THE MUSIC BUFFS WEB PAGES

         FILM MUSIC REVIEW

    CD Reviews - Compilations ( January-June 2003)

Scroll down the page to read the reviews.  

If you have any comments or questions, write to:

 Film Music Review

Please keep FMR up and running by ordering a copy of A Guide to Film Music or order something from Amazon.com (see Bookshelf Search below)

Scroll down this page to read all the CD reviews...  

Help Support FILM MUSIC REVIEW.

Order Your Copy Now, While Supply Lasts!

A Guide to Film Music - Songs and Scores (2nd revised edition, PineTree Press, 2002)

This expanded and updated guide was written by film music historian Roger Hall.

It has a wealth of useful information:

*A timeline of film music highlights from 1926 to 2001

*A chapter on suggestions for listening to film music

*A complete list of Academy Award film music from 1934 to 2000

*A complete list of the Sammy Movie Music Awards from 1988 to 2001

*Top100 Scores of the 20th Century

*Comments on Film Music:  Interviews with two classical composers (Aaron Copland and Virgil Thomson); The Composer as Commentator (Bernard Herrmann,  David Raksin, Dimitri Tiomkin); The Composer as Critic (Elmer Bernstein); The Film Lyricist and Songwriter (Sammy Cahn and Henry Mancini); The Movie Critic and Historian (David Thomson and Tony Thomas).

*An extensive bibliography and discography.

Throughout the guide are many illustrations of composer autographs, including:

Johnny Green, Bernard Herrmann, Alex North, Miklos Rozsa,  Max Steiner , Dimitri Tiomkin, John Williams and others.

There are also songwriter autographs as well, such as:

Harold Arlen, Sammy Cahn, George & Ira Gershwin, Henry Mancini, Johnny Mercer, Jay Livingston, and Harry Warren.

The title page of the guide has a rare score page from the end credits of E.T.,  boldly signed by John Williams.

There is also an accompanying CD-R or Tape available titled: "Listener's Guide to Film Music."  

This film music guide is a limited edition and will be numbered and signed by the author.

A  Guide to Film Music was announced in the March/April 2002 issue of Film Score Monthly.

In a letter to the author, the distinguished film composer Elmer Bernstein has written the following:

"I do feel your book is done in a most interesting way.  It affords a quick overview of what has not become a very, very broad field.  Congratulations!"

To order your limited edition signed copy  of A Guide to Film Music now,  go to:

 Music Titles from PineTree Press

Bookshelf Search

Please help support FILM MUSIC REVIEW.

Buy your Film Books, Soundtrack CDs, DVDs or Videos at Amazon.com here:

Review Rundown::

The titles have been chosen to cover a broad range of new commercial, promotional and vintage soundtracks.  No bootleg CDs are reviewed. The comments and ratings are based on the whole CD package - recorded music, booklet notes and art design.   

Ratings:

*****   (Superlative - Highest Recommendation)

****1/2 (Outstanding - Highly Recommended) 

 ****     (Exceptional - Especially Worthwhile)  

  ***1/2 (Very Good - Better Than Average)

  ***      (Good - Okay)

   **1/2  (Fair - Nothing Special)

   **      (Mediocre - Barely Passable)

     *      (Poor - Save Your Money)

Each month several soundtracks are selected for Best of the Month and/or Recording of Special Merit. These soundtracks are chosen on the date of the review, and not necessarily at the end of the month, and are those felt worthy of exceptional merit.

Some selected soundtracks have these headings above them:

Editor's Choice - Best of the Month

CD Release of Special Merit

For previous compilation reviews in 2002, see

CD Reviews (Compilations, July - December)

CD Reviews (Compilations, January - June)

CD Reviews: January  - June 2003

Beyond Imagination - Songs by the Opera Babes (Sony Classical) - *

BEST FOOT FORWARD (Rhino Handmade) - ***

BORN TO DANCE (Rhino Handmade) - ***1/2

CHICAGO (Epic/Sony Music Soundtrax) - ***1/2

FILM BUSTERS (Denon 5.1 Surround DVD Audio) - ***1/2

GANGS OF NEW YORK (Interscope/UMG) - ***

GOOD NEWS (Rhino Handmade) - ***1/2

Great Movie Love Themes (Varese Sarabande) - ***

IT'S ALWAYS FAIR WEATHER (Rhino Handmade) - ****1/2 [Editor's Choice for February]

A MIGHTY WIND  - THE ALBUM (Sony) - *****[S.K.] / ****1/2 [Editor's Choice for June]

Music from CBS WESTERNS (The Film Music Society) - ****1/2 [Editor's Choice for April]

THE PIRATE (Rhino Handmade) - **** [Special Merit]

ROYAL WEDDING (Rhino Handmade) - **** [Special Merit]

Something Here: The Film and Television Music of Debbie Wiseman (Silva) - ***** [Special Merit]

STORMY WEATHER - The Music of Harold Arlen (Sony Classical) - **

VARESE SARABANDE - A 25th Anniversary Celebration (4 Discs) - **** 1/2 [Editor's Choice for May]

Note:  All the reviews which follow are arranged alphabtically by film title, with Editor's Choice or Special Merit boxes above the title.

Beyond Imagination - Songs by the Opera Babes

15 Tracks (Total Time = 57:17)

Executive Producer: Rick Blaskey.  Orchestras:  Millennia Strings (Cliff Masterson, conductor); London Session Orchestra (Paul Wynne Griffiths & Nick Ingman, condcutors); London Symphony Orchestra (Nick Ingman, conductor); City Strings Orchestra.  Orchestrations:  Cliff Masterson (tr. 1); Noely (tr. 2, 8); Nick Ingman (tr. 3 & 4); Anne Dudley (tr. 5, 11, 13); Alfrado Catalani (tr. 7); Frank Gallagher/Georges Bizet (tr. 9); Frank Gallagher (tr. 10, 12, 14).  Choirs:  Maida Vale Singers (tr. 3); Metro Voices (tr. 9, 10, 12, 14). Additional musicians:  Kodo (drums); Jon Cohen & Dave Hartley  (piano); Ethnic Percussion (Luis Jardim); Peter Hajioff & Laurence Lottle  (Bass); Ivor Goldberg, Mitch Dalton, John Parricelli (Guitar); Paul Clarvis & Frank Ricotti (Percussion); Richard Cottle & Wayne Wilkins (Keyboards).   

Recorded by Adam Brown, Phil Da Costa, Mike Ross Trevor, Steve Price, Nial Acott, George Shilling. Recorded at 7 different studios in London.  Mixed by Phil Da Costa, Steve Price, George Schilling, Frank Gallagher, Wayne Wilkins.  Mastered by Bob Whitney at Sony Music Studios, London Ltd.

Sony Classical SK 89916

Rating: *

This CD is mainly an embarrassment and in questionable taste.  It should be subtitled: "Opera Babes Trash the Classics!"

Who are these Opera Babes?  Their names are Karen England and Rebecca Knight.  While they are both very attractive young ladies, their uneven singing is barely passable in such overblown arrangements of the classics.  They do blend well together but are mostly overwhelmed by the various orchestras or choruses.  Also their diction is poor.  The songs with English lyrics are especially difficult to understand.  That's odd since they're both English singers!    

Most of the 15 tracks have lyrics added to classical themes, such as opera arias by Puccini ("One Fine Day"), Bizet ("Chanson Boheme" - complete with flamenco dancers!), and Delibes ("Lakme H2O").  Also grist for the mill are such instrumental themes as the lovely slow movement of Grieg's lovely Piano Concerto in A minor ("Sempre Ricordo" - lyrics by Rebecca Knight), and "Ode II Joy" (get the cool hip-hop title!) from Beethoven's Symphony No. 9.  The title song, "Beyond Imagination," is based on Mendelssohn's theme from A Midsummer's Night Dream.  If the composer were still alive he'd probably sue for this poor excuse of a song based on his lovely theme.

