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FILM MUSIC REVIEW - The Web Magazine
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CD Reviews -
Soundtracks
Volume 6/ Number 1 (January - July 2004)
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."
If you have any comments or questions about any review, write to:
Please keep FMR up and running by ordering a copy of A Guide to Film Music or order something from Amazon.com (see Bookshelf Search below)
Scroll down this page to read all the CD reviews.
For the choices of best film composer, soundtracks, compilations, and record labels of the year, go to:
To find other web sites about film composers, magazines, soundtracks and record labels, go to:
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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 15 February 2004 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. Some CDs are designated for "Special Merit" and one is singled out for "Editor's Choice, Best of the Month"--chosen at any time during the month.
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:
![[Image]](pict319.jpg){kind=small} Editor's Choice for Best of the Month |
![[Image]](pict327.jpg){kind=small} 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)
Bookshelf Search
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| CD Reviews - Soundtracks (January - July 2004) |
ATOMIC JOURNEYS & NUKES IN SPACE (William Stromberg and John Morgan)/ TRINITY AND BEYOND (William Stromberg) - ****1/2 [Editor's Choice for February]
BATTLESTAR GALACTICA (Richard Gibbs) - ***
BRANNIGAN (Dominic Frontiere) - **** [ Special Merit]
THE BUTTERFLY EFFECT (Michael Suby) - ***
THE CHASE (John Barry) - ****1/2
HARRY POTTER & THE PRISONER OF AZKABAN (John Williams) - ****1/2 [Special Merit]
THE LAST SAMURAI (Hans Zimmer) - ****1/2 [Editor's Choice for January]
LAWS OF ATTRACTION (Edward Shearmur) - ****1/2
LOGAN'S RUN (Laurence Rosenthal & others) - ****1/2 [Special Merit]
THE PASSION OF THE CHRIST (John Debney) - ***
THE PUNISHER (Carlo Siliotto) - ***1/2
A SUMMER PLACE (Max Steiner) - ***** [Editor's Choice for July]
THE TERMINAL (John Williams) - ***** [Editor's Choice for June]
TERROR TRACT (Brian Tyler) - ***1/2
TWO BROTHERS (Stephen Warbeck) - ****
VAN HELSING (Alan Silvestri) - ****
July 2004 Reviews
THE CHASE (1966)
16 Tracks [Total Time: 56:07]
Music composed and conducted by John Barry.
Produced by Didier C. Deutsch and Darcy M. Proper. Original Album recorded in London, England (released 2/14/66 as OS 2960). Mastered by Darcy M. Proper. Art direction by Ken Fredette.
Columbia Legacy CK 89265
Rating: ****1/2
John Barry score re-issues have been relatively scarce unless one counts the remastered releases from his Bond days. Columbia Legacy this year treats Barry fans to a remastered and "expanded" release of DANCES WITH WOLVES (1990) and 1966’s THE CHASE which receives its first CD release. THE CHASE, directed by Arthur Penn, featured an amazing cast that included Marlon Brando, Jane Fonda, E.G. Marshall, and Robert Redford. It had the potential to be a truly great film but was a critical failure. The film has garnered a bit of cult status with its various thematic threads and a scene that practically recreates the Jack Ruby assassination of Oswald.
Coveted by many Barry fans, THE CHASE is a score that combines the sounds familiar to many from his Bond work, coupled with a kind of Western flavor that hints a bit at Morricone at times. The plaintive oboe and harmonica work that outlines the primary melodic idea in the score evokes other Americana work more closely sounding like Virgil Thomson than Copland. The music is a bit more edgier than say a Steiner Western score. There are jazzier punctuations familiar to all Barry fans coupled with long lyric lines over deeply rich static harmonies. "What Did I Do Wrong?" is a classic Barry love theme with a gorgeously lyrical flute line. The tracks accompanying the more subdued moments of the film are nothing short of exquisite. Those familiar with his band recordings will find a touch of the popular styles explored there in tracks like "Saturday Night Philosopher" which is firmly entrenched in a 1960s soundworld complete with Hammond organ. The unique orchestration found in other tracks are still more examples why this score stands out in Barry’s canon. The score makes an excellent companion to Barry’s outstanding score for BORN FREE, also released that year.
The booklet notes are more than one would expect from this commercial source and provide a brief overview of the film along with some general music commentary and plenty of stills. The remastering provides a crisper, clearer recording with treble harshness only occasionally revealing its age.
--Steven A. Kennedy, 5 July 2004
Comments regarding this review can be sent to this address: stev4uth@hotmail.com
THE PUNISHER (2004)
30 Tracks [Total Time = 67:43/ 28 Score Tracks = 60:39]
Music composed and conducted by Carlo Siliotto). Featuring the Bulgarian Symphony Orchestra. Also features "Jealous One" performed by J.C. Loader, and "La Donna E’ Mobile" from Verdi’s RIGOLETTO sung by Peter Dvorsky.
Produced by Carlo Siliotto & Michael V. Gerhard. Score recorded at Forum Music Village, Rome; and Studio I BNR, Sofia, Bulgaria. Music mixed at Forum Music Village, Rome. Engineered by Marco Streccioni. Digitally edited and mastered by James Nelson at Digital Outland. CD Art Direction by Mark Banning.
La-La Land Records 1020
Rating: ***1/2
Marvel Comic Books hero list continues to garner attention in Hollywood even when the films tend to be a mixed bag for all but die-hard fans. Back in April, as counter to another anti-hero movie, HELLBOY, came THE PUNISHER. Thomas Jane plays the title character with John Travolta playing his nemesis. The film is based on this dark comic hero who first appeared back in the 1970s and gained a wider audience in the late 1980s. Incidentally, some may even remember a version that featured Dolph Lundgren from 1989 produced by New World Pictures before they went bankrupt. It will remain to be seen if it leaves Lions Gate with the same fate.
Carlo Siliotto will be a somewhat new name to film score fans even though he has over 80 scores to his credit. He is known more for his forays into ancient and ethnic musics in Europe but has been active as a film composer since the mid-1980s. The disc at hand is filled with excellent examples of his abilities and is worth seeking out for those who enjoy discovering new voices or those keeping the comic book hero scores up-to-date.
The disc opens with a title track that has all the earmarks of classic comic book hero thematic scoring. There is an appropriate trumpet idea nodding to Frank Castle’s (the Punisher) heroic qualities. It serves really as a brief opening into a darker track, "Otto Krieg," which continues to meld an almost Wagnerian orchestral sound. What we end up with here is a kind of updated sound world for a score that could equally accompany the dark vision of Burton’s BATMAN films. There is a richer orchestral palette in this score that is a bit more sophisticated perhaps than its subject matter might otherwise suggest. The key to the score’s overall success is its beautiful lyric theme that appears in "Moving" to great effect. The subtle piano line weaves within a common orchestral sound picture that at times is reminiscent of Rachel Portman’s sound, but it would be a real stretch to think the two styles have anything in common! It has a bit of an Italianate lilt in other appearances. The key scene in the film is the massacre of Frank Castle’s family. This nearly six-minute cue is an interesting macabre mix of musical ideas that is well-conceived in its ability to create tension. Though once the electronic sounds enter in it begins to wade into a kind of up-scale Media Venture sound. There is even a quickly appearing wordless female vocal that seems lee out of place here than in other scores. "God’s Gonna Sit This One Out" is another standout track with its addition of cathedral organ within the texture. It definitely lends a much deeper quality to the music.
