of Siam" is the classic story which has been honored with several Oscars in the past.  The first version of the story was made in 1946, starring Rex Harrison as the King of Siam, with a fine score by Bernard Herrmann (which was Oscar nominated).  The other version is the famous 1956 Rodgers & Hammerstein musical, with Yul Brynner in his Oscar-winning role as the King.  Also receiving Oscars for that film year were Alfred Newman and Ken Darby for Best Scoring a Musical Picture - a most deserving award for these two masters at Twentieth Century-Fox.

     This new version is nothing like the R&H musical, but does have a most effective score by George Fenton.  Both the score and the love song have received Golden Globe nominations.

     The CD begins with the song, "How Can I Not Love You," sung by 21 year old Joy Enriquez in the power ballad style of Mariah Carey and Celine Dion.  She has a strong voice and sings the song with real feeling. The song itself is quite good, though nowhere near as good as any of the memorable Rodgers & Hammerstein songs from their 1956 film musical.  Following the love song is the Main Title Theme, a grand and glorious six minute track which introduces the exotic musical instruments, especially strings and drums, used in the score.  A marvelous musical panorama.  

     The remaining tracks feature more of this subtle scoring.  Particular standouts are track 4 (Tuptim - a beautiful peaceful theme),  track 7 (The Rice Festival - another restful theme featuring a mixture of bamboo flute and piano, plus the full orchestra), track 9 (Anniversary Polka - a delightful period dance), and track 11 (Flowers in the Water).  These are but four of the enjoyable tracks on this very listenable CD soundtrack.   The last and longest track (I Have Danced With A King) brings this soundtrack CD to a comforting conclusion.

     The colorful fold out booklet has some striking film stills, the usual music credits, and a message from the director, Andy Tennant.  He mentions working with Fenton and says that "George writes music that speaks to the tragedy of the images rather than the drama, and in that single decision lies utter genius."  

      This CD gives some glimpses into Fenton's "utter genius."  If you enjoyed his score to EVER AFTER, you're sure to enjoy this one too.  An excellent score by Fenton and a good song as well.  Highly recommended for your film music collection.  The film is also highly recommended.

--review by Roger Hall      

THE BEASTMASTER (1982) and BEAUTY AND THE BEAST ("Once Upon A Time In New York") (63:22).  Music composed and conducted by Lee Holdridge.  Executive CD Producers:  Lee Holdridge, John H. Alcantar III, and Thomas C. Stewart.  CD Produced and Sequenced by Ford A. Thaxton.  Promo CD.  

Digital Transfers by The Music Source.  Transfer and EQ Engineer: Joe Giannola.

Digitally Assembled and Edited at Phoenix Productions.  Digital Editor: James Nelson.

CD Art Direction:  Mark Banning.

Rating:  ***1/2

Track Titles:

THE BEASTMASTER - Orchestrations by Greg McRitchie, Alf Clausen, Lee Holdridge; Performed by The Orchestra of the Accademy of Santa Cecelia and the Radio Symphony of Rome; Music Supervision: David Franco;  Music Recorded at Studio Forum, Rome; Recording Engineer: Sergio Marco-Tullio; Mastered by Dave Collins at A & M Studios.

1.   The Legend Of Dar (Maine Theme) - 1:33

2.   The Horde/ Destruction Of Emur - 2:43

3.   The Sword & The Eagle/ The Epic Begins - 4:48

4.   Friends Of Dar: The Princess Kiri/Kodo, Podo & Rev  - 3:34

5.   The Pyramid - 2:47

6.   Night Journey/ The Eagle/ The City - 3:56

7.   The Battle On The Pyramid - 6:42

8.   Heroic Friends - 4:29

9.   Escape From The Pyramid - 2:41

10.  Dar's Solitude - 1:29

11.  The Great Battle/ Dar's Triumph - 3:38

12.  The New Kingdom - 3:23

13.  A Hero's Theme/ The Legend of Dar - 2:57 

BEAUTY AND THE BEAST ("Once Upon A Time In New York") - Orchestrations by Ira Hearshen; Recorded at Evergreen - Radford Studios; Recording Engineer: Rick Riccio; Oboe Soloist: Earle Dumler; Violin Soloist: Endre Granat; Piano Soloist: Ralph Grierson.

14.  Beauty And The Beast Main Title - 1:18

15.  The Mirror/ Montage - 4:42

16.  The Nightmare - 1:44

17.  The Lovers - 4:11

18.  Fear/ The Chase/ Vincent To The Rescue - 3:33

19.  Finale/ End Credits - 2:16

     Here are two adventure-fantasy film scores by the highly underrated Lee Holdridge.  He has composed two very good scores - one for a popular movie in 1982, the other one for a huge hit television series.  I'll discuss each one separately.

     In his very informative CD notes, Lee Holdridge explains the four main themes he wrote for the main characters in THE BEASTMASTER.  For Dar - The Hero's Theme, Holdridge used french horns "as a symbol of Dar's power and grace."  The Eagle's Theme makes use of woodwinds and strings.   Then the Princess Theme is "naturally softer and a little more exotic in nature and provides a nice contrast to the generally aggressive nature of the rest of the score." The Evil Theme is the fourth one, "represented by the occasional sequence of minor triads in a semi-chorale style - with strings, woodwinds, synthesizer and occasional moaning windlike voices (provided by the sound effects editor in the final mix of the film)."  There's also particular music for the battle scenes featuring brass, strings, percussion and synthesizer; and for the two little ferrets "who save the day and steal the show - represented thematically by their brief motif throughout the film."      

      The majestic main theme, "The Legend Of Dar," sets the story with a dramatic fanfare-like flare.  The next track, "The Horde," begins with a theme that reminded me of Max Steiner's main theme from KING KONG.  That's meant as a compliment not a criticism.  The third track introduces the Eagle theme with woodwinds, which is heard again in track 6.  The fourth track has Princess Kiri's lovely theme, featuring flute, muted strings and percussion, interspersed with the scurrying theme for Kodo, Podo & Rev.  The longest track is track 7, "The Battle On The Pyramid."  As Holdridge describes it, this battle music - "the massive block-type writing represents the great amassing of the horde bent on conquering the hapless peansants of the city." All in all, a well blanced score that never goes overboard with its effects, especially for the battle scenes.  Sound quality is a bit muddy in spots, especially with the horns playing.                 

     The other score for BEAUTY AND THE BEAST is quite a different matter.  It was composed for the pilot episode and is more subdued and pensive than BEASTMASTER.  That's in keeping with the highly poetic and very popular television series.   The Main Title is nicely done - simple and sensitively written.  Holdridge writes that the idea of the Main Title came to him when he "was working on the scene where Linda Hamilton as Catherine having been brought back up to the 'real world', slowly turns away from Vincent and walks through a shaft of light pouring down into the basement. The next track, "The Mirror/ Montage" is the longest cue and is quite lovely, featuring flowing themes played by woodwinds, piano and strings.

     This is another fine promo CD of Lee Holdridge's film music. Recommended.        

--review by Roger Hall, 14 April.

THE CHALLENGE (1982).  Music composed and conducted by Jerry Goldsmith. Orchestrations by Arthur Morton.  Album produced by Ford A. Thaxton.  Executive Producer:  Luc Van de Ven.  Recorded in November, 1981 at CBS Radford Studios, Studio City, California.  Manufactured under license from CBS Broadcasting, Inc.

Music Editor: Bob Takagi.

Scoring Engineer: Mel Metcalf.  

Mastered by James Nelson at Digital Outland.

Digital Masters by John Beal at Reel Time Music.

Prometheus PCR 505.

Rating: ***1/2

Track Titles:

1.   Main Title - 4:56

2.   The Wrong Sword - 3:50

3.   Over The Top/ Fish Market - 5:20

4.   Half An Equal - 2:54

5.   Lonely Road - 1:57

6.   "Let's Talk" - 2:16

7.   Interlude - 1:02

8.   "Can't We Do It?" - 5:12

9.   The Pit - 4:48

10.  Double Cross - 5:50

11.  Bamboo Forest - 0:30

12.  The Traitor - 3:22

13.  "Stay With Me" - 4:25

14.  "I Will Go" - 1:28

15.  Surprise Visitor/ Forced Entry - 6:17

16.  "As You Wish"/ End Title - 5:49

     This is the fifth in the admirable Limited Edition Club series from Prometheus Records of Belgium.  The other four are:  THE MASTER OF BALLANTRAE (Bruce Broughton), BREAKOUT (Jerry Goldsmith), CONTRACT ON CHERRY STREET (Goldsmith), and BITE THE BULLET (Alex North).  Three out of five in the series are devoted to one composer. That might seem like an unfair advantage, but they are all very good Goldsmith scores.  In fact, the scores are better that the rather ordinary films from the 1970s and 80s.

     The latest one, THE CHALLENGE is from 1982,  a year when Goldsmith had three other impressive scores:  FIRST BLOOD, POLTERGEIST, and THE SECRET OF NIMH.    How does THE CHALLENGE measure up to those scores?  Well, I believe it's almost as good as the others.

     Since the locale is Japan, the Main Title and other tracks feature instruments from that exotic locale (shakuhachi - bamboo flute; and koto - plucked zither) mixed with traditional Western orchestral instruments.  The combination is quite riveting and at times extremely energetic.  This is a fine example of Goldsmith's ability to compose a score of ethnic-traditional flavor to accompany the emotional content of this Japanese setting, which stars Scott Glenn, Toshiro Mifune, and Atsuo Nakamura. The film was directed by John Frankenheimer, a veteran of this kind of moviemaking.

     Goldsmith works with quite a broad sound palette in this score.  For example, in the opening Main Title, he immediately sets the locale with the use of shakuhachi.  Gary Kester writes in his very good notes that - "this one primary tune serves to convey a sense of purpose and dignity that represents not, as you might expect, the characters or country, but rather the ethics they embody."  Well, that is true, I also hear a close accompanying of both the country's warrior culture and also the characters themselves.  This score covers a broad range of emotions, from energetic cues like "The Wrong Sword" to more pensive ones, like "Half An Equal."  In fact the more reflective cues seem to carry more weight in this score.    There's also the romantic love interest between Rick (Scott Glenn) and Toru's daughter in such cues as "Let's Talk" and "Stay With Me."

     About the only criticism I have is that the score doesn't seem to hold up for its entire hour long length.  A bit too much of that main theme perhaps. But that's a minor complaint.  There are many very impressive tracks scattered throughout this soundtrack, besides the ones already mentioned.  One of these is "The Pit" with very effective sustained combinations of shakuhachi, koto, percussion, brass and strings. Another one is the last track, "As You Wish" and End Title, which opens with horns and a driving drum pattern and proceeds to an all out blast of brass and percussion before a quieter quote emerges of the main theme played on shakuhachi, koto and strings.  It makes for a marvelous conclusion to this fine Goldsmith score from the early 1980s, when he was in his prime.    

     The 16 page booklet has a nice poster cover and some black & white stills, courtesy of Thierry Schreurs, also the notes by Gary Kester, and a note from Mike Stern about the transfers of the original two-inch 16 track analog masters.  These masters were mixed in stereo on a Euphonix Console, utilizing Lexicon Digital reverbs, if you're interested in that sort of tech talk. The main thing is that the sound quality is very good in this transfer, with only a bit of brashness.

     Even if you're not an avid Goldsmith fan, this soundtrack is recommended.  If for nothing else, just to hear a high quality score from one of today's greatest film music masters.   Hopefully the Prometheus team will continue to provide such worthwhile soundtracks in their ongoing series.  So far, they have done extremely well with their choices.  THE CHALLENGE is the latest and is definitely worth adding to your collection.