Oddly enough, the best arrangements are not the classical ones but the pop ones.  There's a nice flowing version of Phil Coulter's "Remember Me" and also Robert Wright & George Forrest's beautiful setting of Borodin from Kismet, "Stranger in Paradise" (a good arrangement by Anne Dudley).  Here the singing by the OB's  is a bit better.  

There are two tracks which have some connection to film music.  First is the ever popular "O Fortuna" (track 5, 2:49) from Carl Orff's Carmina Burana, which has been used in countless films, especially for battle scenes.  This is another arrangement by Anne Dudley, who received an Oscar for THE FULL MONTY.  The combination of OB duets and chorus just doesn't sound right in this orchestral showpiece.

The other song is actually the best track on the CD.  It's Morricone's gorgeous theme from CINEMA PARADISO (track 8, 3:46).  It begins with a solo guitar (nicely played by Ivor Goldberg).  With lyrics again by Ms. Knight, this theme becomes "You Live On In My Heart."  The arrangement is by Noely and also Jon Cohen.  The arrangers do minimum damage to the Morricone theme.  But Ms. Knight's sappy lyrics don't add a thing to the music.  That applies to all of her lyrics on this CD.

The booklet does have all her lyrics and you'll need them to understand what they're singing.  The lyrics are extremely hard to read because they are printed over large photos of the OBs.  The booklet looks more like a glossy model display from a magazine. Maybe it's sex appeal that will help sell this trashy CD to the unsuspecting music lover.

As you can see from all the orchestras, orchestrators, and recording engineers listed above, this is a massive undertaking. It's too bad so much money was spent and wasted.  There are just too many cooks in the kitchen.  The meal (or the music) is spoiled in the process.  

I would definitely save my money on this overblown and overpromoted debut CD of the Opera Babes.

As I said before, this CD is in poor taste the way it treats these familiar themes, both classical and pop.

Maybe it should be titled - Beyond Belief!!

--Roger Hall, 15 January 2003

BEST FOOT FORWARD (1945) - Songs by Hugh Martin and Ralph Blane

Music composed and conducted by Lennie Hayton

24 Tracks (Total Time = 78:59)

Produced for release by George Feltenstein. Project Supervisor: Patrick Milligan.  Mastering by Doug Schwartz. Art Direction and Design by Valerie Valero with Bryan Lasley.  Creative Services: Lori Carfora. Liner notes by George Feltenstein.

Rhino Handmade RHM2 7774

Rating: ***

This is another in the Rhino Handmade series of vintage M-G-M musicals.  This one is the debut of the original soundtrack recording.  While it is fun to listen to, the songs are just not that memorable.  

BEST FOOT FORWARD stars Lucille Ball and also features William Gaxton, Virginia Weidler, Tommy Dix, Nancy Walker, June Allyson, Kenny Bowers, Gloria DeHaven, and Jack Jordan.  Also featured is the great trumpet player Harry James and his orchestra; and the M-G-M Studio Orchestra and Chorus, conducted by Lennie Hayton.  

Harry James and his orchestra is heard on the swingin' Big Band number, "Two O'Clock Jump" (track 6 - arranged by Jack Matthias); the Rimsky- Korsakov classical tune, "The Flight of the Bumble Bee" (track 9 - also arranged by Mattias); and a few others.  James is also featured with his vocalist, Helen Forrest, on such songs as: "Shady Lady Red" (track 13 - arranged and orchestrated by Leroy Holmes), and "My First Promise - The Ring Waltz" (track 14 - arranged by Conrad Salinger).  Some of the songs seem too forced, such as the loud and brash song: "The Three B's" (track 10), sung by June Allyson, Gloria DeHaven and Nancy Walker.

Probably the best known song from this musical is "Buckle Down Winsocki," heard on tracks 3 and several other tracks, especially the elaborate version sung by husky-voiced Tommy Dix on track 18 (arranged by Wally Heglin).  The other songs are okay but nothing special.

To fill out this soundtrack, there are no bonus tracks from BEST FOOT FORWARD.  Instead, there's something called: Abbot & Costello in Hollywood (tracks 21-24).  The four songs by Martin & Blane are sung by Bob Stanton, Jean Porter, Francis Rafferty, and The Little Sisters.  Except for the final track, "Fun on the Wonderful Midway," these tracks don't add much to the CD.

Unlike previous Rhino Handmade musical releases, this soundtrack has a shrill sound to it which makes it difficult listening at times, especially the brass section of the Harry James orchestra.

If you're a fan of this musical or Harry James, you might want this one for your collection.  But it's not a must have for anyone else.

--Roger Hall, 7 March 2003  

Note:  This soundtrack is only available on the Internet at -

www.rhinohandmade.com

BORN TO DANCE (1936) - Songs by Cole Porter

18 Tracks (Total Time = 68:28)

Music arranged and orchestrated by Edward Powell. Produced for release by George Feltenstein. Project Supervisor: Patrick Milligan.  Mastering & Engineering: Doug Scwarts, Mulholland Music. Archival Transfer of 35mm Optical masters: Chace Productions.  Art Direction: Bryan Lasky & Lori Carfora. Design: Rachel Gutek.  Liner notes: George Feltenstein.  

Rhino Handmade RHM2 7778

Limited Edition of 2500 copies

Rating:  ***1/2

Continuing their excellent series of Hollywood musicals from the Golden Age, especially at M-G-M, this latest Rhino Handmade release of BORN TO DANCE is significant for several reasons.  It was Cole Porter's first Hollywood musical.  It also contains two of his best known standards:  "Easy to Love" and "I've Got You Under My Skin."  Another plus is using the original 35mm optical recordings, and on three tracks several micophones were employed, thus providing stereophonic sound in the 1930s. This musical features the dance sensation Eleanor Powell, along with Virginia Bruce and James Stewart - who sings - and not badly either.

Other than the two Porter song stanards, which are heard in various versions on half of the tracks, there are several other enjoyable songs.  One is "Hey, Babe, Hey!" (6:30).  This is a fun rollicking song introduced by James Stewart and also featuring Sid Silvers, Buddy Ebsen, Frances Langford, Marjorie Lane (for Eleanor Powell) and Una Merkel.  The following track has "Entrance of Lucy James" (2:13), with a Gilbert & Sullivan flavor with Guy Kibbee, Virginia Bruce and M-G-M Chorus.  The next song, "Love Me, Love My Pekinese" (1:17) is just plain silly.  One of the soundtrack highlights is James Stewart singing "Easy to Love" (track 10, 8:12).  While his voice is not very strong, he sings the song with as much conviction as he can muster.  The lovely arrangement of this song by Edward Powell and Leo Arnaud is a delight and it's in STEREO too!  The other two tracks in stereo are: "Rap Tap On Wood" (extended version, track 4, 4:28) and "Swingin' the Jinx Away" (track 14, 13:20).  

If you're used to the swingin' version of "I've Got You Under My Skin" by Frank Sinatra in the 1950's (arranged by Nelson Riddle), then the version sung by Virginia Bruce (track 12, 2:41) might seem a bit stiff.  But the greatness of this Cole Porter song classic still shines through.  The final three tracks have two different unused versions of "I've Got You Under My Skin," and a censored version of "Easy to Love"by James Stewart and Marjorie Lane.

The notes by George Feltenstein are a bit on the skimpy side but do provide an ample summary of the film and cast, especially Eleanor Powell.  The text is nicely designed in the booklet, with many black & white film stills and a very colorful CD cover.

Even though half of the tracks are devoted to versions of "Easy to Love" or "I've Got You Under My Skin," there is still much to enjoy on this Rhino Handmade release.  As usual, complete recording information is given for each track.

