Alan Menken
Rating: 7.4
As the first in a line of enormous Disney animated musical hits, The Little Mermaid has become an intrinsic part of the culture Disney has created for itself. There is no doubt that this movie will, for all of the foreseeable future, hold a place in the hearts of Disney fans. It has all the lightheartedness of which these type of movies are made, and the story focuses around a young person who wants to leave home, which seems to be an extra point for it in many circles. Nearly two decades later, its longevity has been proven, and fans abound. Not only did The Little Mermaid begin Disney's run of animated musicals, it also began Alan Manken and Howard Ashman's collaboration and their tenure as Disney's heavy-hitting musical duo. No doubt The Little Mermaid will be remembered favorably because of its historical implications. With the release of the Two Disc Special Edition in 2006, it was high time it's music was brought under an unbiased-by-history microscope. Such I here present to you.
Much, if not all, of the credit for The Little Mermaid's timelessness can be handed unreservedly over to the songs. Besides the two tracks "Main Title - The Little Mermaid" and "Fanfare", the first ten tracks are all songs, ranging from trite to moving. "Daughters of Triton" is impossible to defend, and trite might be too generous for it. Of course, we have to assume it was written this way on purpose, and is merely a venture into the low quality side of child-ish to which Menken and Ashman rarely stoop. "Fathoms Below" is, though a step up, still a good distance below the Manken/Ashman output we can now expect, given what we later learned the pair was capable of. These are the only two songs, however, that lack the Menken/Ashman touch. Were they the standard of the album, it would have to be placed barely in the listen-able category. Fortunately, we have much of greater quality to occupy us, and, though a smudge, these songs do not overly mar the effect of the album.
So, then, we have six songs of normal Menken/Ashman worth, and, firmly at the bottom of this very selective category sits "Poor Unfortunate Souls", the song in which the arch-nemisis of the mermaid's (Ariel's) father convinces her to give up her voice in order to become a human. The song begins in a slightly lighthearted manner, almost out of place for the subject matter. Where this piece really succeeds, however, is when, having convinced Ariel to give up her voice, Ursula (Pat Carroll) tells her to sing. The melody for "Part Of Your World" is what she sings wordlessly as the orchestration turns to a simple homophonic accompaniment. The result is tragic, and fits perfectly. "Kiss the Girl" probably comes next in an order of quality among songs. Very Caribbean in its composition and orchestration, Samuel E. Wright leads the chorus admirably. Certainly the funniest song on the album is "Les Poissons", and Rene Auberjonois's performance is excellent. The chef's glee as he prepares fish for a meal is portrayed in a hilarious way.
The most soaring song on the album is "Part of Your World", and Jodi Benson does a remarkable job on this track. Moving and powerful, the combination of Benson's voice, Menken's music and Ashman's lyrics comes together in an exceptional way. The manner in which Menken combines a rather busy secondary melody for the strings as well as the arpeggiations in a xylophone-like instrument works brilliantly, as does the woodwind work later in the piece. The reprise for this song is put together nicely as well, with a very well done crescendo to a quiet resolution at the end making a fittingly longing type of ending. "Under The Sea" defines the word 'classic' when it comes to the Disney musical. Calypso in style, it is the outstanding track on the album. Menken combines calypso elements with an almost big-band sound, making for a fun, crazy and brilliant listening experience. Of course, Ashman characteristically rises to the challenge with catchy and undeniably fun lyrics. But, exceptional as the efforts from these giants of the animated musical are, it is the performance of Samuel E. Wright that really steals the show, and his almost gleeful delight in explaining to Ariel the wonder of life at home is contagious. All of these elements come together to create one of the high points in the illustrious Menken/Ashman musical history.
