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 CD Reviews - Soundtracks (July-December 2003)

All reviewed soundtracks are listed alphabetically and written by Roger Hall or Steven Kennedy.

Some of them are given the designation of "CD of Special Merit" for their outstanding contibution to film music production.  

Also, there is usually one soundtrack that is singled out as "Editor's Choice - Best of the Month."    

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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 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 (exclusive interviews with Aaron Copland and Virgil Thomson; quotes from Bernard Herrmann, David Raksin, Dimitri Tiomkin, and others)

*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, and others.  There are also songwriter autographs as well, such as Harold Arlen, Sammy Cahn,  Ira Gershwin, Henry Mancini, Johnny Mercer, and Jay Livingston.

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

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

If you order by 1 February 2003 you'll also receive a Free CDR titled: "Listener's Guide to Film Music."

Commendations:

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

*In a letter to the author of the film music guide, 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 copy  of A Guide to Film Music now, while supply lasts,  go to:

 Music Titles from PineTree Press

Review Rundown::

All reviews are written by Roger Hall and Steven Kennedy.

The titles are chosen to cover a broad range of 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 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

Note:  Some of the CDs reviewed may be ordered from Amazon.com

           To order them, go to Booksehlf Search below

For previous soundtrack reviews in 2002, see

CD Reviews (Soundtracks, July - December)

CD Reviews (Soundtracks, January - June)

For previous soundtrack reviews in 2003, see

CD Reviews (Soundtracks, January - June)

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CD Reviews - Soundtracks (July- December 2003)

THE ADVENTURES OF ROBIN HOOD (Erich Wolfgang Korngold) - ***** [Editor's Choice for November]

BERNARD HERRMANN: THE CBS YEARS, Vol. 1: The Westerns - ****1/2 [Editor's Choice for October]

BERNARD HERRMANN: THE CBS YEARS, Vol.2: American Gothic - ***1/2

BIG FISH (Danny Elfman) - **** [Special Merit]

THE BIG SKY (Dimitri Tiomkin) - ****1/2 [Editor's Choice for August]

THE BUCCANEER (Elmer Bernstein) - ****

CABIN FEVER (Nathan Barr & Angelo Badalementi) - ***

COLD MOUNTAIN (Gabriel Yared &  various songs) - ***1/2

CREEPSHOW (John Harrison) - **1/2

ELF (John Debney) - ***** [Special Merit]

H.P. LOVECRAFTS FROM BEYOND  (Richard Band)  - ****

HULK (Danny Elfman) - ****

JOHNNY ENGLISH (Edward Shearmur) - ***

LOONEY TUNES: BACK IN ACTION (Jerry Goldsmith) - ***1/2

THE LORD OF THE RINGS: THE RETURN OF THE KING (Howard Shore) - ****

MATCHSTICK MEN (Hans Zimmer) - ****

THE MATRIX REVOLUTIONS (Don Davis) - ***1/2

McQ (Elmer Bernstein - **** [Special Merit]

THE MISSING (James Horner) - **

ON DANGEROUS GROUND (Bernard Herrmann) - ****1/2 [Editor's Choice for December]

PETER PAN (James Newton Howard) - ****1/2

POINT OF ORIGIN (John Ottman) -***1/2

RED RIVER (Dimitri Tiomkin) - **** [Special Merit]

SEABISCUIT (Randy Newman) - ****1/2 [Editor's Choice for July]

TERMINATOR 3: RISE OF THE MACHINES (Marco Beltrami) - ***** [Special Merit]

TEXAS CHAINSAW MASSACRE (Steve Jablonsky) -***

TIMELINE (Brian Tyler) - ****

Editor's Choice for November

THE ADVENTURES OF ROBIN HOOD (1938)

25 Tracks = 78:27

Music composed by Erich Wolfgang Korngold.  Score restorations by John Morgan. Moscow Symphony Orchestra conducted by William Stromberg.  Recording Engineer & Editor: Genadiy Papin.  Notes by Rudy Behlmer and Brendan G. Carroll.  Recorded at Mosfilm Studio, Moscow, Russia in February 2003.

Marco Polo CD 8.225268

Rating: *****

Well, it has finally arrived!  Lovers of this classic film have waited so long for all the music of the monumental score by Erich Wolfgang Korngold.  I'm definitely one of those admirers.  In my film music guide, on my list of top 100 film scores of the 20th century, Korngold's ROBIN HOOD is Number Six.  

Those who love this action packed version of THE ADVENTURES OF ROBIN HOOD should be filled with joy, because the score certinaly has it all, from exciting action sword fight music to tender love themes.  To top it off, this is the first complete digital recording of Korngold's score.

THE ADVENTURES OF ROBIN HOOD is probably the best yet in a series of distinguished restorations by John Morgan and William Stromberg of Golden Age composers like Steiner, Newman, Herrmann, and many others.  

The recorded sound quality is excellent.  Its very clean and close-miked.  The Moscow Symphony Orchestra plays the Korngold score with great flexibility, under Stromberg's expert fluid direction.

The CD notes are truly outstanding as well.  First is a preface by Warner Bros. film authority, Rudy Behlmer.  He is also featured prominently in the excellent 2-DVD set of the 1938 film.  Next in the CD booklet are a series of essays: "Korngold and THE ADVENTURES OF ROBIN HOOD"; "The Score" and its structure; a useful "A Listening Guide to the Score"; and a "Postscript." All of these writings are by Brendan G. Carroll, President of the International Korngold Society and author of a highly regarded biography of the composer.  I don't quite agree with all of Mr. Carroll's statements. One in particular is his claim that Korngold established "the symphonic film score."  I think that honor should go to Max Steiner, who arrived in Hollywood a few years earlier than Korngold.  Both Steiner and Korngold worked at Warner Bros. for the longest and most productive part of their film music careers.

Other than the comments made by Rudy Behlmer and Brendan Carroll, the section of the CD booklet not to be missed is John Morgan's "Restoring Robin Hood's Music."  He gives a detailed account of how the Korngold score was painstakingly restored and then recorded.  Also mentioned are Korngold's able assistants:  Hugo Friedhofer and Milan Roder.  They both shared the extensive orchestration work.  John Morgan relays that after orchestrating the rapid pace of "The Duel" (track 23), Friedhofer wrote: "FINE. LAUS DEO!" (End. Praise to God!)  So it's obvious this was a difficult task to get the score finished in time for its 1938 release date.  The same may be said for the preparation done to get the Marco Polo CD ready for the 65th anniversary of ROBIN HOOD in 2003.

Now we have the original film available on a beautiful 2-DVD set, including Korngold's original score on an isolated track. As an extra bonus on the second DVD, there are some tasteful piano solos of Korngold's film themes played by the composer himself.

To go along with the DVD set, there is this excellent Marco Polo complete score restoration in glorious digital sound.

John Morgan and William Stromberg deserve special praise for keeping up such high quality with their ten years of Marco Polo releases in the Classic Film Music Series.

If you love the film, you should also get the Marco Polo CD.

Then you can travel back to Sherwood Forest in grand fashion.

I give it five bullseyes - my highest recommendation.

--Roger Hall, 6 November 2003

Editor's Choice for October

BERNARD HERRMANN: THE CBS YEARS, Vol. 1: The Westerns

24 Tracks = 68:51

Music composed and orchestrated by Bernard Herrmann. Music Director: Lud Gluskin. Executive Producer for Prometheus Records: Luc Van de Ven.  CD Producer:  Ford A. Thaxton.  Associate Producer: James Nelson.  Audio Restoration: Chris Neel.  CD assembled and mastered by James Nelson.  Liner Notes: Jon Burlingame.

Prometheus PCD 152

Rating: ****1/2

One of the most important outlets for film music in the 1950s and '60s has been the television series.  Some of the best younger composers at that time--such as Elmer Bernstein, Jerry Goldsmith and John Williams--had their chance to prove themselves by writing for television as well as motion pictures.  

To my mind the greatest master of film scoring was Bernard Herrmann.  Following his initial successes in the 1940s, like THE DEVIL AND DANIEL WEBSTER and THE GHOST AND MRS. MUIR, he was reaching his peak in the 1950s. So it's natural that he would be asked to compose for several television programs and also provide suites of library music to be used for many different programs.  This was due primarily to his friend from CBS radio, and later television: Lud Gluskin.  It was a fortunate blending of imaginative music director and innovative film composer.

The most popular type of television entertainment in the 1950s was the western. This Herrmann CD makes a nice companion to the excellent Film Music Society one, Music from CBS Westerns [Editor's Choice for April 2003].

Two of the most popular TV series of the '50s were: GUNSMOKE and HAVE GUN, WILL TRAVEL.  Herrmann was asked to compose for both programs.   He was commissioned to compose for the 1957 pilot episode of HAVE GUN, titled: "Three Bells to Perdido."  The suite (10:19) from this episode opens the CD.  First heard is Herrmann's distinctive dramatic opening theme.  This theme remained one of the most memorable of any television western series and provided Herrmann with substantial income.  The other suite (9:24) on the CD is from GUNSMOKE and titled: "The Tall Trapper" from 1960.  Both suites contain many of Herrmann's familiar techniques of short repeated motifs and unorthodox instrumental combinations.  

The remainder of the CD contains the library music: a WESTERN SUITE (tracks 2-10); THE INDIAN SUITE (tracks 12-15); and WESTERN SAGA (tracks 16-24).  Listening to the various cues you can hear how innovative Herrmann was with his scoring for these generic library western suites.  For example, for "The Ambush" (track 3, 2:55), Herrmann opens with repeating motif on timpani and harp.  Then gradually more woodwind instruments are added to the same motif.  This serves to heighten the suspense level.  The following track is a wonderful example of Herrmann's tone painting.  As Jon Burlingame describes it in his notes: "the edge-of-your seat 'Tranquil Landscape,' with its incessant drumbeat, repeated harp and clarinet figures, is a highlight of this suite."  The combination of dark sounding woodwinds and harp glissandos heard on the next track, "Dark Valley" (2:15), is another fine example of instrumental coloration. Herrmann was the master of this type of sound.

On THE INDIAN SUITE, the first cue, "Indian Ambush" (3:28), has the familiar repetitive drumbeats but the punchy brass statements, low woodwinds, and use of a softly playing tuba provide a most unique combination.  The last cue of this suite, "Indian Fight" (2:10), features prominent brass and timpani carrying it along at a rapid pace.

The third suite, WESTERN SAGA, has the same number of cues as WESTERN SUITE, but is scored just for brass and percussion.  That type of instrumentation makes it sound brighter and more expansive, like the rollicking "Street Music" (1:44) and the reflective "Open Spaces" (3:29).

It's a credit to Herrmann's enormous skill, the he could compose such incredibly rich and diverse music for these library western suites that were used in many other CBS programs well into the '60s.  

The CD notes by John Burlingame, though brief,  provide good solid information about the two television programs and the three library suites.

The sound restoration of these vintage recordings is extremely clean and well defined.  

Bravo to all those involved in bringing these recordings of vintage Herrmann television scores back to life!   

This is a must have CD for all Herrmann fans.  Also, anyone who wants to hear this film music master in his prime.

I highly recommended this wonderful Prometheus collection.