There are bits and pieces of repose in the score that lend a break to the darker quality and seem to lie in contrast to the melancholic thematic ideas. One of these is the brief "Ice Lolly and Meat" which has a kind of jazzy feel that recurs in the track which follows it. What works here and throughout is that the Punisher’s theme is deftly woven into the fabric of the score so well that it provides the kind of cohesive listening experience often missing from many other scores of late. Even when there are little motivic ideas that are common to horror writing, or tension building devices common in film music, Siliotto’s personal style shines through and treats them with a different sense of drama. But, there are some nods to Morricone as well, especially in "The Thugs" which is an interesting little piece featuring a few more electronic sounds than in the early portions of the disc.
La-La Land is to be commended for giving the score for this film a chance to be heard on its own. The music stands up fairly well and turns out to be far more interesting over the course of the playing time of the disc than anyone could possibly imagine considering the dark, violent film that it serves. This is a disc worth checking out and is a reminder that there is a wealth of great music being composed in European film circles that we rarely hear.
--Steven A. Kennedy, 7 July 2004
Comments regarding this review can be sent to this address: stev4uth@hotmail.com
| Editor's Choice for July
|
A SUMMER PLACE (1959)
32 Tracks [Total Time = 76:43]
Music composed and conducted by Max Steiner.
Producer for Brigham Young University: James D'Arc. Executive Producer & Distributor: Craig Spaulding. CD Producer: Ray Faiola. Film & Music Notes: Ray Faiola. Design: Charles Johnson.
BYU FMA
Rating: *****
This is another in the excellent series from the Brigham Young University Film Music Archives. So far these are the soundtrack titles by BYU FMA: THE SEARCHERS, THE FLAME AND THE ARROW, LOST HORIZON, SHE, BROKEN ARROW, ADVENTURES OF DON JUAN, THE GLASS MENAGERIE, DODGE CITY & THE OKLAHOMA KID, THE BISHOP'S WIFE, Max Steiner: The RKO Years (3 CD set), and THE BIG SKY.
"Johnny, have you been...bad..with girls?" That rather innocent sounding line of dialogue is quoted in the CD booklet from this controversial film--it dealt with sex in the restrictive '50s. It's now a relic of its time but is still a well made film. It is especially worth seeing for the wonderfully emoitional score by Max Steiner. He e was a master at composing beautiful themes for such Warner Bros '40s film favorites as Bette Davis and Humphrey Bogart.
By the time of A SUMMER PLACE (not one of the great '50s dramas), Steiner continued to really pour on the heavy strings and they are employed to great effect. They main characters in the story are two families: Ken Jorgenson (Richard Egan) and Helen Jorgenson (Constance Ford), and Bart Hunter (Arthur Kennedy) and Sylvia Hunter (Dorothy McGuire). There are also the teenage lovers: the Jorgenson's daughter, Molly (Sandra Dee) and the Hunter's son, Johnny (Troy Donohue). As quoted in the CD notes, one noted clinical psychologist called A SUMMER PLACE "a sort of psychic masturbation in public. The characterizations tend to be extremely shallow, mostly black or white." All that and in passionate lusty Technicolor too! You'll have to get the CD to read the rest of that quote from the overwrought psychologist!
On the first track (Main Title, 4:13), there is the main theme for Sylvia (played by Dorothy McGuire), which Ray Faiola indicates in the CD notes was originally written for a David O. Selnick remake of A FAREWELL TO ARMS but not used. Also heard on the first track are a jaunty sprightly theme for Johnny and a bluesy one for the alcoholic Bart.
The main love themes for Molly and Johnny became one of the year's biggest pop hits, known as "Theme from A SUMMER PLACE," as recorded by Percy Faith and His Orchestra. It was No. 1 for 9 weeks. Frankly, I became tired of hearing that recording. But now hearing it within the score makes me remember how integrated it is with the film. This beautiful love theme first appears on "Bright Dreams/The Garden" (track 7, 4:40) and is heard at other times throughout the soundtrack, like "Long Distance Call" (track 20).
There are highly dramatic motifs as well, such as the opening of "A Filthly Word" (track 8, 5:21), after Helen slams the door following a speech from Ken about her intolerance. Later on the theme for Molly and her father is heard, played lightly on a celeste making it sound like a music box and then picked up by the strings.
It's not necessary to name any other tracks because this is such a wonderful score, full of warmth and beauty.
The CD booklet is beautifully designed by Charles Johnson, with colorful illustrations and easy to read text. There is even a nice photo of Maxie at work at his piano. The notes by Ray Faiola are extensive and extremely well written.
This excellent Max Steiner score wasn't nominated for an Oscar but did receive the Golden Globe for 1959.
The CD contains the complete motion picture score from the original scoring sessions, mixed to monophonic sound. Some portions with tape damage have been digitally corrected.
This should be a welcome addition to any Max Steiner fan--the man who put film scoring on the map with his groundbreaking score for KING KONG. And he wasn't afraid to quote a theme from his past--just listen to "Shipwrecked"(track 12) on A SUMMER PLACE for a quote from his 1932 score, THE MOST DANGEROUS GAME.
This may not be Max Steiner at his absolute peak but it was at the twilight of his career. As Ray Faiola writes so eloquently in his ASP notes: "that such buoyant and refeshing music could be created by a man who had experienced so much and had seen so many years pass is reassuring to us all that youth is, after all, very much a province of attitude."
A SUMMER PLACE is definitely worth visiting and staying around for a great listen.
This is a top notch production all around. Highest recommendation..
--Roger Hall, 7 July 2004
[Added Note: All proceeds from this limited edition CD go toward the acquisition and preservation of film and music elements at the Brigham Young University Film Music Archives. It's well worth supporting this noble cause.]
TERROR TRACT (2000)
25 Tracks [Total Time = 47:21]
Music composed by Brian Tyler. Orchestra conducted by Brian Tyler and Christopher Lennertz.
Produced by Brian Tyler & Michael V. Gerhard. Orchestra recorded at LA East, Utah. Recorded and mixed by Jeff Vaughan. Digitally edited and mastered by James Nelson at Digital Outland.
La-La Land Records 1021
Rating: ***1/2
TERROR TRACT is a telefilm/direct-to-video effort from 2000 that features a series of brief, cheap thrills and scares paling in comparison to George Romero’s CREEPSHOW (1982/1987). Among the stars who pop up are the late John Ritter. The film’s three short stories each receive full orchestral treatment in this early score by composer Brian Tyler (TIMELINE; GODSEND). He is becoming one of my favorite film composers of late and this score is a great example of why he is slowly building some great film opportunities. Two of those will be seen this Fall in PAPARAZZI and THE FINAL CUT, the latter of which has already garnered notice at the Berlin Film Festival.
