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Soundtrack & Compilation Reviews
(March - April 2005)
All reviews are listed alphabetically and are the opinions of Roger Hall or Steven Kennedy.
Some releases are given the designation of "CD of Special Merit" for their outstanding contibution to film music production.
Also, there is one CD 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.
The 17th Annual Sammy Awards for film music
of 2004 have been announced.
To read all the titles click on this link:
For the choices of best film composer, soundtracks, compilations, and record labels of the year, 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.
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 with accompanying CDR while supply lasts, go to:
Music Titles from PineTree Press
Review Rundown::
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 or Special Merit. These soundtracks are chosen on the date of the review, and not necessarily at the end of the month. They are the CDs worthy of special praise for their overall production.
These are the headings:
![[Image]](pict319.jpg){kind=small} Editor's Choice for Best of the Month |
![[Image]](pict327.jpg){kind=small} CD Release of Special
Merit |
Soundtracks:
THE ADVENTURES OF MARK TWAIN (Max Steiner) [Editor's Choice for March] - ****1/2
ATLANTIS: THE LOST CONTINENT (Russell Garcia) & THE POWER (Miklos Rozsa) - ****
CUTTHROAT ISLAND (2 CDs)(John Debney) [Special Merit] - ****
EXTREME PREJUDICE (Jerry Goldsmith) - ***
FARSCAPE CLASSICS—VOLUME ONE (Guy Gross) - ***
MERCENARIES: PLAYGROUND OF DESTRUCTION (Michael Giacchino & Chris Tilton) - ****
THE THING FROM ANOTHER WORLD & TAKE THE HIGH GROUND (Dimitri Tiomkin) [Editor's Choice for April] - *****
Compilations:
The Film Music of Ron Goodwin - ****
The Film Music of Clifton Parker - ***1/2
Three Choral Suites by Miklos Rozsa : BEN-HUR, QUO VADIS, KING OF KINGS [Special Merit] - ****
Bookshelf Search
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| Soundtrack Reviews (March - April 2005) |
| Editor's Choice - Best of the Month for March
|
THE ADVENTURES OF MARK TWAIN (1944)
29 Tracks (Playing Time = 70:49)
Music composed by Max Steiner. Moscow Symphony Orchestra and Chorus, conducted by William Stromberg. Score restoration by John Morgan. Booklet notes by Bill Whitaker. Recorded at Mosfilm in Moscow in February 2003. Recording engineer and editor: Genady Papin.
Naxos 8.557470
Rating: ****1/2
As far as I know, this is the first release on Naxos of the superb series of classic film scores by the team of restorer John Morgan and conductor William Stromberg which were formerly released on Marco Polo. This Max Steiner soundtrack is an extrordinary release to begin the new association on the budget Naxos label, the parent company for Marco Polo.
I must say right off that this soundtrack is enormously appealing even without seeing the underrated 1944 film starring Frederic March who portrays Mark Twain.
First off is that familiar Warner Bros. fanfare composed by Max Steiner. Then it immediately leads into the Main Title (track 1, 4:56) which sets the tone of nostalgic Americana. It's one of those memorable Steiner themes that he did so well. The remainder of this lengthy score is overflowing with a barge full of marvelous music.
And speaking of a barge, the next track titled "Pirates," is a delightful cue which Bill Whitaker writes about in his very informative notes:
"Much of the score revels in scenes of outright Americana including the jaunty woodwind music that chronicles Sam Clemens' boyhood adventures on the Mississippi in 'Pirates.'"
Whitaker also mentions the thematic pattern representing "the enduring Mississippi" used in "The River Pilot" (track 4, 4:05 ) and "Riverboat in Fog" (track 5, 2:53)--which is somewhat like "The Fog" theme from KING KONG.
There are also lots of quotes from familiar tunes, including "My Darling Clementine," "The Battle Hymn of the Republic," "Dixie," "Swing Low, Sweet Chariot," and more. Once again referring to Bill Whitaker's notes, he nicely summarizes the value of the elements that make up Steiner's great score:
"The result of all these musical threads, impulses and quotations is a massive but cohesive symphonic score that neatly symbolizes the rich tapestry of influences that stamp and define Mark Twain's America."
The recorded sound on this release is excellent, and the performance by the Moscow Symphony Orchestra under William Stromberg direction is top notch all the way.
This is a wonderful CD worth continued listenings.
Be sure to get your copy and follow along THE ADVENTURES OF MARK TWAIN.
I think you'll really enjoy the trip.
I certianly did.
