Film Music Review

 Soundtrack & Compilation Reviews

(July - August 2005)

All CD 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 when deserving of:  "Editor's Choice - Best of the Month."      

If you have any comments or questions about any review, write to:

 Film Music Review

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Scroll down this page to read all the CD reviews.  

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The Sammy Awards

For the choices of best film composer, soundtracks, compilations, and record labels of the year, go to:

Best and Worst of 2004

Best and Worst of 2003

Best and Worst of 2002

Best and Worst of 2001

Best and Worst of 2000

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

Important!

Supply of this limited second edition is running low.  Order your now to avoid disappointment.

The guide also has an accompanying FREE CDR of film music examples and includes these items:

*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

*Top 100 Scores of the 20th Century

*Comments on Film Music:

• Exclusive interviews with two composers (Aaron Copland and Virgil Thomson)
• The Composer as Commentator (Bernard Herrmann,  David Raksin, Dimitri Tiomkin)
• The Composer as Critic (Elmer Bernstein)
• The Film Lyricist and Songwriter (Sammy Cahn and Henry Mancini)
• The Movie Critic and Historian (David Thomson and Tony Thomas)
• An extensive bibliography and discography

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

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

There are also songwriter autographs as well, such as:

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

The title page of A Guide to Film Music  has a rare page from the end credits of E.T., boldly signed by John Williams.

Praise from distinguished film composers!

"Thank you for the copy of your film music book.  Congratulations and best wishes for success in your future contributions to the film music literature"-- John Williams, film composer and conductor

"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!" -- Elmer Bernstein, film composer and conductor

"Your film music guide should be available to anyone interested in the Golden Age and beyond.  I was so happy that KING KONG made your all-time list" -- John Morgan, film composer and score restorer.

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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:

Editor's Choice for Best of the Month

CD Release of Special Merit

Soundtracks:

Soundtracks:

THE BOOK OF STARS (Richard Gibbs) [Special Merit] - ****

DEEP BLUE (George Fenton) - ****

THE DEVIL'S REJECTS (Tyler Bates) - ***1/2

LASERBLAST (Richard Band and Joel Goldsmith) - **

MIRRORMASK (Iain Ballamy) - ****

MYSTERIOUS SKIN (Robin Guthrie and Harold Budd) - ***

SEED OF CHUCKY (Pino Donaggio) - **1/2

UNDEAD (Cliff Bradley) - ***

Compilations:

THE ESSENTIAL ELMER BERNSTEIN FILM MUSIC COLLECTION  - ***1/2

ALL-TIME TOP 100 TV THEMES - ***1/2

 Soundtrack Reviews ( July - August)

CD Release of Special Merit

THE BOOK OF STARS (1999/ 2005)

16 Tracks (Playing Time = 59:57)

Music composed by Richard Gibbs.  Album produced by Richard Gibbs and MV Gerhard.  Orchestrations by Patrick Russ. Performed by the Northwest Sinfonia.  Recorded and mixed by Robert Fernandez. Music editor: Richard Whitfield. Digital mastering: Michael Matessino.  Artwork and Book Design by Mark Wagner. Album Art Direction: Mark Banning.

La-La Land Records LLLCD 1036

Rating: ****

This CD is being released now from a well received indie film made back in 1999.  The story concerns two orphaned sisters, one a fifteen year old suffering from cystic fibrosis and the other one a twentysomething free spirit.  It has been well received by both critics and viewers.    

Unlike many of today's soundtrack releases which feature just film scene photos and little else, THE BOOK OF STARS has CD notes from the film's composer, Richard Gibbs.  His notes are interesting and instructive. He tells how he was given a temp score featuring pieces from Morricone's THE MISSION, Gabriel's THE LAST TEMPTATION OF CHRIST, and a few others.  While some may hear echoes of other scores, that doesn't matter since Gibbs has fashioned such an expressive series of cues that accompany the moving film.

As with most film composers, his scoring process sometimes met with roadblocks.  Make sure to read his description of that B augmented seventh! He also tells how he was attracted to the Indian classical violin after hearing it in the Indian/jazz fusion group Shakti.  He said to himself that he wanted to use that instrument in one of his film scores someday.  THE BOOK OF STARS was his chance to do just that and his use of the instrument is quite effective.  After searching all around the L.A. area, Gibbs finally found his Indian violinist. Her name is Anuradha Sridhar.  She needed to learn the music using the traditional Indian solfege system. Her violin playing and singing is especially mesmerizing on track 16, "Alternate End Title" (5:39).