The "Main Title" is a wonderfully full orchestral work that recalls Elfman’s dark scores for BATMAN and DARKMAN, or his work on TALES FROM THE CRYPT. Some of this comes from the use of similar orchestration, in other places it is the way Tyler structures each track/cue. There is a hint of Goldsmith-esque writing that continues on into "Animal Farm" which could easily have come from any number of more recent Goldsmith horror films. While some may find the thought of emulating two greats a bit much, I find that I am continually impressed by Tyler’s orchestral choices. While nodding to the masters he is less chameleon-like even in this early score. Tyler has a great gift for melodic writing that is rarely called upon in most scores these days. The melancholy theme from the main title is surrounded by dark swirling and brooding chord structures as it recurs. Rather than hit you over the head with tons of dissonant tonalities randomly, the structures are built around thematic threads and harmonies. Tyler’s method of layering ostinato patterns is similar to Goldsmith and in places like "Suburbia" reminiscent of THE HAUNTING. The disc is arranged so that we are taken to miniature climaxes and treated to a constant pull and relaxation of emotion. The final third is the most difficult listen of all with far more aleatoric writing than in all the previous tracks. "The Killer"—the track where all this culminates—is a kind of tour de force of contemporary writing ideas tossed in for good measure. It is decidedly brutal.
TERROR TRACT will not be remembered beyond its airing except for its musical accomplishment by a composer worth watching. The only real problem with the production of the CD is that the titles are not identified as to which of the three stories they belong. If the musical sound is our only cue, we have the first third sounding like Elfman, the central portion sounding a bit like Goldsmith or Beltrami (i.e., MIMIC), and the third tending to mix all these ideas into one pot with perhaps a chance to hear a bit more what Tyler’s sound is becoming. It will be a while before we hear enough of Tyler’s music to be able to sift through this score and discover his personal signatures and touches. But for now we can simply enjoy this score as a wonderful modern addition to horror film literature with this thoroughly enjoyable score.
--Steven A. Kennedy, 7 July 2004
Comments regarding this review can be sent to this address: stev4uth@hotmail.com
January - June Reviews (arranged alphabetically)
| Editor's Choice for February
|
ATOMIC JOURNEYS & NUKES IN SPACE
TRINITY AND BEYOND: THE ATOMIC BOMB MOVIE
2 CDs
[ATOMIC JOURNEYS - 42 tracks = 61:39 / TRINITY AND BEYOND - 24 tracks = 57:39]
Music scores by William Stromberg and John Morgan, with additional music by Lennie Moore and Edgardo Simone. Performed by the Moscow Symphony Orchestra and Chorus, conducted by William Stromberg. Orchestrations by William Stromberg, John Morgan, Lennie Moore, Edgardo Simone, Anna Bonn. Album Supervised for Release by Ford A. Thaxton and Mark Banning. Digitally Edited and Mastered by James Nelson. CD Art Direction: Mark Banning.
Visual Concept Entertainment VCECD 01 (TRINITY) and VCECD 02 (ATOMIC JOURNEYS & NUKES IN SPACE)
Rating: ****1/2
This is a first for FILM MUSIC REVIEW. I have never before selected TWO different CDs for Editor's Choice. But I've done so because both these CDs are closely linked together, having been released by the same record company for three outstanding documentary films directed by Peter Kuran.
Most film music collectors already know the names of William Stromberg and John Morgan from their superb re-recordings on Marco Polo of Golden Age scores by such composers as Erich Wolfgang Korngold, Max Steiner, Dimitri Tiomkin, and others.
The two VCE CDs feature incredibe music by William Stromberg on TRINITY AND BEYOND: THE ATOMIC BOMB MOVIE, and by Stromberg and Morgan on ATOMIC JOURNEYS and NUKES IN SPACE: MORE MUSIC FOR THE ATOMIC BOMB.
The TRINITY score features forceful music for orchestra and chorus. The ATOMIC JOURNEYS & NUKES IN SPACE scores don't have the chorus but are equally impressive.
I haven't seen TRINITY AND BEYOND, but have the DVD of ATOMIC JOURNEYS. First, I must commend this film for its amazing footage of atomic blasts, both in the sky and underground. The photography of these atomic blasts is riveting. This film was Gold Award Winner at Worldfest Flagstaff, received the Golden Eagle Award from CINE Award, and the Crystal Award of Excellence at The Communicator Awards. The DVD of ATOMIC JOURNEYS, along with many bonus features, was released by GOLDHIL.
This score is stunning. The composer who immediately comes to mind is Bernard Herrmann. That's not a bad comparison to be associated with, since Herrmann was a master of orchestral colors. For ATOMIC JOURNEYS, there is heavy emphasis on low woodwinds and brass, strings and harp. For example, track 2 (Alamagordo-Mood 2, 2:56) of ATOMIC JOURNEYS has Herrmannesque writing for low instruments and harp. It provides a wonderful sound combination. Considering the somber subject matter, this score has a great deal of variety. It goes from intense sadness using low and high strings for "Hiroshima Devastation" (track 5, 1:45) to rapid rhythms for "Travel to New Mexico" (track 6, 1:15). Every cue has something interesting to offer. ATOMIC JOURNEYS is a great score.
The second score on this CD, NUKES IN SPACE is shorter and a bit less memorable but also well scored. One instance is yhe cue "Do Not Adjust Your Television" (tracks 29-30), with repeated string figurations. There are also some suitable militaristic themes like "V-2 March" (track 33, 1:25) and the extremely rhythmic cue, "Military Buildup"(track 34, 1:42). Then there are the softer cues like "Quiet Intensity (track 38, 1:41) and the finale titled: "Peaceful Space" (track 41, 1:28). There is also one Bonus Track: "Atomic Filmmakers" (track 42, 1:42).
THE TRINITY AND BEYOND score has more of a forceful Russian sound to it. As mentioned previously, this score also features a powerful choral presence, as in the great Russian tradition of Prokofiev and other composers. The Moscow Symphony Orchestra and Chorus introduce one of the main themes on the first track, "Monument Site/ 100 Tons of TNT" (3:00). The most exceptional track is "Hiroshima/Nagaskaki Requiem" which rather than being quiet and subdued, opens with a forceful orchestral and choral blast, like the atomic bombs themselves. The next freely flowing track, "Operation Crossroads,"(track 5, 1:18) put me in mind of the John Williams composing style and that's a good comparison to have.