--Roger Hall, 8 March 2005
ATLANTIS: THE LOST CONTINENT (Russell Garcia, 1961)
20 Tracks (Playing Time = 46:19)
THE POWER (Miklos Rozsa, 1968)
10 Tracks (Playing Time = 29:39)
[Total Time = 76:04]
Album Produced by Lukas Kendall. Production Executive for Turner Entertainment Co.: George Feltenstein. Digital Mastering: Doug Schwartz. All music recorded at M-G-M Studios Scoring Stage, Culver City, California. ATLANTIS:THE LOST CONTINENT recorded on November 29-30, 1960, supervised by Robert Armbruster, Orchestrations by Russell Garcia. THE POWER recorded September 7-8, 1967, Orchestrations by David Tamkin. CD Art Direction by Joe Sikoryak.
FSM Vol 8/No 2 (limited to 3,000 copies)
Rating: ****
As it has done so expertly in the past, Film Score Monthly offers another gem in its Silver Age Classics series. This one is for two less than classic films but the music by Russell Garcia and Miklos Rozsa are both top drawer scores.
The complete Russell Garcia score for ATLANTIS:THE LOST CONTINENT is provided for the first time on this FSM CD. On an earlier La-La Land release, about 14 minutes was included on The Fantasy Film World of George Pal.
Garcia had worked on another major score for George Pal, THE TIME MACHINE in 1960, and like that film, his work on ATLANTIS is also filled with memorable themes.
Three of the major themes are heard on the early tracks. The opening one, "Main Title/Credits"(1:34), features a heroic theme for the uprising on Atlantis and a brief statement of the love theme, then a march in the "Credits" cue representing the ancient world of Atlantis. The love theme is heard in fuller treatment on track 2 "Mermaids" (3:00), and also later on track 5 "Love Scene/Submarine" (5:21).
There are also great action cues as well, such as track 14 "Fight with Giant" (3:41), featuring effective use of heavy brass, especially trumpets and horns. This use of brass is employed the remainder of the rebellion cues (tracks 15-20). The final track of this score, "Prayer/Justice/Miracle" (3:29), ends the action cues and the last cue "Miracle" brings the film to its conclusion in fine fashion.
Miklos Rozsa's THE POWER is even more impressive than Garcia's ATLANTIS score.
THE POWER opens with a bold theme in the "Prelude" (track 21, 2:48), featuring the score's prominent "Gypsy theme" for a Hungarian instrument known as a cimbalom. One of my former music professors played this insturment and told me he often went to Hollywood to play it on soundtracks including, as I recall, for THE POWER. So he is the soloist on this instrument which is used so effectively in this suspenseful film. Rozsa was a master at this kind of thing from his work on film noir scores from the 1940s, and especially his Oscar-winning score for Hitchcock's SPELLBOUND in 1945.
Any of the ten tracks could be singled out since they are all highly crafted gems. Take, for example, Rozsa's stunning spinning music used in track 23 "The Merry-Go-Round" (2:27), which builds to an incredible climax. That intensity is relieved on the quietness of "Viva L'Amour" (track 24, 2:50), featuring a solo Spanish-style guitar. expert memhere areis score for THE POWER is just brimming with for to create tension is this film.
Even though there is slightly less than 30 minutes to this score, I would say that this is one of Rozsa's greatest late scores.
The notes provided for both the Garcia are written by Jeff Bond and Lukas Kendall, and for the Rozsa score by Bond and Alexander Kaplan. I'm curious to know which guy wrote which section or maybe they split the music cues. But in any case, the notes are excellent in their attention to detail and provide models of how CD notes should be done for film music.
The CD booklet cover and inside designs by Joe Sikoyak are very colorful and sensibly placed so as not to interfere with the text.
If you want two worthy examples of fantasy and suspense music of the 1960s, these two scores should fit the profile quite well.
This is yet another excellent FSM CD release in their continuing series.
--Roger Hall, 5 April 2005
For more information, go to:
| CD Release
of Special
Merit |
CUTTHROAT ISLAND (1995)
2 CDs (Disc 1 = 72:24/ Disc Two = 73:12)
Music composed and produced by John Debney. Performed by The London Symphony Orchestra, conducted by David Snell; and London Voices, Terry Edwards, Choir Director. Orchestrations by Brad Dexter. Additional Orchestrations: Frank Bennett, Don Nemitz, Jeff Atmajian. Recorded and Mixed by Simon Rhodes. Additional Mixing: John Richards. Music Editor: Tom Carlson. Executive Producer: Luc Van de Ven. Album produced for Prometheus Records by Ford A. Thaxton. Co-produced and Mastered by James Nelson. Liner Notes by Paul Tonks.
Prometheus Records XPCD 157.
Rating: ****
This generous soundtrack of the complete original motion picture soundtrack with over 2 hours of music provides an example of a high quality score used in a film of much lesser quality, especially the dumb dialogue--they needed 6 screenwriters to write it too! The stars of the film are Geena Davis as Morgan Adams, a 17th century pirate's daughter; Matthew Modine as her partner William Shaw; and Frank Langella as her evil uncle Dawg--his name is an obvious pun. Unfortunately the film, for all its high-powered action and special effects, just doesn't add up to much of a story.