--review by Roger Hall, 16 April

To find more information about this CD, go to:  www.soundtrackmag.com or www.supercollector.com

THE CIDER HOUSE RULES (Total Time = 40:43).  Music by Rachel Portman. Produced by Rachel Portman.  Orchestrations by Rachel Portman and Jeff Atmajian. Orchestra conducted by David Snell.  Sony Classical SK 89031.  Rating:  ***1/2

Track Titles:

1.   Main Titles (2:10)

2.   Homer's Lessons (3:43)

3.   Young Girls Burial (0:42)

4.   Homer Asks Wally For A Ride (1:27)

5.   Homer Leaves Orphanage (4:37)

6.   The Ocean (0:59)

7.   The Cider House (4:13)

8.   Wally Goes Off  To War (1:48)

9.   Lobster Dinner (0:51)

10.  Burying Fuzzy (1:35)

11.  Homer & Candy On The Dock (2:21)

12.  Rose Rose Is Pregnant (1:16)

13.  Abortion (1:50)

14.  Pickers Leave (1:16)

15.  Dr. Larch Dies (1:37)

16.  Homer Returns To The Orphanage (3:42)

17.  Good-Night, You Kings Of New England (1:06)

18. End Credits (4:36)

     Rachel Portman has emerged as the finest woman film composer of our day.  She has the distinction of being the first woman to win an Oscar for Best Score - for EMMA in 1997.  She has continued to produce very memorable film scores.

     Her score for THE CIDER HOUSE RULES is one of them.  It prefectly underscores the dreamy and gentle story of young Homer (played by Toby Maguire from PLEASANTVILLE) growing up in Maine in the 1940s.  The Main Titles theme is played by solo piano and orchestra.  It's very simple and also very memorable.  The rest of the score is mostly soft and subdued.  For example, "The Cider House" track has a lovely flow to it featuring solo woodwinds accompanied by the strings.  There is also a subtle love theme for Homer and Candy (played by the beautiful Charlize Theron) on track 11.  

     Some of the tracks are more somber, reflecting the story's mood swings.  Examples of this somber quality is heard in "Rose Rose is Pregnant" and "Abortion" with its slow moving strings and woodwinds underscoring the troubled state of the apple picker foreman's daughter.  Another example is "Dr. Larch Dies" with the main theme heard again, played mournfully on a solo oboe and piano.  Actually the main theme seems to represent the orphanage, where Dr. Larch (played by Michael Caine) was the head doctor.  

     The last few tracks bring the story to its conclusion with "Homer Returns to the Orphanage" (track 16), where a solo oboe and piano are used to portray the longing he had for his beloved childhood home at the orhpanage.  The next track, "Good-Night, You Kings of New England," brings back the bedtime wish spoken by Dr. Larch for the ophanage children.  Finally, the last track on the CD gives a more expansive treatment of the main theme.                    

     This is a very good score, though it does drag a bit at times.  The studio orchestra plays very well under David Snell's direction.  The foldout sleeve has film stills and track titles.

     Like the sensitive film, screenplay by John Irving and directed by Lasse Hallstrom, Portman's score is worth savoring for its gentle seasonings.  Recommended especially for those tired of noisy action scores.     

--review by Roger Hall, February 2000 (All Rights Reserved)

THE COMANCHEROS (1961)

Total Time = 47:45.  Music Composed and Conducted by Elmer Bernstein.    Album Produced by Nick Redman.  Executive Producer: Lukas Kendall.  Project Coordinator for 20th Century Fox: Tom Cavanaugh.  Digital Mastering: Dan Hersch.  Music Score Remix: Brian Risner.  35mm Assembly: Ron Fuglsby.  CD Art Direction: Joe Sikoryak.

Film Score Monthly, Silver Age Classics, Vol. 2, No. 6.

Rating:  ***1/2

Track Titles:

1.   Prologue (1:12)  

2.   Main Title (1:40)

3.   Riverboat Capture (1:17)

4.   Regrets (1:48)

5.   The Wide Open (1:48)

6.   Eulogy (1:52)

7.   McBain (1:09)

8.   Digging Again (1:18)

9.   Nostalgia (0:50)

10.  Attack (4:43)

11.  Words (3:19)

12.  The Sign (1:24)

13.  Comancheros (5:31)

14.  Hanging Around (1:36)

15.  Keep Your Distance (0:49)

16.  Campfire Dance (1:59)

17.  Tobe's Death (0:58)

18.  Leaving (3:46)

19.  Texas Rangers (3:20)

20.  Finale and End Title (1:10)

21.  "The Comancheros" (2:00) - unused title song, sung by Claude King

22.  "You Walked Away" (2:27) - unused song, sung by  Claude King

23.  Main Title (1:40) - mono mix

     Ever since he made his name with the famous theme from THE MAGNICIENT SEVEN, Elmer Bernstein has been known for his raw and robust western scores.  During the 1960s, he (along with Ennio Morricone and Jerry Goldsmith) just about owned the western genre score. Almost all of Bernstein's western scores during the '60s were for  John Wayne movies.  Besides his first one, THE COMANCHEROS, Bernstein also did scores for SONS OF KATE ELDER (one of his best main title themes) and TRUE GRIT (for which John Wayne won his only Oscar).  

      THE COMANCHEROS starred John Wayne (as Jake Cutter), Stuart Whitman (as Paul Regret), Ina Balin (as Pilar Graile), Nehemiah Persoff (as Pilar's father), Lee Marvin (as Crow), and in a smaller role, Patrick Wayne (as Tobe).  TC opens with a short Prologue before leading into one of those great open spaces Main Title themes which Bernstein was so good at providing during that period.  In the booklet notes, Bernstein himself says: "The thing I enjoyed about doing the music was that it was a post-MAGNIFICENT SEVEN film, and even though the score is clearly western, if you compare the two themes, THE COMANCHEROS has a very different sensibility musically.  THE MAGNIFICENT is very straightforward and square, and actually I like THE COMANCHEROS theme better."  Well, he's got the right to express his opinion since he composed it, but more listeners would probably prefer his Main Title from TMS.  Actually there are cues in TC that are very reminscent of TMS, such as "Attack" (track 10) with its constant rhythmic propulsion.       

     THE COMANCHEROS is an excellent example of high quality work by one of today's film music masters.  The score is full of high powered themes.  The very memorable Main Title (which represents John Wayne's Jake Cutter) reappears in various guises throughout the score. There are also some other noteworthy (pun intended!) cues. One of these is "Eulogy," which begins with a staccato motif in the strings and then switches abruptly to a more somber tone for the victims of a burnt out ranch.  Another memorable theme is "Words" (track 11) with a beautiful lyrical string theme, incorporated with some jubilant trumpet solos.  Most of the score is filled with action cues for the Comanche warriors and the Comancheros.  They range from folklike music, as in "Campfire Dance" (track 16), to the usual action western music such as "Texas Rangers" (track 19).

     As a bonus, there are several unused songs included on the CD which were found with the score's master tapes.  The title song is sung by Claude King and written by his producer, Tillman Franks.  The other song, "You Walked Away," was to be used for gambler Paul Regret's love for Pilar Graile.  It is also sung by Claude King.  Neither song is particularly distinguished and it's not hard to imagine why they were left out of the film.  The last track has a mono mix of the Main Title.                

     The sound of the 1961 soundtrack is okay, but a bit too bright and harsh sounding in spots, as on the "Texas Rangers" track.  But most of the score sounds just fine.  Very good notes are provided by Nick Redman (about the film) and Jeff Bond (about the score).  The booklet design is also well done with lots of good film stills provided with the notes.

     If you're a western film fan, a John Wayne fan, or especially an Elmer Bernstein fan (like me), then by all means get this soundtrack from one of his great western scores.  Recommended.

--review by Roger Hall, 20 June 2000

Note:  Over the past few years, Film Score Monthly has been issuing a wonderful series of Golden Age and Silver Age Classics.  To see their complete list of titles, go to:  www.filmscoremonthly.com/cds 

For other western film music, go to:  Cowboy Song Corral

DE ESO NO SE HABLA (I Don't Want To Talk About It) (Total Time = 25:44). Original music composed, arranged and conducted by Nicola Piovani.  Production: Piero Colasanti.  Pacific Time Entertainment CD PTE 8518-2.  Rating: ***

Track Titles:

1.   De eso no se habla (2:00)

2.   Ludovico D'Andrea (4:20)

3.   La noche de Eleonora (2:23)

4.   Promenade (1:58)

5.   Vals en la playa (1:58)

6.   Baile de la cerveza (2:25)

7.   "Caminito" (2:37) - sung by Marcello Mastrianni/ Nicola Piovani, piano

8.   Charlotte (4:00)

9.   De eso no se habla (3:35)

     The music on this CD is from an Italian film about a passionate, extravagent love story and stars Marcello Mastroianni and Luisina Brando.  

     The CD of a score by Nicola Piovani, winner of last year's Oscar for LIFE IS BEAUTIFUL, is very brief  and the music is somewhat uninspired.  But it does have a few nice themes.  The opening main title track is moody but memorable and it's heard several times on the CD.  Track 4 features a light-hearted, mischievous theme for Ludovico D'Andrea, the character played by Mastroianni. This same theme is heard again in track 4 (Promenade).  Then on track 6 (Baile de la cerveza) there's a lively gypsy-like theme featuring accordion, guitar, flute and clarinet.  And track 8 (Charlotte) has a charming slow version of the main title theme, with oboe, piano and strings which may remind some of Morricone. The following track has "Caminito" sung (really mostly spoken) by Mastroianni, who was a wonderful actor but not much of a singer.

     Unfortunately, there are no translations of the track titles in the foldout booklet or on the jewel box.   So unless you already speak Italian or have a dictionary nearby, the titles won't mean much.  

     If you're a big Italian film fan or like the music of Morricone, you might want to get this CD.  But at the short playing time and track titles printed only in Italian, it has limited appeal.  

--review by Roger Hall, January 2000 (All Rights Reserved)

DEVOTION (1946)(Total Time = 69:49).  Music by Erich Wolfgang Korngold.  Score restored by John W. Morgan.  Moscow Symphony Orchestra, conducted by William T. Stromberg.  Marco Polo CD 8.225038, 1997.  Rating: ***1/2

Track Titles:

1.   Main Title - Foreword - The Village (4:30)

2.   The Moors - Charlotte - Emily (4:58)

3.   Bedroom - Inn (2:59)

4.   Nicholls - Bedroom - Outside - Packing Montage - Farewell (8:45)

5.   Lunch - Poorhouse - Love Scene - The Moors - Wuthering Heights (6:41)

6.   The Girls - Nicholls Outside - Branwell and Horses (3:20)

7.   Brussels - The Dream (4:40)

8.   Charlotte's Romance - Charlotte - The Boat - England (4:28)

9.   The Graves - The Meeting (3:24)

10. Stairway - Bedroom - Library (5:06)

11. Branwells's Death (2:40)

12. Jane Eyre - London Montage - Thackeray (2:21)

13. Autograph - Modiste - Banquet - Opera (2:39)

14. In the Park (2:15)

15. The Truth (1:30)

16. Charlotte's Arrival - Emily - Charlotte - The Death - The End (9:01)

     Erich Wolfgang Korngold was one of those great European born composers (like Steiner and Waxman) who came to Hollywood during the 1930s and produced some outstanding scores, including such classic scores as: THE ADVENTURES OF ROBIN HOOD (1938) and KINGS ROW (1942).