As with the other two scores, there are also quieter cues too. One of these is "The Atomic Cannon" (track 16, 3:40), which again features the chorus. It would have been helpful to know the words they are singing. Unfortunately, the words aren't printed in the CD flyer. Nevertheless, this track is one of the best on the CD. Besides the American and Russian cues, there is also the final track, "China Gets the Bomb" (track 26, 3:31), which includes a nifty Chinese theme which is expanded with a reprise of the memorable Hiroshima/Nagasaki choral theme. What a grand and glorious finale this is!
The sound quality on both CDs is excellent. The CD art design is also very appealing, except for the brevity of notes and omission of texts.
Like their excellent re-recordings of vintage scores, William Stromberg and John Morgan are at the top of their many talents on these CDs.
I'd recommend you get both VCE CDs.
The music on them is incredibly powerful.
--Roger Hall, 15 February 2004.
For more information about these two CDs, see -
BATTLESTAR GALACTICA
26 Tracks [Total Time = 68:26]
Music composed by Richard Gibbs. Featuring vocalists Mamak and Deborah Dietrich. Produced by Richard Gibbs & Ford Thaxton. Score mixed by Steve Kaplan. Digitally edited and mastered by James Newton at Digital Outland. CD Art Direction by Mark Banning.
La-La Land Records 1015
Rating: ***
This is not your father’s Battlestar! Michael Rymer’s update on the short-lived 1970s TV series is a sleeker, edgier, and sexier version. In other words, it is your typical Sci-Fi Channel movie-of-the week. Richard Gibbs has been scoring a variety of feature comedies of late. His Oingo Boingo days have led more to television scoring and his projects have still been lucrative films. This opportunity started out as a chance to show what he was capable of in this genre from a more traditional science fiction swashbuckling sense. As you read his notes for the recording though, you realize that he was asked to step outside of the norm in the musical arena. Still, he manages to meet the challenge that the producers of this miniseries laid out for him. The result is a score that makes for a challenging listen in its hour-plus length, but there is much to admire in it.
Gibbs was asked to provide a more minimalistic score. His commentary reveals what many score fans have come to expect these days…scores have a tendency to sound the same because the film makers are looking for a kind of anti- score. So we get a lot of similar sounding music that is nondescript for its film even though it may be well-composed. Gibbs approach includes taiko drumming, orchestra, some synth sounds, and wordless vocalizations. Having heard and reviewed similar scores from Sci-Fi channel productions, one could say that this is a sound that is becoming the norm for all of their "original movies/series" productions.
Gibbs’ score tends to be more reminiscent of the lyrical STAR TREK: THE NEXT GENERATION sound. The music is instantly attractive when making use of this style, less so in tracks like "Starbuck Buck Buck" with its mix of Middle Eastern sounding chant over a slow techno backbeat. An underlying motivic idea and some key harmonic ideas serve to provide a unity that is may not be entirely clear on first hearing. That is where this score will prove to be a more challenging experience for some. Extended tracks are illustrations are clear indications that Gibbs is capable of far more than he was able to explore here. The result is that his musicianship is evident in every nuanced bar and phrase.
Fans of the series should be satisfied with La-La Lands presentation here. The leaner, meaner, grittier Battlestar is a re-imagined approach to what was a lame attempt to cash in on STAR WARS.
The score is easily in a line of great additions that include Brian Tyler’s achievement in CHILDREN OF DUNE.
--Steven A. Kennedy, 3 May, 2004
| CD Release
of Special
Merit |
BRANNIGAN (1975)
16 Tracks [Total Time = 41:45]
Music composed, produced, and conducted by Dominic Frontiere. Performed by the London Symphony Orchestra. Executive Album Producers: Michael V. Gerhard, Paul E. Luebblers, Matt Verboys. Produced and Sequence for La-La Land Records by Ford A. Thaxton. Digitally Edited and Mastered by James Nelson. Scoring Engineer: John Richards. CD Art Direction: Mark Banning.
La-La Land Records LLLCD1012
Rating: ****
This is a very good score by Dominic Frontiere of a John Wayne detective film from 1975. In his excellent CD notes, Randall Larson calls it "urban jazz" and also quotes Frontiere who says: " John Wayne's character is so overpowering, I knew he was going to carry my music on his coattails, so I'm going to sit on the sidelines and try and make an atmosphere for him to be who he was." I believe Frontiere is being a bit too modest. He has created an effective series of cues for this tale of Lt. Brannigan from Chicago mixing with Scotland Yard in London. Most of the music reflects the Brannigan character rather than the English locale.
The opening "Main Title" (3:07) establishes the Brannigan character with a fast syncopated theme. The second track, "Knock, Knock" (2:31) was not used in the final version of the film and also includes the Main Title theme.
The series of four cues for "Ransom" (tracks 4-7), lend an air of suspense to the score. The first cue (3:19) uses swirling patterns and short motifs, reminding me of Bernard Herrmann's VERTIGO. The second cue (1:46) has a catchy rhythmic theme, not included in the final film. The fourth version of "Ransom" (4:09) is the most intricately suspenseful of these cues, and has a brass sound similar to the DRAGNET television theme.
There are also some effective chase music cues. "Stampede Along the Thames" (track 12, 2:01) includes the Main Title theme and incorporates a funky jazz instrumentation with brass, bongos and strings. The next track, with the pun title of "Raindrops Keep Falling On My Bird" (4:54), sounds nothing like the Bacharach-David song. Instead, it crackles with little short motifs from various instruments while the strings play in long, sustained melodic lines. It's a highly effective cue. The next track, "Bugging Around," is also quite effective at building suspense..
As a longtime fan of Frontiere's work on THE OUTER LIMITS television series, I'm pleased to recommend this soundtrack to anyone who enjoys a combination of urban jazz and suspenseful orchestral writing.
This is a most enjoyable Frontiere soundtrack and comes with a handsome, well designed CD booklet.
It can be ordered at www.lalalandrecords.com
--Roger Hall, 30 January 2004
THE BUTTERFLY EFFECT
24 Tracks [Total Time = 43:52]
Music composed by Michael Suby. Featuring Bryan Pezzone, piano, and the Czech Philharmonic Orchestra conducted by Charles Fernandez. Produced by Michael Suby & Ford Thaxton. Recorded at Dvorak Hall, Prague. Digitally edited and mastered by James Newton at Digital Outland. Original Score mixed by Michael Farrow.
La-La Land Records 1008
Rating: ***
THE BUTTERFLY EFFECT had some intriguing trailers this past December. Ashton Kuchar’s semi-dramatic turn seemed to be a big jump from his more familiar comedy work. The time travel idea also seemed to have potential for mid-winter escapism and its early box office seems poised to demonstrate that while flawed, the film will still do fairly well. This may be in part to younger fans. The film comes from the writing team of FINAL DESTINATION 2 which might give you an indication of where this film will end up.
Michael Suby is a relatively new name. He was given the dubious responsibility of providing music for THE REAL CANCUN. Here he manages to come across as a splendid blending of Elfman and Beltrami, two composers I continually admire. The main title thematic idea is really well done as is the lyrical writing that follows it in subsequent tracks. Suby manages also to combine a kind of Burwell and Thomas Newman sound into tracks where solo piano combines with atmospheric orchestral writing. In fact, "Sorority Strut" could easily fit well into AMERICAN BEAUTY.