Even so, John Debney has created a very accomplished and well proportioned score that features just the right mixture of contemporary action cues and quieter period style music. This is in the tradition of past swashbuklers, like Korngold's CAPTAIN BLOOD (1935) and THE SEA HAWK (1940), and Elmer Bernstein's THE BUCCANEER from 1958. These are mentioned by Paul Tonks but he fails to mention one of the best swashbucklers: TREASURE ISLAND (1950), remade as an exciting TV movie in 1990. That remake had Charlton Heston playing against his usual hero roles as Long John Silver and with effective music by Paddly Maloney and The Chieftans.
What does the term "swahbuckler" actually mean? Tonks relates in his helpful notes that it means "a swaggering ruffian" or "a bully who picks fights."
With that definition in mind this film score fits it quite well with its "swaggering" main theme for Morgan Adams (Geena Davis), a 17th century pirate's daughter. The opening track has the Main Title/Morgan's Ride (4:38) and--as one might expect for a swashbuckler saga--begins in rip-roaring fashion. After an opening full blast of brass and horns, the mood turns quieter with solo flute, then returns to the opening theme with a wordless chorus (London Voices).
This is a soundtrack that never wears out its themes but uses them in carefully placed action and romantic cues. And the sound quality is top notch as well.
Naturally there are more action cues in this score. Yet there are also some delightful classical style period music cues as well. For example, "Purcell Snatcher" (a pun on Henry Purcell's name)(track 3, 2:57), with its lighter scoring for woodwinds and strings and no brass. There are also contemporary cues of a quieter mood, such as "The Language of Romance" (track 7, 2:40).
Disc Two opens with "The Wedding Waltz" (2:43). It's too bad this cue wasn't used in the final film because it's a beautiful piece, even though it wasn't written by Debney. According to album producer, Ford A. Thaxton, the waltz was by a composer whose name couldn't be found when compiling the CD.
The highlight of the score is track 8 on Disc Two: The Battle/ To Dawg's Ship/ Battles Dawg/ Dawg's Demise/ The Triumph (17:72). This long and exciting series of cues brings an all out burst of excitement to the film's action. Some of the music be sound like the John Williams action cues from THE EMPIRE STRIKES BACK but that's not meant to criticize Debney's skillful handling of his rhythmically driven material. This is as good an action cue as any written for a film within the past decade. It continues to sail onward and onward!
The last track of the score on Disc Two, "It's Only Gold/ End Credits" (track 9, 9:45), brings this soundtrack to a robust conclusion as it should with such an action-packed film.
Following that conclusion, there are five bonus tracks, including previously unreleased music: Main Title/Morgan's Ride (without choir)(track 10, 4:48); Carriage Chase (track 11, 7:26); The First Kiss (album edit)(track 12 1:54); Dawg's Demise/The Triumph (without choir)(track 13, 3:31); Morgan's Ride & The Rescue (track 14, 7:25).
In addition to the notes by Tonks there are comments by John Debney. He singles out the accomplished playing of the London Symphony Orchestra, writing that he will "always treasure hearing for the first time the incredible power and beauty of the orchestra bringing my score to life...I can never imagine another orchestra playing this score." This is so true because the LSO is perhaps the world's best orchestra for recording film music.
Thanks to the production team of Debney, Luc Van de Ven, Ford A. Thaxton, and James Nelson, this complete soundtrack can now be enjoyed by all, even those who may have the original limited CD or the expanded Silva CD.
CUTTHROAT ISLAND is probably John Debney's best action score to date.
This Prometheus 2 CD soundtrack is the definitve release for one of the major action scores of the last decade.
It's well worth setting sail on this film music adventure.
--Roger Hall, 18 April 2005
For ordering information about this release, go to:
EXTREME PREJUDICE (1987)
20 Tracks (Playing Time = 64:12)
Music composed by Jerry Goldsmith. The Hungarian State Opera Orchestra conducted by Jerry Goldsmith. Orchestrations by Arthur Morton and Alexander Courage. Executive Album Producers: Michael V. Gerhard and Matt Verboys. Album produced for La-La Records by Ford A. Thaxton. Music recorded and mixed by Mike Ross. Digitally edited and mastered by James Nelson. CD art direction: Mark Banning. Recorded at Mafilm Studios, Hungariafilm, Budapest, Hungary.
La-La Land Records LLLCD 1028
Rating: ***
Let me warn Goldsmith fanatics that this isn't going to be a glowing review.
Like so many others, I think Jerry Goldsmith was one of the best film composers of the past half century. Yet not everything he composed was pure gold. For my ears this soundtrack is closer to bronze.
What bothered me the most was the overabundance of heavy loud sythn sounds. It just doesn't seem right for a modern day action western. According to the booklet notes, director Walter Hill was satisfied, even though he does imply that Goldsmith wasn't exactly overjoyed with his score for EXTREME PREJUDICE. As usual he got the job done because he was a complete professional and finished the score on time.