Recommended especially to fans of vintage M-G-M musicals.

--Roger Hall, 8 May 2003.  

Note:  This soundtrack is only available on the Internet at -

www.rhinohandmade.com  

CHICAGO (2002)

18 Tracks (Total Time = 70:18)

Produced by Ric Wake and Randy Spendlove.  Mixed by Dan Hertzel.  Mixed at Cove City Studios, Long Island, New York.  Music conducted by Paul Bagaev.  Vocal Arrangers: Ric Wake and Paul Bagaev. Orchestrations:  Doug Besterman. Razz Dazzle Orchestrator: Michael Starobin.  Recording Engineers: Dan Hertzel and Joel Moss.  Vocals recorded at Metalworks Studio in Toronto.  Music recorded at Air Studios in London. Songs by John Kander and Fred Ebb.  Original score music composed and produced by Danny Elfman.  Conducted by Steve Bartek.  Orchestrations by Steve Bartek and Bruce Fowler.  Recorded and mixed by Dennis Sands. Music Editor:  Ellen Segal.  

Epic/Sony Music Soundtrax EK 87018

Rating: ***1/2

This bold and brassy 1930s era musical features songs by John Kander and Fred Ebb, and two score cues by Danny Elfman.  Is the film musical as good as the buzz it has raised?

Not quite.  There are several problems with the way CHICAGO was filmed.  Most of the production numbers weren't filmed with the dancers in full screen and with lots of quick cuts.  It looks more like MTV than the great Hollywood musicals of the past.  Using the idea of production numbers emerging from the imaginative mind of Roxie Hart (nicely played by Renee Zellweger) is clever but not all that original.  It was used in the old Busby Berkeley musicals, such as the famous "I Only Have Eyes For You" sequence from DAMES in 1934.  Bob Fosse used a similar technique in his filmed version of CABARET.  Perhaps director Rob Marcshall used the same technique in CHICAGO as an homage to Fosse or Berkeley.  You may not be bothered by the quick cuts in the musical.  But I found them annoying.  The music scoring is another matter.

The vocal arrangers and orchestrators deserve special praise for their preparation of the singing and ensemble work.  The same applies to the recording engineers for their work in putting together this soundtrack compilation of songs and score. The singing is very good by Renee Zellweger, Catherine Zeta-Jones (as Velma Kelly), Queen Latifah (as Mama), and Richard Gere (as Billy Flynn).  

The Kander and Ebb songs are lusty and cleverly written but other than "And All That Jazz" (track 1) and "Razzle Dazzle" (track 10 - sung by Gere), they just aren't very memorable.  Most of the songs are very cynical and there's no love ballad to break up the sordid story.  I actually preferred some of the lesser known songs, especially the poignant "Mr Cellophane" (track 9, 3:57), sung by John C. Reilly.  Another one is the snappy new song written especially for the film, "I Move On" (track 14, 4:00), sung by Zeta-Jones and Zellweger. It sounds more like a Broadway song than a Hollywood one, but that's fine with me.   

There's also two songs on the compilation which are "inspired by the motion picture CHICAGO."  First is "Cell Block Tango" (He Had It Coming)."  The film version is on track 4 (7:22), sung with lots of big production cynical pizazz by Zeta-Jones and other female cast members.  The other version is on track 17 (3:40) - sung in rap fashion by Queen Latifah and Lil' Kim and a shameless ploy to cash in with the young crowd.  The second song is "Love is a Crime" (track 18, 3:20) sung by Anasticia.  I have downrated this compilation because of these two lousy song renditions, which belong on separate CDs by the singers involved not on the soundtrack album.

Then we finally come to Danny Elfman, who doesn't get much space on this CD.  His two cues are found on track 15, "After Midnight" (3:24), and track 16, "Roxie's Suite" (3:58).  They are both worthwhile pieces and it's too bad he wasn't given more cues, like the two tracks taken up by the lousy rap songs.

I'd expect this compilation to sell quite well because the film has been so popular.  While the CHICAGO soundtrack is well performed and recorded, I woul say it's only a must have if you really loved the film.    

That's just my opinion and "and all that jazz."

--Roger Hall, 12 February 2003

FILM BUSTERS (2002)

14 Tracks (Total Time = 74:15)

Produced by Steve Vining and Mark Waldrep. Associate Producer: Janice Davies. Audio Preparation: Dominic Robelotto.  DVD-Audio Authoring: Brent Curtis.  DVD Art Direction and Screen Design: Mark Waldrep. Package Design: J.J. Stelmach/ Scott Johnson.

Denon 5.1 Surround 24 Bit/96 KHZ DVD Audio - COZ 17157

Rating: ***1/2

I've been intrigued by DVD Audio for awhile so I decided to sample this compilation of famous film themes. Does this sound better than the average CD?  Yes.  Is this compilation worth having?  Well, let's look at the selections first.

It opens with - what else? - the 2001: A SPACE ODYSSEY Theme from Also Sprach Zarathustra by Richard Strauss.  Unfortunately, the performance by the Staatskapelle Dresden under Herbert Blomstedt's direction is pretty limp.

There are five other instrumental ensembles featured on the CD:  Royal Philharmonic Pops Orchestra, conducted by Elmer Bernstein (tracks 2,3,5, 9, 13); RPO Pops conducted by John Scott (tracks 4,7,10-12), and conducted by David Arnold (track 14); London Symphony Orchestra, conducted by John Cacavas; and I Solisti Italiani.

Of these tracks, the best are those conducted by Elmer Bernstein.  His 5 tracks (THE MAGNIFICENT SEVEN, THE GREAT ESCAPE, GHOSTBUSTERS, THE TEN COMMANDMENTS, and WALK ON THE WILD SIDE) are taken from the excellent Denon 1992 CD: "Elmer Bernstein Conducts Elmer Bernstein."  There are also 5 tracks with themes and suites conducted by John Scott for  THE GODFATHER, CITIZEN KANE, CASABLANCA, THE ADVENTURES OF ROBIN HOOD, GONE WITH THE WIND.  None of these selections are better than the superb recordings by Charles Gerhardt, but they are still well performed (especially the CITIZEN KANE cues:  "Prelude" and "Finale").  Unfortunately, THE GODFATHER theme borders near the mood music realm of Mantovanni.  

John Caccavas conducts a convincing, though slower, rendtition of the James Bond Theme (track 6).   The I Solisti Italiani due surprisingly well with two very familiar themes from Herrmann's classic PSYCHO score (track 8).  David Arnold also does a very good job with Paul and Linda McCartney's theme from LIVE AND LET DIE (track 14).

The size of the DVD Audio case is slightly larger than a CD one so it will not fit on a standard CD shelf.  But the cost I paid was no more than for a standard CD and it contains well over an hour of great film music as well.  The CD notes by Bill Milkowski are concise and well written in a breezy writing style.

So if you don't already have these popular film themes (especially the Elmer Bernstein ones) and want to test out your Surround Audio System, then this DVD Audio compilation is worth adding to your library.

--Roger Hall, 20 June 2003

GANGS OF NEW YORK (2002)

18 Tracks (Total Time = 56:41)

Execuitve Soundtrack Producer: Martin Scorsese.  Music Supervisor: Robbie Robertson. Soundtrack Album Produced by Hal Willner.  roduced by Robert Townson

Interscope 06949 3565-2

Rating: ***

First, I must admit to be totally turned off by the graphic violence shown in this film.  The message could have been conveyed with much less brutality and more developement of the characters.  Martin Scorsese seems to have a split personality as director.  One one hand he makes such glorious and very sensitive films like THE AGE OF INNOCENCE and KUNDUN.  Then, on the other hand, he resortsd to excessive urban violence for TAXI DRIVER and GOOD FELLAS.  It's obvious that GANGS OF NEW YORK is in his violent mold.  It also isn't a well told tale. 