While one can come up with half a dozen scores of late where this is the expected sound, Suby’s music still manages to work to be a cut above. The piano line reminded me of Beltrami’s use of Sydney’s theme in the SCREAM films. There is also a sense of dramatic writing seen in James Newton Howard’s scores for THE SIXTH SENSE, UNBREAKABLE, and SIGNS. If you filter some of that sound through the likes of say THE MINUS MAN you will begin to get a small glimpse into the various sounds that Suby uses to distinguish different segments of the film. There are enough gestures and orchestral sounds to fill many films to the point that you can begin to realize how important a score this could be to Suby’s career. While the movie will likely be forgettable, Suby’s score makes for a great listen. It should stand beside the best of other similar genre scores.
Kudos go to La La Land for releasing this score. The sound of the Czech Philharmonic is crystalline and wonderfully realized.
The score is released as part of La La Land’s "Sci-Fi Collection" and can be ordered at www.lalalandrecords.com
--Steven A. Kennedy, 30 January, 2004
| CD Release
of Special
Merit |
HARRY POTTER AND THE PRISONER OF AZKABAN (2004)
21 Tracks [Total Time = 68:38]
Music composed and conducted by John Williams. Album produced by John Williams. Music Editors: Peter Myles and Ken Wannberg. Music Recorded and Mixed by Shawn Murphy. Celeste Solos: Randy Kerber. Chorus: The London Voices, Terry Edward, Chorus Master. Children's Choir: The London Oratory School Schola, Stephen Grahl, Choir Master. Early Music Instruments: The Dufay Collective. Recorded at Abbey Studios, London. CD Package Design: Charles R. Barrett.
Warner Bros. Entertainment 83711-2
Rating: ****1/2
John Williams continues to amaze me with his consistent film scoring. His first two scores in the series were both very good: HARRY POTTER AND THE SORCERER'S STONE and HARRY POTTER AND THE CHAMBER OF SECRETS. Yet the third one is the best one so far. It's a far richer musical stew with delicious mystical themes and a tasty bit of medieval music, performed by The Dufay Collective.
The score begins with the familiar "Lumos! (Hedwig's Theme)." After that, there's a rollicking piece known as "Aunt Margie's Waltz." Next comes "The Knight Bus" which might remind of the Cantina Band theme from STAR WARS. It's a real humdinger! One of the most important themes in this third Potter score is "Double Trouble" (track 5), sung by the children's choir and accompanied by harp and recorder. This track reminded me of the late English composer, Benjamin Britten, from his wonderful "Ceremony of Carols." Then there's "The Patronus of Light" (track 15), which sounds like the finale of Igor Stravinksy's "Symphony of Psalms." There is nothing wrong to paying homage to Britten and Stravinsky. Both were among the greatest of 20th century composers. But even so, it doesn't matter because the Williams themes fit the mood perfectly.
The early music feeling is heard especially on such tracks as "A Window to the Past" (track 7) with the solo recorder, and especially "Hagrid the Professor" (track 11) with The Dufay Collective performing what sounds like a medieval dance tune. In his CD notes, the director Alfonson Cuaron writes: "medieval color became the musical identity of the wizarding world in this third installment of Harry Potter." Then he goes on to describe the other Williams elements, writing: "John juggled these medieval motifs with a late 19th century rossini-esque narrative, a delirious big band Jazz number, and 20th century music (which we both share a love for). How he managed to create a unity out of it all beats me!" I believe it's because John Williams is a master film composer craftsman who knows exactly what is needed in such a film.
Needless to say that HARRY POTTER AND THE PRISONER OF AZKABAN is worth adding to your Williams score collection. This is an "Enhanced CD" with a screen saver, wallpaper and photo gallery, if you care about such unnecessary promotional items.
As Cuaron writes at the end of his CD notes, the Williams score has made it a "much better film."
Another superb score from John Williams.
Highly recommended.
--Roger Hall, 12 June 2004
| Editor's Choice for January
|
THE LAST SAMURAI (2003)
11 Tracks [Total Time = 59:47]
Music composed, arranged and produced by Hans Zimmer. Additional arrangements and programming by Geoff Zanelli, Blake Neely, Clever Trevor Morris. Orchestrated by Bruce Fowler, Suzette Moriarty, Ladd McIntosh. Hollywood Studio Symphony conducted by Blake Neely. Music Editor: Marc Streitenfeld. Assistant Music Editor: Del Spiva. Score recorded and mixed by Alan Myerson.
Elektra 62932-2
Rating: ****1/2
Hans Zimmer has gotten a lot of criticism for using a committee of associates at his Media Ventures when putting together a film soundtrack. That doesn't seem to be the case with THE LAST SAMURAI. It appears that all of the music themes are by Zimmer. In connection with those themes, mention must be made of the outstanding work done by the three orchestrators: Bruce Fowler, Suzette Moriarty, and Ladd McIntosh. I credit them because they full deserve it for such effective orchestrations.
A good example of the exemplary orchestrations is on the first track, "A Way of Life" (8:03), a slowly evolving and very beautiful cue. The use of a Shakuhachi (or oriental flute) sensitively played by Bill Schultz is an added asset, as well as other solo instruments like the fiddle played by Craig Eastman. Heard on the second track, "Spectres in the Fog" (4:07), are the deep marchlike Taiko Drums, played by Emil Richards. One would expect this story of a Civil War soldier transported to Japan to help train their army troops to be full of loud, action-filled cues. But that's the case since this is more a story of understanding between two determined soldiers, the American officer (Tom Cruise) and Japanese Samurai (Ken Wattanabe). This quiet reflective music can be heard on such tracks as "A Hard Teacher" (5:44) and the most of "To Know My Enemy" (4:48).
The final big battle occurs with track 10, "The Way of the Sword" (7:59), introduced with majestic horns. Then the pace picks up with Taiko Drums joining in and accompanying the battle between the vastly outnumbered Samurai warriors (including the American Tom Cruise) and Government army troops. This cue ends with elegiac music for the slain "last samurai."
The most heartbreaking music of the soundtrack is the final track, "A Small Measure of Peace" (7:59), which repeats some of the music from the first track. This heartwrenching cue opens with a theme vaguely similar to the death scene in Zimmer's Oscar-winning score to THE LION KING. But it really doesn't matter if this was intentional or not. The music on this final track is of such great poignancy that you may shed a few tears, like I did when I saw the final scene of the film.
Whatever you may think of Hans Zimmer past film scores, and I've had my reservations at times, this one is a real winner. It deserves high praise for its beautiful subdued themes, superb orchestrations, and fine performance by the Hollywood Studio Orchestra conducted by Blake Neely.
THE LAST SAMURAI is one of Hans Zimmer's best scores of recent years.