But is this a score you want to hear again and again? For me the answer would be no.
Still there are some good things about this original soundtrack. It contains fifteen minutes of previously unreleased music. Also the tracks have been arranged into the proper film sequence.
The first track provides the Un-Used Trailer Score (2:12). If I had to single out only one track, I would pick "The Plan - Original Version" (9:21), for its unusual rhythms and effective mixing of sythn and orchestral sounds.
Rather than record the score in London, which Goldsmith preferred, it was recorded in Budapest with the Hungarian State Opera orchestra. They are adequate but nothing more. It really doesn't matter much because this score is mostly sythn and electronics.
The notes by Messrob Torikian and Dan Goldwasser (who wrote what?) provide good track descriptions and background about the film.
This isn't a really bad soundtrack. It just seemed too "extreme."
Or is it my "prejudice" against excessive synth use?
If you're a Jerry Goldsmith fan you'll probably get this soundtrack no matter what I think.
It's worth supporting too since a portion of the funds from this CD will go towards the Jerry Goldsmith Scholarship Fund for Film Music Composition at UCLA School of the Arts.
--Roger Hall, 7 March 2005
The disc is available from La-La Land at their website:
FARSCAPE CLASSICS—VOLUME ONE
22 Tracks (Playing Time = 72:03)["Eat Me"- 12 Tracks = 36:21; "Revenging Angel"- 10 Tracks = 35:42]
Music composed by Guy Gross, except opening titles and end credits composed by Subvision. Album produced by Guy Gross, Ford A. Thaxton and Michael Polis. Technical Supervision by Simon Leadley. Digitally mastered by James Nelson at Digital Outland. Art direction by Mark Banning.
La-La Land Records LLLCD 1027
Rating: ***
Last year, La-La Land released Guy Gross’ orchestral score for FARSCAPE—THE PEACEKEEPER WARS which was and extended film continuing the story of the cult television series FARSCAPE. The television series was one of the Sci-Fi Channel’s imports from Australia featuring an assortment of live action and a variety of unusual plot lines. The Jim Henson Workshop provided able assistance to the assortment of creatures.
Guy Gross came in to expand upon the palette begun in the more experimental first year of the series. He is better known in Australia where he has received numerous awards. He gained wider attention for his score to THE ADVENTURES OF PRISCILLA, QUEEN OF THE DESERT (1994).
All of the music created for the series comes from sampling of orchestral instruments and sounds. It is a process that is simplistically explained as being similar to what one does with a home Yamaha keyboard. Gross, however, is so skilled at manipulating these various strands of data that he creates the illusion that you are actually listening to live players. He thinks and composes on a scale that far exceeds the confines of the small screen. Very rarely in the series of tracks included here, do you even suspect that this are electronic reproductions. It is most noticeable in wind lines, less so in string lines. That will not detract from listening to either of the scores here, especially if you are a fan of the series.
"Revenging Angel" comes from one of the more light-hearted episodes of the series. This was the 60th episode and here, after being knocked out, our hero John Crichton enters into a dream world realized in animated sequences. As a result the score is brilliantly a throw back to Warner Brothers cartoon music. Much is owed to Carl Stalling in practically every bar of music. Other sections tend to sound a bit like Danny Elfman’s scores to things like PEE WEE’S BIG ADVENTURE of BIG TOP PEE WEE. Gross fills in the shenanigans with moments of eerie unsettling string "writing" by adding a semi-improvised sounding piano line over the top of the texture. The ten tracks from the episode give you plenty of opportunity to marvel at Gross’ creativity but it is a lot of "mickey-mousing" in the long run that may wear you out.
The second set of tracks comes from the 50th episode of the series, "Eat Me." This is the antithesis of the preceeding material as this episode treads down the lines of sci-fi horror a la ALIEN. Here Gross enters into experimental territory by combining his musical sampling with additional performance techniques on several "live" instruments. The music here tends toward the atmospheric befitting the bizarre-ness of the episode. It owes a bit more to Goldsmith’s sci-fi scores and has a kind of ALIEN or LEVIATHAN feel or the atmospheric music one can hear in Goldenthal’s score for SPHERE. (The latter perhaps being somewhat of an inspiration for this very episode.) The score is sparse in places but excellent at creating tensions within each track. The length of tracks is perhaps the primary reason why the music works so well since musical lines are shaped more and things can develop better. Harmonic ideas are also intriguing throughout this series of tracks. While Gross’ tends to lay off specific themes, there are still enough consistent motifs and ideas that help to unify his scores. That talent and technique is on ample display in these tracks.