Some say that Menken never quite returned to the innocence of the instrumental scoring in The Little Mermaid. This may be true, and though the scoring in Mermaid seems to define the word 'innocent' and what it has come to mean, this is not necessarily a good thing. "Fireworks" is a fine celebration track, and "Jig"works adequately as a dance piece. But this illustrates the problem with much of the scoring. Though it is 'fine', it sometimes has a hard time rising above what is necessary, and is so innocent as to sound cheesy. "Tour of the Kingdom" and "Wedding Announcement" also show the same problem, with both being fine, but not much more. Perhaps it is unfair to judge Menken by the astounding effect he later showed he was capable of, and, when compared with most any other animated cartoon-like scores, The Little Mermaid looks exemplary. Unfortunately for Menken, we can never judge him by what others do, but by the high level of excellence he can often produce. However, the previously mentioned tracks notwithstanding, there certainly are some very fine examples of classic Menken scoring, with "The Storm", "Destruction of the Grotto" and "Eric to the Rescue" showing some very good intense Menken music, and "Bedtime" being an excellent example of restrained and delicate scoring. "Happy Ending" wraps it all up nicely, and, though unoriginal in the extreme, the normal Menken finale finishes off the scoring nicely.
Such a review fits equally well for either the original release, or the re-release of 1997. Unfortunately, the most recent 'Special Edition' appears to have forgotten completely reason that this music is so popular. Instead of presenting unreleased cues or instrumentals of songs, we get three very bad pop renditions of songs, and one slightly acceptable rendition of "Under the Sea", performed by Raven-Symoné. Such seems to usually happen, and it really is a shame that either the audience wants this (which is a scary option), or re-releases almost always miss the mark on what would be most desirable in a 'Special Edition'. Perhaps we can hope for more unreleased music inclusion with the admirable 'Complete Editions' released for the Lord of the Rings scores. Maybe other labels will follow suite. The folks at Disney have never been known for their soundtrack releases, though, and they show no signs of mending their ways. In the case of The Little Mermaid, there is absolutely no reason to buy the 'Special Edition' over the other releases.
In the end, The Little Mermaid is undoubtedly a must-buy for any Menken fan or Disney animated musical fan (a redundant statement, perhaps), and certainly deserves the place that it holds as 'the one that began it all'. Possibly the least worthy of the famous Menken/Ashman trilogy of successes, it is still a very enjoyable album with some excellent songs, and its historical implications certainly add to the interest.
-Colin Thomson
Track List (Special Edition):
Fathoms Below
Main Titles - The Little Mermaid
Fanfare
Daughters of Triton
Part of your World
Under the Sea
Part of Your World (Reprise)
Poor Unfortunate Souls
Les Poissons
Kiss the Girl
Fireworks
Jig
The Storm
Destruction of the Grotto
Flotsam and Jetsam
Tour of the Kingdom
Bedtime
Wedding Announcement
Eric to the Rescue
Happy Ending
Kiss the Girl (Remake)
Poor Unfortunate Souls (Remake)
Part of Your World (Remake)
Under the Sea (Remake)
The Little Mermaid
Titanic
James Horner
Rating: 7.8
The year 1997 saw the release of what was to become one of the biggest blockbuster hits of all time, the highly anticipated Titanic film. Anticipated though the movie was, surely no one could have guessed the huge impact the tragedy story would have on such a large amount of the public. Somehow, this film touched the hearts of its audience in a way few movies have, and in the decade since its release it has become a definite classic. Among the numerous Academy Awards Titanic won, such as 'Best Cinematography', 'Best Costume Design', 'Best Director', 'Best Sound Effects Editing', 'Best Visual Effects', 'Best Film Editing', 'Best Picture', 'Best Sound', 'Best Actress In Leading Role', 'Best Actress In Supporting Role', and 'Best Makeup', the music also won two Academy Awards for 'Best Original Dramatic Score' and 'Best Original Song'. Suffice to say that this movie is anything but under-appreciated, and the music is, like the movie, one of the public's all-time favorites.