--Roger Hall, 30 October 2003

More information, go to:  www.soundtrackmag.com

[Added note:  This date is the 65th anniversary of the notorious THE WAR OF WORLDS broadcast with Orson Welles and the Mercury Theatre on CBS Radio.  As any fan of this famous radio broadcast knows, the conductor of the studio orchestra that Sunday night in 1938 was Bernard Herrmann. Who was the Director of Music at CBS at that time? It was Lud Gluskin.  What a fortunate coincidence for Herrmann's later work!]  

BERNARD HERRMANN: THE CBS YEARS, Vol. 2: American Gothic

26 Tracks = 69:22

Music composed and orchestrated by Bernard Herrmann. Music Director: Lud Gluskin. Executive Producer for Prometheus Records: Luc Van de Ven.  CD Producer:  Ford A. Thaxton.  Associate Producer: James Nelson.  Audio Restoration: Chris Neel.  CD assembled and mastered by James Nelson.  Liner Notes: Jon Burlingame.

Prometheus PCD 153

Rating: ***1/2

I need to qualify my review by stating that I consider Bernard Herrmann to be the greatest of the past film music masters. While this CD of themes and suites is not quite up to the standards of his film scores and Vol. I: The Westerns (reviewed above), it still demonstrates the same high quality and making the most of small instrumental ensembles.

There are seven suites and themes from the CBS radio and televisionon library included on this "American Gothic" CD: LANDMARK Theme (track 1); THE WALT WHITMAN SUITE (tracks 2-15); ETHAN ALLEN - Suite (track 16); THE DESERT SUITE (tracks 17-23); COLLECTOR'S ITEM Suite (track 24); THE MOAT FARM MURDER - Suite (track 25); and BRAVE NEW WORLD - Suite (track 26).  As one might expect expect there are the Herrmann trademark short repeated motifs.  For example in the Prelude of THE WALT WHITMAN SUITE (track 2, 1:35), and the Prelude of THE DESERT SUITE (track 17, 2:48).  Herrmann, perhaps more than any other film composer from the past, was able to provide the most musical effects from a mininum of instrumental resources. As Jon Burlingame writes in his very good notes: "Herrmann was never bothered by budgetary restrictions, indeed, he considered limited means of musical expression a genuine challenge."  

Yet, this "American Gothic" CD doesn't have enough music that is of very memorable.  Since the music was composed for radio or television programs, the scores were meant to be strictly background material.  You can hear snatches of instrumental combinations or themes that would be used in the great scores for Alfred Hitchcock, Rod Serling's TWILIGHT ZONE episodes, and the Ray Harryhausen fantasy films. One example, is the ticking clock motif in COLLECTOR'S ITEM which appears in many later Herrmann scores.  The suite that holds up the best in my estimation is the last one for BRAVE NEW WORLD.  It was composed for a CBS Radio Workshop series in 1956.  There are all the magical sound elements you'll hear in Herrmann's sci-fi and fantasy scores.  It's a marvelous way to end this CD.

The sound quality is archival but very good for recordings made back in the 1950s.  It was used for "tracking" in many CBS programs of that era, under West Coast music director, Lud Gluskin.  To quote from Burlingame again: "Radio and television cues tend to be short in duration and succinct in terms of expression...Fortunately, because of Herrmann's stature in the history of film music, these works--which would otherwise have been forgotten and languished in vaults for years to come--have been rescued from obscurity."

And that pretty well sums up the main value of this "American Gothic"CD.  

This is Herrmann's music...so it's well worth adding to your film music collection.             

--Roger Hall, 20 December 2003

CD Release of Special Merit

BIG FISH

23 Tracks = 61:26

Music score by Danny Elfman.  Songs performed by Pearl Jam, Bing Crosby, Buddy Holly, Elvis Presley, The Vogues, The Allman Brothers Band, Canned Heat, Bobbi Page and Candice Rumph.  CD Produced by Danny Elfman. Music Editor: Ellen Segal.  Assistant Music Editor: She Rozow. Lead Orchestrator: Steve Bartek.  Additional Orchestrations: Jeff Amajian, David Slonaker, Edgardo Simone.  Music Supervisor: Bob Badami. Score Recorded & Mixed by Dennis Sands. Orchestra conducted by Nick Ingman.  Recorded at Air Studios, Lyndhurst Hall, London, England. Package Design: David Coleman.

Sony Music Soundtrax SK 93094

Rating: ****

Danny Elfman continues to provide very good scores for a variety of films.  This year, for example, there was his score for THE HULK (see review below), and now there is this one for the Tim Burton film.  Last year Elfman's work on the blockbuster Oscar-winning musical CHICAGO went largely unnoticed.  Other recent scores by him include: RED DRAGON, SPIDER-MAN, and the remake of PLANET OF THE APES in 2001.

I believe Elfman's BIG FISH score is the most impressive one he has yet composed.  Just listening to Big Fish (Titles)(track 9, 4:32) and you'll hear a quieter and more reflective Elfman at work, using mainly a solo fiddle and other strings.  This reminds me of Thomas Newman's composing style, but it's still Elfman working his magic. He can show his tender side with a charming cue like  "Sandra's Theme" (track 12,  2:26).  And he can also be more expansive, featuring both wordless chorus and full orchestra in the delightful track, "The Growing Montage" (track 13, 2:41).  Other memorable tracks include: the menacing sounding "Leaving Spectre" (track 14, 1:59) followed by the more reassuring "Return to Spectre" (2:13).  All in all this is very comforting score, filled with many magical themes, such as in the long "Finale" (track 20, 11:10.  

As far as the eight songs go, they all seem to be well chosen to fit the story.  They include two original songs: "Man Of The Hour" (words & music by Eddie Vedder) and "Twice The Love (Siamese Twins' Song)" (words & music by Danny Elfman and John August.  The Siamese Twins song is silly stuff, but presumably exactly what it's supposed to be.  No lyrics are provided for this song which is too bad because the words are difficult to understand as sung by the two singers. Fortunately the "Man Of The Hour" song has the lyrics included in the CD booklet.  The other songs are: "Dinah" (sung by Bing Crosby); "Everyday" (Buddy Holly); "All Shook Up" (Elvis Presley); "Five O'Clock World" (The Vogues); "Ramblin' Man" (The Allman Brothers Band); and "Let's Work Together" (Canned Heat).

To illustrate how well this Elfman music is valued in BIG FISH, it is up for both the Broadcast Film Critics Award and Golden Globe for Best Score.  The same applies to Eddie Vedder's "Man Of The Hour" which is nominated as Best Song by both awards groups.

BIG FISH is an exceptional soundtrack CD with a well designed cover and booklet.  

The score by Elfman certainly deserves the high praise it is getting.  

This is an especially worthwhile release by Sony.

--Roger Hall, 22 December 2003   

Editor's Choice for August

THE BIG SKY

28 Tracks = 79:18

Music composed and conducted by Dimitri Tiomkin.  Producer:  James D'Arc for Brigham Young University. Executive Producer and Distributor: Craig Spaulding, Screen Archives Entertainment.  CD Producer: Ray Faiola.  Disk Restoration & Tape Transfer: Chris Lembesis.  Film Essay: James D'Arc. Music Notes: Bill Whitaker.  Design: Leslie Gunn. A Brigham Young University Film Music Archive Production.

FMA-DT 111

Rating: ****1/2

As with their ten previous restorations, this is another excellent BYU FMA release.  This is not a re-recording.  It is the soundtrack recording made from the original acetate disks and carefully restored by Chris Lembesis (disk transfer) and Ray Faiola (asemmbling, sequencing and editing).  The colorful 36 page CD booklet is beautifully designed by Leslie Gunn, and there are an informative Introduction and Essay ("A.B. Guthrie Jr. and Howard Hawks: The Big Sky's Upriver Journey from Book to Film") by James D'Arc.  There are also detailed notes on each track of the CD by Bill Whitaker. At the end of the booklet are helpful Audio Production Notes by Ray Faiola.

Since I've loved this great Tiomkin score since I first watched the film, it is quite a treat to finally have it restored so beautifully.  The 1952 film stars Kirk Douglas, Dewey Martin, Elizabeth Threatt ( a beautiful part-Cherokee model), and Arthur Hunnicutt.  The director was the legendary Howard Hawks, who had earlier received another great Tiomkin score for the classic western, RED RIVER.   

If you think of Dimitri Tiomkin as the composer of fast dynamic themes such as for DUEL IN THE SUN and GIANT, then the Main Theme for THE BIG SKY will come as a "big" surprise.  It is much quieter and reflective, but just as memorable as other Tiomkin themes.  In his CD notes, Bill Whitaker describes it as one of Tiomkin's "most bewitching motifs."  This is a theme that will likely stay with you for quite some time after you hear it.  Naturally it is used throughout the score in various transformations, such as the subdued rendering on track 7, "A Keelboat in the Fog" (1:43) and track 8, "Landing" (1:37), which also includes the Charlotte theme from track 6.

One of Tiomkin's many talents was his ability to arrange folk tunes in a very unusual and satisfying way.  In this film, it's the American folk tune, "Buffalo Gals" that he uses so effectively, first heard on track 5 (1:19), sung by a Cajun-French singer and accompanied by lively folk instruments.  He had earlier used this tune extensively in one of the most beloved film classics, IT'S A WONDERFUL LIFE, with Jimmy Stewart and Donna Reed even singing the folk song in one of the most memorable scenes.    The next track on THE BIG SKY VD, titled "Charlotte" (1:20), is a lively folklike tune sung by the same singer as "Buffalo Gals."  

The sound is remarkably good for its age and the transfers from the acetate disks are superbly done.

This is a first class production all the way.  It demonstrates Tiomkin at his best.

Highly recommended to all vintage soundtrack lovers.  

For Tiomkin fans, like me, this is simply a golden treasure.

Bravo to Craig Spaulding and James D'Arc for providing us with this outstanding soundtrack release!

--Roger Hall, 29 August 2003

THE BUCCANEER

13 Tracks = 41:04

Music score by Elmer Bernstein.  Produced for release by Dan O'Leary. Mastered by Alan Silverman. Production Associate: Jim Kelly. Photos courtesy of Photofest. Reissue Design: eleven07.

DRG Records 19051

Rating: ****

[Note:  According to James Macmillan, who spoke to Elmer Bernstein in 1997, this recording was conducted in Munich by Kurt Graunke not the composer - who is listed on the DRG CD]

This CD is a reissue of a Columbia LP released in 1959.  It was recorded 6 November 1958.  

I make no secret of the fact that I'm a big admirer of Elmer Bernstein's music.

Yet I must admit this film score doesn't grab me quite as much as other better known Bernstein epics, like THE TEN COMMANDMENTS (which it resembles in some of the brass writing) and HAWAII.  Yet THE BUCCANEER is a far better score than anything I've heard for the recent pirate films.  That's mainly because Elmer Bernstein was a film music master way back in the 1950s.  

I know there was a previous CD of THE BUCCANEER on Varese Sarabande , released in 1988.  It was reviewed in Music HoundSoundtracks  by Didier Deutsch, who wrote: "The 1958 recording, in agressive stereo, is in need of good mastering."  That problem has been resolved with this DRG reissue.  The sound quality is quite full and expansive and that's especially important because of the heavy use of brass and strings.  You can hear that immediately in the opening "Prelude" (3:34), which has one of those majestic themes that Bernstein was so skilled at composing.  Parts of that Prelude might even remind some of music by such Golden Age masters as Miklos Rozsa or Dimitri Tiomkin, which I offer as a compliment not a criticism.