This is an impressive accomplishment that will be a welcome sight to FARSCAPE fans. Others interested in composition utilizing electronic sampling will find a great deal to admire in Gross’ arrangement of musical material. It is on the same level as the more popularly known Vangelis, but still manages to have its own style. Hopefully, Gross will have a chance to use his gifts with a full orchestra again, as he did in THE PEACEKEEPER WARS. The notes for the disc are extensive and will calm fears about the lack of orchestral musicians…its about low budget sometimes. Even if you have never seen the program you will know enough about how things are being used in the musical notes to help guide your enjoyment. This disc is labeled "Volume One" which should keep fans excited about the next installment.
It is one of many interesting releases available from this recent soundtrack label.
--Steven A. Kennedy, 1 March 2005
The disc is available from La-La Land at their website:
MERCENARIES: PLAYGROUND OF DESTRUCTION
21 Tracks (Playing Time = 58:40)
Original themes by Michael Giacchino. Original score by Chris Tilton. Performed by The Northern Sinfonia, conducted by Tim Simonec. Choral Director: Joe Crnko. Orchestrations by Matthew Ferraro, Mark Gasparo, Larry Kenton, Tim Simonec, Christ Tilton and Steve Zuckerman. Executive Album Producers: Michael V. Gerhard and Matt Verboys. Album Produced for LucasArts with Michael Giacchino and Ford A. Thaxton, in association with La-La Land Records. Mastered by James Nelson at Digital Outland. Recorded by Steve Smith at St. Thomas Chapel, Bastyr University, Seattle, Washington. Mixed by Dan Wallin. Art Direction: Mark Banning.
La-La Land Records LLLCD 1029
Rating: ****
As I may have mentioned before, I'm not a big fan of videogames and also the scores. But this one is vastly different. This soundtrack is as good as any recent full length motion picture. Michael Giacchino continues to impress me with his skill. Of course he finally reached the bigtime with his delightful score for Pixar's THE INCREDIBLES. Fans of videogame scores will also remember his previous ones: MEDAL OF HONOR (1999), MEDAL OF HONOR UNDERGROUND (2000), and especially the terrific 2 CD set for SECRET WEAPONS OVER NORMANDY (released on La-La Land Records in 2003).
For MERCENARIES, Giacchino has provided another impressive Main Theme (4:11), full of rhythmic heroics just like the characters in the videogame. This theme reappears on later tracks as well, like "Family Business" (track 7, 3:02). But this music is all gung-ho macho music. There's also very tender moments, such as the lovely theme "For the Motherland"(track 6, 2:31). This isn't the kind of subtle writing you find much these days. One departure from the full orchestral sound is track 9, "Honor and Strength" (3:26), featuring just bamboo flute and drums. It sounded as good as similar tracks on Tan Dun's HERO. An unidentified chorus is also used singing in Latin I believe (why are the texts never given in CD booklets?) on track 10, "Hidden Valley Bunker" (4:53), and track 19, "Countdown" (3:05).
The last track, "World's Best Carpool Lane" (1:54), ends with a brief little ditty--but I couldn't understand any of the words! And they aren't in the booklet either. All that's written about it is the statement by Peter Hirschmann, VP Product Development for LucasArts: "Sarah Vowell, the hidden track at the end of this CD is dedicated to you." How about letting us in on the joke?
The recorded sound and performance by The Northern Sinfonia, directed by Tim Simonec, are excellent.
The booklet has comments by Peter Hirschmann and Michael Giacchino. What about Chris Tilton? His name is on the CD cover and Giacchino does give him a great deal of credit. But who composed the music? It states the themes were by Giacchino and the score by Tilton. I'm not sure exactly what that means. But that takes nothing away from the seamless quality of this exciting soundtrack.
Even if you're not a fan of videogames, this robust and well recorded CD should get your juices flowing.
MERCENARIES is another triumph in Michael Giacchino's growing list of successes. And it's an impressive beginning for Chris Tilton as well.
--Roger Hall, 9 March 2005
The disc is available from La-La Land at their website:
| Editor's Choice - Best of the Month for April
|
THE THING FROM ANOTHER WORLD (1951)
13 Tracks (Playing Time = 26:50)
TAKE THE HIGH GROUND! (1953)
23 Tracks (Playing Time = 51:47)
[Total Disc Time = 78:42]
Music composed and conducted by Dimitri Tiomkin. Album Produced by Lukas Kendall. Production Executive for Turner Entertainment Co.: George Feltenstein. Digital Assembly: Michael McDonald. Digital Mastering: Doug Schwartz. THE THING acetate transfer by Jerry Burling and Chris Lembesis. Music recorded at RKO Radio Pictures Scoring Stage, Hollywood, California, March 1951. Orchestrations: George Parrish, Paul A. Marquardt, Herbert Taylor, Manuel Emanuel. TAKE THE HIGH GROUND! recorded at M-G-M Studios Scoring Stage, Culver City, California, February 2,March 18-22, June 6 1953. Orchestratrations: George Parrish, Paul A. Marquardt, Manuel Emanuel, Lusius Caillet and Skip Martin. Art Direction by Joe Sikoryak.