--Roger Hall, 30 January 2004
LAWS OF ATTRACTION
20 Tracks [Total Time = 41:18/ song tracks = 6:27]
Music composed and conducted by Edward Shearmur.
"Maybe" performed by Dana Glover. "When Sick, Is It Tea You Want" performed by Temple House. Featuring the London Metropolitan Orchestra. Produced by Edward Shearmur & Ford Thaxton. Recorded at Abbey Road Studios and Angel Studios. Recorded and mixed by Steve McLaughlin. Abbey Road engineer, Richard Lancaster. Mixed at the North Pole.
La-La Land Records 1019
Rating: ****1/2
Peter Howitt’s little divorce lawyer’s in love film, LAWS OF ATTRACTION, saw a little action before being obliterated by action films. It was rolled in late April after playing in a series of film festivals. It may have done far better in February. The film stars Pierce Brosnan trying once again to break out of his Bond persona and Julianne Moore. They play attorneys who end up on different ends of a bitter divorce case. The film takes a side trip to Ireland thus opening the door for some ethnic music.
Two musical influences are quite apparent from the opening two tracks on the disc. Dana Glover sings a breathy little pop ballad which is followed by an Irish jig performed by the Temple House. Some will welcome their appearance here, perhaps they were simply included to pad out the disc. At any rate, once Shearmur’s score appears we are in a wonderful romantic jazz style that has a nice little jump to it. This "Main Title," with its nod to Gershwin and perhaps Dave Grusin, would be worth the price of the disc alone. There are not so much long melodic ideas as there are motivic ideas that play together forming wonderful lyrical lines. This "thematic" strand then becomes the glue that holds together Shearmur’s score in quite wonderful ways as it moves through different variations in subsequent tracks. The CD plays like one wonderful jazz suite with prominent clarinet and piano as it slowly moves to more beautifully written romantic music that rounds off the CD in a "Coda" that reverses the progression bringing us ack masterfully full circle to the ideas of the opening.
There are brief scherzos, some moments that are no doubt a bit of mickey-mousing, and even a wonderful little waltz. Two of the later tracks are beautiful little underscoring pieces. The first, "Daniel Asleep" is a subdued melody that plays out the earlier thematic ideas. This then gets a little Irish flavor in "Daniel in the Doorway." As we head to the payoff track, "Love at Last," Shearmur tugs at all the right heartstrings building and pulling back with grace. Each track has its own form—which says a lot in these days of through-composed tracks that seem to stop and end anywhere. There is much to admire, but this is a score that is pure joy to listen to and if you loved Howard’s music for THE PRINCE OF TIDES, this will be worth adding to your listening library.
Shearmur’s score for JOHNNY ENGLISH was among my personal favorites last year. There he made a bid to be a far better Bond composer than David Arnold. Here he takes on the likes of Marc Shaiman. Unlike the brief score material and throwback sound of DOWN WITH LOVE, Shearmur’s score takes us on the kind of joyful drive Hans Zimmer’s approach in DRIVING MISS DAISY with far more interest than even that score could muster. La-La Land continues to impress with releases of a variety of scores that are worth a hearing. Though not a direct throwback to old romantic comedies in its scoring, LAWS OF ATTRACTION is a lighter, less lush score than the one John Williams provided for SABRINA. This may be but a trifle, but what a wonderful one it is from a composer worth watching for next time you head to your local music store.
--Steven A. Kennedy, 20 May 2004
Comments regarding this review can be sent to this address: stev4uth@hotmail.com
| CD Release
of Special
Merit |
LOGAN'S RUN (Television Series)
14 Tracks [Total Time = 79:55]
Music by Laurence Rosenthal and others.
Film Score Monthly, Vol 7, No 4 (limited pressing of 3,000 copies)
****1/2
Science fiction fans will no doubt remember the end of the 1970s as a boon for films and television series in the genre. STAR WARS was a surprise hit and some were still enjoying runs of LOGAN’S RUN—with score by Jerry Goldsmith. A television series was in the running before the rage of that little Lucas film took over the summer.
Fox had tried their hand at expanding their film franchise of PLANET OF THE APES onto television. A strong start soon was abandoned and is amusingly apparent to anyone who makes it through the DVD release of that short-lived series. As with PLANET OF THE APES, LOGAN"S RUN’s scores featured excellent music and Film Score Monthly has provided fans of the series a chance to hear all of the music written for the series neatly packed onto a single CD.
Laurence Rosenthal’s title theme is instantly identifiable from anyone familiar with the series. It is one of the great TV themes of the 1970s. The pilot episode music is immediately accessible with great lyrical arcs and requisite sci-fi electronics. It makes for an engaging listen at any rate. We are reminded at one of the great composers of our time. In addition, there are early scores from Bruce Boughton (2), Jeff Alexander (1), and Jerrold Immel (2). It is equally fascinating to hear each composer’s take on Rosenthal’s theme in their requisite episode. Not only did it tie the series together, but it also pulls together what could be a disparate series of musical suites in a wonderfully entertaining way.
The accompanying booklet continues FSM’s exemplary production quality. It includes musical information for each episode in addition to track-by-track analysis. This is a must addition to lover’s of great sci-fi music and makes a great addition to the meager Rosenthal CD representation.
--Steven A. Kennedy, 22 March 2004
Comments regarding this review can be sent to this address: stev4uth@hotmail.com
THE PASSION OF THE CHRIST (2004)
15 Tracks [Total Time = 54:11]
Music by John Debney. Orchestrations by Brad Dechter, Mike Watts, Frank Bennett, Jeff Atmajian. Orchestra Conductor: Nick Ingman. Featured Choir: London Voices, directed by Terry Edwards. Album produced by John Debney and Mel Gibson. Music Score Co-ordinator: Lola Debney. Music Scoring Engineer: Wolfgang Amadeus. Orchestral Scoring Engineer: Simon Rhodes. Score Mixed by Shawn Murphy. Music Editor: Jennifer Monnar.
Integrity/Sony Music 30122
Rating: ***
I need to begin by saying I usually try to see the film before writing my CD review. However, in the case of THE PASSION OF THE CHRIST, I don't plan on seeing the film first. In fact, due to its excessive violence I don't plan on seeing it at all. If masochistic movie goers wish to watch such violence that's their right. I find it offensive to watch a film that focuses primarily on such graphic violence, even when it's about the painful suffering and death of Jesus Christ.
Much has been written about this Mel Gibson film, both pro and con. Likewise with John Debney, who is known primarily for comedy scores like ELF. While he might seem like a strange choice for such an intensely portrayed religious film, actually Debney does better than expected with his score.
Some critics have complained that the soundtrack music is too loud in the film. That's not the case with the CD I heard. It is mostly quiet and subdued, such as the opening track: "The Olive Garden." (1:56) But there are also louder, more forceful tracks too, like "Bearing the Cross" (track 2, 3:43), with the London Voices. But what words are they singing? Instead of the dark and murky photos in the CD flyer, why not print the text (at least the English translation) of what the London Voices and the soloists are singing on this soundtrack?