THE BUCCANEER score is a very flavorful mix of light ethnic or romantic land music (mostly with strings) and the darker sea music (mostly brass).  

Examples of the "land" music would be the sweetly romantic "Lovers United" (1:33); the briskly paced "Polka"" (1:33); and the slower but just as beautifully written "Valse Tragique" (3:41), which does shift to the more robust sea music about halfway through the track.  The sedate land themes provide a perfect contrast to the more muscular sea themes.  

The sea music is heard on such tracks as "Mutiny" (1:58) and "Ravens Pursuit and Hanging" (2:42).  Both of these tracks provide a strong buildup, to accompany the darker elements of the film.  Besides the swirling strings, there is a heavy prominence of brass which gives added support to the action of the film.

Probably the highpoint of the score is "Battle at New Orleans" (4:13), which begins with a wonderful march featuring drums and bagpipes.  Then about halfway through this track, the full orchestra come roaring in with a heroic theme played mostly on trumpets and horns.    

The last track, "Out to Sea" (3:25), provides a beautiful conclusion to the soundtrack and is much more satisfying than many final tracks on today's soundtrack CDs.

The foldout flyer features brief notes by an unidentified writer from the original LP, and also a nice vintage photo of Elmer Bernsetin.  The last line of these notes sums up nicely this soundtrack: "With THE BUCCANEER, Mr. Bernsetin has had a subject that kindles themes as rousing and romantic as its hero, and they are set forth in this original soundtrack recording with all their memorable power and excitement."

If you're an Elmer Bernstein admirer, then you should not pass up this resissue of a wonderful 1950's epic soundtrack.

This great sounding CD is well worth adding to your Bernstein soundtrack treasures.

--Roger Hall, 29 July 2003/ revised: 9 September 2003  

Also take a look at the composer's very informative web site:

www.elmerbernstein.com

CABIN FEVER

32 Tracks = 76:32/ (23 total score tracks =58:52; Nathan Barr: 17 tracks= 41:36, Angelo Badalementi: 4 tracks = 11:28, combined Barr & Badelementi: 2 tracks = 5:48)

Songs: Sh*tstorm (performed by Your Mom); Wastin’ Time (performed by Scrappy Hamilton); Walkin’, Workin’, Lovin’, Laughin’ (performed by The Turtlenecks); Swing Low (performed by Happy Wednesday)

Music composed by Nathan Barr and Angelo Badalamenti. Produced by Nathan Barr & Ford Thaxton. Digitally edited and mastered by James Newton at Digital Outland. Original Score mixed by Michael Farrow. CD Art Direction by Mark Banning.

La-La Land Records 1008

Rating: ***

It’s the fall and time for Hollywood to trot out the latest shock fests. CABIN FEVER is Eli Roth’s directorial debut. Roth is one of those new, young directors trying to carve a place for themselves. Already he has received student "Academy Awards" for his work and this film managed to nab him the third place prize at the Fant-Asia Film festival and a nomination for best film at the Catalonia (Spain) International Film Festival and winner for best make-up. The latter festival is a kind of clearing house this year for horror genre films.

Nathan Barr’s contribution to the score is eclectic and demonstrative of his abilities to provide a wider gamut of score support. They tend to more small-scale ensembles of the Thomas Newman variety or electronic-sounding effects that are appropriate to the genre (the liner notes claim that there is no electronic score music). What is impressive is that Barr does not fall into the trap of sounding like others who have traversed this genre before him, though he is a kindred spirit of Beltrami’s SCREAM work. Barr’s talent on over 100 instruments is on full display here as well.

Badalementi’s contributions are mostly atmospheric pieces of the TWIN PEAKS variety of which "Deputy Winston" is the quintessential example with its smoky-jazz flavorings complete with vibraphone and chromatically winding accompaniment over held harmonic chord structures. His music in the cue "Red Love/Virus Check" is a bit reminiscent of Beltrami’s thematic material in THE MINUS MAN and it receives a complete thematic track as a "bonus" at the end of the CD. Thematic material is generally sent packing in scores like this where compositional techniques to serve tension and action win out. That ends up making CABIN FEVER a good genre score in that respect as you hear many of the gestures that Barr uses to heighten tension. However, longer ideas provide connections in unexpected ways that are discovered upon closer hearing.

Unlike many similar soundtrack releases, La-La Land has shied away from the one-minute track and allowed both composers material to be showcased in extended forms. The variety of the material does help and the producers no doubt intend this for a specific crowd. The inclusion of rock songs used in the film does a service more to the unknown performers and the young crowd that may have seen the film. These are grouped together mostly at the beginning of the CD and interspersed with snippets of dialogue.

Barr becomes a talent to watch like many of the composers featured in La-La Lands growing catalogue of film and television scores. The inclusion of music by Badalamenti allows for a wider audience to take a chance on the overall CD.

--Steven A. Kennedy, 30 September 2003

COLD MOUNTAIN

19 Tracks =     (Songs = 1-14 & 19/ Score = 15-18)

Music score composed by Gabriel Yared.  Various traditional songs. Executive Soundtrack Producer: Anthony Minghella.  Produced by T. Bone Burnett. Music Consultant and Old Time Activist: John Cohen. Soundtrack Coordinator: Rachel Levy.  Traditional songs arranged by Anthony Minghella and Henry (T Bone) Burnett. Musicologist: Sandy Wilbur.  Music Consultant: Jill Myers.  Mastered by Gavin Lurssen.  Music Editor: Fernand Bos.  Art Direction: Nancy Donald, Mary Maurer.  Design: Michael Lau-Robles. Photography: Albert Watson, Phil Bray.

DMZ/ Columbia/Sony Music Soundtrax CK 86843

Rating: ***1/2

There has been a lot of media hype about this soundtrack being like a second volume to O BROTHER WHERE ART THOU.  Sorry, but I don't agree with that comparison.  While this soundtrack consists mostly of traditional folk songs, it's not nearly as memorable as the O BROTHER CD.  Since they take up most of the COLD MOUNTAIN CD, I'll discuss the songs first, then move on to the score.

A few of the traditional songs struck me as worth a second listen.  These songs are: "Wayfaring Stranger" (sung by Jack White); "The Cuckoo" (performed by Tim Eriksen & Riley Baugus); "Christmas Time Will Soon Be Over" (Jack White)--doesn't this song sound like the dance tune, "Skip To My Lou"?; "Ruby With The Eyes That Sparkle" (performed by Stuart Duncan, fiddle & Dirk Powell on banjo); and Ralph Stanley's wonderful "Great High Mountain" (Jack White)--the best of the traditional songs on this soundtrack.

There are also two sacred hymns performed with great emotion by the Sacred Harp Singers at Liberty Baptist Church in Henegar, Alabama. The first one is a spirited "I'm Going Home" by Leonard Breedlove from 1850.  The second Sacred Harp hymn is the Ananias Davisson's deeply mournful "Idumea" from 1816.  I read a news story that said 30 Sacred Harp hymns were recorded.  It's too bad they didn't include more of these wonderful hymns on the CD.  Perhaps there will be a separate CD of Sacred Harp hymns by the great Liberty Church singers.    

Besides the traditional folk songs and Sacred Harp hymns, there are several new songs on the soundtrack CD.  One of them is "Never Far Away" written and sung by Jack White.  The song's opening sounds very close to the popular children's song, "Three Blind Mice." Perhaps that was intended.  But I believe the best two songs are: Elvis Costello and Henry Burnett's "The Scarlet Tide"; and Sting's "You Will Be My Ain True Love."  Both of these lovely songs are beautifully sung by Alison Krauss.  Her voice is very clean and pure.  Even with her beautiful singing, it would have been helpful to have the words to these two fine songs on one or two panels of the foldout CD flyer, instead of all the film stills. This is a common problem with soundtrack CDs these days.  Too many photos and music credits, but no text about the film or the songs.  The art design is otherwise fine, with tasteful printing and photo montages.  

There are only four score tracks on the CD.  Yared's score is pleasant enough but I don't believe it captures the intense love the two main characters share over a great span of time.  Track 16 ("Ada Plays", 3:18) is supposed to represent her piano playing and then moves on to a syrupy string theme.  The next track ("Ada and Inman", 5:03), opens with a strong orchestral crescendo that comes the closest to something memorable, but when the piano enters it becomes rather meandering (like a bad TV movie soundtrack).  Even the "Love Theme" (track 18, 3:40) strikes me as dark and dreary.   

I suppose with the film's popularity, this soundtrack will be a huge seller and probably be nominated and perhaps even win some awards.  But other than some of the traditional and two new songs and also the Sacred Harp hymns, I don't think there's much in the Yared score that is really exceptional.  You  may want the soundtrack as a  musical souvenir of COLD MOUNTAIN.  But beware, with so many traditional songs, this CD may not appeal to all soundtrack collectors.

--Roger Hall, 31 December

CREEPSHOW (Also music from TALES FROM THE DARKSIDE, MANSIONS OF THE MOON, SHOOBIE DOOBIE MOON)

14 Tracks = 66:51/ CREEPSHOW, 8 tracks = 41:17)

Music composed, performed, and produced by John Harrison; except CREEPSHOW, produced by John Sutton. Additional piano performances by Michael Abelson. Album produced by John Harrison and Ford A. Thaxton. Audio restoration by Chris Neel. Recorded by Jerree Recording Studios. Engineered by Dan Garvin with Jerry Reed. Digitally edited and mastered by James Nelson at Digital Outland. CD Art direction by Mark L. Banning.

La-La Land Records LLLCD 1007 (Limited Edition pressing of 3000 copies)s

Rating: **1/2

The other evening I somehow managed to locate a Spanish language broadcast of CREEPSHOW. The segment was the one featuring Leslie Nielsen and a pre-CHEERS Ted Danson and it was hard not to keep from laughing at the film in this context. I do remember renting a video of this film in high school and watching it in countless cable late-night showings. It has its moments as do most 80s horror movies and has its cult followers. The music for CREEPSHOW was composed by John Harrison who is gaining more of a name for himself from Sci-Fi channel fans for his excellent adaptations of Frank Herbert’s DUNE and CHILDREN OF DUNE miniseries. This was his first film score assignment and in this premiere release it has been digitally remastered.

The genre of horror music for films in the 1980s continued in the vein of John Carpenter’s HALLOWEEN and in some cases incorporated some of the contemporary new age sounds. Synthesizers were the key to many of these scores and solo piano laid over or through the texture with ostinato patters was a common thread accompanied with typical harmonic surprises along the way. In CREEPSHOW’s opening "Prologue" these things all hold sway with a little wordless choir for good measure. The material was very appropriate to the film back then, but as with so much electronically reproduced music sounds dated a bit now. The recording itself bears very well for those who love this type of music. And fans of the film will no doubt flock to grab up the copies available. From a musical point of view the sampling is not all that interesting beyond the main thematic music. "The Lonsesome Death of Jordy Verrill" sounds like random, on-the-spot composition. It plays well to film, but not necessarily apart from it. While I enjoyed the toungue-in-cheek humor of including "Camptown Races" in the midst of the segment "Something to Tide You Over" it wears very thin quickly on its own. So this is recommended only for those who enjoyed the campy film and for those interested in adding to their collection of electronic film music.