But what about the soundtrack?  

Fortunately, it doesn't wallow in the same violence but it's just as disjointed as the film.  The soundtrack is a collection of this and that music. Most prominent is the somber suite ("Brooklyn Heights") by Howard Shore, which is heard on tracks 1, 11, and 18.  Also included are a few strange pieces by which seem to be written for some cheap horror flick. This is especially true for Peter Gabriel's horrible overblown piece, "Signal to Noise" (track 7, 7:38).  The one titled "Dionysus" (track 10, 4:52) features Jocelyn Pook and is only slightly better than the Gabriel piece.  There are also more traditional pieces by Afro Celt Sound System, The Silver Quartet, Othar Turner and the Rising Star Fife & Drum Band, and a few others.  Finally, there are songs by Finbar Furey, Maura O'Connell, Linda Thompson, and U2.  What does all this music add up to?

The music is so wildly diverse that it seems more like a compilation of world music than a film soundtrack.  For example there's such traditional tracks as:  "Breakaway" (3:32) performed by Sideney Stripling, "Durgen Chugaa" (0:53) performed by She-De, and "Beijing Opera Suite" (3:27) by Da-Can Chen and Anxi Jiang.  These are mixed together with the Gabriel and Pook tracks and the Celtic tunes.  It all sounds positively unsettling.

I believe that both Howard Shore's effective suite and the songs are the best part of this compilation.  Most of the traditional music is Celtic and is fine.  One of the best of these tracks has two dulcimer tunes performed by Mariano Di Simone (track 12, 1:46).  Then there's "Simmy She Wobble" (track 7, 3:37).  This is often used in the film for the approaching gang battles and is very effectively handled.  The songs include the saucy "New York Girls" nicely performed by Finbar Furey; the pensive "Paddy's Lamentation" sung by Linda Thompson; and the film's theme song - "The Hands That Built America" by U2.  This song won a Golden Globe Award and is Oscar nominated for Best Song.  While it's not a highly memorable song, it's decent enough to be a highlight of this compilation. Why not include the words to the song in the CD flyer?  The same applies to the words sung on the last track ("Brooklyn Heights 3" - 3:15).  The vocalist for that track is also not identified.  Instead, there's this boastful statement spread over two panels of the flyer: "America was Born in the Streets."  What a waste of space!  One error in the flyer is the incorrect listing for track 14, where Maura O'Connell is not identified for her lusty rendition of "Unconstant Lover" (2:34).  

It's a real shame that Scorsese didn't use the score composed by Elmer Bernstein.  His score surely would have been more unified and dramatic.  Hopefully someday we'll be abale to hear Bernstein's score for this overrated film.  

Until then, all you can get is this patchwork compilation by "gangs" of musicians from everywhere but New York!

--Roger Hall, 12 February 2003

GOOD NEWS (1947) - Music by Lew Brown/ Lyrics by B.G. DeSylva & Ray Henderson

20 Tracks (Total Time = 62:23)

Produced for release by George Feltenstein. Project Supervisor: Patrick Milligan.  Mastering  and Engineering by Doug Schwartz. Vocal arrangements by Kay Thompson.  M-G-M Studio Orchestra conducted by Lennie Hayton. Art Direction and Design by Valerie Valero with Bryan Lasley.  Creative Services Director: Lori Carfora. Liner notes by George Feltenstein.

Rhino Handmade RHM2 7763

Rating: ***1/2

This is yet another of those zippy M-G-M musicals turned out by producer Arthur Freed.  The musical starred June Allyson, Peter Lawford, Patricia Marshall, Joan McCracken, Ray McDonald, and also a young Mel Torme.  The film is based on the 1927 Broadway musical written by Brown-DeSylva-Henderson.  It had been filmed previously in a less than successful version in 1930. But the 1947 version of GOOD NEWS was a big success.  This musical saw the debut of several important behind-the-camera players.  First, was the director Charles Walters, who had begun at M-G-M as a choreographer.  Two others who made their debuts were Betty Comden & Adolph Green, who had a Broadway success with On The Town.  They wrote a bright and witty script for the musical. Another key player was the skilled vocal arranger, Kay Thompson.  Her complex harmonic settings were very effectively incorporated into the musical.

The opening Main Title medley of songs is performed by Joan McCracken and the M-G-M Studio Chorus, arranged and orchestrated by Wally Heglin.  The second track has a title change by Kay Thompson.  Instead of the original title,"He's A Ladies' Man," Thompson changed it to the more direct: "Be A Ladies' Man."  Thompson arrangement is performed by Peter Lawford, Ray McDonald, Johnny Garrarr, Mel Torme, and The Williams Brothers (which included the later well known, Andy Williams).

One of the delightful older songs is "The Wedding Of The Painted Doll" (music by Nacio Herb brown and lyrics by Arthur Freed), arranged and orchestrated by Heglin.  Another one, "The Best Things In Life Are Free" is not quite as good, a bit too cutely sung by Allyson and Salinger's arrangement overly fussy.    

There are several outtake songs.  One of theme is the clever song, "An Easier Way" (music by Roger Edens/ lyrics by Comden & Green),"sung by June Allyson, Patricia Marshall, and The M-G-M Studio Chorus.  The arrangement is by Conrad Salinger and the orchestration by Salinger and Robert Franklyn.  Another outtake is a reprise of "Lucky in Love," sung by the silky smooth voice of Mel Torme in an arrangement by Heglin.  Comden & Green contributed another witty song, with music by Roger Edens: "The French Lesson" (track 7), sung by June Allyson and Peter Lawford.

Probably the best loved production songs from this film musical are: "Pass That Peace Pipe" (track 10) and "The Varsity Drag" (track 17).  Both of these songs became hits after the film was released.

As an added treat, there are several bonus tracks.  On track 18 is an interview with Dick Simmons and June Allyson, recorded at the time of the film's release in 1947.  The last two tracks have songs from the 1930 version of GOOD NEWS.  

The CD notes by Feltenstein are, as usual, very informative.  There are also some nice film stills in this coloful, well designed booklet.

It's not among the greatest of the Hollywood musicals of the 1940s, but it's still lots of fun to listen to and enjoy.

This complete soundtrack is "Good News" to those fans of vintage M-G-M musicals.

The beautifully remastered Rhino release is a musical feast of delightful tunes and snappy performances. Recommended.

--Roger Hall, 10 March 2003

Note:  This soundtrack is only available on the Internet at -

www.rhinohandmade.com

Great Movie Love Themes (2002)

12 Tracks (Total Time = 52:46)

Produced by Robert Townson

Varese Sarabande 302 066 400 2

Rating: ***

Tracks:

1.   OUT OF AFRICA (Main Title) - Royal Scottish National Orchestra, Joel McNeely. cond.

2.   THE ENGLISH PATIENT (End Credits) - RSNO, John Debney, conductor

3.   THE LAST OF THE MOHICANS (The Kiss) - RSNO, McNeely

4.   THE PIANO (The Heart Asks Pleasure First) - Lydia Cochrane, piano

5.   TITANIC (Rose) - RSNO, McNeely

6.   Unchained Melody (North) - Nuremburg Symphony Orchestra, Richard Kaufman

7.   ROMEO AND JULIET (A Time for Us) - RSNO, Cliff Eidelman, conductor

8.   SHAKESPEARE IN LOVE (End Credits) - RSNO, Frederic Talgorn, conductor

9.   SOMEWHERE IN TIME (Theme) - RSNO, Debney

10. Rhapsody on a Theme of Paganini (Rachmaninoff) - L. Cochrane, piano; RSNO, Debney

11. SABRINA (End Credits) - L. Cochrane, piano; RSNO, McNeely

12. BRAVEHEART (End Credits) - RSNO, McNeely

Not much to say about this compilation in the new Varese "Five Star Collection."