     He began work on DEVOTION in 1943 but it wasn't released until 1946.  This is one of his typically romantic scores for a film about the Bronte sisters, starring Olivia De Havilland, Ida Lupino and Nancy Coleman.  Korngold biographer, Bendon G. Carroll, writes in his exceptional notes that like so many of Korngold's scores it is almost completely "through composed."  He then explains by writing that "virtually every cue leads seamlessly to the next, with key relationships observed between cues, so that the music flows with exceptional fluency, especially when heard (as here) in strict continuity without breaks for scenes containing only dialogue."  And that pretty much sums up the enjoyment of this soundtrack, if you like heavily romantic Vienese music.  It's chock full of richness, like a piece of chocolate cake.  But as much as I admire Korngold's music, I did find this one wearing thin on my ears after awhile.  You really need to see the film to get the full enjoyment of this score.

     The soundtrack features the Marco Polo Russian film music "regulars" - the Moscow Symphony Orchestra, conducted in his usual expert manner by William T. Stromberg.  The 32 page booklet is filled with many delights.  As already mentioned, the notes are by Brendan G. Carroll and divided in "The Story Behind the Film" and "An Analytical Guide."  That is followed by John W. Morgan's "Arranger's Notes," who points out that termites made a "puzzle-piece" meal of parts of this Korngold score.  "At least the termites had good taste," Morgan adds tongue-in-cheek. Following his arranger's notes, Morgan has written an affectionate tribute to the great film music writer and producer, Tony Thomas.  The remaining pages have background descriptions of the Moscow Symphony, Stromberg and Morgan.

     Even though this is not the best of the Korngold scores, it still merits attention and is certainly worth adding to your Golden Age collection (if you have one).  The wonderful booklet alone makes it worth having.  

--review by Roger Hall, February 2000 (All Rights Reserved)  

Total Time = 54:36.  Original score and arrangements by Steve Wood. Songs written and performed by Sting.  Produced by Steve Wood.  Additional arrangements by Daniel May.  Recorded and mixed by Steve Wood.  Additional recording: Steve Smith.  Mastered by Joe Gastwirt.

Pangea Records 186 810 057 2.  Manufactured by ARK 21, Sherman Oaks, California.

Rating: ***

Track Titles:

1.   I Need You Like This Hole In My Head - performed by Sting

2.   Sea Of Light

3.   Fill Her Up - performed by Sting

4.   When Dolphins Dance

5.   Ghost Story - performed by Sting

6.   First Dive

7.   Bubble Rings

8.   When We Dance - performed by Sting

9.   On The Island

10. Dolphins Of The World

11. Rendevous 

     This is from the IMAX Theatre Film, DOLPHINS.  The soundtrack includes songs by Sting and a score by Steve Wood.  For MacGillivray Freeman Films, Wood has composed 14 scores over the past seventeen years, including the popular films:  EVEREST and THE LIVING SEA.

     DOLPHINS mixes 4 songs by Sting with the score by Wood.  His score uses the light and breezy style of Caribbean music combined with a jazz-New Age sound.  The music is sort of Jimmy Buffet mixed with Paul Winter.  This combination is appealing, as first heard in "Sea of Light."  Another pleasant cue is "When Dolphins Dance," featuring accompanying vocals presumably by Sting (unidentified on the CD).  Other vocals are provided by Beth & Steve Wood, Einstein Brown (what a great name!), and James "Plookie" Werts, plus some "Revelers."  The instrumentalists featured on the soundtrack include:  8 guitarists, 2 drummers, 4 percussionists, 2 basses, 2 keyboard players, 4 woodwind players, 2 steel pan players, 2 trumpet players, 3 violin solists, 1 accordionist, and 1 Ikauma drummer.  On "First Dive," the steel drums play a prominent role in the beginning and then other instruments join in for a sweet mix of exotic sounds.  

     The songs by Sting are good enough but two of them ("Fill Her Up" and "Ghost Story") were just thrown in from his Grammy award winning album, Brand New Day.  Why were they included? Well, um, because this film's producer, Greg MacGillivray, liked the songs.  When writing about Sting's song, "Ghost Story," MacGillivray writes: "The song is about a man sitting alone on a cold night, reflecting on love he did not embrace."  Huh?  Isn't this film about dolphins?  Another example of songs being used to help sell the soundtrack. 

     The 16 page color booklet has some attractive photos of Dolphins in their natural habitat.  Oddly, there's a photo of Sting but not of Steve Wood, who had more to do with this soundtrack than anyone else.          

     A pleasant listening experience but nothing special about it as a film score.  For fans of Sting and New Age music this soundtrack may have some appeal.  For me, it was just okay.

--review by Roger Hall, 20 June 2000

For more information, go to:  www.dolphinsfilm.com

EARTH: FINAL CONFLICT (Total Time = 58:02).  Original Television Soundtrack By Micky Erbe and Maribeth Solomon.  Music composed, arranged and produced by Micky Erbe and Maribeth Solomon.  

Album produced by Micky Erbe, Maribeth Solomon, and Ford A. Thaxton.

Engineered and Mixed by Michael Banton-Jones (Toronto, Ontario).  Additional Editing and Album Mastering by James Nelson (Tacoma, Washington).  Digital Transfers by John Beal.

Sonic Images CD 828-278-920-2, 2000.  

Rating: ***1/2  

Track Titles:

1.  Main Title (0:53)

2.  The Secret of Standhill/ Redemption (5:50)

3.  Old Flame (1:27)

4.  Defector (3:59)

5.  Decision (1:27)

6.  Float Like a Butterfly (0:55)

7.  Sandoval's Run (2:02)

8.  Bliss (2:24)

9.  If You Could Read My Mind (1:42)

10. Lili (1:53)

11. Law and Order (2:11)

12. Atavus (2:00)

13. Between Heaven and Hell (0:57)

14.  Sleepers (2:57)

15. Dimensions (2:23)

16.  Moonscape (4:34)

17. Isabel (0:55)

18.  The Gauntlet (1:24)

19. Second Chances (4:45)

20. One Man's Castle (1:22)

21. Payback (1:35)

22. Truth (4:16)

23. Deja Vu (0:54)

24. Crossfire (3:08)

25.  Volunteers/ End Credits (1:54).

     If you enjoy New Age spaciness, then this soundtrack should really appeal to you.  I don't mean that to be derogatory because this is a very good example of television scoring.

     The idea for EARTH: FINAL CONFLICT originated from the fertile mind of the late Gene Roddenberry, founding guru of the granddaddy of television sci-fi epics, STAR TREK. According to his widow, Majel Barrett Roddenberry, EARTH: FINAL CONFLICT was not an easy series to score.  In the CD foldout, she explains that "the scope of the series is such that one episode might take place in an industialized American city, while the following week's adventure concentrates on a rural European village."  She then compliments Mickey Erbe and Maribeth Solomon, saying they "have captured the essence of this global drama, and have created a sound that is as alternatively exciting and intriguing as the concept itself."  The key work is "sound."  That's what comes through strongest on this soundtrack.  A very moody and spacious "sound."  This is created quite effectively by the fine group of musicians, beginning the lovely humming vocals of  Leah Erbe (wife of the composer?).  Other outstanding musicians are: George Gao, who is a master on the erhu - a two-stringed Chinese instrument; John Johnson, who plays an "EWI" (electonic wind instrument); violinist Lenny Solomon; and synthesists Donald Quan, Ray Parker, Tom Szczesniak, and Lou Pomanti.  The music is a combination of orchestral and electronic instruments. And these instruments are very well mixed on the soundtrack, providing an almost seemless journey into different realms as in the television series.

     Just to mention a few tracks I thought were standouts.  The short Main Title is a good one, with all forces being introduced.  The second track ("The Secret of Standhill") uses Irish pipes, tin whistle, and fiddle in a sort of homage to Celtic music (shades of Enya perhaps).  Following that is "Old Flame," where the alien Taelon music is heard for an episode where a Earthling learns to play an alien instrument known as the "tubes."  A particularly pleasing theme is heard on "Float Like a Butterfly" (track 6) which unfortunately is all too short at less than a minute. But there are also longer tracks to sustain the mood.  One I especially enjoyed is "Moonscape" - the best track of all, I believe.  It begins with a slow moving organ and choral sync theme and then expands into a more rapid combination with repeated strings and the solo voice of Leah Erbe as well.  Quite an impressive "sound" - yeah, there's that word again!

    Both Erbe and Solomon have worked in television for almost twenty years, including such made-for-TV scores as:  "To Save the Children"; "Peacekeepers"; and "The New Twilight Zone."  They have also scored several IMAX movies, including: "Blue Planet" and "The Dream is Alive."

   With so little television music being used these days, it's a real pleasure to hear such a full soundtrack, like the one for EARTH: FINAL CONFLICT.

    This a very good soundtrack for fans of the series or for those who enjoy diverse soundscapes.  Recommended especially for the adventurous sci-fi fan.               

--review by Roger Hall, 2 March

This CD is available from the record label site: www.sonicimages.com       

EAST-WEST (EST-OUEST)(Total Time = 53:39).  Original score composed by Patrick Doyle.  Bulgarian Symphony Orchestra and Choir, conducted by James Shearman.

Orchestrations: Lawrence Ashmore and James Shearman.

Music Editor:  Roy Prendergast.

Tracks 2, 7, 19 recorded at The House of Officers of the Ukranian Army in Kiev.  Music Director: Vitali Khalavtchuk. Track 22 recorded in Plovdiv, Bulgaria.  All other tracks recorded at the Bulgarian National Radio Studio in Sofia.  

Sony Classical SK 64429, 2000.

Rating: ***1/2

Track Titles:

1.   Opening Titles

2.   Farewell Of A Slav (written by Vassily Agapkin)

3.   Arrival In Kiev

4.   Forgive Me

5.   Babouchka

6.   Jeopardy

7.   Smuglianka (music by Anatoly Novkikov/ words by Yakov Chvedov)

8.   The Church

9.   You're Doing It For Us      

10.  Betrayal

11.  Alexei And Olga

12.  The River - Emanuel Ax, pianist

13.  The Race - Emanuel Ax

14.  Madame Bovary

15.  I'll Never Forget You

16.  The Plan

17.  The Cliffs - Emanuel Ax

18.  The Black Sea - Emanuel Ax

19.  Nightingales (music by Vasily Solovyov-Sedoi/words by Alexei Fatianov)

20.  La Mer

21.  You Must Stay Alive

22.  Farewell Tango

23.  The Escape

24.  Freedom

25.  The Land - Anatoly Fokanov, baritone; Bulgarian Mixed Choir

     Patrick Doyle has been known especially for his fine scores for films directed by Kenneth Branagh, particularly the Shakespeare plays: HENRY V, MUCH ADO ABOUT NOTHING and HAMLET.  Doyle has also composed the score for the Oscar-winning 1992 French film, INDOCHINE.  Now he turns his attention to another French film.

     EST-OUEST (EAST-WEST) is a film which the film's director, Regis Warbnier describes as: "the movement, the transmission of that life force from one person to another, from one mind to another, from one country to another."  Doyle himself provides a good synopsis of his main themes in the accompanying CD foldout flyer.

     He writes that the film's main theme "is Marie's which had to be one of struggle but not without hope."  He also explains that Alexei's theme is introduced by "divided celli and violi" (track 11) to reflect his "deeply thoughtful nature.  

     Four of the tracks (12,13, 17, 18) feature a piano soloist, ably performed by well-respected classical artist, Emanuel Ax.  Doyle writes that he used the piano "motor theme to capture Sacha's energy and determination."  These tracks are among the best ones on the soundtrack, full of fiery pianistic passages.

     The quieter tracks are also quite good.  For example, "La Mer," with its continually flowing string sound evoking the sea of its title.  Then there are other colorful tracks, like the sultry "Farewell Tango" and the noble theme for "Freedom."

     The Ukranian choral tracks (2, 7, 19) are very spirited.  Doyle writes he has had "a great love and fascination for Slavic music."  So he has set his own choral selection, "The Land," to close out the CD.  It's a very majestic piece, sung by Anatoly Forkanov with the Bulgarian Mixed Choir, bringing the soundtrack to a poignant conclusion.