FSM Vol. 8/ No. 1
Rating: *****
What a tremdous thrill...Tiomkin's THE THING FROM ANOTHER WORLD has finally landed (pun intended)!
It's hard to believe that this is the first complete release of this landmark 1951 sci-fi film. The CD notes state that the music was taken from Tiomkin's personal acetates at the Cinema-Television Library of the University of Southern California. Then the acetates were carefully transferred by specialists (listed above).
This has been a score I've been waiting so long for I thought it would never appear. I was impressed with this score from the time I first watched the film on a small black & white televsion set many years ago. Since then I've watched the film dozens of times and never tire of Tiomkin's terrific score.
To add further luster to this CD release, there's Tiomkin's wonderful score for TAKE THE HIGH GROUND.
The opening "Main Title" (1:48) for THE THING FROM ANOTHER WORLD is one of the greatest of any sci-fi film.
It starts off with a marchlike fanfare when the RKO Radio and Winchester Pictures logos are shown and the music sounds like an epic western film is about to begin. Tiomkin had distinguished himself only a few years earlier with RED RIVER [FMR Special Merit] and DUEL IN THE SUN. Then the opening title music for THE THING quickly switches to a eerie theme featuring the theremin, as the film title is burned onto the screen. If only today's films could have such immediate visual and musical impact! This all happens in less than 2 minutes!
What follows that is just as remarkable. This is not a long score at less than 30 minutes but Tiomkin makes it all count.
The major music cues are for the flying saucer. On track 2 (2:14) is Part 1 of the sequence and track 3 (5:47) continues the effort to extract the flying saucer buried in the North Pole ice. Tiomkin uses a simple technique of repeating two notes (perhaps forecasting the creature's footsteps) and also possibly reminding listeners of a similar two note motive for another sort of menacing creature -- the shark in JAWS.
Another major cue in THE THING is the "Electrocution Sequence" (track 12, 4:11). Here the music begins softly, tapping out the Morse code rhythm, then the creature appears and the music accompanies his appearance with Tiomkin's prominent use of theremin and percussive brass, which subsides as the creature is reduced in size to nothing.
Tiomkin "End Title" (0:35) uses the same fanfare march that opened the film.
Not only does TAKE THE HIGH GROUND from 1953 have a stirring score, it also features two memorable songs. What makes this score even more appealing is that most of it is in stereo.
There are two major themes used in the film: the opening title theme and song (lyrics by Ned Washington), and the love theme for Julie, which also has a song (lyrics by Charles Wolcott). Much of the score features variants of these two themes.
The opening Main Title theme and song appears on track 14 (3:19). Julie's theme is first introduced on track 18 (2:02). The song appears on track 25 (2:53) in a vocal sung beautifully by Bill Lee, whose voice was later featured in such musical films as SOUTH PACIFIC and WEST SIDE STORY.
There are also four Bonus Tracks: "End Title" (track 33, 0:49); "Julie's Theme" (Key Club version)(track 34, 1:32); "Take the High Ground" (pre-recording conducted by Johnny Green)(track 35, 3:08); "Julie's Theme" (track 36, 2:24).
The CD notes are particularly interesting on this release and contain fascintaing bits of information about each score. For example there's this revelation:
"Two cues--"Flying Saucer Sequence, Part 1" and "The Hand"--were recorded with overlays, allowing them to be mixed into rudimentary stereo."
And here's one for TAKE THE HIGH GROUND:
"The resulting title song was was hailed by the studio as the first marching song ever composed exclusively for the U.S. Infantry." And Variety noted, "Both the title tune and the martial music in the background score will make the red corpuscles tingle."
That last staement certainly applies to how I felt when listening to this superb FSM release. My corposucles were tingling away!
Anyone who enjoys excellent film music from the past should enjoy this release.
It's also one of the best Tiomkin releases I've heard in a long time.
Needless to say it's a must for those who love the film music of the "Big T," as he is affectionatly known.
I give this FSM release my highest recommendation.
--Roger Hall, 5 April 2005
For more information, go to:
| Compilation Reviews (March - April 2005) |
The Film Music of Ron Goodwin (2004)
23 Tracks (Total Time = 76:24)
Executive Producer: Brian Pidgeon. Recording Producers: Ralph Couzens and Mike George. Sound engineer: Stephen Rinker. Editor: Jonathan Cooper. Mastering: Ralph Couzens. Recorded at Studio 7, New Broadcasting House, Manchester, England, 10-11 March 2004. Booklet notes by Ron Shillingford.
Chandos CD 10262
Rating: ****
This is another excellent compilation in the Chandos Movies series. Other releases have paid attention to such composers as William Alwyn, Richard Addinsell, Sir Malcolm Arnold, Georges Auric, Sir Richard Rodney Bennett, Sir Athur Bliss, Dmitri Shostakovich, and Vaughan Williams.