The CD includes additional music for some other Romero productions including the superb TALES FROM THE DARKSIDE. Harrison includes suites compiled from three episodes each giving a different glimpse of his attempt at different styles. The remaining material is music written for Romero projects that never materialized and which are intended to be spoofs of 1950s genre films.

--Steven A. Kennedy, 14 August 2003

CD Release of Special Merit

ELF

17 Tracks = 30:10

Music composed, conducted, and produced by John Debney. Performed by the Hollywood Studio Symphony. Recorded at TODD-AO Scoring Stage. Music mixed at O’Henry Sound Studios. Musical score mixer: Shawn Murphy. Mastered by Pat Sullivan-Fourstar..

Varese Sarabande 302 066 525 2

Rating: *****

I cannot remember a film I have seen in the past year that managed to be intelligently comical, non-condescending, devoid of exploitive nudity, and minus the stream of expletives and accompanying violence. Who would have thought a film that stars Will Ferrell could achieve such a thing after OLD SCHOOL? But Jon Favreau’s film is a sheer delight that has just enough sugar without sending the viewer into a diabetic fit. If you have avoided this film, it is definitely worth the effort to spend a joyful afternoon. The film is a kind of sentimental reminder of how much innocence we seem to have lost these days. It expects us to still believe in the infectiousness of joy in a growing cynical world.

ELF features a score filled with comic underscoring techniques, tuneful and heartfelt melodies, and well-mixed popular holiday music. Varese’s score only presentation, while brief, takes us through the many musical moods of the film very well. The opening "Papa Elf" moves into the excellent "Main Title" sequence that hearkens back to the late 1960s/early 1970s. The theme is a wonderful homage to "Jingle, Jingle, Jingle" from those puppet holiday classics many of us grew up with back then. Buddy’s theme appears throughout the score and manages to tug at the heart quite a bit. I would say it is Debney’s music that keeps the heart in ELF and provides excellent support to Ferrell’s characterization. Debney’s score is also reminiscent at times of CHICKEN RUN and fans of that score and even Silvestri’s MOUSEHUNT will surely enjoy this score. The excellent music accompanying the appearance of the "Central Park Rangers" works beautifully on film and is a brief moment of adventure and threat to the otherwise festive mood. In "A Snowman’s Advice" one might detect a little Randy Newman sound but it is in perfect parody of the on-screen activity. Other big band moments offer welcome contrast including a wonderful "Christmas Medley."

Unlike BRUCE ALMIGHTY, which featured little score material, Varese’s ELF disc gives us the standard half-hour orchestral presentation. A second disc featuring the pop songs "used" in the film is evidently available separately. It is too bad really because it has been a long time since the musical choices from the "pop" world have worked so well alongside the accompanying score and they surely would have filled out the disc. At any rate, score fans will not have to worry much about tracking past songs. The only other dissatisfying thing about the presentation is that it ends rather weakly. It would have been nice to have a return of the primary thematic material. A small caveat to what should become a classic film and score.

--Steven A. Kennedy, 19 November 2003

H.P. LOVECRAFT’S FROM BEYOND

13 Tracks = 46:08

Music composed by Richard Band. Performed by the Arkham Philharmonic Orchestra. Additional electronics by Christopher L. Stone. Album produced by Richard Band and Ford A. Thaxton. Score engineering by Toby Foster. Score remixed for CD by Rick Ruggieri. Digitally edited and mastered by James Nelson at Digital Outland. CD Art direction by Mark L. Banning.

La-La Land Records LLLCD 1004 (Limited Edition pressing of 3000 copies)

Rating: ****

If you were a teenager in the 1970s or 1980s you are familiar with Richard Band, especially if you were a Troma fan (of the RE-ANIMATOR series), a PUPPET MASTER freak, or of really any low budget horror movie that found its way to the spawn of cable movie channels. The key is that Band is truly the finest niche composer for this genre. His music makes RE-ANIMATOR the kind of horror and humor mixture that easily moves that film to cult status. His other Lovecraft projects have done the same thing. Band’s specialty is an amazing mixture of both electronic and orchestral sounds, one of the first composers to do so. Such integration is on ample display in FROM BEYOND.

FROM BEYOND (1986) relates the tale of yet another mad scientist who this time discovers a parallel dimension that cannot be perceived by our five senses. And of course, this new dimension is filled with human-eating horrifying creatures. The CD opens with an equally creepy, yet lyrical, main title cue that has some intriguing rhythmic punctuations not unlike those found in Goldsmith’s PLANET OF THE APES. The orchestral bell ostinati are layered along with pizzicato string and electronic ostinato patterns that run in a counterpoint commonly heard in similar Band scores. The idea is expanded upon in the second track containing material not previously released in a main title sequence that also introduces us to the "resonator." A little pop sound, familiar in the more humorously macabre moments of these films is heard in "We Saw Creatures." It will be familiar to those who have come to love Band’s music. Other segments of the score will have you marveling at the interesting electronic combinations that are truly musical gestures and not just random noise that is common in most scores. There is also music of a purely dramatic nature that stands along side anything else being written at the time of which "She’s So Pretty" is a prime example. If you are a fan of Jerry Goldsmith’s music and have yet to discover Band’s this would be the score that would make an excellent entry point for you as Band’s music is a close cousin to Goldsmith’s music, though I dare say Band really is far more superb at integrating his electronic textures. The extended length of most every cue also allows the musical ideas to unfold and make more cohesive sense thus making each track sound like a movement from a contemporary symphony.

I was all prepared to just toss off FROM BEYOND, but I was engaged immediately by this excellent score. While there are a few repeating ideas to keep your ear focused, there are no immediately identifiable themes. Somehow, this works to great advantage and reminded me of some of Bernard Herrmann’s horror genre music. That should be high praise enough for those on the fence about acquiring this latest limited edition La-La Land production. And if that is not enough, the score won the Best Music award at the Barcelona Film festival beating out the likes of ALIENS, BLUE VELVET, and STAR TREK IV!

--Steven A. Kennedy, 28 June 2003

HULK

19 Tracks = 63:52; 18 score tracks: 59:44

Also included: "Set Me Free" (4:08), Performed by Scott Weiland, Slash, Duff McKagan, Matt Sorum, and Dave Kushner. Produced by Nick Raskulinecz.

Music composed and produced by Danny Elfman. Vocals by Natacha Atlas. Orchestra conducted by Pete Anthony. Recorded at The Newman Scoring Stage @ Fox Studios. Score mixed at The Eastwood Scoring Stage @ Warner Bros. Mastered by Patricia Sullivan Fourstar at Bernie Grundman Mastering. Art direction and design by Carla Leighton @ GLOO Design.

Decca B0000633-02

Rating: ****

Was there really any anticipation for another superhero movie? HULK did not exactly explode across the screens as much as had been hoped, but it seems like this summer there is a dearth of merely passable to mediocre film releases. Ang Lee’s direction pulls the film up closer to art house possibilities, but as a sci-fi film fan, and as a student of the CBS television series, this is a film that just did not appeal to me. I had been anticipating Michael Danna’s take on the superhero genre, but his last-minute replacement by Danny Elfman, the superhero film score king, suggested the more corporate involvement in HULK. The CD case sports at least four logos for different companies involved in the project alone.

Danny Elfman provided an interesting score for SPIDER-MAN. My opinion of the CD release of that score has improved over the year, though I think his superior efforts on RED DRAGON were overlooked. What continues to be illustrated is that Elfman is becoming the premier composer of main title music. HULK is no exception to the rule of great main title sequences, and the "End Credits" music is well-edited. The one new musical element that appears in HULK is an Arabic-sounding wordless vocal. It appears that the powers that be have made this a mandatory element of practically every film score these days since GLADIATOR. It shows up in the oddest of scores, here it represents some inner angst, or past memory, for our hero; gone are Elfman’s delightful choruses and added are far more synthetic drum machines that continue to plague film music. Some have noticed a credit in the film for a piece called "Mother" by Danna. It is evidently a nod to the inclusion of Danna’s contribution that reflects Elfman’s professionalism and respect for his predecessor on the project. The wordless vocals, a common Danna trait, were incorporated into the current score which was then beefed up a bit.

There are times when HULK comes close to sounding like one of David Arnold’s Bond scores, especially in "…Making Me Angry." How odd is that?! The action cue, "Captured," sets the pace for a combination of these elements. "Dad’s Visit" is one of those cues that is also very Arnold-like with a touch of BATMAN thrown in for good measure. It works fairly well as a stand-alone track. In fact, HULK ends up being one of the better film scores released this year because it works well as music and features elements of Elfman’s best superhero music. Some of the tracks blend seamlessly into each other so that we get a kind of long-playing orchestral work. Elfman’s style really shines best in "Hulk Out!" and it should please his fans that longed for similar work in SPIDER-MAN. HULK does continue to exhibit far more layered orchestral writing from Elfman than we have heard. "Gentle Giant" allows him to write a brief yet lovely work beautifully scored with what sounds like an alto flute, the melody and sound world recurs in "Hounds of Hell." But HULK is one of those scores for action fanatics and the CD is filled with more than you could shake a stick at. The hardcore action does allow you a brief respite in the central portion of the CD, and is excellently returned to in the midst of several later action cues. The most amazing track for me turned out to be the almost bittersweet, "A Man Again." It provides an amazing musical transformation backdrop to what goes on screen and also manages to traverse some of the more Arabic-sounding music over its seven-plus minutes of playing time.

My first general impression of HULK, after the "Main Titles," was that it was a committee score in hiding. But as I listened further, there was so much more to recommend this score than I had first expected with almost every cue a highlight. The transformation music is classic Elfman with far more layered dissonance than one has heard from him. Considering the last minute nature of his signing on to the project, Elfman managed to pull out enough stops to keep the music interesting even when he had to resort to B-list compositional techniques to speed up the process. Highly recommended then for Elfman fans even with the obligatory rock song, "Set Me Free," which has nothing to do with HULK but everything to do with marketing.

--Steven A. Kennedy, 30 June 2003

JOHNNY ENGLISH

17 Tracks = 60:40

(13 score tracks: 34:57; 9 minutes of silence on track 17!/ Robbie Williams-"A Man for All Seasons": 4:01; BOND-"Kismet": 5:14; Moloko-"The Only Ones": 4:13; ABBA-"Does Your Mother Know?": 3:15)

Music composed and conducted by Edward Shearmur. Score performed by London Metropolitan Orchestra and the Johnny English Band. Featuring Bond and Robbie Williams. Orchestra recorded at Abbey Road Studios and Air Lyndhurst Studios. Music mixed at North Pole. Recording Engineers: Andrew Dudman (Abbey Road), Jake Jakson (Air Lyndhurst).

Decca B0000638-02

Rating: ***

Edward Shearmur has slowly and surely been building an impressive and diverse list of score projects. I had really hoped that he would gain some recognition for his superb score to JAKOB THE LIAR but the only way to hear this is on an isolated score track on the DVD. His music for K-PAX also was impressive in its simplicity and reliance more on soundscapes. So it was with great anticipation that I awaited to hear his attempt at a Bond-spoof score. It was worth the wait as JOHNNY ENGLISH turns out to be one of the better summer soundtrack releases.