The music is all very pleasant and makes for easy listening.  

None of the recordings are as good as the original soundtracks but that shouldn't matter if you want these love themes together on one CD.  It should be mentioned that North's beautiful love theme was first used in the 1950s film, UNCHAINED.  That's how it got it's title.  Most moviegoers would know the theme from the 1990s film, GHOST.  It was actually a song, with lyrics by Hy Zaret. The Rachmaninoff Rhapsody has been used in many films, including the popular SOMEWHERE IN TIME, with a score by John Barry and his main theme is also on this CD.  

It's worth getting this CD compilation if you don't already have the soundtracks for these films.

--Roger Hall, 15 January 2003

Editor's Choice - Best of the Month for February

IT'S ALWAYS FAIR WEATHER (1955)

32 Tracks (Total Time = 79:13)

Produced by George Feltenstein. Project Supervisor: Patrick Milligan.  Mastering by Doug Schwartz. Art Direction and Design by Gregg Allen with Bryan Lasley.  Liner notes by George Feltenstein.

Rhino Handmade RHM2 7766 (Limited Edition of 2,500 copies)

Rating: ****1/2

After the success of ON THE TOWN in 1949 and SINGIN' IN THE RAIN in 1952 it was desiced by producer Arthur Freed to hire Betty Comden and Adolph Green to write and all-original musical for M-G-M.  This new musical was to be a follow-up to ON THE TOWN, but instead of three sailors, this time it would be three army buddies returning from the war in Europe.  The musical was titled IT'S ALWAYS FAIR WEATHER and included an outstanding cast of singing and dancing talent:  Gene Kelly, Dan Dailey, Michael Kidd, Cyd Charisse, and Dolores Grey.  

The songs were written by 25-year old Andre Previn, with lyrics by the established team of Comden and Green. Due to the lack of a prominent dance duet with Gene Kelly and Cyd Charisse and its somewhat cynical view of post-war ideals, the musical was not a big hit at the box office.  But it was a critical favorite and went on to be Oscar nominated for Best Original Story and Screenplay (Comden & Green) and Best Scoring of a Musical (Previn).  Over the years this musical has grown in stature, mainly because of its delightful dance routines.  But the songs and score of this marvelous musical deserve special praise as well.  

The opening Main Title (1:16) features a beautiful transition from opening fanfare  - very much like the beginning of Gershwin's great opera, Porgy and Bess - to a statement of one of the most important songs ("I Like Myself" - track 19). The second track ("March, March" - 1:22), has the prominent song for the three returning army buddies.  This theme is further developed on the next track with its five minute medley for the drinking montage - featuring Kelly, Dailey and Kidd dancing with trash cans lids on their feet in glorious wide screen CinemaScope.  This musical must be seen in letterbox format on disc or video in order to appreciate the creativtiy of this energetic dance sequence.  Next comes another prominent song, "Time for Parting" (track 4 - 2:03), which will used later on.  Other prominent songs and dance routines are: "Baby You Knock Me Out" (track 11- 2:38) for Cyd Charisse and male dancers; "I Like Myself" (track 19 - 4:07) with Gene Kelly's famous dance on roller skates; and "Thanks A Lot, But No Thanks" (track 21 - 3:40) - convincingly sung by Dolores Grey .  There are also some funny songs like "I Shouldn't Have Come" (track 6 - 2:51) set to "The Blue Danube Waltz"; and "Stillman's Gym (track 10 - 2:10) - a wonderful fight song with four male singers and chorus (vocal arrangement by Jeff Alexander and orchestrated by Al Woodbury).  There is also the hilarious song "Situation-Wise" (track 18 - 2:33), with quotes from songs like Stepehen Foster's "I Dream of Jeannie" and "Be My Love" - a huge hit by Mario Lanza from a previous M-G-M musical.  

Mention must be made of the expert arrangers and orchestrators who assisted Andre Previn on IT'S ALWAYS FAIR WEATHER.  They are:  Alexander Courage, Robert Franklyn, Wally Heglin, Conrad Salinger, Al Woodbury, Skip Martin and Jeff Alexander.  But even with all these talented musical wizards, it is Previn himself who deserves the most credit for not only writing the songs but also arranging most of them.

As usual with the Rhino releases, the accompanying CD booklet is full of color film stills from the musical.  In the center is a clever fold out of four different movie panels with Dolores Grey ("Torrid!"), Gene Kelly ("Sizzling!"), Cyd Charisse ("Sulty!") and Dailey ("Sunshine!").  Unfortunately, this foldout makes the liner notes hard to continue reading.

The sound quality for this 1950's musical is in superbly recorded stereo.  Unlike many of today's movie song recordings, the words to the songs in IT'S ALWAYS FAIR WEATHER are easily understood because the singers are more prominent than the orchestra.  There are also lots of previously unissued recordings, outtakes and alternate versions, especially tracks 24-32.  As one might expect, the performances by Comden and Green (tracks 27-32) aren't as good as in the film, yet they sing their songs with genuine warmth. There is a demo of a song, "Jack and the Space Giants," (track 26) that is not very well sung by Michael Kidd.  Yet he is accompanied by Andre Previn, who ably demonstrates his polished piano skills, along with someone counting out the beats of each measure.  All of these bonus tracks aren't essential, but are nice to have included anyway.      

This is one of the most underappreciated M-G-M musicals of the 1950s.  It deserves to be better known, not only for the marvelous dancing but also for the wonderful songs and score by a young Andre Previn.  Thanks to producer George Feltenstein, we can now hear this film in all its musical brilliance.  

The title may be "always fair weather."  

Yet this Rhino soundtrack shines like a big blue sky of sensational song material!

IT'S ALWAYS FAIR WEATHER is a  triumph of great restoration work by all those involved in this memorable M-G-M musical.

--Roger Hall, 11 February 2003

Note:  This soundtrack is only available on the Internet at -

www.rhinohandmade.com

Editor's Choice - Best of the Month for June

A MIGHTY WIND - THE ALBUM

17 Tracks (Total Time = 45:06)

Songs by The Folksmen, Mitch & Mickey, and The New Main Street Singers.

Executive Producer: T. Bone Burnett. Album Produced by C.J. Vanston.  Music Coordinator: Tom Halm. Mixed by Ed Cherney. Recording Engineers: Ed Cherney, David Cole, C.J. Vanston, Charlie Bouis. Recorded at the Orpheum Theater, Los Angeles; The Treehouse, North Hollywood; The Village, Los Angeles. Mixed at The Village. Mastered by Gavin Lurssen at The Mastering Lab, Hollywood. Art direction by Nancy Donald. Design by Doug Erb.

Sony Music Soundtrax CK 89222

Rating: *****

I have to admit that I love Christopher Guest’s sense of humor and the movies that are spawned from it. Unlike most folks who were not as enthusiastic about his latest comedic documentary on folk music, I felt A MIGHTY WIND to be a film that loved its characters and the music that they made. The movie has moments that are inspired and not every joke works for everyone, but it ends up being the first time this year that I enjoyed watching a movie.