     This is a very good soundtrack, composed by a very talented English composer, for a French film filmed in Kiev, Ukraine and Sofia, Bulgaria.  A true multi-national effort and well worth adding to your collection.

--review by Roger Hall, 18 March

Editor's Choice - Best of the Month, February 2000

THE EGYPTIAN (1954)(Total Time = 71:30).  Music by Bernard Herrmann and Alfred Newman.  Score restoration and reconstruction by John Morgan.  Moscow Symphony Orchestra & Choir, conducted by William T. Stromberg.  Marco Polo CD 8.225078, recorded at Mosfilm Studio in March and April, 1998.  Rating: *****

Track Titles:

1.   Prelude (1:40); 2.   The Ruins (0:54); 3.  The Red Sea & Childhood (3:02); 4.  The Nile & Temple (1:24); 5.  *Her Name Was Merit (1:19);  6.  The Chariot Ride (1:22); 7.  Pursuit (0:35); 8.  *Akhnaton - One Deity (1:18); 9.  Taia (1:13); 10.  Party's End (1:58); 11.  Nefer-Nefer-Nefer (7:02); 12.  The Rebuke (3:16); 13.  The Deed (2:20); 14.  The Harp & Couch (1:29); 15.  The Perfection of Love (1:21); 16.  Violence (2:13); 17.  *Valley of the Kings (7:49); 18.  The Homecoming (1:13); 19.  *Hymn to Aton (4:51); 20.  *Sights, Sounds & Smells (0:47);  21.  *Live for Our Son (1:41); 22.  *Am I Mad? (3:30); 23. The True Pharaoh (1:28); 24.  The Tomb (2:44); 25.  The Holy War (0:36); 26.  Dance Macabre (1:35); 27.  *Dream of Merit (4:10); 28.  *Death of Aknaton (5:23); 29.  *The New Pharaoh (1:04); 30.  *Exile & Death (1:47)

* =  cues by Alfred Newman (all other by Bernard Herrmann)        

     Here is yet another in the continuing series of great Golden Age classics by the team of score restorer, John Morgan and conductor, William T. Stromberg.  Their CD of Max Steiner's THEY DIED WITH THEIR BOOTS ON was named one of the Best of 1999.  

     THE EGYPTIAN is a rather unique score since it features a one-time collaboration between two film music giants:  Bernard Herrmann (19 tracks) and Alfred Newman (11 tracks).  Even though these composers had different composing styles, their thematic materials on this score meshed together extremely well.  Since he was then involved with the Irving Berlin musical, THERE'S NO BUSINESS LIKE SHOW BUSINESS, Newman asked Herrmann to do much of the score for THE EGYPTIAN.  As John Morgan points out in his very informative notes, "Newman brought Bernard Herrmann aboard as primary composer after he had developed some of the thematic material for the film, hence some of the Herrmann-composed cues have the notation: 'music developed by Bernard Herrmann from themes composed by Alfred Newman.'" So most of the score was done by Herrmann.  And it's another masterful effort on his part.  

      The opening Prelude is appropriately majestic with heavy use of brass, horns and timpani, plus a chorus.  Typical Herrmann touches can be heard throughout the score.  Such as the low strings and brass opening of track 3, "The Red Sea & Childhood," but then the cue turns more introspective with use of  high strings.  This is somewhat like those thematic ideas used by Newman in THE ROBE.  Another similar example is track 5, "Her Name Was Merit," composed by Newman.  The very next track. "The Chariot Ride," finds Herrmann returning with a vengenance in a theme resembling his main theme for GARDEN OF EVIL, released the same year at THE EGYPTIAN by 20th Century Fox.  Herrmann's chariot ride is an incredibly thrilling trip with intensely jabbing strings offset by horns and deep brass.  Here Prokofiev's magnificent 1938 Russian score for ALEXANDER NEVSKY score comes to mind. 

     There are also softer and more peaceful themes, such as in the lovely "Party's End," in track 10.  The next track continues with a sorrowful string theme leading to an oboe solo evoking the longing that Sinuhe (Edmund Purdom) feels for Nefer (Bella Darvi).  Another beautiful theme is heard in track 14, "The Harp & Couch," which John Morgan writes was originally had a pre-recorded harp part to be fit exactly in the film, while the bass clarinets and violins played while listening through headphones.  Once again Herrmann was well ahead of his time for such innovations.  

     As for the Newman tracks, the most important one is "Hymn to Aton," sung in English in the film and also by the Moscow chorus, although they don't sound too comfortable with Newman's exotic music.  Actually the studio chorus in the film doesn't perform it much better.  The music for this hymn is strongly reminiscent of a song from THE ROBE. The tracks that follow the hymn are not as memorable as the Herrmann ones but they serve their function.  For example, in "Am I Mad?"  This track represents "Akhnaton torn between spirituality and the reality of defense and war" - to use Jack Smith's description.  It is very effectively handled by Newman, slowly moving along in a rather uncertain manner to represent Akhnaton's dilemma.    

     The 28 page booklet begins with Darryl F. Zanuck's famous remark: "Give me width, not depth" - this being the era of CinemaScope.  There's a kind tribute to one of the film's stars, Victor Mature, by Ron Hoares.  Then there are good detailed notes for each track by well known film music critic, Jack Smith.  That is followed by John Morgan's fascinating notes about the score itself, including a page from Herrmann's original Main Title and one of his reconstructions of Newman's "Valley of the Kings" music.  The remainder of the booklet has notes about the conductor and orchestra, plus biographies of Stromberg and Morgan.  There was a very enjoyable interview with both of them, written by Royal S. Brown, in the July/August issue of  Fanfare magazine.

     The CD has excellent sound quality and the Moscow Symphony Orchestra plays quite well under William Stromberg's spirited direction.

     Congratulations to all involved in this important recording of a major score to an unfortunately  mediocre film.  Watch the film and you'll  see that Purdom and Darvi with no acting chemistry at all.  The dialogue isn't much better.  But here is a case where the score far exceeds the worth of the film.  A milestone CD release.  Highest recommendation.

--review by Roger Hall    

ERIN BROCKOVICH (35:10).  Music composed by Thomas Newman.  Album produced by Thomas Newman and Bill Bernstein.  

Recorded by Dennis Sands.  Mixed by Joel by Iwataki and Thomas Newman.

Orchestrations by Thomas Pasatieri.

Music Editor:  Bill Bernstein.

Sony Classical/ Jersey Records SK 89239.

Rating:  **

Track Titles:

1.   Useless; 2.   Xerox; 3.   Pro Bono;  4.   Classifieds; 5.  Annabelle; 6.  On the Plume; 7.  Chicken Fat Lady; 8.  Lymphocytes; 9.  Miss Wichita; 10. Two Wrong Feet; 11. What About You; 12. Redemption Day (performed by Sheryl Crow); 13.  Chromium 6; 14.  Malign; 15. Holding Ponds; 16.  No Colon; 17.  Occasional Tombstones; 18. Xerox Copy; 19. Technically a Woman; 20.  Water Board; 21. 333 Million; 22. Hinkley Reverse Mix; 23.  Every Day is a Winding Road.

     This soundtrack sounds like AMERICAN BEAUTY 2.   It has the same sort of prominent percussion and quirky repeated themes by four time Oscar-nominated composer, Thomas Newman.  Is EB as good as AB?  I'll hold off making my assessment until the end of this review.

     Many years ago, I composed one of my first compositions for a percussion quartet (xylophone, cymbals, snare drum, timpani).  So I do have a fondness for percussion music.  But ERIN BROCKOVICH doesn't have much percussion music to recommend.

       It begins with the same sort of instrumentation and thematic idea as AB.  The theme for "Useless" is very short and not really very memorable.  Listening to "Pro Bono" (track 3), once again I was reminded of AMERICAN BEAUTY, except this time the theme doesn't make much of a dramatic impression.  The some sort of thing applies to other tracks, such as: "Chicken Fat Lady" (track 7) and "Lymphocytes" (track 8), with their repeated motifs just winding up sounding like music filler.  The next track, "Miss Wichita," does have an appealing theme and once again features a solo piano.  But then we're thrown back into the weird sounding stuff again with "Two Wrong Feet" (an ironic title indeed!).

     Unfortunately, this soundtrack becomes very tiresome with its weird sound effects not having much variety to offer.  Perhaps not surprisingly, the piano solos provide the most interest - they're played by Newman himself.     

     The foldout sleeve has the usual color stills from the film and lists the names of the eight featured musicians:  

John Beasley, Fender Rhodes and Wurlitzer; George Doering, Teisco Electric Guitar and 12-String Acoustic Guitar;  Michael Fisher, Tongue Drum (what is that?), Tonga Drum, Tuned Gongs, Whacker Tubes; Rick Cox, High Sustains, Jagged Guitars, Extended Mouthpiece; George Budd, Phonograph (huh?), Mid/Low Sustains; Steve Tavaglione, Bloogle; Bill Bernsteinm 6-String Bass Guitar; and Thomas Newman, piano.           

     If you're a fan of Sheryl Crow, you may like the two songs she sings.  I didn't like either one. Nothing very memorable.  "Every Day is a Winding Road" was especially annoying to me.  Too bad it's one of the longest tracks on the CD.  I would have preferred they leave out these two songs, but then the soundtrack itself was only about 30 minutes long.

     This soundtrack was a big disappointment for me since I think Newman is a very talented composer.  So unless you're a huge of Thomas Newman's film scores or else you want a CD souvenir of the film starring Julia Roberts, I'd say you could skip this one.  Newman has done far better with this type of music, especially on his Oscar-nominated AMERICAN BEAUTY score.  

--review by Roger Hall,  4 April.

For more information about this CD, go to:  www.sonyclassical.com 

Total Time =  57:33.  Music Composed and Performed by John Carpenter, in association with Alan Howarth.  Expanded Edition. Execiutive Producer:  John Carpenter. Produced by Ford A. Thaxton and Alan Howarth.  Release coordination: Ford A. Thaxton, David Stoner, James Fitzpatrick. Digital Editing, Mastering and Transfers by Alan Howarth. Art Direction:  Colin Parker.

Silva America SSD 1110.

Rating: **

Track Titles:

[+ = previously unreleased]

1.   Main Title (3:53) 

2.   +The Bank Robbery (3:30)

3.   "Prison Introduction" (0:20)

4.   Over The Wall/ Airforce One (2:22)

5.   +He's Still Alive/ Romero (2:12)

6.   "Snake Plissken" (1:41)

7.   Orientation (1:47)

8.   "Tell Him" (1:46)

9.   Engulfed Cathedral (Debussy) (3:31) - Pamela Smith, keyboard

10. +Across The Roof (1:14)

11. +Descent Into New York (3:37)

12. +Back To The Pod, Version #1 (1:34)

13.  Everyone's Coming To New York (2:24)

14.  "Don't Go Down There!" (0:19)

15.  Back to the Pod, Version #2/ The Crazies Come Out (2:09)

16.  "I Heard You Were Dead" (0:09)

17.  Arrival At The Library (1:06)

18.  "You Are The Duke Of New York" (0:16)

19.  The Duke Arrives / Barricade (3:35) - Tommy Wallace, guitar

20.  President At The Train (2:28)

21.  "Who Are You?" (0:27)

22.  Police Action (2:27)

23.  Romero And The President (1:43)

24.  The President Is Gone (1:53)

25.  69th Street Bridge (2:43)

26.  Over The Wall (3:42)

27.  "The Name Is Plisskin" (0:25)

28.  +Snake Shake - End Credits (3:58)

     Since I found this film a real turnoff when it was released, I must confess that the synth score by John Carpenter, assisted by Alan Howarth, doesn't do much for me either.  It is unappealing and uninspired just like the film.  Add to this the unnecessary dialogue excerpts and you have a really unappealing soundtrack.  Yet there are some things which can be said in its favor.  