The Indian violin was featured prominently in Peter Gabriel's score for THE LAST TEMPTATION OF CHRIST.  But in his score, Gibbs uses the instrument only sparingly.  It appears in the opening Main Title (2:59) where is mixed in with the other orchestral sounds. Gibbs mentions in his CD notes that this was an especially difficult track to record.  After he had finished recording it, he turned to ask the film's director Michael Miner for his opinion and saw him "smiling with tears streaming down his face."

The next track, "The Meeting Refuge" (2:23), has lush strings offset with what sounds like a mandolin and accordion duet before the strings return in full force.  It's most effectively done.

One of the most understated cues is on track 6, "Storm Warnings" (4:35).  It doesn't feature the thundering sounds you might expect from such a title.  Instead it opens with a quiet, repeated pattern which sounds like a Javanese gamelan orchestra.  The pattern is repeated but in different instrumental groupings to provide an endlessly unexpected progression.  This is the most impressive track on the CD.  It's a real beauty -- subtle and serene.  

There are so many wonderful cues on this soundtrack that I don't need to mention any others, except the "End Credits" track (4:58) which is funky and fun.

For some reason THE BOOK OF STARS didn't get a theatrical release.  Fortunately it has been issued on DVD, though in a slighty abbreviated version that doesn't include the "The Beach" and "Alternate End Title" found on this soundtrack CD.  

Don't be put off by the soundtrack CD cover art which makes it look like a children's album.  It's actually a very delicate and beautiful score which is well performed and recorded.  

Hopefully Richard Gibbs will be given more opportunities to work on sensitive films like this one.

I highly recommend this enjoyable CD for those in search of a more meditative and soothing soundtrack.

THE BOOK OF STARS is well worth adding to your film music collection.

--Roger Hall, 18 August 2005

Additional notes:

Richard Gibbs website - www.richardgibbsmusic.com

A portion of the proceeds from the sale of this CD will be donated to the Cystic Fibrosis Foundation. To find out more about this foundation, visit:

www.cff.org

DEEP BLUE (2003)

17 Tracks (Playing Time = 61:14)

Music composed, produced and conducted by George Fenton. Orchestrated by Geoffrey Alexander, Julian Kershaw and Simon Chamberlain. Featuring the Berlin Philharmonic and the Choir of Magdalen College, Oxford, Bill Ives director. Score engineered by Jonathan Allen and Steve Price. Edited by Simon Kiln. Music recorded at the Philharmonie, Berlin, and at Angel Recording Studios, London. Art direction by Ria Shibayama.

Sony Classical SK 92747

Rating: ****

Andy Byatt and Alastair Fothergill’s BBC documentary DEEP BLUE finally managed to make its limited American release this summer. Though it seems it was overshadowed by a bunch of marching penguins and lost in the shuffle of Miramax’s buyout. It is essentially a series of segments from the BBC’s BLUE PLANET television series. As such, it eschews traditional dramatic narrative with minimal information provided by Pierce Brosnan (for the American release). But that means that with George Fenton’s music to accompany these scenes, the music has to be engaging and thrilling creating miniature tone poems.

Fenton’s music is, as always, a delight to listen to as it soars through excellent adventure cues to more subtle and restrained and gorgeous melodic sections. The music grabs you from the opening track, "Bounty Hunters," and then continues to maintain your attention as it accompanies the variety of visuals. It problems implies more emotion than exists on film, but on its own it is fabulous music. "Surf and Sand" takes a page from Bruno Colais’ WINGED MIGRATION (2001) by including a variety of animal sounds into this more island-pop track. From one end of the ocean to the other, Fenton’s music is there to guide and enchant. "Coral Riches" has an almost magical quality that recalls his score for EVER AFTER (1998). The disc is well thought out as it moves from one musical idea to another each as engaging as the previous one. It shines best in its moments of restraint such as "The Kelp Forest" and "Kaleidoscope" where the music quietly shimmers while a chorus provides a wordless accompaniment. In short, this is one of Fenton’s best accomplishments proving he deserves far more fitting projects than the recent BEWITCHED or HITCH and other romantic comedy fare.

Sony has made this a very attractive package with a cover photo of swirling hammerhead sharks and a back cover of dolphins thus appealing to a significant market of aquatic animal lovers. The blue colors are equally inviting. If you see the disc in the store, it is worth adding to your collection and Fenton fans need not hesitate. Fenton has been conducting concerts of this music in Europe and so for many this will be a keepsake of those performances.

The Berlin Philharmonic performs excellently throughout giving the music a grandeur that might otherwise be missing.

--Steven A. Kennedy, 17 July 2005

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

THE DEVIL'S REJECTS (2005)

24 Tracks (Playing Time = 59:30)

Music composed by Tyler Bates.