The Bond song parody, "A Man for All Seasons" kicks off this English import comedy. It is sung here by Robbie Williams and makes for a much better song than Madonna’s last year for DIE ANOTHER DAY written by Williams and Hans Zimmer! It has a definite English pop feel to it that adds to its kitschiness. The "Theme from Johnny English" is the first score track and it is a great theme complete with Vic Flick-esque guitar riffs and the requisite Arnold-percussion drive that has come to be a norm for his Bond scores. What makes this even more fun is that Shearmur has managed to somehow combine this sound while also giving a nod to the classic Barry scores for this genre. The group Bond also provides a "salsa" version later that is anything but, though there are some "salsa" moments mainly in some recessed enthusiastic shouting.

As the CD progresses there is great mood jazz, action music (especially "The Truck Chase"), and a sound that was perfected in TOMORROW NEVER DIES. Listening to Shearmur’s score, I had the vague sense that it was like hearing a Henry Mancini PINK PANTHER score. Though the lyrical moments are few and far between, the gorgeous waltz of "Café Conversation" is the kind of music many would wish to hear more frequently in romance scores. Perhaps that is a mark of the excellence of the music on display here. It may not ever end up in the annals of greatness, but it is great fun all the same. The disc closes with "Agent No. 1" which is like a large-scale Yamaha synthesizer remix with full orchestra. It is the kind of track that those in the younger crowd may find more "cool" than their older counterparts. While the track is listed at fifteen minutes, the music fades out after four minutes and we have eleven minutes of nothing followed by a piano solo with a slow, dreamy jazz accompaniment around 13 minutes into the track. This is one of the most blatantly irresponsible production flaws and shames the label. While it seemed strange that this score would warrant a CD release, Bond film score fans will find this a great addition to their musical collection.

The decision to print the recording and performer data in red ink on a dark red background is among the dumbest things I have ever seen. The text is practically illegible but if held carefully at an angle you can gleam some of the information. Deccas copyrighted this disc as a "compilation" which makes you wonder what they classify score discs. Perhaps it refers to the inclusion of a song by Moloko, the opening title song, the inclusion of "Kismet" by the ensemble Bond, and a song by ABBA. But, really, is anyone buying this CD for the ABBA track? At least the music is mixed at a comparable level to the surrounding score material.

The CD timed out on my player at a little over 60 minutes and not at the 62:38 listed on the casing. Add to this the nine-minute silence on track seventeen and you have a very good score marred by faulty production and outright lying on the packaging.

They used to call this bait-and-switch. Maybe it was meant to be funny. I did not find it at all amusing and neither should anyone who shells out their $15+ on this CD.

--Steven A. Kennedy, 5 August 2003

LOONEY TUNES: BACK IN ACTION

21 Tracks (37:20)

Music composed, conducted, and produced by Jerry Goldsmith (includes music by Carl Stalling, and "Merry Go Round Broke Down" by Cliff Friend and Dave Franklin). Performed by the Hollywood Studio Symphony. Music recorded and mixed at The Eastwood Stage and at TODD-AO Scoring Stage by Bruce Botnick.

Varese Sarabande 302 066 523 2

Rating: ***1/2

If it was not for Joe Dante’s involvement with this project it seems doubtful that Jerry Goldsmith would have been attached to it. Surely the maestro can find better projects? Perhaps it was the challenge of recreating or providing an homage of sorts to the great Carl Stalling whose music briefly starts the disc.

Goldsmith’s score reminded me most of his work for DENNIS THE MENACE mixed in with Stravinsky’s "Petroushka" and musical fragments from the great Looney Tunes cartoon vault. The way Goldsmith combines these standard cartoon gestures is fascinating to hear even when the music sometimes is not as interesting. There are some moments of tunefulness along the way and even a momentary nod to his score for GREMLINS. The orchestrations are among the maestro’s most joyful and bright in some time. The rhythmic punctuations are common signposts in many Goldsmith scores. About the only thing unusual is that there is little electronic music integrated into the score. It still shows up but drives the music less than in other previous scores. There are some great bluesy moments that recall film noir detective scenes or Barry’s Bond scores. Even Herrmann’s PSYCHO makes a brief appearance tongue firmly in cheek.

While LOONEY TUNES reminds us why Goldsmith is still one of our musical treasures, we have heard many of these gestures before. The mickey-mousing that must be going on would appear to be well-served by this score though word has it that the score material is very difficult to hear in the mix. There is a "hidden" bonus on my copy at the end of the final track which is a blatant musical ad for Wal-Mart. I hope that has a connection with the film. At least Goldsmith fans can have something new to enjoy this year. Let’s hope the projects get better in the coming year!

--Steven A. Kennedy, 19 November 2003

THE LORD OF THE RINGS: THE RETURN OF THE KING

Music Composed, Orchestrated and Conducted by Howard Shore.  Produced by Howard Shore. Featured soloists produced by Paul Broucek. Choral text by J.R.R. Tolkien, Philippa Boyens, and Fran Walsh. Performed by The London Philharmonic Orchestra, The London Voices, The London Oratory School Schola.  Soloists: Annie Lennox ("Into the West"); Renee Fleming ("The End of All Things"/ "Twilight and Shadow"/ "The Return of the King"); Sir James Galway ("The Black Gate Opens"/ "The Return of the King"/ "The Grey Havens"); Ben del Maestro ("Minas Tirith").  Various instrumental soloists. Score recorded by John Kurlander. Score mixed by Peter Cobbin. Recorded at CTS Colosseum, Watford; Abbey Road Studios; Air Lyndhurst.  Score mixed and mastered at Abbey Road Studios, London. Sleeve Art Direction and Design: Steven R. Gilmore.

Reprise/WMG Soundtracks 48560-2

Rating: ****

In any given year, Howard Shore’s score for THE RETURN OF THE KING would be considered a masterpiece. As a standalone score it is still a marvel. The almost non-stop music within the three-and-a-half hour plus current edition of the film is remarkable on its own. It is remarkable because the music infuses every frame in a way that manages to be present and yet somehow part of the visual fabric. There were only a couple of places where the music seems to be intrusive. The light and brightness of this score is still more subtle than one would have expected but there is not a misstep in the making here.

I may have been one of the few who lauded Shore’s work on THE FELLOWSHIP OF THE RING. I know Roger and I e-mailed one another in friendly question and answer responses to my choosing it as one of the best of the year. And I felt vindicated when FELLOWSHIP received its Oscar. I thoroughly enjoyed THE TWO TOWERS and picked it also in my top ten last year. It will be more difficult to do so this year for THE RETURN OF THE KING.

After seeing the film, I marveled that Shore was able to extract something for the score album that would give you a flavor for the film. The last two releases managed to do this very well. The release for RETURN I do not believe works as well as an album. Tracks are altogether too brief and rarely allow the music to flow the way it does in the film. The last quarter of the CD is the most successful listening experience. So it is with an ear toward the film’s presentation that I feel better at rating this final entry higher. Having listened through the score presentations for all three films, RETURN is the weaker on CD. Its power in the film is a completely different story and I hope that a more extensive presentation will be forthcoming.

The one thing that perhaps rubbed me wrong was the seemingly overproduced and commercially manipulative CD. James Galway is one of the greatest flautists, but was his contribution that necessary? Surely the nameless soloists of the London Philharmonic could and have been doing the job. I am guessing that he is simply a Tolkein fan more than a contracted artist. The three separate lists of thanks from everyone involved including a gratuitous paragraph from the production folks at New Line were not necessary.

Taken as a whole, the three scores for these films manage to bring the fantasy genre to the forefront yet again.

Too often I felt that RETURN OF THE KING cribbed some of its ideas from its Mahlerian forebears. It still remains a great achievement.

--Steven A. Kennedy,  20 December 2003

=========================================================================

Another review...

Rating: ****

This is certianly a big and grandiose score by Howard Shore.  My evaluation is of the Special Edition with CD and DVD.

For me, the best parts on the CD are the quieter tracks, such as "Twilight and Shadow" with Renee Fleming and the chorus.  Other cues like "The Fields of Pelennor" just seem too bloated, complete with shouting chorus.  Didn't Prokofiev do a similar thing back in the 1930s with ALEXANDER NEVSKY?  And Prokofiev did it more effectively. Still this is a well produced CD and has some very effective music.  The booklet is devoted mostly to pages of film photos but there's a nice one of Howard Shore included.  Texts for the songs are also included which is a good addition.  

The Special Edition has an extra DVD titled: "Howard Shore: An Introspective."  This is worth watching to see how much time and effort goes into producing such an epic score. Shore comes across as a very easy going but diligent film composer.  Maybe the problem with his score was it had to be altered so many times. Yet even with its minor shortcomings, I would agree with Steve that THE RETURN OF THE KING score is quite an impressive achievement.  

--Roger Hall, 26 December 2003       

MATCHSTICK MEN

22 Tracks = 55:39

Music composed, arranged and produced by Hans Zimmer. Executive Music Producer: Ridley Scott.  Music Supervisors: Dody Dorn and Marc Streitenfeld.  Executive Producer for Varese Sarabande: Robert Townson. Music performed by The Hollywood Studio Orchestra & The Santa Monica Synthphonia.

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Rating: ****

I had the luxury of seeing this marvelous film before listening to the soundtrack CD.  The films stars Nicholas Cage in one of his best ever performances, Sam Rockwell, and Alison Lohman. The first thing I thought was - Hans, you're much too close to Nino Rota and Thomas Newman!  But then I looked at the CD booklet and read that Rota was intended to be imitated to create the proper mood of the film.  I don't know if it was intentional to imitate the Thomas Newman style as well. The films' director Ridley Scott wanted a lighter sound, saying according the CD notes: "If the score doesn't have an accordion in it, we don't have a movie."  

Dody Dorn's opening CD notes gives a good explanation of the well chosen songs.  The careful attention to song choices was apparent to me while watching the film.  There are two vocals included on the CD: "The Good Life" (nicely sung by Bobby Darin), "Leaning on a Lamp Post" (a fun song performed by George Formby).  Also, there are four instrumentals from the '50s and '60s:  "Charmaine" and "Swedish Rhapsody" (Mantovani and His Orchestra), and "The Lonely Bull" and "Tijuana Taxi" (Herb Alpert and The Tijuana Brass).  Probably for legal reasons, the breezy Sinatra recording of "Summer Wind" didn't make it to the CD, even though it's featured in the film when Roy (Nicholas Cage) calls his ex-wife.  

Now what about the music by Zimmer?  While it does sound at times too much like Rota --as in the title theme on track 4 (2:09)--at other times it's just lots of fun to hear, such as in track 5 ("Weird is Good" - 6:42), an infectious tango rhythm complete with that accordion ordered up by Ridley Scott.   This track moves on to a darker, more mysterious mood played by only a few instruments.  It's a beautifully developed series of themes and is I think it's the best track on the CD. Another exceptional Rota-like theme is heard on track 7 ( "Ticks and Twitches" -2:49).  There are also traces of the Thomas Newman  percussive style exhibited on that track, but it's so well handled that it didn't bother me one bit.

Some of the tracks are too brief and seem to call out for a longer treatment, like track 2 ("Flim Flan - 0:12), track 8 ("I Have A Daughter?" - 1:06), and track 13 ("Pool Lights" - 0:54).  But most of the cues on the CD provide a good diversity of tempo and mood.  One example is the fast goofy electronica track of "Tuna Fish and Cigarettes" (1:55).  The next track is much lighter and more refined, with the main theme heard again, in "No Pills" (4:39).   