Many considered Horner's Braveheart score of two years earlier to have been his big oscar winning effort, but, though nominated, that honor was not given to Horner at that time. However, after two years Horner would receive the recognition many believed he deserved for Breaveheart in his Titanic score. As already mentioned, it has become one of the must hugely popular film scores of all time, and devoted and fanatical fans abound. This could quite possibly be the only review you will ever read of this album written by someone who has not watched the movie. As such, I believe I possess a much more objective view of the music than most. I believe that much of the fanaticism about this score comes from a love of the movie. This is frequently the case in film scores, but perhaps more so here. The movie seems to have such a strong effect on those who watch it that they cannot help but love the soundtrack, if only because it reminds them of the movie. If this would be your only reason for buying the soundtrack, than this review is useless to you because, as I have already commented, I cannot judge by the movie, but by the music alone.
Before beginning a discussion of the orchestrational techniques used in this music, it would be very appropriate to quote some of the liner notes from director James Cameron: "James Horner has walked the tightrope by using the synthesizer, vocals and full orchestra to create a timeless sound which tells us that these people were not so very different from us. Their hopes, their fears, their passions are like ours. In the film I have tried to accentuate the universalities of human behavior, rather than focus on the quaint differences between this other times and our own. James has done the same thing, bridging the gap of time and making these people seem so alive, so vibrant, so real that the dreaded event, when it comes, is terrifying in its authenticity."
This is an interesting argument, and deserves attention. Synthesizers are rarely used well in today's scoring, and so you will usually find me against them in reviews. The synth usage displayed by Horner on this album, however, is of quite a different nature than the common techniques. Two types of synth writing prevail in todays film scoring world. Either we have synths trying to copy orchestral instruments and voices, showing clearly the tight budget that the movie was produced on, or we have a modern, popular music sound that just sounds like noise. But this album has done it differently, with most of the synths used to replicate the human voice. One would think that this techniques would fit firmly into the first category, except that Horner in no way tries to disguise the fact that synths were used instead of real voices. Never is any sort of legato attempted, and each chord transition sounds distinctly synth-ey. The way in which the effects and EQ are applied to the voices gives them a very expansive and airy sound, something that would not be possible with real voices, and even if it could be attained through effects, the result would be no better than a synth. There are some examples of pop music sounding synths in the score, but the larger part of the times that the synth appears it does so on the form of these voices.
Another very important factor that contributes to the texture of the music is the vocals of Sissel. Her singing on this album is very Enya-esque, and combines with the vocal synth textures very pleasingly. Also, her voice is sufficiently close in tone to Celine Dion, who sings the song "My Heart Will Go On" towards the end of the cd, that, vocally, continuity is preserved even through the obviously radio-aimed pop song.
The first six tracks on the album are dominated by subdued, thoughtful scoring, with little bits of excitement and jubilation felt when the ship leaves port. Through these pieces, Horner introduces his somewhat unique texture already discussed, orchestra, synth vocals and the vocals of Sissel combining in a very modern but still melodic and beautiful way. Four tracks, "Hard To Starboard", "Unable To Stay, Unwilling To Leave", "The Sinking" and "Death Of Titanic" feature hash, percussive writing that strays completely from the soft vocals of earlier. Horner's sinking music is jarring, to say the least. The anvil is used extensively, and many times the orchestra is used in such a percussive way that, though excitement does not let go, listen-ability is somewhat jeopardized. From here the music becomes moody again, and much of the texture from the beginning makes a return, and continues to the end of the score.
The song "My Heart Will Go On", sung by Celine Dion, has become the object of close to the same amount of fanatiscm as the score, and there is no doubt that it has a certain amount of charm. Unfortunately, the instrumentation is very pop-ish, and quite bad, actually. It is, then, a great tribute to the song that it can rise above this huge problem, and still be a touching bit of music. In its favor, also, is the fact that the melody is used extensively throughout the score as a theme, thus, written as it is by the composer, it is a much better melody than what a pop artist would normally write, and it fits the rest of the album quite well, despite the glaring differences in orchestration,
In the end, the amount to which you enjoy Titanic will depend largely on how favorably you view the synthesized vocals and overtly romantic melodies. Though perhaps inflated somewhat by many people's love for the movie, Titanic is nonetheless an enjoyable listen, and deserves a place on any film score collector's shelf.