Album produced by Tyler Bates and M.V. Gerhard. Horns orchestrated and conducted by Tim Williams. Score performed by the Khaki Palms Orchestra. Recorded by Robert Carranza. Music edited by Georgi Ramsland. Score mixed and "destroyed" by Wolfgang Matthes. Digitally mastered by James Nelson at Digital Outland. Art direction by Rob Zombie. Design Consultant for La-La Land Records, Paul Gauthier.

La-La Land Records LLLCD 1035

Rating: ***1/2

Tyler Bates career has revolved around scoring low-budget films as well as some higher profile comedies. His band, Pet, and opened for a number of high profile musical acts, and he has played guitar for the Beastie Boys and Vas, all of which has taken a back seat to his decision to focus on film scoring. "The Devil’s Reject" is Zombie’s second feature film. The Firefly family, from 2003’s "House of 1000 Corpses," returns to bring their own fingerprint to an out-of-control road movie that takes "The Texas Chainsaw Massacre" as its possible "inspiration." The film was shown Cannes this year and had a late-July release to mediocre press. Zombie chose a variety of 1970s rock to accompany his picture using Bates score intermittently. La-La Land presents here what must be most of the original score, used and unused.

Creepy atmospheric sounds and a ghostly vocal over static "harmony" provide the interesting mix that opens track one. It is similar to Beltrami’s approach in similar genre scores but with less interest in thematic writing. With everything from didgeridoo to glissando timpani and densely packed brass writing to simulated heartbeats, Bates seems to be throwing in a bit of everything right from the start. A maniacal percussion track follows presenting the other sound idea in the score. Bates’ style allows ambient ideas to create musical threads that hold individual tracks together. As the disc continues, it is obvious that Bates’ score was used to pull action sequences up a notch. For lack of a better analogy, there are times when the score sounds a bit like what would happen if Batman had a bad drug trip. Or, in tracks like "Mama Pulls the Trigger," it is a bit like hearing "Scream" on steroids. Is this effective in a film like "The Devil’s Rejects?" Absolutely. Unlike many of the new breed of slasher and horror genre scores, this one features many tracks that play out beyond a minute. It allows Bates to shape his music and build a scene far more effectively. As a listening experience, it generally translates into how fast your heart rate goes up from the beginning of one track until its conclusion.

After being pummeled for almost ten minutes, "Ride the Horse" appears. It is an urban-sounding smooth jazz number and a brief respite from the mayhem. But it is only a fluke in an otherwise demanding and visceral score. "The Devil’s Rejects" is a hard score to sit through, and it would be so even at half of the ample playing time provided here. One hears all of the characteristic approaches that Bates is becoming known for in this latest score and the disc provides plenty of space to hear his ideas.

Kudos to La-La Land for once again supporting new and rising talent by releasing scores that otherwise would not see the light of day. This is not a score for everyone. Hip-O will be releasing a disc of the songs from the film. The score is available from La-La Land’s website or in select music stores.

--Steven A. Kennedy, 10 August 2005

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

LASERBLAST (1978/ 2005)

25 Tracks (Playing Time = 46:14)

Music composed by Richard Band and Joel Goldsmith.

Album produced by Richard Band and Mark Banning.  Executive Album Producers: Mark Banning and Ford A. Thaxton. Associate Album Producer: James Nelson.  Digitally Edited and Mastered by James Nelson. Album Art Direction: Mark Banning.

BSX Records BSKCD 8807

Rating: **

After the enormous popularity of STAR WARS in 1977, it was inevitable that cheaper sci-fi films would follow. LASERBLAST was one of the first and one of the cheesiest too. It was released one year after STAR WARS. It's not fair to compare the score by Richard Band and Joel Goldsmith to that of John Williams so I won't. Richard is the son of well known writer/producer/director Albert Band, and Joel is the son of one of filmdom's great composers, Jerry Goldsmith.  Both fathers are mentioned "In Memoriam."

Reading Randall Larson's very informative and well written CD notes, he mentions Richard Band's explanation of how the score came to written:

"Our musical approach to LASERBLAST was to get it done on time -- since we had a total of about four or five days, and an entire thousand dollars to do the whole thing."

To save money the score by Band and Goldsmith is completely electronic.  While there is some variety in the individual cues, much of it does sound like it was thrown together in about a week.

The Main Title (1:57) is as cheesy as the film itself with a theme that isn't very distinctive or especially memorable. It sort of reminded me of the B-movie scores turned out in the 1950s and '60s.  Many of the cues in LASERBLAST are quite short.  But there are some longer ones and they tend to be the more interesting.