Now while I was a child in the 60s, I cannot say that the style of music heard here fills my music library. The sound of groups like the Kingston Trio were definitely a part of my early listening experience and A MIGHTY WIND works superbly for many who remember this musical period passing through their young adulthood. For me what makes the movie, and thus the CD work, is that the music is unbelievably well-crafted. You can argue the simplicity of this stuff all you want, but it takes a lot of work to get newly-composed idiomatic songs to work both as music and as comedy. The music works because the performers take it seriously even as they sing their way through lyrics that just do not make sense most of the time. The stylistic performances of Christopher Guest’s "Whe---lllll" is right and hilarious at the same time in the opening song "Old Joe’s Place." The souped up Folkmen song, "Never Did No Wanderin’" by the New Main Street Singers is exactly the sort of stuff that happened to one hit folk acts thirty years ago. The tunes are catchy somehow and they stick in your ear and get your toe tapping even if this is not your normal musical preference. It certainly was not mine, but I could not wait to find the album and toss it in the car to listen to repeatedly for about a week. The Mitch & Mickey songs are perfectly bittersweet and bizarrely humorous as illustrated best by "The Ballad of Bobby and June," a couple of kids that "fell in love with guns," in 1861. Why a folksong group has a song about the Spanish Civil War is anyone’s guess but it is fun all the same.

The CD is very short, and I think one of the sing-a-longs from the film was not included (a barnyard song that you just know you might have sung at camp) but that should not keep you from enjoying it. Included is a special clip of Mitch and Mickey that was excised from the film. It is a complete performance of their "hit," "When You’re Next To Me." Though this is not a purely instrumental score, I have to admit that this disc gets on my short list for best scores so far this year!

--Steven A. Kennedy, 18 June 2003.

Another review...

I'm in agreement with Steve's review except that I felt the album should have had some comment about the making of it. To some extant the making of this enjoyable comedy film is covered in the Film Score Monthly article (Vol 8, No. 4, April/May 2003).  But there should have been some comments about the songs in the CD booklet. Nevertheseless, it's a pleasure to hear such great new songs again!

Everyone involved - songwriters and singers - should be proud of their achievements.  They have successfully avoided the danger of stale silly comedy songs and instead provide a great dose of nostalgic folk songs.  All 17 songs are wonderfully written and performed.  There is also a CD Extra with a video clip of the enjoyable song, "When You're Next To Me," written by Eugene Levy, and sung by him (as Mitch) and Catherine O'Hara (as Mickey).

I highly recommend getting this CD.  It should especially appeal to folkies - young or old.  

--Roger Hall, 19 June 2003.

Editor's Choice - Best of the Month for April

Music From CBS WESTERNS

5 Tracks (Total Time = 66:05)(limited edition of 1,000 copies)

Compilation Producers: Lance Bowling and Henry Adams. Engineered and Mastered by Lance Bowling. Suite Assembly and Liner Notes by Jon Burlingame. Digital Transfers by Chris Lembesis and Timothy Edwards.  

The Film Music Society FMS 001

Rating: ****1/2

For its first limited edition CD of TV scores, The Film Music Society has released an excellent compilation of music from CBS westerns.  These are the five TV episodes, with music by four composers:  

Track 1.  GUNSMOKE: Stolen Horses (10:08) - score by Jerome Moross (1961)

Track 2:  GUNSMOKE: The Raid (15:56) - score by Franz Waxman (1965)

Track 3:  GUNSMOKE: Harriet (10:01) - score by Bernard Herrmann (1960)

Track 4:  RAWHIDE: Six Weeks to Bent Fork (12:22) - score by Hugo Friedhofer (1965)

Track 5:  CIMARRON STRIP:  Knife in the Darkness (17:33) - score by Bernard Herrmann (1967)    

As the very detailed and informative notes Jon Burlingame point out, there were two men who were in charge of the CBS music department:  Lud Gluskin and Morton Stevens.  Gluskin, who had worked on CBS radio before coming to the TV division in the late 1940s, used the approach of making library or "canned" music for use whereever it might be needed. Even so, he brought in some great talent, such as Jerry Goldsmith and an occasional score by Bernard Herrmann or Jerome Moross. Stevens, on the other hand, became West Coast music director in 1965.  He liked to have more original scores by well-respected film composers, such as Hugo Friedhofer or Franz Waxman.  

This compilation gives a wonderful sampling of just how good TV music was in the 1960s.  The producers have wisely chosen to put the short cues together into a longer suite for each episode.  The cues range from 6 in "Six Weeks to Bent Fork" to 13 for "Knife  in the Darkness." Since these suites come from well established film composers, they make for very satisfying listening and sound more like scores for feature films than TV episodes.  For instance, the Jerome Moross opener might be thought of as a sequel to his seminal score for THE BIG COUNTRY.  Or, Herrmann's lyrical score for "Harriet" from GUNSMOKE could be a sequel to one of his Hitchcock scores like THE TROUBLE WITH HARRY.  It also evokes the beautiful music that Herrmann composed for "Walking Distance" from another CBS series - THE TWILIGHT ZONE.   

Probably the best suite of the compilation is Herrmann's "Knife in the Darkness."  This is a very dark score for an episode by Harlan Ellison about Jack the Ripper in the Old West.  Herrmann's score is filled with ominous low woodwinds and strings that build to impressive climaxes.  It's one of his great neglected TV scores, sounding like his great fantasy scores such as: MYSTERIOUS ISLAND or JASON AND THE ARGONAUTS.  The other scores by Friedhofer and Waxman are also very good and reflect each composer's personal style.   

Don't be put off by the sound quality either.  It may be mono but these are from the original acetates or open-reel tapes. The engineering, mastering and digital transfers by those listed above deserve high praise for their efforts. Considering their age, these recordings sound amazingly good.  

Since this compilation is available in very limited copies, I'd suggest you check it out pronto pardner - to use the western lingo. You may have to join The Film Music Society.  Why not join this organization devoted to preserving and protecting film music from the past?  It would be money well spent.

With its tastefully designed CD booklet and excellent suites from four of filmdom's most respected past composers, this is a highly recommended compilation.  

A real treasure for Golden Age film music collectors.

--Roger Hall, 15 April 2003

For information how to get this compilation, go to:

www.filmmusicsociety.org

CD Release of Special Merit

THE PIRATE (1948)

19 Tracks (Total Time = 68:57)

Produced by George Feltenstein.  Project Supervisor: Patrick Milligan.  Engineered and Mastered by Doug Schwartz.  Art Direction and Design by Greg Allen with Bryan Lasley. Liner notes by John Fricke.

Rhino Handmade RHM2 7762

Limited edition of 2500 copies

Rating: ***1/2

Here is another quality restoration of a favorite M-G-M musical, starring two of the studio's biggest stars: Judy Garland and Gene Kelly.  

THE PIRATE features songs by the great Cole Porter, which include: "Nina" (track 2, 6:35) - a long production number partly in the style of Ravel's "Bolero"; Judy Garland singing "Mack the Black" (track 3, 3:47); and the best known song, "Be A Clown" with Gene Kelly and the Nicholas Brothers (track 7) and with Judy Garland (track 9).

In addition to the songs used in the film there are several outtakes: "Love of My Life" (track 4, 4:42) - put back into its appropriate position in the score and beautifully sung by Judy Garland;  and "Voodoo" (track 12, 6:11) - another great showcase for Garland.  Also, there are five demo recordings included (tracks 13-17).

The man responsible for scoring  the Cole Porter songs was Lennie Hayton, who received an Oscar nomination for his efforts.  He was assisted by the M-G-M staff arrangers and orchestrators:  Conrad Salinger (who also should have been nominated since he did so many of the song arrangements), Wally Heglin, Robert Franklyn, and Leo Arnaud.

The informative liner notes are by John Fricke, author of several books about Judy Garland.  His notes follow THE PIRATE from its inception to its completion.  All of the songs by Cole Porter are also discussed.

There are two bonus tracks at the end.  Track 18 (4:35) has an interview by Dick Simmons with Judy Garland.  The last CD track (4:17) has his interview with Gene Kelly. While neither film star has much more to say than the usual promotional chit chat, it's still a nice bonus to have on the CD.