The final track ("The Banker's Waltz" - 3:05) is a graceful waltz that brings it all to a relaxed ending.

Overall, I'd say if you can get past the Rota/Newman soundalike style, this a hugely enjoyable listen.

For a change, the songs are also appropriate to the film.

Hans Zimmer has created a very memorable soundtrack to accompany the equally memorable MATCHSTICK MEN film.

--Roger Hall, 22 October 2003

THE MATRIX REVOLUTIONS

16 Tracks = 63:30 (1 track by Pale 3: 3:50; 3 tracks with Juno Reactor: 15:09; 12 Score Tracks: 45:31)

Music composed and conducted by Don Davis. Featuring Juno Reactor; Zachary Biggs, boy soprano and the Hollywood Film Chorale. Orchestra and Choir recorded at the Newman Scoring Stage, 20th Century Fox Studios. Music score mixed by Armin Steiner. Synthesizers mixed by Larry Mah at Hacienda Studios.

Warner Sunset / Maverick 48412-2

Rating: ***1/2

MATRIX fans received a double dose of Neo this year. THE MATRIX RELOADED featured a songtrack of neo-punk and an extended suite of Don Davis’ score. For THE MATRIX REVOLUTIONS we get mostly score with a couple of pumped up selections featuring Juno Reactor, and one from the German group Pale 3. Pale 3’s music fit surprisingly well with the film and was reminiscent of the work heard in LOLLA RENNT and THE PRINCESS AND THE WARRIOR. That Don Davis has managed to provide a score that can stand beside these styles is an amazing feat.

THE MATRIX REVOLUTIONS is a difficult listen. The driving frenetic energy gives way to sheer rapture through the course of the disc. The first quarter is given over to driving minimalist gestures coupled with rhythmic pulses of popular hard rock. It is an interesting mix. The "Main Title" is still a highlight and worked amazingly well in the film. Its rapidly crescendoing and decrescendoing brass careening out of control lent an urgency to an otherwise slowly moving retread of Hollywood clichés. For such a poorly written film, the producers have managed to receive a first rate score. There are so many things going on in the wash of sound that it is hard to believe that much of it gets buried on screen. As the CD moves towards its second half, fans of Davis’ first score in the trilogy will be most pleased. Here is the sound and compositional fortitude that impressed many who experienced this postmodern sound for the first time.

There are moments for romance and reflection in tracks like "Trinity Definitely"—a play on the first film’s "Trinity Infinity." And the rapturous moment of "Spirit of the Universe" is a welcome breathing space. The substantial breadth of the final eight tracks should satisfy many fans at any rate. The centerpiece for the score is the insertion of texts from the Upanishad in "Neodammerung." It is a kind of cross between "Duel of the Fates" and Goldenthal’s BATMAN music. Its title will not be lost on the casual opera-goer either. Whether it is intended or not, there are times when Davis’ ostinato patterns reminded me of Carl Stalling’s menacing cartoon music that appears when things are out of control.

The score for THE MATRIX REVOLUTIONS, and its popular music additions, are the saving graces from a film series that started with great promise and failed to deliver. The musical ideas heard in the final installment continue the thread of ideas and motives that surfaced in the previous two films. It is the way Davis uses these aural soundscapes to delineate action and character that make this score, and its previous outings, the great additions to science fiction scoring that they are.

--Steven A. Kennedy, 22 December 2003

CD Release of Special Merit

McQ

Music by Elmer Bernstein.

Film Score Monthly Vol. 6, no. 19 (limited pressing of 3,000 copies)

15 Tracks, TT: 49:24

Rating: ****

The month of December brings two big names in film scoring to the forefront in FSM’s ongoing releases of Golden and Silver Age "classics". Their release of Herrmann’s ON DANGEROUS GROUND should easily make my best of the year list and Herrmann fans do no need a review to encourage them. McQ may need a bit more convincing for the faint of pocket change.

Elmer Bernstein steps into the shoes of Lalo Schifrin’s scores for BULLITT and DIRTY HARRY here and provides a score that still maintains some subtlety in the midst of its 70s funk additions. McQ was one of two urban crime films that John Wayne found himself in, the other being BRUBAKER (whose score was issued by Intrada this year). There is much to admire for those who find that tenuous period of film music scoring in the early 1970s worth their effort. For me, this score was very reminiscent of David Shire’s superb score for THE TAKING OF PELHAM 1-2-3. And if you love that score you will likely be adding this one to your favorite guilty pleasures list. It is amazing that this is the same composer that brought us THE MAGNIFICENT SEVEN, TO KILL A MOCKINGBIRD, and more recently FAR FROM HEAVEN. The music engages you from the opening "In Seattle" throughout and does not end up staying in the wah-wah guitar mode of many other pictures of the period. Unique percussion ideas keep popping up as well and there are moments that reminded me of some of Goldsmith’s television work from this time. The sound is remarkably crisp and clean as well.

The disc is brief but do not let that deter you from considering adding this to your next FSM addition to your library.

--Steven A. Kennedy 15 December 2003

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

THE MISSING

15 Tracks (77:37)

Music composed and conducted by James Horner. Album produced by Simon Rhodes and James Horner. Music recorded and mixed by Simon Rhodes. Recorded Todd Scoring Stage, Studio City, CA. Album mastered at Abbey Road Studios, London. Package design by Detchapat Arttasan.

Sony Classical SK 93093.

Rating: **

Ron Howard's Oscar contender comes out Thanksgiving weekend and with mixed reviews this may be the first film turkey of the holiday season. The cast is impressive and features Tommy Lee Jones and Cate Blanchet and is based on the book "The Last Ride" by Thomas Eidson. It is a kind of wilderness story complete with your average mystical psychopathic killer and includes a kidnapping. So it sounds a bit like RANSOM and FAR AND AWAY combined. This marks Horner’s seventh score for the director. Each one definitely unique in its own way and two of which garnered him an Oscar nod.

The Native American chanting that opens the disc immediately sets the tone for the general thrust of the score. Uileean pipes seem out of place here but enter into the mix as the darker tone continues to propel us forward. The ethnic ideas are integrated with what sounds like a synthetic chorus very well in "The Stranger." The music is mostly mood writing with a sound that mimics Horner’s excellent scores for IRIS and A BEAUTIFUL MIND. The high string writing is not placed very forward in the sound picture at all which seems odd. The background texture is very similar to Burwell’s and Howard’s dramatic scoring in its slowly moving harmonic textures over minimalistic arpeggios. The opening thematic content and orchestration of "From Dawn to Dusk: The Riderless Horse" has a very Copland-esque sound filtered through Horner’s sound heard in TITANIC. As the track opens, it does not even sound like the same orchestra used in the preceding track. The ethnic sounds are always layered over the top of the orchestral sounds with odd synthetic sounds being mastered at the same level.

There are some unique percussion ideas employed here (drumming on chairs, for example) but their novelty is not truly exploited. Ten minutes into the disc and it is obvious that this is the primary material. What is interesting is the kind of three-tiered compositional layering that Horner uses here. The problem is that it is nothing novel in film music, or even in his own writing. "The Search Begins" is indelible of the composer’s overall previous thumbprints but the music is so similar to IRIS that it could be trimmed from that film’s music. "The Brujo’s Storm" is one of the extended eight-plus minute tracks. It is an interesting tone picture. Just when thematic ideas seem to come forward we are transported back into the various motivic and ethnic ideas that smash together so muddily that each layer sounds like so much noise. It is an interesting idea but the scoring is to full to really work well. Key centers appear to have been thrown out as well which is good musical imagery for the scene no doubt. Overall, THE MISSING gives Horner fans the kind of extensive tracks heard now on almost all of his Sony releases and on the BRAVEHEART discs. The problem is that most of the tracks bear very little distinguishing characteristics from one another save for their title. The sixteen-minute final track in effect retreads all the material well and will make for the best compilation excerpt on some future Horner set.

In some respects, this is the score James Newton Howard should have written for DREAMCATCHER. That score needed some longer tracks to help pull it together. In fact, "Rescue and Breakout" seems almost cribbed from that film. THE MISSING turns out to be an aptly named score. It is missing anything really new, thematic content, and originality. The orchestrations are messy in spots and do not pull the best from the ensemble employed. The Native American ideas are used here less interestingly than the ethnic elements Horner employed in THE FOUR FEATHERS last fall. I liked that score and it looked like we could be moving into new territory. However, it seems that now we are going to be treated to these IRIS motifs and orchestrations until someone realizes how beautiful they were in that film. Of course, their roots are traceable back to SEARCHING FOR BOBBY FISHER anyway.

The reality of this score is that while the extensive length is more than only the most die-hard fan will appreciate, the effect in the film may be quite effective. That is where it counts and only general audience reception will tell whether THE MISSING will make it past the pile of award-contending scores to come in December.

--Steven A. Kennedy, 22 November 2003

Editor's Choice for December

ON DANGEROUS GROUND

21 tracks = 48:24

Music composed and conducted by Bernard Herrmann. Album Produced by Christopher Husted and Lukas Kendall. Acetate Transfer by Jerry Burling and Chris Lembesis. Digital Mastering by Doug Schwartz. Music recorded ar RKO Radio Pictures Scoring Stage, Hollywood, January 8-12, 1951.

Film Score Monthly CD Vol. 6, No. 18 (limited to 3,000 copies)

Rating: ****1/2

From the thrilling first track to the concluding track, this excellent Bernard Herrmann score provides further proof that he was the King of Golden Age film composers.  The 1951 RKO film noir starred Ida Lupino and Robert Ryan and was directed by legendary Nicholas Ray.  

The score opens with one of Herrmann's most thrilling Preludes, moving at a breathless pace to set the mood for later in the film.  Following that are several quieter cues, like "Solitude" (track 2, 1:11); "Nocturne" (track 4, 2:01); and "Pastorale" (track 5, 2:22), where if you listen carefully you can hear a short motif used later in NORTH BY NORTHWEST.   

This is a score just brimming with Herrmannisms.  One of the most famous cues is "The Death Hunt" (track 15, 2:22) with heavy use of brass (especially French horns) and percussion in a rapid paced theme that echoes (or really leads) the action in the film. As Christopher Hustad writes in the CD booklet: "Herrmann offers one of his most virtuosic musical creations for film, scored for eight horns and orchestra."  The next track, "The Hunt's End" (2:12) completes the pursuit with the horns again taking prominence, accompanied by a sustained brass and timpani foundation.  This is truly thrilling music!

I need not go on since all the tracks are worthwhile in this superb Herrmann score, which was reportedly one of his favorites.  Besides the detailed CD notes by Husted, there is an Engineer's Note by Doug Schwartz.  He writes that "audio restoration is a highly subjective and ultimately personal skill...The high noise floor of these discs partially, but not fully, obscures the upper ranges of the audio bandwith avaailable in 1951, and so instead of agrressively clamping down on the upper octaves, we have elected to have what sounds most musical and true to our ears."  The results are most satisfying and I believe Mr. Schwartz has made the right decision.  He deserves respect and gratitude for his sensitivity to these original recordings.     

Mention should also be made of Virginia Majewski, who plays a solo Viola d'Amore on the soundtrack.  Herrmann thought so highly of her playing that he insisted she get screen credit for her performance.  That was very uncommon in those days.  Her beautiful playing can be heard on such tracks 14 (Dawn/The Idiot/Fear/The Cabin) and track 19 (The Parting/ The Return/ The City/ Finale).