One of these is "Billy's Radio #2" (track 5, 3:16), which has a more relaxed jazzlike flow and is an improvement over the raucous hard-driving "Billy's Radio #1 (track 3, 2:08).  Another similar pattern is found with "Chuck's Radio No. 1" (track 7, 2:23) being less interesting than the "Chuck's Radio No. 2" (track 22, 4:01), with more of a bluesy sound to it.

There's even a slower love theme for "Billy and Kathy" (track 9, 1:16).  It's a welcome relief from all the other driving rhythmic patterns going on throughout much of this soundtrack.  There's also "Billy And Kathy Make Love" (0:47) -- a very brief bit of lovemaking!  On track 10 "Alien in Ship/Alien Boss On Screen" (0:49), it begins in a promising burst of electronics but then just ends abruptly. The theme is continued on the next track "Tony Discovers Black Spot" (1:04) and this is one of the more interesting tracks.  

The longest cue is "Billy Blows Town Up" (track 24, 5:24).  Unfortunately, it isn't very involving with the main theme repeated while the heavy electronics keep things barely moving along.  The next track, "Laserblast End Title" (2:29) continues the theme and brings the soundtrack to a welcome conclusion.  

It's too bad there isn't any indication of which composer worked on what track.  Possibly they both worked on each track.  It's like songwriters who are listed for both words & music.  I suppose Band and Goldsmith worked as a team with their shared ideas.  But what were their musical ideas?  

Well, returning to the CD notes, Joel Goldsmith offers this honest confession about the LASERBLAST musical ideas:

"We were both a couple of young kids doing it on the fly - neither of us knew what the hell we were doing then! We both took it very seriously, but at the same time, every once in a while, we'd look at each other and say, 'Hey! We're writing a film score!"

There -- you've heard it directly from one of the composers.  I rest my case.  

This soundtrack might appeal to fans of cheaply made films and scores.  

But for me it's just the work of two "young kids" who didn't know "what the hell they were doing then!"

--Roger Hall, 18 August 2005

Additional note:  This soundtrack is a limited edition of 1,000 copies.

Website:  www.buysoundtrax.com 

MIRRORMASK (2005)

30 Tracks (Playing Time = 74:14)

Music composed and arranged by Iain Ballamy.

Album produced by Iain Ballamy, Michael Polis, and Ford A. Thaxton. Produced, mixed, and orchestrated by Ashley Slater and Iain Ballamy. Recorded and programmed by Ashley Slater at The Bespoke Shed Studios, Brighton, 2004. Digitally mastered by James Nelson at Digital Outland. Art direction by Dave McKean.

La-La Land Records LLLCD 1031

Rating: ****

MIRRORMASK comes from the pen of BABYLON 5’s Neil Gaiman. Director Dave McKean lent his intriguing style to this film produced by Jim Henson Productions and picked up by Columbia for distribution. This visually striking film appeared at Sundance this year and has a scheduled New York debut in September with no wide release set as of yet. It will no doubt find a home with fantasy film fans when it makes it to DVD.

Jazz saxophonist and composer Iain Ballamy pulls together a variety of mixed ensembles and creates larger soundscapes with the assistance of his programmer, Ashley Slater. Though Ballamy has an impressive list of jazz recordings, this is his first full length feature film score. Each track lists instrumentation and performers following along the lines of pop albums. It is a welcome addition.

"Sock Puppets/Flyover" opens with an accordion solo that soon segues into a saxophone solo and wordless jazz vocal. It turns out being like an updated version of a Piazzolla number with jazz improvisation. A feat that manages to attract interest and create an approachable soundscape as does the similar "Spanish Web." "Circus Overture" will recall some of Elfman’s work on THE NIGHTMARE BEFORE CHRISTMAS (1993). It is bizarre and somehow entrancing in its own way paying homage to the genre while adding a little strangeness. If anyone saw or heard Christopher Dedrick’s score for 2003’s THE SADDEST MUSIC IN THE WORLD, this score is a distant kindred spirit. The circus atmosphere tends to dominate the proceedings for the first four cues, returning occasionally in brief spurts. Each with its own impressive musical performances.

The circus gives way to a generic jazz track in "Running for the Bus." "Abandoned Hall" continues in the kind of laid back, almost smooth jazz sound, while programmed ideas begin to filter into the sound picture. The more unusual sounds help create the kind of surreal quality needed for the film. Unlike Peter Vermeersch’s score for the little seen 2001 Dutch film MINOES, Ballamy tends to take a more varied approach to his jazz language. Here it is a departure that leads into other unique sounds that enhance the visuals ethereally. "The White Queen Sleeps/The White Palace" has an almost Paul Winter-ish set-up created with a variety of bell tones and a throaty flute sound almost like a shakuhachi or similar wood flute. The approachable experimental nature of the score will make it more accessible to the average listener but it manages to create a variety in the listening experience as well.