I must admit that this musical isn't one of my favorite musicals from M-G-M's Golden Age.  Yet there's no denying the highly professional production values put into it.  The sound is a bit shrill sounding but is still clean and robust.

If you're a fan of Judy Garland and Gene Kelly, you'll surely want to pick this one up.

THE PIRATE is well worth adding to your collection of vintage musicals.

--Roger Hall, 11 February 2003

Note:  This soundtrack is only available on the Internet at -

www.rhinohandmade.com

CD Release of Special Merit

ROYAL WEDDING (1951)

22 Tracks (Total Time = 60:10)

Produced for release by George Feltenstein.  Project Supervisor: Patrick Milligan.  Engineered and Mastered by Doug Schwartz.  Art Direction and Design by Bryan Lasley and Lori Carfora. Liner notes by George Feltenstein.

Rhino Handmade RHM2 7777

Limited edition of 2500 copies

Rating: ****

This delightful M-G-M musical is famous for Fred Astaire dancing with a hat rack and also on the ceiling. But it's much more than that.  With songs by Burton Lane and Alan Jay Lerner (who also wrote the screenplay), this is a real musical romp.  

Among the song gems in this collection are: "You're All The World To Me" (sung by Fred Astaire just before he dances on the ceiling), and probably the longest song title ever:  "How Could You Believe Me When I Said I Love You When You Know I've Been A Liar All My Life"?  That mouthful of words is sung and danced by Fred Astaire and Jane Powell, who play a brother and sister song and dance team in the movie.  This story wasn't far removed from Fred Astaire's early theatrical career when he performed with his sister, Adele.  She would marry an English nobleman, just like Jane Powell does in the musical.  The Englishman in the musical is played by Peter Lawford, who sings "Every Night At Seven."  His version of the song (track 12, 1:59) was not used in the film but the Fred Astaire was used (track 2, 6:05). The loveliest song in the musical is "Too Late Now."  It is beautifully sung by Jane Powell.  The song was nominated for an Oscar.  Another highlight is energetic "I Left My Hat in Haiti" (track 15, 6:13).

What helps make the songs so successful are the talented arrangers and orchestrators who worked their magic on the basic melodic structure.  There were six of them who worked on this musical:  Al Sendrey (Main Title and 5 other cues, including the End Title); Robert Franklyn (3 cues); Skip Martin (3 cues); Conrad Salinger (5 cues including that dancing on the ceiling song); Paul Marquandt (1 cue); and Johnny Green (2 cues).  Besides his arranging, Green was also musical director for this musical. As a memorial to his great talents, Johnny Green is the recipient of the 15th Annual Sammy Award for Lifetime Achievement.

Of the 22 tracks on the soundtrack, 10 of them are previously unissued. Like so many of the musicals in the Rhino series, this is the complete soundtrack, available for the first time.  As an added bonus, there is a Fred Astaire and Jane Powell radio interview with Dick Simmons (track 22, 4:51).  It's fast paced and lots of good-natured fun.

Producer George Feltenstein provides very interesting background notes about the difficulties in casting the female lead for ROYAL WEDDING.  First it was to be Ginger Rogers, then Judy Garland, and finally Jane Powell.  This musical also marks the film directing debut of a young Stanley Donen.  The booklet includes photos of him with other members of the cast.  There are many nice backstage photos included in the CD booklet, which is well designed and easy to read.  The only error I noticed was at the bottom of page 12, which has an incomplete sentence. 

I have always enjoyed this musical and felt it was underrated and deserved a complete soundtrack recording.  Now it's been done.

As I mentioned at the beginning of this review - this is a musical romp.

I highly recommend ROYAL WEDDING to those who love the highly polished style of the old M-G-M musicals.

--Roger Hall, 8 May 2003

Note:  This soundtrack is only available on the Internet at -

www.rhinohandmade.com  

CD Release of Special Merit

Something Here: The Film and Television Music of Debbie Wiseman

Rating: *****

13 Tracks (Total Time: 71:33 (13 Tracks)

Silva Screen 6035

Music from: Wilde (1997); My Life as a Fairy Tale: Hans Christian Anderson (2002); Before You Go (2002); Tom and Viv (1994); Judge John Deed (2001); Warriors (1999); My Uncle Silas (2000); Simon: An English Legionnaire (2002); Tom’s Midnight Garden (1999); Haunted (1995); Othello (2001); and The Ugly Duckling for Narrator & Orchestra (Nigel Havers, narrator)

Royal Philharmonic Orchestra conducted by the composer.

You should do yourself a favor and just go out buy this CD. There was never a more aptly given title for such a compilation. It would seem that Debbie Wiseman has managed to maintain a great deal of artistic control. She has secured the superb Royal Philharmonic Orchestra for this recording and each of these suites from her various television and movie scores is given a performance of classical poise and polish. Apart from WILDE and TOM AND VIV, most of these films will be unfamiliar to Americans.

With a nod to the sound of the "Old West," the opening "Wilde West" manages to avoid being cliché. The beautiful opening of the following HANS CHRISTIAN ANDERSON is such sheer joyous beauty that the listener is forced to just let the music wash over them. There is a classy feel to the themes from BEFORE YOU GO reminiscent of Richard Robbins’ Merchant Ivory scores, but this is not derivative by any means. A bittersweet melancholy infuses the opening of TOM AND VIV in a beautifully drawn out musical line that reminded me of some of Delerue’s romance scores. This particular track also demonstrates Wiseman’s capability of drawn out musical climaxes that occur over longer stretches of time. Her ability to shape her own music as a conductor is on excellent display. Each subsequent track continues to open up interesting melodic ideas and unique, well-scored harmonic accompaniments. The final portion of the CD is a specially-composed work for narrator and orchestra based on some music for HANS CHRISTIAN ANDERSON—a setting of "The Ugly Duckling." The dramatic underscore is similar to that favored by Stephen Warbeck but without all the little minimalist tendencies. It runs some seventeen minutes. Composed partially for this album, it can stand alongside a Sony release that featured folk tales set by Wynton Marsalis, Patrick Doyle, and Edgar Meyer called "Listen to the Storyteller."

Wiseman is not afraid to fill this CD with some of her more tuneful moments in music. She has a distinct musical voice that will find you recalling most immediately the music of Richard Rodney Bennet, sometimes Alan Silvestri, and at one point Tan Dun! But these are not influences as much as they are a part of Wiseman’s own musical palette and personality—which has a definite English feel. Perhaps this is one reason why her music has not caught the ear of Hollywood. In an "early" career she has been fortunate to been given this amazing opportunity to present her music with such great performances and in amazing sound. She also provided the musical notes and produced the album. Could this be the musical voice that inherits the next "Harry Potter" score? Probably not, but it would be interesting to hear Wiseman tackle such a project soon. There is a lot to recommend this CD and I would be willing to state that this is probably one of Silva’s top five releases ever.

This is a CD to rush out and buy to encourage more of the same kind of releases. It is worthy of a "Best of the Year" accolade.

--Steven A. Kennedy, 10 March, 2003

Comments regarding this review can be sent to this address: stev4uth@hotmail.com

17 Tracks (Total Time = 65:47)

Music produced by Hal Willner. Various singers and arrangers.  Music recorded and mixed by Martin Brumbach.  Music Recording Studios: McClear Digital, Toronto; The Record Plant, Los Angeles.

Sony Classical SK 87888

Rating: **

It might have seemed like a great idea to record classic Harold Arlen songs with today's singers.  

Unfortunately, most of these singers don't have much class in delivering the Arlen songs, plus the arrangements are really over inflated.

The music was recorded as a soundtrack for a film on Arlen's music by Larry Weinstein.  