Besides traditional orchestral strings and rhythmic drums, the use of ethnic instruments is quite effectively handled. They include these mesmerizing Middle Eastern instruments : Duduk (played by Christ Bleth and Levon Minassian), Erhu (played by Karen Has), and Oud (played by Naser Mousa). There are also vocals by the superb London Voices. But then there are the usual suspects--the electronic wizardry of "vocals & sythn programmers" (John Debney and Aaron Martin). In addition there are chants & vocals by Mel Gibson--must he do this as well? There are also other more appropriate soloists: Ahmed El-Eshmer, Shankar and Gingger, and Shannon Kingsbury. The vocals were written by Debney and Jack Lenz (tracks 1, 8, 10, 13) and Debney and Shankar and Gingger ( the highly mournful "It is Done" - track 13). There is one traditional piece: "Song of Complaint" (track 6, 1:33). That's quite a mix (Ethnic Instruments, Chant, Synth, Orchestra, Soloists, Chorus). Unfortunaetly, these ingredients don't really cookup to a memorable score.
Yet there are still some highly expressive cues in Debney's score: "Peter Denies Jesus" (track 4, 1:59), "Flagellation/Dark Choir/ Disciples" (track 8, 5:54), "Mary Goes to Jesus" (track 9, 2:47), and especially the longest cue, "Crucifixion" (track 11, 7:38)--which is also understandably the most intense cue of the soundtrack. The final track, "Resurrection," (5:03) again features the London Voices singing what sounds like a hymn (but again no words are printed in the flyer). Then there is an quiet, ethereal closing that seems somehow inappropriate for celebrating a Resurrection.
As already mentioned, the CD art design is poor, except for the cover. Too much space is wasted on dark and dreary film photos with no space devoted to the texts or comments from the composer. The lack of texts is a common problem with soundtrack CDs these days. It is particularly unfortunate with a religious film like THE PASSION where the words mean so much to the story.
Even with all my reservations, John Debney's soundtrack for THE PASSION OF THE CHRIST will no doubt be a huge seller, especially for those who liked Mel Gibson's film.
As for others, I wouldn't say it's a must have for your collection unless you enjoy a largely solemn soundtrack featuring a mixture of diverse musical elements. I think the overall production could have been much better.
A good soundtrack by Debney but nothing more.
--Roger Hall, 5 March 2004
| Editor's Choice for June
|
THE TERMINAL (2004)
14 tracks [Total Time = 58:00]
Music composed and condcuted by John Williams. Album produced by John Williams. Supervising Music Editor: Ken Wannberg. Music Editor: Peter Myles. Recorded and Mixed by Shawn Murphy. Solo clarinet: Emily Bernstein. Art Direction: Penny Bennett. Package Design: Michael Boland.
Decca/UMG Soundtrack CD B00029240-2
Rating: *****
This superb John Williams score is yet another example why he is the most popular and well respected film composer working today. Some people may be reminded of his score for last year's enjoyable film, CATCH ME IF YOU CAN. But I think his score for THE TERMINAL is even better. The films stars the amazingly talented Tom Hanks and the stunning beauty who is also a gifted actress, Catherine Zeta-Jones. The film was directed by Steven Spielberg and is full of his trademark touches of tender sentiment--boy, do we need it now!
As with most Williams soundtrack CDs, the order of the music in THE TERMINAL is not the same as the film. I don't care! He has arranged a very enjoyable track listing which should delight the listener.
The opening track, "The Tale of Viktor Navorski"(4:12), contains the main theme and it's a delightfully quirky rhythmic one, first quoted in the solo clarinet (convincingly performed by Emily Bernstein). The theme is full of twists and turns just like the film's story. Portions of the main title theme reminded me of Aaron Copland's Clarinet Concerto, first performed by the great jazz musician, Benny Goodman. I'm not suggesting any direct quoting, just a similar stylistic approach. For me, that's a very high compliment to John Williams since I believe Copland to be America's greatest composer.
The second track, "Dinner with Amelia" (8:02), is the longest one and features a delightful tango tempo thoughout much of it, but then near the end briefly there's the first quote of the Love Theme. This is one of the most hearbreakingly beautiful themes I've heard in a long time and actually brought tears to my eyes. Leave it to Mr. Williams to get to the deepest emotions. That beautiful theme is quoted more fully in such tracks as "The Fountain Scene" (track 5, 5:33), with an enchanting opening section, later quoting the Love Theme on solo piano and guitar, then ever so gradually expanding to the full orchestra. This is surely one of the highlight tracks of this CD, and also in the film itself. Another quote of the Love Theme is heard on "Jazz Autographs"(track 7, 3:45), with Randy Kerber on piano and Michael Valerio on bass. This is West Coast cool jazz reborn. Let's not forget that John Williams played piano on the landmark jazz soundtrack for the TV series, PETER GUNN. Mr. Williams also wrote jazz themes for M SQUAD and CHECKMATE in the early 1960s. He surely knows his jazz. You can hear his homage to earlier jazz (his own and especially his friend Henry Mancini) on track 7.
There is even a Krakozhian National Anthem composed by John Williams on track 9. It sounds absoulutely authentic even though there is no such country!
I also want to compliment those involved with art and package design for providing such an attractive and tastefully designed CD flyer. Besides keeping the photos away from the printed text, it also lists all the musicians from the orchestra. How often does that happen on CD soundtracks?
In his CD notes Steven Spielberg once again pays tribute to his friend and collaborator. He writes knowingly: "The love theme for Amelia (Catherine Zeta-Jones) may be only eight bars, but it will become instantly memorable after hearing it only once." I would agree for it surely happened that way with me. I couldn't believe how instantly the beautiful love theme entered my memory bank.
Then Spielberg goes on to conclude with this statement: "There is so much beauty in John's score for THE TERMINAL. Beauty without bathos...always keeping if far from sentimentality but never too far from our hearts. For me this is the 'feel good' score of John's entire repertoire, and I am again honored that he has given so freely of his musical gifts to another one of my films."
This wonderful score and film are easily the best of the year so far.
Once again, Steven Spielberg has told a simple story with both wit and tenderness. And John Williams deserves another Oscar for his superb score. They both are working at the top of their professions now.
This is the best score by John Williams since A.I. and SAVING PRIVATE RYAN. It also belongs with a beautiful romantic score I especially liked, SABRINA.
THE TERMINAL belongs in any listening room or airport.
Highest recommendation for this very memorable Williams soundtrack.
--Roger Hall, 24 June 2004
TWO BROTHERS (2004)
19 Tracks (Total Time = 59:41)
Music composed by Stephen Warbeck. Music supervisors: Becky Bentham and Nyree Pinder. Music editors: Dina Eaton & Peter Clarke. Orchestration: Stephen Warbeck, Nick Ingman, Paul English. Additional orchestration by Nick Cooper & Andrew Green. Conductor: Nick Ingman. Composer's assistant: Andrew Green. Copyist: Tony Stanton. Album mastered by Lewis Jones at Landsdown Studios, London & Simon Gibson at Abbey Road Studios, London. Recorded at Abbey Road Studios. Mixed at Landsdown Studios. Soundtrack coordination: Jennifer Allan & Meredith Friedman. Package coordination: Claudia Tessarin, Laura Johnson & Thanne Tangel. Design: Claudia Wafer.