As is generally the case, longer tracks turn out to be far more interesting musically while the briefer ones pique one’s interest. In "Rabbit Band", Ballamy creates a kind of post-Shostakovich sound that the great Russian composer fell on for his scores to animated features. These various eclectic approaches find a common thread through both in returning to distinct sound ideas and by connecting them to melodic motives and threads throughout the score. Coupled with the imagery of this film, it will increase the satisfaction of the listener.

Ballamy’s themes create a poignancy that is equally accessible and enthralling. The sense of fun that permeates the music shines through in many cues, but no more so than in the delightful "Mrs. Bagwell’s Rhumba," and an arrangement of Bacharach’s "Close to You."

La-La Land provides an ample amount of score material providing Ballamy with an impressive demonstration disc. I could not help but wonder what could happen if he was given the chance to score a Terry Gilliam picture. The booklet features an intriguing cover and additional photos. The central text page is a bit hard to read with the black on an off-gold background. Other wise the booklet is topnotch as one has come to expect.

If you enjoyed the score for THE TRIPLETS OF BELLEVILLE, and some of the earlier Elfman-Burton film collaborations, this score is definitely worth adding to your collection with the hopes that there will be more to come from this new voice.

--Steven A. Kennedy, 10 August 2005

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

MYSTERIOUS SKIN (2005)

15 Tracks (Playing Time = 45:08)

Music composed and performed by Robin Guthrie and Harold Budd.

Produced and mixed by Robin Guthrie. Executive Producers: Tracy McKnight and Walter Yetnikoff. Recorded by Brad Ellis and Robin Guthrie. Art direction and graphic design by Scott Kawczynski.

Commotion Records CR008

Rating: ***

This is a new release from a fairly new record company.  Commotion Records was founded in 2003 by former CBS/Sony President Walter Yetnikoff and Music Supervisor Tracy McKnight to develop and market soundtrack albums for specialty and independent films.  According to their promotional material, they are "committed to building a brand name by emphasizing quality, artistry and distinctiveness...Simply stated: Smart. Film. Music."  That's a noble goal and hopefully they will achieve it, but this soundtrack isn't there yet.

MYSTERIOUS SKIN is film by writer-director Gregg Araki about two troubled boyhood friends, Neil (Joseph Gordon-Levitt) and Brian (Brady Carbet),  whose lives as young adults lead them on a path of self-discovery.

The team of minimalist Harold Budd and former Cocteau Twins lead guitarist, Robin Guthrie are the ones responsible for what is described as "a meditative, ambient soundtrack."  Well, I guess that's one way of classifying it.  For my ears, it sounds more like a meandering soundtrack.  Yes, the mood settings are pleasant enough but they all sounded pretty much alike with little contrast in tempo or dynamics.  

The repetitions begin with the opening track, "Neil's Theme" (2:14).  Overlapping electronic chordal sounds and guitar ramblings take up the track without any discernible melody.

The third track and the longest one is titled "Snowfall" (6:30).  It does seems well suited to this "ambient" sound, where there are passages sounding like snow is cascading down.  But the almost constant repetition tends to spoil the effect.

This MYSTERIOUS SKIN CD may appeal to fans of Budd and Guthrie.  Gregg Araki, the film's writer-director, is certainly a huge fan.  He writes in the CD jacket notes that "the incredible score Robin and Harold have composed is so evocative and breathtakingly beautiful."  "     

For me, this soundtrack sounded less "evocative" and more evasive.  

But it does have its worth for those interested in this type of music.

--Roger Hall, 15 August 2005

SEED OF CHUCKY (2004)

21 Tracks (Playing Time = 53:40; 1 Song Track = 2:48)

Music composed by Pino Donaggio.  

Album produced by Pino Donaggio and Ford A. Thaxton. Orchestrated by Maurizio Abeni. Featuring the London Symphony Orchestra conducted by Maurizio Abeni, and Members of the New London Children’s Choir, directed by Ronald Corp. Score engineered and mixed by Nick Wollage. Music recorded and mixed at Whitfield Street Studios, London. Digitally edited and mastered by James Nelson at Digital Outland. CD art direction by Mark Banning.