     The soundtrack is an expanded edition and does include 6 previously unreleased tracks.  The sound is good and the production is professionally done.  But as for the score, let me say that...

     It just isn't very good.  The opening Main Title is dull and repetitive.  The first unreleased track, "The Bank Robbery" (track 2), is not much better.  More constant repeated theme and not a very memorable one either.  I could go on but by now you can get my drift.  I didn't much like any of the tracks, including Debussy's glorious "Engulfed Cathedral," which is ruined by the electronic alterations.  And that song parody, "Everyone's Coming to New York," is just laughably bad.

    The foldout booklet has a nice cover photo but the rest is dark and dreary.        

    In Leonard Maltin's Movie & Video Guide, this film is described as: "For a 'fun' film this is pretty bleak."  I'd agree.  Too bad so much time and effort was spent on such an uninspired score.   Maltin's guide gave the film a rating of **

    My rating is the same.  On the back of the foldout there are these two words printed: "Maximum Secuirty."  I felt like I was one of those imprisoned when listening to this soundtrack and that's no fun at all!  I'd pass this one up unless you enjoy hearing such bleak and barren music.    

--review by Roger Hall, 20 June 2000. 

FLASH GORDON (1980) and AMITYVILLE 3-D (1983) (Total Time= 72:00).  Music composed, arranged and conducted by Howard Blake.  Execuitve Album Producer: John J. Alcantar III.  CD Produced by Ford A. Thaxton.    Digitally Mastered by James Nelson.  Digital Transfers by John Beal.  CD Art Direction: Mark Banning.

For Promotional Use Only.  Manufactured by Super Tracks Music Group.

Rating:  ***1/2

Track Titles:

* = themes from "Flash Gordon" by Queen

FLASH GORDON

1.   The Hero* (0:41)

2.   Opening Scenes/ Killer Storm/ Plane Crash (7:15)

3.   Rocket Fight (1:38)

4.   Arrival*/ Mongo Greeting/ Palace Entry/ The Court of Ming (3:59)

5.   Barin and the Hawkmen (3:14)

6.   The Princess/ Dale's Seduction*/ Football Fight (2:13)

7.   Bell and Coffin*/ Zarkov/ Rocket Ship Flight* (3:20)

8.   Flight to Arboria/ Harem (2:06)

9.   Telepathy/ Dale's Drug (2:07)

10. Arboria (0:51)

11. Dale's Fight (1:32)

12. Zarkov and Dale Escape (1:25)

13. Torture/ The Swamp (2:11)

14. The City of the Hawkmen (1:01)

15. Tree Stump Duel/ Beast in the Swamp (6:00)

16. Romantic Reunion (0:27)

17. Duel on the Sky Platform (7:48)

18. Firefight/ Finale: Death of Ming and Flash's Victory (2:37)  

AMITYVILLE 3D

19.  Main Titles (3:20)

20.  Car Death (3:16)

21.  The Boat Dock (3:57)

22.  The Mermaid (2:15)

23.  The Doll (1:08)

24.  Mother (2:27)

25.  The Beast (1:45)

26.  End Titles (3:51)

     This 1980 sci-fi film, based on the famous 1930s movie serial starring Buster Crabbe, is an updated version and stars Sam J. Jones (Flash Gordon), Melody Anderson ( Dale Arden), Brian Blessed (Vultan the Hawkman), Timothy Dalton (Prince Barin), Ornella Muti (Princess Aura), Topol (Hans Zarkov) and Max Von Sydow (as Ming the Merciless).  When the film was released the soundtrack featured rock music by the Queen and a score by Howard Blake.  This new promo CD is the first time the score by Blake has been released by itself.

     The opening theme, "The Hero," is based on a theme by Queen and is short and rather uninspired.  But the next track features some strong brass and strings music for "Killer Storm" and "Plane Crash."   Other tracks also add some nice touches, such as ominous sounding low strings, brass and percussion in "Barin and the Hawkmen."  Another track I especially liked was track 11, "Dale's Fight," with other worldly opening which leads into a catchy repeated plucked string rhythmic theme.  The next track, "Zarkov and Dale Escape," is effectively handled.  Many of the tracks are quite short so not much development is heard.  There are a few tracks which run over 7 minutes but they consist of several different themes which are not developed much.

      The final track for this score brings the film to a dramatic close with a repetition of the Queen opening theme, which is very tame by compared to those outer space scores by Jerry Goldsmith and John Williams.  It depends on your listening interest if you find this soundtrack very appealing or not.  I enjoyed it but didn't find anything particularly outstanding in it.        

     The other soundtrack by Blake is from a third sequel to the original 1979 film, THE AMITYVILLE HORROR.  This third sequel from 1983 has about 20 minutes of some very intriguing music.  It opens with an eerie Main Title theme with a combination of smooth and jagged instrumental writing, and the ever present female voice humming in the background.  Yet it is effectively handled and sounds more dramatic than anything heard in FLASH GORDON.  The rest of the tracks are also creepy and mysterious as the film requires, with a great deal put across with just a few instruments, as in track 20, "Car Death" and track 22, "The Mermaid."  A few of the tracks reminded me of Herrmann's masterful score for OBSESSION, which is a high compliment to Blake.  One such track is track 25, "The Beast," with loud outbursts of  eerie voice with orchestral reinforcement.      

     Of the two scores on the CD, I preferred AMITYVILLE 3D, which I found more staisfying to listen to rather than the somewhat heavy handed FLASH GORDON score.   

     The attractive CD booklet has some color film stills and worthwhile background about the career of Howard Blake, especially concerning his classical concert works.

     Recommended especially to those fans of sci-fi and horror scores.  Good sound and a very good value with well over an hour of music.  Well worth a listen.

--Roger Hall, 25 May 2000

For more information, contact:    www.supercollector.com

FOR YOUR EYES ONLY (1981)(Time= 58:59).  Music composed and conducted by Bill Conti.  Produced by Bill Conti.  Rerelease Produced by Ian Gilchrist and Chris Neel.  Recorded at The Music Centre, Wembley, England.   Remastered by Dr. Toby Mountain.  Rerelease design by Edward O'Dowd.

Ryko RCD 10751.

Rating: ***1/2

Track Titles:

1.  "For Your Eyes Only" - lyrics by Michael Leeson (vocal by Sheena Easton)

2.  A Drive in the Country

3.  Take Me Home (flugelhorn solo by Eddie Blair)

4.  Melina's Revenge

5.  Gonzales Takes A Dive

6.  St. Cyril's Monastery

7.  Make It Last All Night - B. Conti-S. Conti-C. West (vocal by "Rage")

8.  Runaway

9.  Submarine

10.  For Your Eyes Only (flugelborn solo by Derek Watkins)

11. Cortina

12. The P.M. Gets The Bird/For Your Eyes Only-Reprise (vocal by Sheena Easton)

BONUS TRACKS:

13. Gunbarrel/ Flowers For Theresa/ Sinking The St. Georges

14. Unfinished Business/ Bond Meets Kristatos

15. Ski...Shoot...Jump...

16. Goodbye, Countess/ No Head For Heights/ Dining Alone

17. Recovering The ATAC

18. Sub Vs. Sub

19. Run Them Down/ The Climb

     For me, the James Bond series will always be best remembered for two names from the early films:  Sean Connery and John Barry.  Neither this actor nor composer were involved in FOR YOUR EYES ONLY, the 12th in the long running Bond series.  Instead, FYEO starred Roger Moore, with music provided by Bill Conti. who had made his name by scoring the earlier ROCKY I and II.  He was hot at that time so that's perhaps why he was chosen to score FYEO.

     The title song sung by Sheena Easton was the first time that the singer was featured in the title sequence.  It's a decent song and the lyrics by Michael Leeson fit the film's subject well enough. The next few tracks feature some quite varied music.  "A Drive in the Country" manages to incorporate the famous James Bond theme into the background, with keyboards, bass guitar and synthesizers moving forward to accompany the fast car chase in the film.  The third track, "Take Me Home," has a nice laid-back flugelhorn solo by Eddie Blair.  "Melina's Revenge" starts off with a dramatic string theme, then switches over to a funky rhythm chase music with brass and Monty Norman guitar theme thrown in as well.  The other song, "Make It Last All Night," has a vocal by "Rage," and it's used as merely source music in the film.  Not much of a song.  

    On the whole, this may sound somewhat dated with its funky disco rhythms, but it's effectively done and has some appealing tracks.  One example is "Runaway," with its forceful brass and strings accompanying the chase scene.  The use of flugelhorn is especially well handled in this score.  Besides the third track, there is an instrumental version of the song by Berek Watkins.  But why use two different flugelhorn players?  The finale track has a lush string quote of the title song which lead into a formal brass and string fanfare for the P.M. (Janet Brown playing Margaret Thatcher), then Sheena Easton sings the song once again.

    The 7 bonus tracks have about 20 minutes of additional music.  Some soundtrack hounds in the rec.music.movies newsgroup have complained that these are not in the same sequence as the film.  But, as co-producer Chris Neel explains in the booklet, "Eight tracks on this CD are suites comprised of short cues, so it is a little difficult to program the cues in the order of their appearance in the film."  He also explains that some of the bonus tracks "were either cut from the film or incorporated into cues that were kept in the film in different arrangements."  Neel then gives a chronological programming sequence as close to the film as possible.   That's a helpful addition.  Also the bonus track music is worth having since it was in fact originally written for the film.  The sound quality on this CD is very good.

     If you want to read a fascinating description of each Bond score, take a look at the article, "And The Bond Played On" by Andrew Essex in Entertainment Weekly for December 3, 1999.  in his article, Essex explains that the title song was a No. 4 in the U.S. and nominated for an Oscar, but losing to the theme from ARTHUR.  Sheena Easton said about the song: "When we were cutting the vocal, I made the film guys sit outside.  I was 22, terrified. I wouldn't have had the balls to do that now."  She also corrects the notion that she was naked in the title sequence.  "I actually had a white bath towel wrapped around me," she said.  Amazing what rumors and gossip are built up from the Bond films.           

     You'll surely want to add this soundtrack to your collection if you're a Bond music fan. It's the last major soundtrack to become available.  There are a few typo errors on the jewel box (there are two No. 3 tracks listed, and No. 4 is incorrectly printed as "Gonzales Takes A Drive").  But those errors aside, this is a well produced soundtrack in the MGM series on Ryko.

--Roger Hall, 11 May 2000.

For more information, see:  www.rykodisc.com and www.mgm.com

THE 4TH FLOOR (2000)(Time= 34:19).  Music composed and arranged by Brian Tyler.  Executive Album Producer:  Gene Norman. Orchestrations by Brian Tyler and Christopher Lennertz.  Recording Engineer:  Jeff Vaughan.  Music Editor: Michael Nielsen.  Mastered at Tippecanoe Music.  Graphics Direction: Mark Banning.

GNP-Crescendo GNPD 8064

Rating: ***

Track Titles:

1.  Main Titles

2.  Jane

3.  Window Watching

4.   Attack of the Locksmith

5.  The Inside of My Mind

6.   Portcullis Pt. 1

7.   Portcullis Pt. 2

8.   The 1st Window

9.   Eyehole

10. Alice's Dungeon

11. Thought Process

12. Blood on Hands

13. Jane and Collins

14. Belle

15. Movers

16. The Park

17. The Buzzer

18. Collin's Theme

19. Artist in the Window

20. Climactic Battle

21. End Titles

     With such a dark film one would expect an equally dark score.  And that's what we get from composer Brian Tyler.  The film was made for HBO and stars William Hurt and Juliette Lewis.  It has been described as "a thriller that harkens back to the days of Hitchcock."  