I'm pleased to see Ron Goodwin's music finally getting his due. He had the versatility of Henry Mancini and Elmer Bernstein. Goodwin could compose a snappy rhythmic theme for 633 SQUADRON (1963) and then turn around in the same year and provide a lovely subdued theme for LANCELOT AND GUINEVERE.
This compilation has a generous selection from 17 films which Goodwin scored. Many of his themes fit well in war films, such as 633 SQUADRON (Goodwin's best known theme), BATTLE OF BRITAIN (1969)(premiere recording of the suite with 6 tracks), FORCE TEN FROM NAVARONE (1978), and WHERE EAGLES DARE (1968).
Also there's the "London Theme" from Alfred Hitchcock's great FRENZY (1972), the beautiful Main Theme from OF HUMAN BONDAGE, and a sampling from the rollicking THOSE MAGNIFICENT MEN IN THEIR FLYING MACHINES.
The BBC Philharmonic performances are mostly top flight with only an occasional tempo rush, as in OF HUMAN BONDAGE. This 1962 film starred the miscast though lovely Kim Novak and the scenery chewing Lawrence Harvey. The acting may not be top notch but the music is, containing one of the most beautiful themes of the 1960s. On the film's soundtrack this main theme was constantly reappearing and changing. The incredible lushness of Goodwin's theme was forever deposited in my memory bank. I even watched portions of the film with my eyes closed. I wanted to listen to that gorgeous theme! It's a good example of the score being better than the film.
The booklet notes by Ron Shillinford are concise and straight to the point. And thankfully the art design doesn't go color mad and stays with sedate black and white pages and photos. The text is in English, German and French.
This is an exceptional compilation well worth adding to any film music lover's library.
--Roger Hall, 5 March
2005
The
Film Music of Clifton Parker (2005)
18 Tracks (Total Time = 79:39)
Recording Producer: Ralph Couzens. Sound engineer: Jonathan Cooper Editor: Michael Common. Recorded at Walthamstow Town Hall, Walthamstow, England, 29-30 March 2004. Booklet notes by James Marshall.
Chandos 10279
Rating: ***1/2
Since I was relatively unfamiliar with the film music of Clifton Parker (1905-1989) and this year marks the centennial of his birth, I wanted to hear this new compilation to see what I was missing.
It seems that Parker's music hasn't yet received a lot of widespread coverage. Of the nine scores represented on the CD, six are premiere recordings:
TREASURE ISLAND (1949)[tracks 1-7 = 23:35]
THE SWORD AND THE ROSE (1952)[tracks 9-12 = 7:23]
March from SEA OF SAND/aka DESERT PATROL (1958)[track 13 = 3:10]
THE BLUE LAGOON (1948)[track 14 = 9:15]
VIRGIN ISLAND: A CARIBBEAN RHAPSODY (1958)[track 16 = 9:24]
BLUE PULLMAN (1960)[track 19 = 15:34]
All of these premieres were edited, arranged or orchestrated by Philip Lane. His work seems very solid and accomplished.
The opening suite for TREASURE ISLAND takes up nearly a third of the disc time. There was nothing that stuck with me over the seven tracks of the suite. Just lots of murkiness and scurrying around in brass and strings. It doesn't seem to add up to much that is really memorable, at least as performed on this re-recording.
THE SWORD AND THE ROSE seems an improvement. The "Fanfare"(track 9 - 1:27) sounded very majestic, even if reminiscent of Vaughan Williams. The remaining tracks --a series of dances--seemed more authentic with Parker writing in the style of the Tudor period.
The two scores I was most interested in because I had seen the films were the terrific horror film, NIGHT OF THE DEMON (aka: CURSE OF THE DEMON)(1957) and the great action film, SINK THE BISMARK! (1960). Unfortunately, both these scores have only one theme apiece. They are well done. The often recorded "March" from SINK THE BISMARK is fine. But the highlight for me is Parker's chilling music for NIGHT OF THE DEMON because it seems to fit the menacing mood of the film so well. I wish more of that score had been included on this compilation and closer to the original soundtrack as well.
As with the Ron Goodwin compilation, the booklet notes give brief descriptions of each film in English, German and French. This time the writer is James Marshall. He also provides a helpful introduction to the film music of Clifton Parker.
The BBC Concert Orchestra is outstanding as led by guest conductor, Rumon Gamba. One complaint was the low volume of the recording. While I appreciate the absence of ear-bleeding loudness blasted forth on so many of today's soundtracks, this compilation CD sound level sounded too timid. I
If you enjoy British films of the 1940s and '50s you may want to add this very good compilation to your collection.
Certainly Clifton Parker's music is worth further investigation. Now how about a complete soundtrack of his major opus, NIGHT OF THE DEMON?