There are also a few bonus tracks: an alternate take of "Prelude" (track 20, 1:22), and "Outtakes" (track 21, 2:13) with Herrmann's comments at the recording sessions.

Needless to say this is one of this year's best restored soundtracks, even with the minor audio deficiencies.

For Herrmann fans and anyone else who enjoys vintage film music, this CD is a must.

Highly recommended.

--Roger Hall, 22 December 2003

PETER PAN

18 Tracks = 44:31

Music composed, and produced by James Newton Howard. Performed by the Hollywood Film Chorale and the Hollywood Studio Symphony. Children’s choir conducted by Sally Stevens. Choir conducted by Paul Salamunovich. Orchestra conducted by Pete Anthony. Music recorded at Sony Pictures Studios. Mixed at TODD-AO Scoring stage. Score recorded and mixed by Shawn Murphy. Electronic score produced by James T. Hill. Mastered by Pat Sullivan-Fourstar.

Varese Sarabande 302 066 534 2

Rating: ****1/2

It will be interesting to see if PETER PAN lives up to its many other more familiar and popular incarnations. Many will compare this score to HOOK automatically. And it makes great sense that two composers would have similar musical responses. The opening "Main Title" is gorgeous and the music for "Flying" follows with a beautiful ostinato pattern and a sound reminiscent of Manheim Steamroller. The magical orchestral writing is thoroughly executed and is a hybrid cousin to the music of Ravel in many places. "Tinkerbell" is a wonderful tone picture that should find its way into concert hall performances in the future. The almost balletic feel to this score lifts it to a level perhaps not intended. It is like listening to a follow-up of "The Firebird." The action music and cartooning makes an appearance on occasion as well.

There are moments when you get caught up in the sheer musical magic that Howard weaves throughout this score. It is not filled with the cloying saccharine sounds of Piovanni’s PINOCCHIO from last year. The sound of the score is some of Howard’s best work and fans of THE PRINCE OF TIDES will find some of those wonderful romantic gestures here. Those who thoroughly enjoyed TREASURE PLANET will not need to hesitate and fans of EDWARD SCISSORHANDS will discover a kindred spirit in some of the tracks included here. The children’s choir is a nice touch. It is wonderful to have such great music being written for film directed at children!

After the spotty DREAMCATCHER, Howard has given everyone a chance to believe in the wonder of James Barrie’s classic character. The only thing missing are more specific cues for Captain Hook, the alligator, the pirates, and the lost boys. This surprised me on first hearing and causes the music to lean towards the more fairyland music, even though there are moments (as in "Set Them Free") when their menace is hinted at in the score. The great bassoon lines, and the solo wind writing are marvelous. This is truly one of the best scores of the year.

--Steven A. Kennedy, 24 December 2003

POINT OF ORIGIN

13 Tracks = 31:57

Music composed, performed, and produced by John Ottman. Album co-produced by Michael V. Gerhard. Digitally edited and mastered by James Nelson at Digital Outland. CD Art direction by Mark Banning.

La-La Land Records LLLCD 1011

Rating: ***1/2

John Ottman has managed to mix both composing and film directing and editing fairly well. But it’s his skill as a composer that still has yet to catch on with a larger audience. Personally, I have always enjoyed those scores that allow him to provide a little satire, sarcasm, or other humorous counter-program to the images on screen. Favorites of mine so far have been GOODBYE, LOVER and my guilty favorite from last year, EIGHT LEGGED FREAKS. The wider audience got treated to his excellent score for X-MEN 2.

The present score was composed for an HBO Cable movie starring Ray Liotta and John Leguizamo that premiered last summer.

The opening track, "Thinking It," mixes wonderful electronic sounds a la Goldsmith, and the harmonic shifts from minor to major are reminiscent of TOTAL RECALL and HOLLOW MAN. The electronic rhythmic ideas are more sophisticated than your run of the mill Hollywood picture, especially the Media Ventures variety. There are moments of skittish contemporary sound effects as well as a kind of jazzy trumpet. A typewriter provides connection with one of the chief characters in a musical way that avoids sheer gimmickry. It lies in contrast to moments of the score where more techno influences move to the forefront. Though many of the instruments sound genuine the synthetic arrangement and instrument manages to mix things in so well that it is difficult to tell at times what is real and what is electronic. Much of the score has that kind of techno-psychological thriller scoring that is typical for many lower budget Hollywood films. There were other moments that reminded me of the sound of other HBO productions, most noticeably TALES FROM THE CRYPT. However Ottman, as always, provides a score that presents a pleasing mix that underlies tension as well as thematic ideas that weave in and out of individual tracks.

While the brief timing may not win any immediate fans, Ottman enthusiasts are definitely encouraged to explore this lesser known score made available from La La Land Records. This is a label that has really carved out a niche market this year for out of the ordinary film scores. Many are from esoteric horror or sci-fi films, but they are all intriguing additions to the catalogue.

--Steven A. Kennedy, 5 November 2003

CD Release of Special Merit

RED RIVER

37 Tracks = 64:10

Score Restoration by John Morgan. Moscow Symphony Orchestra & Choir conducted by William Stromberg. Recording Engineers & Editors:  Edvard Shaknazarian & Vitaly Ivanov.  Notes by Jack Smith.  Recorded at Mosfilm Studio, Moscow, Russia in February-March 2002.

Marco Polo CD 8.225217

Rating: ****

[Note:  As of this date, the US release has not been issued. This review is based on the European release]

I must start off by stating that Dimitri Tiomkin is one of my alltime favorite film composers from the past.  Having said that, I wanted to yelp out like the cowboys on the cattle drive in RED RIVER.  But there were a few reservations that kept this Marco Polo release from reaching the top.  Yet it wasn't that far from it either.  And it has the best sound you're likely to hear. This is the first complete digital recording of RED RIVER.  For those who'd like to hear portions from the film's original soundtrack, you can find them on BEST OF THE WEST REVISITED.  

First, let me say that I was put off a bit by the raucous sound of the Marco Polo recording.  But since I've listened to it a few more times and also compared it to the film, I realize that's what was required by Tiomkin ferocious scoring.  This composer liked to lay it on thick and heavy in tasty orchestral sauce!  And  the Moscow Symphony Orchestra is up to the task.  Their playing is the best I've heard from them in a long while.  Maybe it's because, as one of the orchestra musicians is quoted in the CD booklet: "they recognized familiar Russian themes of all the greats from Tchaikovsky to Rachmaninov and Prokofiev in the pages before them."  While it's true that Tiomkin was Russian, even when writing music for the American West, his composing style remained uniquely his own. You can always tell when your hearing a Tiomkin score. Conductor William Stromberg mentions this fact in his thoughtful Preface.

In my article in Soundtrack (Winter 2002), I classified the years from 1948 to 1958 as Dimitri Tiomkin's "Golden Decade."  Those were the years when he had most of his major film score triumphs and he won his four Oscars: HIGH NOON (score and song); THE HIGH AND THE MIGHTY; and THE OLD MAN AND THE SEA.  In my article I also quoted from Chistopher Palmer's outstanding Tiomkin biography that nicely sums up RED RIVER's beginning:  

The title-music immediately sets the epic, heroic tone.  The unison horn-call is indeed an invocation: the gates of history are flung wide and the main theme, high and wide as the huge vault of the sky, rides forth in full-choral-orchestral splendor.

This Main Title is truly one of the best remembered western themes. Unfortunately, that's where my biggest reservation takes place on the Marco Polo CD.  The diction by the Russian choir is not very good.  What makes matters worse is the missing words in the CD booklet for the wonderful "Settle Down Little Doggies" choral opening.  But I've recently heard from a friend that the text is not available anywhere and nobody knows for sure what it should be.  I listened to the Hall Johnson Choir singing the choral opening in the film and couldn't really understand them either.  I suppose RED RIVER fans don't need these words.  But it would be helpful to state somewhere in the CD notes that it's unknown just what the words should be for "Settle Down."  To their credit, the Russian choir sings this jaunty theme with great enthusiasm throughout the score.  

As much as I love Tiomkin's music and especially his westerns, I've always felt he overuses that main theme a bit too much in RED RIVER.  It's not as apparent in the film itself, which stars John Wayne (Tom Dunson) and Montgomery Clift (Matthew Garth).  But on this CD soundtrack the over abundance of the main theme becomes very apparent. I think his other western scores such as DUEL IN THE SUN, RIO BRAVO and THE ALAMO provide more diversity of orchestral color.  And that also goes for HIGH NOON, even though basically a monothematic score.  So, I wouldn't put RED RIVER in the top three western scores, along with Max Steiner's THE SEARCHERS and Alfred Newman's HOW THE WEST WAS WON.   That's what Jack Smith does in his CD notes.  I know that he is a huge devotee of RED RIVER and Tiomkin, who he affectionately calls "Big T."  I would agree with the Big T label but not as much for RED RIVER.  Jack's detailed notes provide a wealth of useful information.  He provides many insightful remarks and quotes from legendary directors John Ford and Howard Hawks, as well as from Tiomkin himself.

As mentioned earlier, I believe the main theme appears too often in this score.  But that doesn't mean the theme is not always handled effectively.  One of the more majestic quotes of the theme is in  "Birth of Red River D" (track 6, 3:15), with the choir humming the theme and the orchestra moving from highly rhythmic motif to quieter lulls.  Another example is the flavorful "Red River Crossing" (track 19, 2:01), complete with banjo plucking.  This technique of highly accented rhythms and changing dynamics would be employed by Tiomkin in his later scores.  Listening to RED RIVER, you can hear these great contrasts.  For instance, "Dunson Moves South" (track 2, 4:47), opening with quieter passages to accompany the wagon train, then switching over to louder brass and percussion for the Indian attack.   

Most of this robust score is devoted to the action taking place on the long cattle drive.  One of the most obvious examples is the incredibly fast pace heard in "Stampede" (track 14, 2:46).  This is an especially exciting cue on the CD. There's also cues with more dramatic overtones, like the manacing cue, "Dunson Swears Vengeance" (track 21, 1:24).

Another reservation I have is with Marco Polo for not releasing this outstanding CD in the US market.  Apparently, there were legal problems with the photos used in the booklet.  I'd rather have no photos at all and have this CD get released in the US, so everyone can enjoy it.  That goes for the well written and extensive notes as well.  

In the final analysis, it doesn't matter what I say about the RED RIVER score.  

If you like the film, as many do, then you should definitely get your copy of the Marco Polo digital recording.  

This CD is highly recommended to Tiomkin and western film fans.

--Roger Hall, 6 November 2003    

Editor's Choice for July

SEABISCUIT

20 Tracks = 46:34

Music composed and conducted by Randy Newman.  Album produced by Frank Wolf, Bruno Coon, and Randy Newman.  Orchestrations by Jonathan Sacks, Ira Hershen, Joey Newman, and Randy Newman. Recorded and mixed by Frank Wolf and Armin Steiner. Music Editor: Brian Coon. Assistant Music Editor: Brenda Heins.  Music recorded at the Newman Recording Stage.  Music mixed at Signet Sound Studios. Album mastered by Patricia Sullivan-Fourstar at Bernie Grundman Mastering.