     One of the most used ethnic instruments these days is the Middle Eastern duduk.  It was used very effectively in GLADIATOR (named Best of the Month for May).  This ehtnic instrument is first heard in the background during the opening Main Titles, with a dark string theme setting the stage.  In the next track, "Jane," the duduk (player unidentified) is the solo instrument and provides a most haunting sound to go along with the drum rhythms and strings.  The duduk is also used effectively in the really menacing track, "Attack of the Locksmith."  With "Portcullis Pt. 1 and 2," there is an abundance of percussion used in overlapping fashion, as Jason Comerford mentions in his CD notes.  Comerford also writes that this film "is a story with otherworldly, horrific elements, yet it's a film with an emotional backbone."   Then he compliments the composer when he writes: "Such a backbone provides Tyler with the opportunity to lace the scares with real emotional content, and he he does not disappoint."  

     Too bad there isn't a bit more relief from the scary moments in the score. One track which is lighter is "Belle" which is dancelike and breezy.  This soundtrack is also on the short side with just over 30 minutes of music.  The use of the duduk seems somewhat overdone as well.

     The CD booklet has notes by Comerford and the film's director, Josh Klausner.        

     Don't listen to this soundtrack alone in the dark.  It's really very scary stuff!  Good for chills but not much for emotional depth.

--Roger Hall, 26 May 2000

For more information, contact:  www.gnpcrescendo.com

GALAXY QUEST (Total Time = 49:19).  Original Motion Picture Score.  Music composed and conducted by David Newman.  Album produced by David Newman and Ford A. Thaxton.  Executive Album Producer:  John J. Alcantar III. Orchestration: Alexander Janko.  Digitally edited and mastered by James Nelson.  Promo CD. Rating: ***

Track Titles:

1.  GALAXY QUEST: The Classic TV Theme; 2.  Prologue: GALAXY QUEST clip; 3. Pathetic Nesmith; 4. Revealing The Universe; 5.  Meet The Thermians; 6. The NESA Protector; 7. Crew Quarters and The Bridge; 8.  The Launch; 9.  Serris Tortures Captain; 10.  Red Thingie, Green Thingie; 11. Shuttle To Planet; 12. Trek Across The Planet; 13. Rolling Sphere; 14.  Pig Lizzard; 15.  Rock Monster; 16.  "Digitize Me, Fred!"; 17.  "I'm So Sorry"; 18. Flight Episode #17; 19.  Hallway Sneak; 20.  Alex finds Quelick; 21.  Omega 13/Heroic Guy; 22.  Big Kiss/Happy Rock Monster; 23.  Quelick's Death; 24.  The Battle; 25.  Mathazar Takes Command; 26. Serris Kills Everybody; 27.  "Goodbye, My Friends"; 28. Crash Landing; 29. Goodbye, Serris; 30.  The New GALAXY QUEST.

     This promo CD opens with the theme from the imaginary '70s TV series, GALAXY QUEST.  The actors from that series, while at a fan convention, are suddenly transported to an alien world to help them fight a war against their enemies.  As the CD insert tells the story: "With no script, no director, and no clue about real interstellar travel, the make-believe crew of the Protector has to turn in their performances of their lives to beome the heroes the aliens believe them to be."   This sci-fi comedy stars Tim Allen, Sigourney Weaver and Alan Rickman.

     David Newman manages to create a score that sounds like it might belong in the '70s decade of the TV series, while also apparently paying homage to John Williams (use of a wordless chorus and rapidly repeated rhythmic motifs) and to Jerry Goldsmith - STAR TREK anyone?   

     The soundtrack consists mostly of short cues (no timings are listed on the jewel box), many featuring the main theme from the TV series.  Unfortunately, this main theme appears too often and at times is too shrill sounding, like in track 10, humorously titled: "Red Thingie, Green Thingie."  But the main theme isn't always so overwrought.  For example, in track 7 ("Crew Quarters and The Bridge"), it opens with another theme then slowly brings in the TV series theme in the horns and then the strings.

     There are some quieter tracks too.  One of these is track 17, "I'm So Sorry," featuring a nice piano solo.  But then in the next track ("Fight Episode #17), we're back to the driving rhythms and the main theme is quoted yet again.

     Use of the unidentifed humming background chorus is also overdone.  They appear on too many tracks.  When they don't appear, the orchestra seems to be blasting forward (pun intended!) with too much force.  Sound quality is okay for a promo CD.  Attractive art design on the CD color insert and jewel box.

     If you really enjoyed the GALAXY QUEST film or if you're a fan of loud sci-fi scores, you might want to get this soundtrack. Otherwise, I'd pass on this one.  It's just a decent score with nothing special to offer.        

--review by Roger Hall, February 2000 

For more information, go to the official website:  www.amazon.com/galaxyquest  or to the unoffical site:  www.galaxyquest.com 

This CD is available at the usual web outlets.

Artwork by Elena Manzo.

Pacific Time Entertainment PTE 8524.

Rating: **

Track Titles:

1.   Giovanni Falcone (3:28)

2.   Maxi retata (The Big Dragnet) (1:50)

3.   Omicidio del Generale Dalla Chiesa (Murder of General Dalla Chiesa)(0:40)

4.   Attentato (Attempt)(1:40)

5.   Notte a Palermo (Night in Palermo)(2:25)

6.   Il carcere (The Jail)(0:46)

7.   Senza liberta (No Freedom)(4:00)

8.   Operizone in corso (Operation in Progress)(0:54)

9.   Partita a scacchi con la morte (Chess Game with Death)(2:24)

10. La vita (The City)(1:17)

11. La cupola (The Council)(1:19)

12. Indagine (Investigation)(1:53)

13. Punta Raisi (Point Raisi)(2:46)

14. Attesa (Wait) (1:52)

15. U' Dottore (The "Doctor")(1:14)

16. Politica e mafia (Politics and Mafia)(1:48)

17. La morte di Francesca (Death of Francesca)(2:24)

18. Omicidio Cassara (The Murder of Cassara)(2:01)

19. Filo rosso (Red Thread)(1:04)

20. Paolo Borsellino (1:19)

21. Capaci (1:17)

22. L'indagine continua (The Investigation Goes On)(1:40)

     This soundtrack provides a complement to ERIN BROCKOVICH in that it's titled after its main character.  But like EB, this soundtrack doesn't have much to say.

      The opening track begins with some mysterious electronic sounds and added vocal which eventually leads into a rapidly repeated motif and then the orchestra joins in.  Is it memorable or even particlarly appealing?  Not really.  But it does have some of Pino Donaggio's stylistic elements using held string chords with a solo flute and harpsichord to accomplish the desired effect.

      Parts of the score are somewhat reminiscent of Donaggio's brilliant score for DRESSED TO KILL from 1980.  They are mostly the driving string themes in such tracks as "The Big Dragnet" and "The City."  Unfortunately too many of the tracks are short and don't seem to connect very well.  They also sound like the type of music heard in countless television mystery movies. Nothing very significant.

     Like so many soundtrack releases these days, the foldout sleeve has no information about the film itself, only movie stills and track titles - which are hard to read since they are printed over a color movie still.

     Unfortunately, this soundtrack has little out of the ordinary to recommend it.  You may want to get it if you're a diehard Donaggio fan.  Otherwise I can't say it's a necessary purchase.

--review by Roger Hall, 4 April    

Also available from Pacific Time Entertainment are two medicore scores by Nicola Piovani, who won an Oscar for the Roberto Benigni hit, LIFE IS BEAUTIFUL:

IL CAMORISTA (PTE 8520) - **

CARO DIARIO (DEAR DIARY) (PTE 8523) - **

To find out more about them, go to:  www.pactimeco.com 

Editor's Choice - Best of the Month, May 2000

GLADIATOR (2000)(Time = 61:31).  Music composed and arranged by Hans Zimmer and Lisa Gerard.  Score Produced by Hans Zimmer and Klaus Badelt.  Additional Music and Arranging by Klaus Badelt.  Scored recorded at Air Lyndhurst. London, England.  Performed by The Lyndhurst Orchestra, conducted by Gavin Greenaway. Score recorded and mixed by Alan Myerson.  Additional recording by Slamm Andrews. Music Supervisor and Editor: Mark Smalley.  Temp Music Editor: Dashiell Rae.

Decca 289 467 094-2.

Rating: ****

Track Titles:

* = written by Lisa Gerard

+ = written by Lisa Gerard and Klaus Badelt

** = written by Hans Zimmer, Lisa Gerard and Klaus Badelt

++ = written by Hans Zimmer and Djivan Gasparyan

1.   Progeny (2:13)

2.   The Wheat* (1:03)  

3.   The Battle (10:02)

4.   Earth (3:01)

5.   Sorrow* (1:26)

6.   To Zuccabar++ (3:16)

7.   Patricide (4:08)

8.   The Emperor is Dead+ (1:21)

9.   The Might of Rome (5:18)

10. Strength and Honor (2:09)

11. Reunion+ (1:14)

12. Slaves to Rome (1:00)

13. Barbarian Horde (10:33)

14. Am I Not Merciful? (6:33)

15. Elysium+ (2:41)

16. Honor Him (1:19)

17. Now We Are Free** (4:14)

     At first glance, this seems like a score composed by a committee.  There are four names associated in some way with the score.  Hans Zimmer and Lisa Gerard are credited with writing most of the score, while Klaus Badelt has done additional music and arranging, and Djivan Gasparyan has contibuted one track.  But somehow it all fits together quite nicely.

     The film is a co-production of Dreamworks and Universal Pictures, and stars Russell Crowe and Joaquin Phoenix.  The film's story is set in the Roman Empire in 180 A.D.  It was directed by Ridley Scott, known for such popular films as ALIEN and BLADE RUNNER.  This film is quite different from his previous work, hearkening back to the sword and sandal epics of the 1950s and 60s.

     German born, Hans Zimmer, has become a well respected film composer, with six Oscar nominations and an Academy Award for his score to THE LION KING.  Lisa Gerard is from Australia and in 1999 she received both Oscar and Golden Globe nominations for her first score, THE INSIDER. This is her second film score credit.  She worked with both Zimmer and Klaus Badelt on the score.  They make a good team of musicians and didn't have to fight in the Roman arena either - or maybe they did to get the music they wanted!.

     The opening track, "Progeny," is quite mysterious sounding, beginning with just a few instruments playing.  One of the most exciting tracks is the 10 minute cue for "The Battle," with echoes of other great heroic themes from the past, both in films and the concert hall (especially "Mars" from Gustav Holst's THE PLANETS).  This track has a repeated rhythmic figure which increases to a high level of intensity in the orchestra, with emphasis on solo brass instruments. Following that track are much quieter ones for "Earth" (lovely theme using solo trumpet, cello and other instruments) and "Sorrow" (featuring a beautiful vocal by Gerard).  Track 6 has another quiet theme, with a Middle Eastern instrument called a duduk, played beautifully by Djivan Gasparyan.  Besides Gerard and Gasparyan, the other solo performers are:  Heitor Pereira, guitars; Tony Pleeth, cello; and Maurice Murphy, trumpet.

    The moving vocals by Lisa Gerard are used mostly for the more reflective cues, such as "The Emperor is Dead" and "Elysium."  Her vocals add an appropriate touch of pathos to this Roman epic.

     Another highly effective cue is track 9, "The Might of Rome," with stately brass, strings and percussion, and chorus used to symbollize the power of that city in 180 A.D.  This is one of the best tracks on the CD.  The longest track, "Barbarian Horde," is also quite well handled.  It begins with subdued strings and gradually builds up into another exciting sequence, reprising the theme from "The Battle."  One of the most moving cues of all is track 14, "Am I Not Merciful?"  This features a beautiful string theme, somewhat reminiscent of the elegiac themes of Ralph Vaughan Williams and William Walton.  This track ends with a very forceful choral passage. The final track, the only one by Zimmer, Gerard and Badelt, brings this soundtrack to a truly inspiring conclusion.  Lovely stuff.      