--Roger Hall, 7 March 2005
| CD Release
of Special
Merit |
Three Choral Suites by Miklos Rozsa (2005)
21 Tracks (Total Time = 61:54)
Music performed by the Cincinnati Pops Orchestra, Erich Kunzel, conductor, and Mormon Tabernacle Choir, Craig Jessup, director. Producer: Robert Woods. Recording Engineer: Jack Renner. Mixed by Michael Bishop. Voice-over for QUO VADIS: Wade Collin, speaker. Cincinnati Pops Orchestra recorded at Music Hall, Cincinnati, Ohio, 15-16 May 2004; Mormon Tabernacle Choir recorded in Maurice Abravanel Hall, Salt Lake City, Utah, 22 October 2004. Art Director/Designer: Anida Carrasqullio. Liner notes by Micahel Murray.
Telarc CD-80631
Rating: ****
Even if you already have all three monumental MGM film scores by Miklos Rozsa, this new Telarc compilation is well worth your consideration. It features the World Premiere of three suites. The title of the album is a bit misleading since there are several purely instrumental movements in each one. But the choral sections have the most majestic material in each suite.
Rozsa died in 1995 before this project could be completed. It has taken almost a decade to finish it, thanks to the efforts of several of his friends, pupils and admirers: Christopher Palmer, Julian Kershaw, Daniel Robbins, Joseph D. Price, and Erich Kunzel.
Appropriately, the CD begins with a magnificent suite from BEN-HUR (1959)--the greatest of all religious epic film scores.
There are six movements to this suite, arranged and reconstructed by Daniel Robbins: Overture (track 1, 3:52); Star of Bethlehem/ Adoration of the Magi (track 2, 3:51); Rowing of the Galley Slaves (track 3, 2:39); Alleluia (track 4, 2:08); Parade of the Charioteers (track 5, 3:25); Miracle and Finale (track 6, 5:29). While many of these themes are familiar from other compilations, especially "Rowing of the Galley Slaves" and "Parade of the Charioteers," Erich Kunzel brings out all the emotional wallop of these two highlights from the score. Likewise, the Mormon Tabernacle Choir sounds wonderful throughout, but especially on the best choral sections in the score: the very moving Adoration of the Magi on track 2 and the heavenly music heard on track 6. The Miracle and Finale music of BEN-HUR has some of the most moving music in any religious epic. Even though a bit slower than the soundtrack, the Telarc suite ends with a swelling up of chorus and orchestra that is a goosebump listening experince and its incredible beauty brought tears to my eyes.
The second suite features six movements from QUO VADIS (1951): Prelude (track 7, 1:46); Ave Caesar March (track 8, 4:12); Fertility Hymn (track 9, 1:15); Assyrian Dance (track 10, 1:57); Marcus and Lygia (track 11, 4:50); Miracle and Finale (track 12, 4:04). This suite has a number of hands invloved. It was conceived by Christopher Palmer, compiled and transferred by Julian Kershaw, and edited by Erich Kunzel and Joseph D. Price. For me, this is the weakest of the three suites, which is also true of Rozsa's score. Not that it is in any way sub-par. QUO VADIS just doesn't have the incredible majesty of the other two Rozsa scores. The highlight of this suite is track 12, which is played softly with a subdued orchestra and chorus, who is first heard humming. Then the chorus begin singing Latin and English words accompanied by a brief voice-over by Wade Collin. The chorus ends with a burst into a majestic Finale.
The third suite is from KING OF KINGS (1961) and contains nine movements: Overture (track 13, 4:02); Roman Legions (1:35); Nativity (track 15, 1:58); The Feast of Passover (track 16, 2:05); Herod's Feast (track 17, 1:08); Miracle of Christ (track 18, 2:51); The Lord's Prayer (track 19, 2:26); Pieta (track 20, 3:00); Resurrection and Finale (track 21, 2:23). This is Rozsa's second greatest religious film score. Just as with BEN-HUR, the opening Overture includes both chorus and orchestra. As with the other two suites, the highlights of this one features the chorus. One highlight is track 16 which is sung in Hebrew a cappella. Other ones are track 19, with a moving rendition of The Lord's Prayer with humming chorus; and track 21, which gives an inspiring end to this suite and to the CD as well.
The sound quality on this CD, like all Telarc releases, is superb. It uses the Digital Recording System of Sony DSD (Direct Stream Digital) and the sound of chorus and orchestra is clear and distinct.
The notes by Michael Murray provide background on Rozsa's music career and short descriptions of all three films.
Erich Kunzel is one of today's best interpreters of film score themes and suites. This latest release further illustrates his enormous sensitivity to film music.
I recommend you give it a listen. You won't be sorry.
This wonderful CD serves to refute the elitist crowd who look down on film music.
With superb sound and performance, this Telarc compilation doesn't just have great film music--it's great classical music as well.
Bravo to all involved in this very worthwhile project.
It's a grand and glorious tribute to the great Miklos Rozsa.
--Roger Hall, 19 April 2005
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