La-La Land Records LLLCD 1033

Rating: **1/2

Pino Donaggio has been a relatively silent voice in American film since some of his collaborations with Brian De Palma in the 1980s. Even the "selected filmography" provided with this release lists 1992’s RAISING CAIN as the most recent of his output. It is more likely that this list could be a who’s who of scores the director had in his mind while working on this fifth Chucky excursion. Many people admire Donaggio for in some ways modernizing what might be called a "Herrmann" sound. The combination of orchestral elements with electronic elements is all part of Donaggio’s unique musical language which is coupled with a gift for romantic lyric themes.

In SEED OF CHUCKY, Donaggio’s music at times comes across a little like Elfman’s mid-1990s music with a foot closely placed in Italian Horror scoring. The score plays up some of the tongue-in-cheek style of this horror comedy as well which will make more sense to those who have seen the film. There is also a delightfully creepy little theme that is cross between a calliope and glass harmonica sound that works very well. This is weighed against some slashing string lines and an occasional boy’s chorus not unlike Elfman’s NIGHTBREED score. Donaggio takes a layered approach that pulls in various musical ideas from the score. This creates many satisfying cues. "Glen’s Escape" does this quite well. A little romantic jazz line creeps in for the brief "Our Jennifer" that would not be out of place in a film noir. The score works well because there are bits and pieces of smaller cues of more lyrical interest to ease the tension of the dramatic underscore. Most of the underscore involves holding one line while clashes of harmonic ideas or different ostinato patterns creep in and out of the texture. "Stark Raving Mad" is one of several examples that mixes in the horror underscore with some of the more lyrical material providing a microcosm of the music’s primary ideas. In "How to Get A Head in Hollywood" a wonderfully lyrical latin number is interrupted by strange electric guitar before all the ideas fall together, eventually fading out. A track titled "Glen and Glenda" may be more a nod to the Ed Wood-ish nature of the film.

Though the London Symphony Orchestra is listed as the ensemble here, it sounds like it is a more reduced version of the ensemble for many of the tracks. It is the first time Donaggio was able to have the LSO record his score and they are definitely slumming here. Elsewhere, fans of Donaggio’s music will hear many of the staples of his style complete in this score. It is worth seeking out his score to 2002’s L’ANIMA GEMELLA which is an excellent effort. Those who enjoyed Donaggio’s music from the 1980s and 1970s (especially 1984’s BODY DOUBLE and 1976’s CARRIE) will find him returning to some familiar territory. He is currently scheduled to return to an upcoming De Palma project to be released in 2006. This score will whet the appetite for what might be possible in a more higher profile score.

As a final "bonus", the disc ends with the song "Cut It Up" performed by Fredwreck and Defari. It is a finishing conclusion, but not advice to follow regarding Donaggio’s contribution. La-La Land once again does what seems impossible by releasing another score that may never have otherwise seen the light of day. We can hope they will be rewarded so that other music can also come to light. Out of the many titles of the past year still worth exploring, surely Philip Glass’s score to SECRET WINDOW would be worth a shot? We can only wait and see.

--Steven A. Kennedy, 17 July 2005

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

UNDEAD (2003)

17 Tracks (Playing Time = 51:40)

Music composed by Cliff Bradley.  

Album produced by Cliff Bradley and M.V. Gerhard. Chorus conducted by Rosemary Oxenford. Song, "Little Green Men" written by Cliff Bradley and Damien Taylor; performed by Buttkrak. Score mixed by Cliff Bradley. Mastered by David Neil at Jumpstart Productions, Brisbane, Australia. Art direction by Mark Banning.

La-La Land Records LLLCD 1034

Rating: ***

UNDEAD is one of those Australian imports now arriving in limited release on this shore after traveling through numerous film festivals. This intentionally B-movie zombie film is directed by Michael and Peter Spierig. It is an independent film made on a shoestring budget and is intended to put tongue firmly in cheek…or at least what is left of both.

Cliff Bradley’s score also was created under limited conditions and incorporates sample libraries. A small group of musicians playing harp, flute, violin, trumpet, wind chimes, and guitar and the addition of a small chorus (excellently effective in "Ghostly Figures") fill out the opportunities he has at his disposal. Bradley will be a new name to most readers. He is a New Zealander with a small group of short films and some initial critical notice. The latter was for the documentary THE CREEPY CRAWLEYS (2002). This is essentially his first feature film. He is a student of Nigel Westlake (BABE, 1995).

As I listened to this score, it reminded me a bit of some of Danny Elfman’s early work on shoestring budgets. Sampling has come a very long way. The sampled orchestra has a very dry acoustic and the strings just do not have the richness one would otherwise have with a live group. So, the only real complaint one can have is that it begs for a real orchestra. The musical ideas owe a little bit to genre writing of an earlier age, intentionally. Melodic ideas, theramin sounds and other techniques created with "real" sounds instead of ambient effects is a refreshing change from many of the slasher and zombie horror movie scores these days. Anytime one of the acoustic/live instruments comes in the score is lifted up beyond its humble parameters and budget. "Zombies at the Door" is a fine example of an action cue that exemplifies the musical style of the score fairly well. Interesting melodic ideas, a great piano ostinato pattern, classic ominous horn writing, and sporadic punctuations by strings are all present in this cue.