    The Lyndhurst Orchestra, probably made up of free-lance musicians for the recording, play extremely well, under the fine direction of Gavin Greenaway.  Sound quality is excellent.

     Some soundtrack collectors are reluctant to praise Zimmer for his film score work, since he has been associated with such popular films as RAIN MAN and AS GOOD AS IT GETS.  I think that's unfair.  Zimmer, Gerard and Badelt, all deserve high praise for this most enjoyable soundtrack.   The soundtrack has got both riveting excitement and deeply emotional content.  I think it fulfills its mission admirably and I recommend it highly.  

---Roger Hall, 12 May 2000.                 

For more information, go to:  www.gladiator-thefilm.com and www.universalclassics.com

GODZILLA 2000

Total Time = 58:38.  Original Motion Picture Soundtrack.   Music by Takayuki Hattori.  Original Theme by Akira Ifukube.  Executive in Charge of Production: Gene Norman.  Executive Album Producer: Neil Norman.  Digitally Mastered by Charlie Watts. Art Direction and Sequencing by Mark Banning.  Liner Notes by David Hirsch.

GNP Crescendo GNPD 8065.

Rating: ***

Track Titles:  

1.  Godzilla Roars/ Godzilla's Theme: 2000 Millennium (2:38)

2.  Godzilla 2000: Millennium Main Title (3:47)

3.   The Giant Tail (0:26)

4.   Face to Face with Terror (1:08)

5.   Inches from Disaster (0:47)

6.   Godzilla Appears in Nemuro (3:27)

7.   Deep at Sea (1:53)

8.   Sixty Million Year Slumber (1:55)

9.   The Object from Outer Space - Bizarre Happening #1 (1:02)

10.  The Self-Defense Force Swings Into Action (1:41)

11.  Lauching the Full Metal Missile (0:57)

12.  The Object from Outer Space - Flight (0:50)

13.  Godzilla Sound Effects (0:13)

14.  Godzilla Comes Ashore (0:31)

15.  The Encounter with the Mysterious Object (2:20)

16.  Eerie Silence (2:20)

17.  The Wonder of G Revealed (1:57)

18.  The Object from Outer Space - Bizarre  Happening #2 (1:16)

19.  UFO Effects (0:26)

20.  Giant UFO Approaching (2:48)

21.  Off to Shinjuku (0:27)

22.  Earth Invasion (2:18)

23.  Before the Explosion (3:00)

24.  Millennium (0:19)

25.  Thinking of My Dad (0:47)

26.  21:10 (0:46)

27.  The Millennium Kingdom (2:03)

28.  Miraculous Survival (0:47)

29.  Extraterrestrial Life: The Birth (2:13)

30.  Tensions on the Rise/ The Metamorphosis (0:40)

31.  Astonishing Resurrection (1:52)

32.  G's Decision (0:45)

33.  Orga: Irony of Fate (1:01)

34.  End Title: Godzilla - Dreaded God (4:39)

35.  Godzilla and Orga Sound Effects (0:31)

36.  Godzilla's Theme (2:32) - Akura Ifukube

     First, the disclaimer.  I am only reviewing the soundtrack CD without seeing the film (which doesn't open until August).  Why do some record companies release soundtracks well before the film opens and others release them long afterwards?  Who knows what goes on in the minds of record execs?  I'll also confess that I've never been a fan of the GODZILLA films, which seem to keep on coming from the Toho Studio in Japan.  But I must say that this score by Takayuki Hattori was a pleasant surprise for me. 

     The film opens with the now famous sound of the giant lizard ("Godzilla Roars") and then moves into the main theme of the score and it's a good one.  It does remind me of some cheesy old '50s sci-fi flicks, where the main theme is repeated over and over again.  Of course the first GODZILLA film was released in 1955, so perhaps that was the intention.  The original theme from that 1955 film by Akira Ifukube is heard on the last track of the CD.  

    While this soundtrack has a very good main theme, it does return too many times without much variation.  For example, the main theme is heard in track 6 ("Godzilla Appears in Nemuro") without much alteration from its original statement, but then there is a repeated string theme (sounding a lot like Philip Glass).  Interesting, but not very original.  The use of choral and electronic effects has been done so many time by now that it's become annoying.  

    In his notes, David Hirsch mentions that Hattori "successfully mixes his trademarked wind instrument-driven orchestration with electronic and choral effects that result in powerfully dramatic motifs."  That may be so, but it does become overdone and lacks many "powerfully dramatic motifs."   Fortunately, there are a few quiet moments, like track 17 ("The Wonder of G Revealed"), which provide some needed contrast.    

    The sound is often too cramped, but it's adequate.  The CD booklet is well designed, with some nice color photos.  However the track titles are printed in green over a blazing orange background which makes them very hard to read.  When will designers learn that we want to read the notes and track titles, NOT just look at pretty pictures!   Oh well, perhaps this soundtrack is aimed at just the youth market.

    If you're a GODZILLA fan or enjoy a good sci-fi soundtrack then you'll probably enjoy this one.

--review by Roger Hall, 30 June 2000.

For more information, go to:  www.gnpcrescendo.com        

For Promotional Use Only.  Manufactured by Super Tracks Music Group - JBCD 01.   

Rating: ***1/2

Track Titles:

1.   Main Title/ A Nasty Headache (2:10)

2.   The Flying Lesson (1:17)

3.   Look Out Charlie/ A Hurried Exit (2:10)

4.   Onto Waziri/ Khan (1:27)

5.   Escape from Waziri/ Eve and Struts (3:18)

6.   On to India/ Arrival in Katmandu/ Souls Approaches (4:25)

7.   The Dogfight/ Journey to China/ Any More Surprises/ The General's Cannon (6:11)

8.   You'll Get Your Money/ One Eye Open (3:06)

9.   Raid on Chang's Camp/ Finale/ End Titles (7:20)

BONUS TRACKS:

10.  Mohamet's Dance (1:43)

11.  Waziri Source (2:57)

12.   Salon Source* (2:57)

13.   Charleston++ (1:27)

14.   Love Me Tender* (3:55)

15.   When the Saints Go Marching In* (2:14)

16.   Jeanie* (2:23)

17.   Mill Stream* (2:29)

18.   Revelry*(2:12)

19.  Swinging at the Riverside* (1:49)

20.  Allemande from the Bach French Suite* (3:30)

         * = arranged by Al Woodbury

       ++= "composed by Jimm Johnson and Cecile Mack"

     This movie marked the screen debut of Tom Selleck, famous for his TV series, MAGNUM P.I.  Also starring in the action film taking place around 1920 were Bess Armstrong, Robert Morley,  Michael Sheard, and Jack Weston.  The film was directed by Brian G. Hutton, who had worked on WHERE EAGLES DARE and KELLY'S HEROES among other films.  The film was not well received by the critics but there was one surefire audience pleaser:  Tom Selleck.  And for film music fans there was another one:  John Barry. This soundtrack was formerly released by Southern Cross in 1990.  The original issue was a limited edition of 2000. With this new composer approved promo CD, there is a more music provided in the bonus tracks, most of them used as source music.     

     Like his Academy Award-winning score to OUT OF AFRICA, this is another of Barry's lushly romantic sounding scores.  It provides a most enjoyable listen.  

     Barry opens with one of his beautiful Main Title themes, which oddly reminded me of "Mr Lonely," a hit song for Bobby Vinton in 1964.  Pure coincidence I'm sure.   As with other Barry scores of the 1980s and 90s, there is heavy use of horns and strings which provide magical Barry blasts of beautifully blended instruments.  This is a highly enjoyable score to a very mediocre action film.  Many of the tracks are quite appealing.  For example, in track 5, which begins with brass fanfare and leads to a forward spiraling string theme, accompanied by horns to depict the "Escape from Waziri."  The Main Title theme is used quite a few times in the soundtrack but it never really wears out its welcome since it's such a memorable melancholy one.  Barry has given us some of the most beautiful film themes over the past few decades.  And the one featured in HIGH ROAD TO CHINA is certainly one of his loveliest.  Too bad the rest of the score is not quite as good.     

    There are 11 bonus tracks.  The first two tracks use ethnic instruments.  The remaining 9 tracks have pop song and classical themes nicely arranged by Al Woodbury.  They add a completeness to this score which wasn't included on the earlier Southern Cross CD.  Also the sound is better, though the horns occasionally protrude too much in the orchestral blend.    

    The CD booklet has a brief description of the film by Royal S. Brown, and a note from Tom Selleck, who writes that Barry's score "is truly a musical adventure which enhances the spirit of the picture."  That it does - in spades!

    For Barry fans, this promo soundtrack is a must have.  Anyone else who has enjoyed Barry's more romantic side (apart from the James Bond flicks) should consider getting this most enjoyable CD.  A very good production and most welcome release.

--Roger Hall, 26 May 2000         

For more information, contact:  www.supercollector.com     

ISN'T SHE GREAT (Total Time = 39:15).  Music composed and conducted by Burt Bacharach.  Album produced by Burt Bacharach.  Associate Album Producer: Todd Kaskow. Executive Producers: Gary Jones, Mike Lobbell, Andrew Bergman.  Song lyrics by Hal David.  Decca CD 289 466 981-2.  Rating: ***

Track Titles:

1.   "On My Way" - performed by Dionne Warwick

2.   Love Theme (The Falling in Love)

3.   Lunch at Lindy's

4.   Guy's Theme (Wordless)

5.   Mass Love

6.   Sexual Me, Sexual You

7.   Yes, They Said Yes!

8.   The Big Pitch

9.   Are You My Friend?

10. Hello Connecticut

11. For Mimsy

12. Heartache Revisited

13. The Book Tour (On My Way - Reprised) - performed by Dionne Warwick

14. About Expectations

15. The Late Lunch

16. Victory At A Price

17. Open Your Heart - performed by Vanessa Williams    

     Throughtout the 1960s, Henry Mancini and Burt Bacharach were the most popular film songwriters.  Mancini received two Oscars for BREAKFAST AT TIFFANY'S and its enormously popular song, "Moon River"; and one Oscar for "Days of Wine and Roses" from the film of the same name.  Both Oscar winning songs had lyrics by the great Johnny Mercer. On the other hand, Bacharach received two Oscars in 1969 for BUTCH CASSIDY AND THE SUNDANCE KID and also the song in that film: "Raindrops Keep Fallin' On My Head." The lyricist was Hal David.

     For ISN'T SHE GREAT, Bacharach has teamed up with his old lyricist pal. Besides "Raindrops," Bacharach and David were also Oscar nominated for "What's New Pussycat?" from 1965, for "Alfie" in 1966, and my personal favorite: "The Look of Love" from CASINO ROYALE in 1967.  Any of these songs are better than the two featured in ISN'T SHE GREAT.

     Listening to this new release is like going back in time to the 1960s, which is where the story takes place.  The film is about the flamboyant sleaze writer, Jacqueline Susann (played by Bette Midler) and her husband, Irving Mansfield (Nathan Lane).  Others in the cast are:  Stockard Channing, David Hyde Pierce, Amanda Peet, and the funny former Monty Python member, John Cleese.  

     It was in 1966 that Jacqueline Susann's novel, Valley of the Dolls,  shocked people with its frank portrayal of women in show business. So the main song in ISN'T SHE GREAT, "On My Way," seems to fit the story quite well.   The song is performed twice on the CD, on track 1 (3:15) and track 13 (5:36 - expanded version with other music), compellingly sung by the incomparable Dionne Warwick.  The song is vintage Bacharach-David, seemingly sunny and lighthearted but really rather ironic. This is a memorable song, but it isn't as good as their previous 1960s hit songs. The other song in the film, "Open Your Heart," is more contemporary sounding, dreamily sung by Vanessa Williams. But it's less appealing than the Dionne Warwick song.