Decca/UMG Soundtrack CD B0002556-2
Rating: ****
This is another family film from Jean-Jacques Annaud about animals. He previously made the well received film, THE BEAR. TWO BROTHERS concerns the story of twin tiger cubs named Kumal and Sangha. One is shy and tender, the other one bold and defiant. The original screenplay is by Annaud and Alain Godard, who worked on THE NAME OF THE GAME and ENEMY AT THE GATES.
TWO BROTHERS stars Guy Pearce, known especially for grittier films like MEMENTO and L.A. CONFIDENTIAL. The soundtrack is by Stephen Warbeck, an Oscar winner for his 1998 score to SHAKESPEARE IN LOVE.
The opening track (2:44) of TWO BROTHERS provides a free flowing expansive theme with strings and woodwinds, including a lovely flute solo, but ending a bit too abruptly. The next track, "In the Forest" (3:10), opens with a bit of African style drumming and then solo flute is again prominently featured. Unfortunately, the solo flutist is not identified on that track or any other. Only the two flutists are listed (Andy Findon and Jan Hendrickse). The third track is one of the longest at 5:24. Titled "The Search for Kumal," it builds nicely to a loud and forceful climax. The main theme is heard again in track 6 (2:21) for "Aidan and Kumal" and begins with woodwinds before expanding to a full orchestral treatment. The next track, "Chasing the Truck" (1:58), is quite exciting and provides the right momentum for this scene. The remainder of the tracks are well planned and provide both gentleness (such as track 10, "Goodnight Story") and excitement (track 16, "Through the Flames"). An added treat is director Jean-Jacques Annaud whistling merrily along with banjo and other folk instruments on track 17, "To Freedom" (3:10). He's a wonderful whistler too! This is one of the most enjoyable tracks on the CD.
On track 5 (4:41), there is "La vergine degli angeli" from Verdi's opera, La forza del destino. This aria was recorded in 1972 and sung by opera legends Ezio Pinza, Padre Guardino and Rosa Ponselle and Leonora. Several traditional exotic instruments are used in this soundtrack such as Erhu (Steve Jones), Gong Circle (Gary Keitel), Sheng (Liu Xiaohu), and Pipa (Cheng Yu). There is also a traditional song "Plaisir d'amour," arranged by Nick Cooper, but unidentified which track it's heard on [Tip: listen carefully to the end of the final track, "Goodbye"].
Overall, this is a grand listening experience and provides enough contrast between the tender and action scenes to keep one's attention.
Stephen Warbeck deserves much praise for providing another high quality soundtrack that is well worth adding to your CD library.
I recommend this soundtrack to hear how this tale of TWO BROTHERS unfolds through the music.
--Roger Hall, 24 June 2004
VAN HELSING (2004)
12 Tracks [Total Time = 42:55]
Music composed and conducted by Alan Silvestri. Produced by Alan Silvestri and David Bifano. Featuring Deborah Dietrich, and the Hollywood Film Choral[e]. Score recorded at Sony Pictures Scoring Stage. Music recorded and mixed by Dennis Sands. Album mastered by Patricia Sullivan Fourstar at Bernie Grundman Mastering. Art direction and design by Carla Leighton/GLOO Design.
Decca B0002331-12
Rating: ****
Stephen Sommer’s latest "remake" pulls together, loosely, nearly all of Universal’s classic monster characters into one long sequence of action set pieces strung together with a bare minimum of dialogue and development. This is popcorn movie making par excellence. The effects are indeed far more fun to watch than last year’s excruciating version of THE HULK. The same CGI effects are used here too, even reusing a character (?) from last year’s THE LEAGUE OF EXTRAORDINARY GENTLEMEN (Mr. Hyde).
Alan Silvestri’s score to the monster mash VAN HELSING is the season’s first full-fledged action score. Fans of that genre will salivate over a fine score filled with lots of full bombastic orchestral gestures, a full choir, and even the standard vocal solo. There are a few thematic ideas as well that run through the score. A beautifully haunting lyrical phrase appears throughout to provide brief moments of repose, and they are brief! "Burn it Down!" is one of the more interesting tracks that plays over the opening homage to FRANKENSTEIN films. In the film it manages to pound its way through the multitude of crowd screams and other sounds. The music pulls you in and works hard to try and conjure those great matinee films. There are even moments when Silvestri’s gestures pay homage to many classic monster flicks. At other times it plays like some over-excited rewrite of Orff’s "Carmina Burana"—though it is not all that derivative. For those who complain that there are no action scores or fewer cues on CDs, this should satisfy you for quite a long time.
"Journey to Transylvannia" is a drum machine driven brief number that sounds like something out of Joseph LoDuca’s score to BROTHERHOOD OF THE WOLF. Perhaps this is one of those written to order accompaniments. It does nothing else than move the film along and make it seem more interesting than it actually is. This is one of those scores where all the stops are pulled out—the score even boasts a cathedral organ sound! "Dracula’s Nursery" is the only track that begins with about a thirty second quiet eerie percussion sound and then immediately moves into the pounding orchestra of other tracks. At least some of the orchestral ideas in this track offer a respite from the more romantic sounds with a mixture of ethereal atonal string writing the likes Jerry Goldsmith is taken to using in horror film scores. This single track works also as a kind of overview of the main ideas of the score both thematically and in its orchestration. The most interesting reprieve is the music from the "All Hallow’s Eve Ball," complete with harpsichord and soprano solo. This track is easily one of the highlights of the disc marred only by the return of drum machines and the swashbuckling orchestral power of previous tracks. Perhaps the greatest downfall of the score is that it follows a "more is not enough" mentality. If there had been some multiple meter changes and exciting off beats there might be more to recommend it beyond its utility. Silvestri was no doubt told to keep piling it on and he has performed here an amazing feat. Just when you think there is little left to add, along comes the next track to suggest otherwise. The score works the same way in the film.
The CD’s brevity suggests that this, like Silvestri’s release for THE MUMMY RETURNS, may have been rushed into production. [This is one of those "enhanced CDs" with a trailer for a video game and a photo gallery.] Still, the timing is a little more than film score fans are used to getting. Since the film is practically wall-to-wall music, one hope that these are the "best" bits. As it is, this is among the most relentless and exhausting listens you may experience this year. This may not be one of the best scores of the year, but is certainly one of the most fun and noisiest ones. As the CD came to a close, you could almost imagine the musicians collapsing after such exertion!
--Steven A. Kennedy, 20 May 2004
Comments regarding this review can be sent to this address: stev4uth@hotmail.com
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