The music is only hindered by a sound that is more akin to video game music…and that is not really intended as a damnation by any means. Those who listen to that sub genre will be less put off by the sampling than those whose ears are unaccustomed to it. Also impressive are the extended tracks which allow some of Bradley’s ideas to be fleshed out. "Farmhouse Escape" at almost eight minutes is a delightful action cue that has a sound like a Schifrin MISSION IMPOSSIBLE score with an action sound like that Giacchino employed in last year’s THE INCREDIBLES.

Thematic ideas help hold the score together quite well. Bradley’s approach is a combination of 1970s low-budget horror music with flashes of color that reminded me sometimes of Sarde’s Gothic horror scores. The style of the music also suggests that what we are seeing is not to be taken too seriously.

If you are one of those film score fans watching new voices, and also have enjoyed some of Brian Tyler’s early works (some available from La-La Land as well), this score will be worth adding to your collection. It does seem to be a lot like the Sci-Fi Channel movie of the week sound, which, given the many Australian productions of those films, may be more indicative of the scoring approach from down under.

La-La Land continues to supply this steady stream of new names to film scoring and if anything they are providing a top-notch service to the up and coming, or at least hopeful, stable of composers that have so far been added to their amazing list of scores. They are offering UNDEAD at a discounted price on their website to help introduce Bradley’s score. It is worth taking a listen to.

--Steven A. Kennedy, 10 August 2005

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

 Compilation Reviews

THE ESSENTIAL ELMER BERNSTEIN FILM MUSIC COLLECTIOn (2005)

Album produced by James Fitzpatrick. Executive Producer: Reynold da Silva. Release Co-ordinator: David Stoner. Performed by The City of Prague Philharmonic Orchestra, National Youth Jazz Orchestra, Crouch End Festival Chorus, conducted by Nic Raine, Paul Bateman, Bill Ashton, James Fitzpatrick.  Recording Engineers: Jan Holzner, John Timperley, Mike Ross-Trevor.  Mixing and Mastering: Gareth Williams. Orchestra recorded at Barrandov Studios, Smecky Soundstage, Prague; and Whitefield Street Studios, London.  Artwork abd Design: Damien Doherty.

Silva Screen Records SILCD 1178 (2 CDs)

Disc One = 57:15/ Disc Two = 53:07

Rating: ***1/2


While fans of Elmer Bernstein --and I've been a big fan since the 1950s -- will already have many of the themes included on this 2 disc set, this is still a very good collection of his memorable film music.  It also includes several premiere recordings as well.  

When listening to this set you can hear the amazing range of film genres that Bernstein dealt with so well.

The first disc covers much familiar ground, opening with -- what else?-- the great theme from THE MAGNIFICENT SEVEN (4:53).  That is followed by a long suite from TO KILL A MOCKINGBIRD (8:22), and the Overture for THE BUCCANEER (3:30).  There is also a premiere recording of "Metamorphosis" from AN AMERICAN WEREWOLF IN LONDON (5:06).   On track 9 there is the truly mesmerizing "Taarna's Theme" from HEAVY METAL (5:36).  The next track has the great jazz theme for the 1959 TV series, JOHNNY STACCATO (3:22).  

Track 11 has several themes TRUE GRIT (4:39), a terrific Bernstein score in need of a complete soundtrack recording.  I've received criticism from a few soundtrack collectors in an article I wrote for recommending the recording made back in the late 1960s. That's still the only soundtrack version of TRUE GRIT available, even if it badly represents this milestone Bernstein score.  The song from this film is also worth hearing again.

The next track on the first disc is a short but nostalgic theme for the TV program, HOLLYWOOD AND THE STARS (2:06).  The first disc closes with "River Crossing" from the underrated ZULU DAWN (4:28).

Disc two begins with another Bernstein theme favorite, THE GREAT ESCAPE (2:18), so popular that it's used as the theme of an English soccer squad.  After a decent version of THE MAN WITH THE GOLDEN ARM (5:25) by the National Youth Jazz Orchestra, who also perform on WALK ON THE WILD SIDE on the first disc, there's the beautiful theme music from FAR FROM HEAVEN (5:56).  This was Bernstein's last great score and received my Sammy Award as Best Score of 2002.  There are also several other memorable Bernstein themes on this dsic, including the theme from SONS OF KATIE ELDER (2:13), "Overture" (4:18) from HAWAII, and the theme from THE BRIDGE AT REMAGEN (2:30).  