Decca B0000772-12

Rating: ****1/2

This is one of the eagerly awaited films of the year.  Having seen the film on its opening weekend, I can say that it was well worth the wait.  I believe it's the best film of the year so far.  And the score by Randy Newman is also one of the best of the year.  The only other one I've found to be of the same superior quality among recent soundtracks is GODS AND GENERALS by John Frizzell and Randy Edelman.  That film has its flaws, but SEABISCUIT has very few of them.

The film stars Jeff Bridges --in a wonderful performance as Charles Howard, the businessman who purchases the horse-- the ever reliable Chris Cooper as Tom Smith the trainer; and Toby Maguire as the jockey Red Pollard who rides the horse, first in defeat and then to victory.  The score by Randy Newman acts almost as another character, since it frequently carries along the scenes where there is little or no dialogue.  Some critics have said that Newman's score is an Americana score like what Aaron Copland might have composed.  Maybe so.  But it isn't fair to compare Randy Newman's sparse and serene score to other composers.  What it does demonstrate is Newman's great ability to emphasize a scene without overdoing it with a lot of orchestral sound blasts.

Take for example, the Main Title (2:05), which begins with a solo clarinet (Jim Kanter) and only a few other instruments playing the theme.  It might remind some of Newman's lovely PLEASANTVILLE score. But SEABISCUIT is even more poignant with its use of simple themes, like in track 2, "Idea" (2:08), which reminds me a bit of the John Williams score for STEPMOM -- that's certainly not a bad comparison.       

Then on track 4, we get the introduction of the horse, "Seabiscuit" (0:59).  The simple main theme is played by Randy Newman himself on the piano. The mood and tempo changes on the next track to a red hot bluegrass sounding cue titled, "Call Me Red" (2:54).  There is also a fine Mexican song, "La Tequilera," performed by Mariachi Reynas de Los Angeles. The following track is one of the best on the CD, titled "Marcela/Agua Caliente," featuring several guitars.  In fact, the guitarists are the musicians which get the most to do on this soundtrack.  These gitarists are listed on the CD booklet:  George Doering, Dean Parks, and John Goux.  Besides the solo clarinet already mentioned, there are also solo trumpet (Malcolm McNab), flute & piccolo (Jim Walker), and French Horn (Jim Thatcher).

What makes such a great soundtrack is that it keeps changing to suit the action of the film and the themes are varied enough to keep the interest going.  The final track, "A Nice Ride" (3:16), is a glorious celebration of horse and jockey bonding together in one of the most beautiful landscape scenes in the film.  This cue is not loud and boastful, but instead more reflective and peaceful.

The only complaint I have with this release is the CD booklet.  It features just the track list and lots of film stills, which aren't necessary.  The information on the production team and musicians is printed in red ink over the dirt brown of a racetrack photo.  Yuck!  Just give us the names printed on a plain background so we can read them better, for those who care to know who did what on the soundtrack release.

This is an enhanced CD.  It contains the movie trailer and some very fine film photos.  

I know there are hordes of Randy Newman fans, especially for his songs.  I was very pleased to see him finally win an Oscar for his song from MONSTERS, INC.  Now maybe it's time for him to win an Oscar for a film score. And SEABISCUIT just might be the one that will do it.  It's definitely good enough.  Hopefully the film will receive a large, supportive audience so the film will be remembered at Oscar nominating time.

Randy Newman has given us one of the best film scores of the year.

Like that little horse that made it big, Newman's score is filled with tenderness and careful grooming.

To use a racing analogy - this soundtrack is a runaway winner!

Highly recommended.

--Roger Hall, 30 July 2003  

CD Release of Special Merit

TERMINATOR 3: RISE OF THE MACHINES

21 Tracks = 51:32/ 18 score tracks = 42:15

Includes: "The Terminator" from THE TERMINATOR (Brad Fiedel), Total Time: 2:17.

Two Songs:

"Open to Me" (Music by Beltrami, Lyrics by Dillon Dixon), performed by Dillon Dixon, TT: 3:48.

"I Told You" (By Mia Julia Schettino), performed by Mia Julia, TT: 3:12.

Music composed and produced by Marco Beltrami. Conducted by Beltrami and Pete Anthony. Performed by the Hollywood Film Chorale and Hollywood Studio Symphony. Recorded at Sony Studios Sound. Music recorded and mixed by Dennis Sands. Mastered by Erick Labson.

Varese Sarabande 302 066 481 2

Rating: *****

Director Jonathan Mostow was given the potentially thankless task of revisiting the TERMINATOR series. I have enjoyed Mostow’s BREAKDOWN and more recent U-571 tremendously. His program note included here mentions that he was ready to work with Beltrami after hearing some of his previous work knowing that there would be a wealth of diversity to use for this latest sequel. I have been a fan of Beltrami’s ever since being mesmerized by his amazing score for MIMIC. His lullaby for the Sydney character in the SCREAM franchise is also a great piece of music. For a long time I had to hope that some day Beltrami’s ship would come in and this could be it.

RISE OF THE MACHINES gives Beltrami a chance to write some significant action music. It also allows us to hear some of his interesting percussion ideas and unusual instrumental combinations come to the forefront of a major picture. "A Day in the Life," opens with hints of some of the more unusual sounds we have come to expect from him before moving into more traditional lyrical writing that he is excellent at and which here is a very close relative to MIMIC. "Hooked on Multiphonics" has a kind of 80s beat as it kicks off managing to pull in musically the start of the franchise. The rhythmic ideas are subtle variations of Fiedel’s "Terminator Theme" which also appears as a bonus track in an orchestral version on the CD.

The elaborate percussion writing coupled with orchestral ideas often heard only in Goldsmith’s action scores is such a refreshing change from the standard drum machine stuff finding its way into most action music that the score could be recommended on the strength of its first three tracks. "JC Theme" is a beautifully lyrical Barber-esque adagio that has a gradual slow build over a repetitive lower melodic line. The touch of bittersweetness in the music makes this another highlight of Beltrami’s thematic writing. What makes T3 work as a score is that the album is sequenced to allow for a true variety of listening from one track to the next. The more avante-garde writing gives way to moments of lyricism which can also segue into some brutal action cues. Eclectic is not the right word for this score but imagine a track that dissolves with a pointillist vibraphone line that is followed by full orchestral pounding and a mix of percussion and electronic sounds that are integrated into the fabric of an orchestral action cue. This gives way to a more traditional sounding action cue in "TX’s Hot Tail" that mixes a little choral sound, some tension building crescendos and wild orchestral punctuations that have a little jazzy feel to them, and a hint at Fiedel’s theme.

Beltrami’s score delivers my first bona-fide favorite orchestral score that I enjoyed listening to as a whole and which actually made me want to watch this movie. It comes highly recommended as worth your effort. The accompanying songs, one by Beltrami, fill out the end of the CD and are not all that distracting. In fact, I found them ironically amusing given the storyline.

--Steven A. Kennedy, 5 July 2003

THE TEXAS CHAINSAW MASSACRE

18 Tracks = 50:27

Music composed and produced by Steve Jablonsky. Album produced by Ford A. Thaxton. Music Editing by Jenifer Nash. Score recorded and compiled by Melissa Muik. Mastered by James Nelson at Digital Outland. CD Art direction by Mark Banning.

La-La Land Records LLLCD 1009

Rating: ***

Ah the joys of Texas filmmaking! Thirty years after Tobe Hooper created the now cult classic TEXAS CHAINSAW MASSACRE, the film has inspired someone to remake the picture. Hooper was recently in Dallas where he provided many television and print interviews about this now famous picture. For all intents and purposes he seemed rather pleased with the remake, though one guesses he does not feel the new version is much competition to the original. This "true story" from the early 1970s still has a means to shock many and there must have been some irony in the fact that this year’s teen audience could find something to talk to their younger grandparents or aging parents about.

At any rate, Steve Jablonsky provides the kind of score that could only make the tension in the theater rise to new heights. Occasionally a subtle melodic idea flows over static string lines providing some respite to the surrounding soundscapes or rapidly repeated dissonant string writing. There is a lot of atmospheric music here that will leave some listeners cold. But if you enjoyed listening to Beltrami’s SCREAM scores these will fall neatly into place in your collection. A track that manages to encapsulate the style of the score is "Kemper Gets Whacked/Jedidiah." There is generic horror music coupled with thematic ideas and stylized electronic sounds. Electronic usage in most of the score takes on both musical expression as well as that of sheer sound effects. "Crawford Mill," which follows, has an excellent shock that had this reviewer reach for a few more lights. "Morgan’s Wild Ride/Van Attack" is another more extended track that pulls out all the stops and reminded me of Howard’s score for DREAMCATCHER. The action music builds nicely and the calmer moments are great set-ups for the shocker that lurks around the corner. This is not a score to listen to in the dark! Note that in some cases one track moves smoothly into the next. Overall production is excellent with the only caveat being the difficult brownish backgrounds that have printed texts.

Jablonsky may also be familiar to Media Ventures fans. He is the latest in the "next line" of young talent to have been connected to high profile pictures scored by Hans Zimmer and he has collaborated with Harry Gregson-Williams and John Powell. He is currently involved with the ABC series THREAT MATRIX. As is the case with so many talented composers, it’s the horror genre that holds the best possibilities for showing off various talents. Nothing in this current score is new, but then it is not supposed to be. It is highly effective music making that will no doubt appeal to many fans of the film. Jablonsky has an anime feature lined up for 2004 that may help lift him into more high profile projects. This one should at least get the folks at Dimension Films to perk up their ears for their next horror franschise.

--Steven A. Kennedy, 5 November 2003

TIMELINE

20 Tracks = 45:39

Music composed, conducted, and produced by Brian Tyler. Performed by the Hollywood Studio Symphony. Music recorded at Sony Scoring Stage. Mixed by Jeff Vaughan and Brian Tyler at The Village Recorder and Tippecanoe Music. Mastered by Erick Labson.

Varese Sarabande 302 066 531 2

Rating: ****

TIMELINE was the latest film adaptation of a Michael Crichton novel. Crichton’s novels often read like screenplays but for some reason they rarely get adapted that way. Or perhaps they get tampered with so much that they end up resembling a mess. Love it or hate it, the premise for TIMELINE was a great read. With Jerry Goldsmith attached early to the project many looked forward to hearing this score. The last minute rejection of the score could have been a boon for any composer. It will remain to be seen if Brian Tyler, coming off great success from his telefilm miniseries score for CHILDREN OF DUNE, will get other high profile assignments. The failure of TIMELINE at the box office cannot be laid at his feet at any rate. So the question became will this be the kind of great score that Goldsmith’s was for the equally disappointing THIRTEENTH WARRIOR? The answer turns out to be a somewhat resounding, "Yes."

There are moments in TIMELINE where I was reminded of Goldsmith’s score for THE EDGE. And while Tyler’s style is not in the same mode as the Media Ventures cadre of composers, there were still some orchestration choices that reminded me of GLADIATOR. TIMELINE is probably one of the best action scores of 2003. Its thematic ideas are relentless in their drive but with gestures that made me think of Goldsmith’s STAR TREK scores. The lyrical theme heard in "Lady Claire and Marek" provides a brief respite from the overall martial music on the disc. There is also a brief techno moment in the track "Transcription Errors." Overall, I was impressed by the quality of a score that was evidently one of those last minute changes. The scoring team includes Robert Elhai who does wonderful work.

--Steven A. Kennedy, 24 December 2003