     The other 15 tracks on the soundtrack CD have some nice touches in Bacharach's typically light and jazzy style.  The Love Theme (from the song "Open Your Heart") sounds too sweet for my taste.  The very next track, "Lunch at Lindy's," has a delightful jazzy theme which is whistled by Rick Riccio and accompanied by a jazz-rock combo.  On track 5, "Mass Love," the music sounds like it comes from a 1970s disco club, complete with saxes that sound like car horns!  And this music is repeated on track 10, "Hello Connecticut."  On track 6, "Sexual Me, Sexual You," what pure undiluted '60s Bacharach smooth sultry stuff!   This same theme is repeated on track 11, "For Mimsy."  So the short film score on this CD has too many repeated themes.  The other tracks didn't have much to offer. The foldout flyer has lots of color film stills and the track titles, but nothing else.

      Worth picking this up if you're a hopeless fan of Bacharach's seductive romantic  music.

--review by Roger Hall, February 2000 (All Rights Reserved)             

Editor's Choice - Best of the Month, April 2000

 JESUS - The Epic Mini-Series (50:17).  Music composed and conducted by Patrick Williams.  Produced by Patrick Williams.  

Recorded and Mixed by Charles Pollard.  Recorded at Studio X, Seattle, Washington.

"Pie Jesu" composed by Andrew Lloyd Webber.  Orchestrated by David Cullen and Andrew Lloyd Webber.

Angel/ Sparrow Records 7243 5 56984 2 1.

Rating: ****

Track Titles:

1.   Main Title (2:54)

2.   Joseph Dies (2:35)

3.   Searching For Jesus (2:36)

4.   Temple, The Early Days (2:38)    

5.   Healing The Sick (3:09)

6.   Zealots (1:51)

7.   Walking On Water (2:50)

8.   Raising Lazarus (2:59)

9.   Jesus Arrives (1:27)

10.  The Last Supper (3:53)

11.  Satan (5:18)

12.  Gethsemane (1:25)

13.  Taken To Pilate (1:57)

14.  Pie Jesu (Andrew Lloyd Webber) - performed by Sarah Brightman, Paul Miles-Kingston, and Winchester Cathedral Choir, conducted by Loren Maazel (3:53)

15.  The Passion (1:53)

16.  The Crucifixion (4:17)

17.  Jesus Has Risen (2:26)

18.  I Am With You (1:58)

     What a pleasure to hear a soundtrack that hearkens back to the legendary Biblical epic scores of Newman and Rozsa.  Patrick Williams has composed a bold and beautiful score for the four hour television mini-series which will be shown in the US, beginning on May 14.  For those unfamiliar with Patrick Williams (b. 1939), he has been a classical composer, jazz composer, arranger and bandleader, as well as writing for movies and television.  He has composed or arranged about 65 film scores including BREAKING AWAY (1979 - Oscar nomination); SWING SHIFT and ALL OF ME (both 1984).  He also wrote themes for many television series, including "The Streets of San Francisco"; "Lou Grant"; and "The Mary Tyler Moore Show."  

     The opening Main Title for JESUS is as it should be - mystical and memorable.  It will appear again in other tracks as well, such as "Jesus Arrives."  The use of brass and strings is especially well handled in such dramatic tracks as: "Temple, The Early Days" (incorporating vocalise) and "Zealots" (robust rhythmic orchestral writing).  There are also more subdued tracks, such as the moving scene, "The Last Supper."  The most dramatic scenes of all are for "The Passion" and "The Crucifixion" (where once again the Jesus Main Title is heard).  These are bold and powerful themes.  

     The violin passages in this soundtrack remind me of Alfred Newman, who was a master at this kind of spiritual writing, which some critics dismissed as merely using "Christ chords." In fact, the prominent use of strings, have a long tradition in religious works by Bach, Beethoven, Haydn and other classical composers.  

     There are also other sound combinations used very well in JESUS.  One example is the appropriately eerie instrumental combinations in the cue titled, "Satan." A most effective sound cue, without the overdone effects that often accompany such depictions of the Evil One.  The Main Title theme emerges once again, played by solo trumpet.                       

    The one drawback for me was Sarah Brightman's singing of "Pie Jesu."  I've never cared much for her strangely muffled voice, which sounds like someone with a bad cold.  But she is very popular these days, so if you like her, you'll be happy to have it included.  I do think this is one of Andrew Lloyd Webber's most beautiful pieces, taken from his Requiem.  

     The last two tracks accompany the end of this great and wonderful story, with "Jesus Has Risen" and "I Am With You."  The Main Title theme is heard for a last time (both in solo trumpet and other instruments), as if to summarize this famous story of the Son of God.  

     As Jon Burlingame has written in his short booklet notes, "Patrick Williams has created a masterwork that not only serves the film for which it was written but proves a richly compelling listening experience on its own."  I totally agree with this assessment.

     It's not fair to compare JESUS to past Biblical scores by Newman (THE GREATEST STORY EVER TOLD) and Rozsa (BEN-HUR), but I would say that Williams has composed a score that's in the same league as those great film score masters.

     Patrick Williams is to be commended for producing such an inspiring soundtrack.  This CD is definitely worth adding to your collection.  Highly recommended to all who want to hear a great film score.

--review by Roger Hall, 5 April       

For more information, go to:  www.emiclassics.com    

JOURNEY OF MAN (2000)(Total Time =46:23).  Music from the Motion Picture composed by Benoit Jutras.  Orchestrator/Conductor: Redford Music, Inc.  Produced by Rob Heaney and Benoit Jutras.  Executive Producer: Peter Wagg. Executive CD Producer: Paul Cremo.  A&R Coordinator: Rosemary Holland.  Music Editor: Allan K. Rosen.  Scoring Mixer: Armin Steiner.  Remixed by Rob Heaney.

Sony Classical SK 89097.

Rating: ***

Track Titles:

1.   Journey of Man (3:46) - performed by Roxane Potvin

2.   Overture (1:01)

3.   Taiko (1:41) - performed by The Tribe from Cirque du Soleil's Mystere

4.   Birth (4:14)

5.   The Forrest (3:41) - performed by Toumany Kouyate

6.   In the Beginning (5:03)

7.   Youth (4:50)

8.   Flying (1:41)

9.   Reveil (7:19)

10.  Banquine (5:05)

11.  Journey to Fear  (5:02)(instrumental)

12.  Trip Hop (2:59)

     This soundtrack is from the acclaimed Cirque du Soleil's new 3D/2D large format film, JOURNEY OF MAN, directed by Keith Melton.  The story, written by Peter Wagg, Andre Picard, Antoine Compin and Charles Horton,  concerns the stages of human development from birth to maturity and was filmed at many natural and historic landmarks in different parts of the world. With such a variety of locales, it isn't surprsing that so much of the soundtrack should consist of world music elements.  The score is by Canadian composer, Benoit Jutras, who has been affiliated with Cirque du Soleil since 1987.  The famous circus company was founded in 1984 in Quebec.  Its mission is "to invoke, provoke and evoke the imagination, the senses and the emotions of people around the world."  This soundtrack is a good example of that worldwide view.

     It opens with the title song, lyrics by Sandra Botnen and Keith Melton.  The song is sung by Roxane Potvin, who like so many of today's power singers are more interested in their cool vocal sound than in their clear diction.  In this case it doesn't matter much because the lyrics are very mundane.  The music by Jutras is more satisfying and he gives the title song fuller elaboration in the powerful instrumental version on track 11 (which also includes a bit of the vocal version).  In track 3, the drumming "Taiko" is traditional music adapted by Pierre Dube.  One of the most inspiring themes in this score is found in track 4, "Birth," which opens with harp and cello playing a sort of lullaby theme and gradually it expands to piano, chorus and full orchestra.  The next track, "The Forest," is performed by Toumany Kouyate and adds some tasty ethnic flavor to the CD world music soup. Both track 7, "Youth," and track 8, "Flying," offer an bold mixtures of choral and orchestral seasonings. Then in track 9, "Reveil," there is an opening simple solo voice which switches abruptly to a more mysterious and dramatic theme for piano and strings, before closing with chorus and orchestra.  I didn't care much for "Banquine" (track 10) which crams too much world music into the mix.  The last track, "Trip Hop," has chorus, ethnic and rock instruments joining in to end this evolutionary  journey on a theme of abruptness and uncertainty.  Unfortunately, several of the most appealing tracks also have abrupt endings which makes them unsatisfying as a listening experience. 

     The color foldout has some attractive film stills and pertinent information about the CD production, plus information about the long-term partnership with Oxfam for a project called "youth at risk" (does that include hearing loss from listening to loud rock music?).       

     Will you enjoy this soundtrack?  That depends on your interest in ethnic or world music.  For those in search of the unusual or for fans of Cirque du Soleil, this soundtrack should be a welcome departure from many of today's formula Hollywood film scores.  Good sound and CD art design.  An enjoyable soundtrack filled with a wide range of  world music by Jutras.

--Roger Hall, 26 May 2000                         

For more information, go to:  www.sonyclassical.com or www.cirquedusoleiljourney.com

THE LEGEND OF 1900 (Total Time = 57:41).  Original motion picture soundtrack. Music composed, arranged by Ennio Morricone.  Accademia Musicale Italiana, conducted by Ennio Morricone.  Sony Classical SK 66767.  Rating: ***1/2

Track Titles:

1.   1900's Theme (1:38)

2.   The Legend of the Pianist (8:04) - Fausto Anzelmo, viola; Gianni Oddi, soprano sax

3.   The Crisis (2:47) - Gilda Butta, piano

4.   The Crave (Jelly Roll Morton)(1:46) - Amedeo Tommasi, piano     

5.   A Goodbye to Friends (2:33) - Gianni Oddi

6.   Study for Three Hands (1:00)(E. Morricone & A. Tommasi) - Gilda Butta

7.   Playing Love (4:26) - Gianni Oddi; Cicci Santucci, trumpet

8.   A Mozart Reincarnated (1:58) - Gilda Butta

9.   Child (2:45)

10. 1900's Madness #1 (E. Morricone & A. Tommasi)(2:14) - A. Tommasi

11.  Danny's Blues (A. Tommasi)(2:09) - A. Tommasi, piano

12.  Second Crisis (2:03)

13.  Peacherine Rag (Scott Joplin)(2:37) - Alexander Ragtime Band

14.  Nocturne with No Moon (2:41) - Gilda Butta 

15.  Before the End (1:11)

16.  Playing Love (3:03) - Gilda Butta

17.  I Can and Then (2:17)

18.  1900's Madness #2 (E. Morricone & A. Tommasi)(1:48) - A. Tommasi

19.  Silent Goodbye (1:37)

20.  Ships and Snow (2:29)

21.  Lost Boys Calling (music: Ennio Morricone; lyrics: Roger Waters)(5:19) - Roger Waters, vocal/ guitar solo by Edward Van Halen

     From the director and composer of the 1988 sensation, CINEMA PARADISO, here is their latest effort.  Unfortunately it doesn't quite measure up to their earlier success.  The film is THE LEGEND OF 1900, a fable written by director, Giuseppe Tornatore.  The composer is the very prolific Ennio Morricone.  Having seen this "fable," I have to say that the music is far superior to the unsuccessful film.

     Morricone has once again written a very melancholy score, like his superb earlier one for ONCE AGAIN IN AMERICA.  The rather ridiculous story concerns a baby who is mysteriously found abandoned aboard an ocean liner and because of the year is named "1900." Somehow by observing the pianist on the ship, the young 1900 becomes a piano virtuoso. What luck!  One of t