The singers featured on the soundtrack are:

Rufus Wainright ("It's Only A Paper Moon" & "I Wonder What Became Of Me"); Shannon McNally (As Long As I Live"); Mark Anthony Thompson ("I've Gotta Right To Sing The Blues"); Debbie Harry ("Stormy Weather"/"Ill Wind"); Jimmy Scott ("I Had A Love Once"); David Johnson ("Kickin' The Gong Around"); Hawksley Workman ("I've Got The World On A String"); Mary Margaret O'Ohara ("Blues In The Night"); The Boswell Sisters ("Minnie The Moocher's Wedding Day"); Eric Mingus ("Get Happy"); Sandra Bernhard ("Come Rain Or Come Shine"); Ranee Lee ("The Man That Got Away" & "Stormy Weather"); Mary O'Hara & Eric Mingus ("Ac-cent-tchu-ate the Positive"); Jimmy Scott ("Over the Rainbow"); and last but definitely not least - Harold Arlen himself singing "Last Night When We Were Young."

With the except of Arlen, there are 12 singers performing 18 songs.  But many of the arrangements are awkwardly done. Just to give one example: "I've Got The World On A String."  The arrangement by Steve Weisberg sounds like modern jazz gone wild.  And the hyper singing by Hawsley Workman is pretty bad.  "Blues In The Night," sung and co-arranged by Mary Margaret O'Hara is perhaps the worst of all, a running mess of hysterical nonsense.  This was a big hit for both Dinah Shore and Jimmie Lunceford's band in 1941. But this truly weird arrangement and performance does nothing but ruin this great Harold Arlen-Johnny Mercer standard.  O'Hara doesn't do any better on another great Arlen-Mercer song, "Ac-cent-tchu-ate the Positive." This arrangement by Steve Bernstein adds nothing to the song and his gospel arrangement of "Get Happy" is especially hard to take, especially when compared to the classic version by Judy Garland.

Yet, there are few versions that are good, like the arrangement by Brian Koonin and Jack Gale of "Kickin' The Gong Around." The singing of this song by David Johnson is well done -- in the same manner as the classic version by Cab Calloway. Another good arrangement is by Jane Scarpantoni for "Come Rain Or Come Shine."  Sandra Bernhard sings the song in fine straightforward fashion and she puts in all the feeling that's necessary.  This is the best track of the current singers.  There are also two songs nicely sung by Ranee Lee: "The Man That Got Away" and "Stormy Weather."

 There is also the fine vintage recording by The Boswell Sisters of "Minnie the Moocher's Wedding Day," with The Dorsey Brothers band.  It's also a real treat to hear Arlen singing his melancholy masterpiece, "Last Night When We Were Young," which was Arlen's favorite song.  Frank Sinatra recorded his classic version of this song on September of My Years in 1965, arranged by Gordon Jenkins.  Unlike many songwriters, Arlen was a very good singer and pianist.  He sings his song in a direct and honest performance, accompanying himself at the paino.  

The only reason to buy this CD is for Harold Arlen and The Boswell Sisters, plus a few of the singers like Sandra Bernhard, David Johnson, and Ranee Lee.  

On the whole, this CD is badly produced and, with a few exceptions, the arrangements aren't very good either.

This STORMY WEATHER soundtrack has too many windy gusts of hot air to recommend it.

--Roger Hall, 10 March 2003/ Revised August 2005

For information about the Harold Arlen Centennial, go to:

American Songwriters (Anniversaries) 

Editor's Choice - Best of the Month for May

VARESE SARABANDE - A 25th Anniversary Celebration (2003)

4 Discs:

Disc One:  21 Tracks (Total Time = 75:49)

Disc Two:  20 Tracks (Total Time = 74:55)

Disc Three:  20 Track (Total Time = 75:58)

Disc Four:  23 Tracks (Total Time = 76:25)

Produced by Robert Townson. Mastered by Erick Labson.  

Varese Sarabande 302 066 460 2

Rating: ****1/2

Even though I've listened to many compilations over the years, this is one of the best I've heard in quite awhile.  It's logically arranged from earliest to latest Varese releases over the past 25 years.  And the sound quality is superb. Just about every major composer is represnted, including the Golden Agers like Korngold, North and Rosza.

Since there are far too many themes and suites to discuss, I'll just point out a few on each disc that I especially was glad to have included.  

On Disc One, there are many familiar themes like "The Imperial March" from THE EMPIRE STRIKES BACK and "Main Title" from THE FINAL CONFLICT.  But then there's also Alex North's understated cue, "The Story of Michael Furey" from THE DEAD (track 18, 3:01).  And the next track has the lovely main theme from STANLEY & IRIS (track 19, 3:27) by John Williams.  After that is a folksy theme (track 20, 3:59) from Dave Gusin's THE MILAGRO BEANFIELD WAR - which one him an Oscar - and I don't know why since the score isn't that distinctive.

As far as Disc Two, in addition to such worthwhile tracks as the Korngold classic, ADVENTURES OF ROBIN HOOD (track 11, 4:44), Jerry Goldsmith's beautiful Main Title for RUDY (track 15, 3:37) and Miklos Rozsa "Finale and Epilogue" from EYE OF THE NEEDLE (track 18, 3:20);  I also enjoyed Georges Delerue's "Suite" from STEEL MAGNOLIAS (track 1, 8:08) and Lauerence Rosenthal's atmospheric exotic music (track 12, 5:59) for THE YOUNG INDIANA JONES CHRONICLES.  Other favorites are Lennie Neuhaus and Clint Eastwood's "Claudia's Theme" from UNFORGIVEN (track 2, 5:43) and Elmer Bernstein's edgy theme "The City" from THE GRIFTERS (track 4,  3:37).

Moving on to Disc Three, there are several more classics like Jerry Goldsmith's "Ave Satani" from THE OMEN (track 9, 2:33) and the chilling "Prelude and Rooftop" from Bernard Herrmann's VERTIGO (track 10, 4:42).  There's also the Suite from Georges Delerue's mystical score for BLACK ROBE (track 3, 4:50), as well as the "Main Title" from his frothy Oscar-winning score for A LITTLE ROMANCE (track 19, 3:15).   In addition, there's Goldsmith's tranquil cue for "The Trees" from MEDICINE MAN (track 4, 6:02).  Also, there are lots of action cues, like BLADE, AIR FORCE ONE, STARSHIP TROOPERS, and THE MATRIX.  The third disc ends with "Real Rain" from the wondrous Randy Newman soundtrack for PLEASANTVILLE (track 20, 4:31).  

The fourth disc offers up more vintage classics, for example: Waxman's "Prelude" from SUNSET BOULEVARD (track 1, 3:52), and the Main Title from CLEOPATRA (track 14,  2:54).  Other highlights were Christopher Gordon's "Theme" from MOBY DICK (track 12, 2:05); "Morgaine's Journey" from Lee Holdrige's THE MISTS OF AVALON (track 13, 6:28); and "Autumn in Connecticut" from FAR FROM HEAVEN (track 21, 3:11).  The final track has several cues from SHREK (3:26).  For me, this fourth disc was the weakest in terms of favorite themes and films.  For example, I didn't care much for John Debney's THE REPLACEMENTS (track 5, 5:48) and Trevor Rabin's GONE IN 60 SECONDS (track 6, 4:47).  In fact, both examples sounded very much alike. But their fans will probably enjoy having them included.

Even if you already have most of the soundtracks, this Varese Sarbande collection is still worth having as a handy summary of the best film scores of the past 25 years and earlier as well.    

Available for a budget price, this 4 disc Varese Sarabande set should be in any film music library.

Highly recommended.

--Roger Hall, 8 May 2003

(c) FILM MUSIC REVIEW - The Web Magazine.   All Rights Reserved, 2003.

For comments, questions,  or to place an ad, write to the FMR Editor, Roger Hall at -

 FILM MUSIC REVIEW

Return to:  FILM MUSIC REVIEW