There are also three premier recordings on the second disc.  First is a suite (4:28) from from the comedy, AIRPLANE, which pokes fun as JAWS and other disaster films.  Next is the Finale (2:43) from THE BIRDMAN OF ALCATRAZ.  And the third premiere is "Sky-Hi" (2:44) from Bernstein's only Oscar-winner, the frothy and fun musical, THOROGHLY MODERN MILLIE.  None of these premieres are really the best of Bernstein but do highlight his incredible versatility.  

The second disc ends with Bernstein's first great score from the 1950s, the "Overture" (7:54) from THE TEN COMMANDMENTS.

The performances are decent, with the National Youth Jazz Orchestra doing an especially proficient job with their tracks.  The City of Prague Philharmonic Orchestra, under various conductors, is sometimes somewhat lackluster, especially on the more rhythmic western themes like TRUE GRIT and SONS OF KATIE ELDER.  

Sound quality is good but also uneven, noticable especially between the Prague orchestra and jazz tracks.

Art design is very tasteful and appealing.  The notes by David Wishart are excellent and very informative.

This 2 CD set isn't nearly as good as the wonderful compilation, "Elmer Bernstein by Elmer Bernstein" which was released in 1993, with the composer conducting the RPO Pops (Denon CD).  

But if you want a sampling of the composer's film music with several premiere recordings, this Silva 2 CD set is well worth adding to your collection.  

It's also a fitting tribute to one of the giants of film music -- the magnificent one, Elmer Bernstein.

--Roger Hall, 18 July 2005

ALL-TIME TOP 100 TV THEMES (2005)

Executive Producers: Patricia Joseph and Steve Gottlieb. Mastered by Philip Klum. Album Design: Benjamin Wheelock. Television Photography on booklet cover from www.tvhistory.tv

TVT Records TV-1170-2 (2 CDs).

Rating: ***1/2

Twenty years ago in 1985, Steve Gottlieb lauched TVT Records from his New York City apartment and began the theme compilation craze with "Television's Greatest Hits."

To celebrate the anniversary of that first compilation, a new 2 CD collection has been released.  It covers five decades of TV themes from the early 1950s to 2005.  For some reason the CDs are in reverse order, with CD 2 having the earlier TV themes from THE LONE RANGER (1949-1957) to ONE DAY AT A TIME (1975-1984).  The first CD 1 has the later TV themes -- from LAVERNE & SHIRLEY (1976-1983) to SIX FEET UNDER (2001 to date).  

While the previous TV compilations had recreations when original recordings were not available, this new CD collection has original sources for the first time in one collection.  There are far too many themes to mention but there are many which will probably jog the memory bank for TV viewers -- at least those in the US.

There are a few themes that became pop hits, such as John Sebastian's "Welcome Back" from WELCOME BACK KOTTER from 1976; Jan Hammer's theme from MIAMI VICE, a No. 1 hit in 1985; and The Rembrandt's "I'll Be There For You" from FRIENDS in 1995.

Of special interest to soundtrack collectors are such popular TV themes as DRAGNET (Walter Schumann), THE TWILIGHT ZONE (Marius Constant), THE WALTONS (Jerry Goldsmith), SANFORD AND SON (Qunicy Jones), and SIX FEET UNDER (Thomas Newman).

Naturally one can argue is these are all the "all-time" top TV themes.  There are some omissions too.  I think that Henry Mancini's milestone jazz theme for PETER GUNN should have been included. Other listeners may miss some of their favorites too.  

Yet this is an outstanding collection and the sound quality on these TV themes is excellent, even on the older TV shows.  Some of them even have the spoken narrations with the theme, such as DRAGNET and THE LONE RANGER (spoken by the great announcer Fred Foy), which brings this collection to a great conclusion.

The booklet cover has small illustrations of 100 TV sets. They cover every imaginable size and shape.  Inside the booklet are credits for each TV show including composers and years when the show was on television. The printed text is rather odd looking but is readable.  

Steve Gottlieb has said that "the success of our TV themes franchise over the past twenty years reflects the unacknowledged place of television music as our true modern folk culture, embraced and loved by young and old across every boundary of personal taste."   

When listening to ALL-TIME TOP 100 TV THEMES, you may well agree with Mr. Gottlieb's statement.

This is a wonderful collection of TV themes and is sure to bring back fond memories.  

--Roger Hall, 28 August 2005

©Film Music Review.   All Rights Reserved, 2005.

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