-Colin Thomson
Track List:
Never An Absolution
Distant Memories
Southampton
Rose
Leaving Port
Take Her to Sea, Mr. Murdoch
Hard To Starboard
Unable To Stay, Unwilling To Leave
The Sinking
Death Of Titanic
A Promise Kept
A Life So Changed
An Ocean Of Memories
My Heart Will Go On (Love Theme From "Titanic")
Hymn To The Sea
The Incredibles
Michael Giacchino
Rating: 8.0
The Incredibles is Pixar's most drastic stylistic deviation from their tried-and-true formula for children's movies to date, and it has received critical acclaim. As the first Pixar film to be directed by Brad Bird, no one knew which composer would be hired for this Pixar job. Bird's vision for The Incredibles was a very retro-superhero-ish one, and as such, the score needed to be reminiscent of the over-the-top, unrestrained style of big brass action music used so much for that type of film. John Berry's James Bond music came to be a sort of role model for The Incredibles music, and the task of obviously harking back to this style without plagiarism was big one. But Bird knew the composer for the job, and his trust in Michael Giacchino payed off.
Michael Giacchino received his first recognition for the orchestral score accompaniment to the Medal Of Honor games, and many consider his style of the time to be very John Williams-esque. In 2001 he scored the TV show Alias, which was his first big TV show assignment. In 2004 the TV show Lost made him its composer, and it was also in this year that he landed The Incredibles, which was to be his break into the world of large film projects. As a fairly newcomer, he had much to prove, and the challenges of The Incredibles gave him a perfect opportunity to do so.
"The Glory Days" starts out the album in a very positive way, with its bold, big band, brass-heavy sound setting the tone that the rest of the cd follows. From the start the album is bombastic and very reminiscent of James Bond. So reminiscent that some question its authenticity, but I will have more to say on that later. "Mr. Hurph Will See You Now" continues in a slightly more subdued and and intense manner, with muted horns playing many of the short, fragmented melodies. For me, the highlight of the entire album is "Life's Incredible Again". It is by far the most 'feel good' track, and its big-band/jazz combination works together wonderfully, with the slow, laid-back drum-kit rhythm holding the whole thing together very well.
Both "New And Improved" and "Kronos Unveiled" feature impressive orchestral builds within the distinctive style the album holds itself to, and "Kronos Unveiled" has a very well done, epic sounding finale to its build, using the lower portions of the brass section to their fullest potential. Much of the album from then on is action-based and driving. "The Incredits" is one of the stand-outs, and is a completely not-held-back, big, fun, conclusion. Muted horns blare, strings chase each other around, brass bellows from whatever range it happens to be in, the xylophone is used to great effect, and all this chaos is held together in the exciting compositional style of Michael Giacchino.
While there can be no doubt that The Incredibles is a fun listen, is it valid? Does it try so hard to copy James Bond that Giacchino deserves no credit, but all should be given to Berry? Let us examine the similarities as well as the dissimilarities. Orchestrationaly, Berry was very fond of the brass section in his Bond scores, and there is no doubt that this choir is given precedence in both Bond and Incredibles. Of course, this, on its own, means nothing, as music from the William Tell Overture to any number of contemporary soundtracks have given full reign to the brass section. Giacchino's xylophone usage is quite prominent, compared with the little bit that Berry used it. On the other hand, Berry used the violin section frequently to state a melody, which is quite rare in The Incredibles. The electric guitar and bass guitar find their way into both, but are certainly more prominent in the Bond scores, as are the the synthesizers, giving Bond a more modern sound, while The Incredibles holds itself to more of a big band atmosphere, staying quite authentic in its acoustic instrumentation. However, it would be very hard not to copy others orchestrationaly, considering most everything that works has been done. In composition we can see much better a composer's influences. Perhaps the biggest similarity in composition styles is the use of the half step drop at the end of a melody. The device creates an increase in tension, especially when the tone is outside of the tonal key. Sometimes it is used as a variation of a melody, when a short melody is played, and then repeated with the drop tone at the end. But one must understand that John Berry did not invent this, and it is only because of the orchestrational similarities that this is considered a similarity at all.
Ultimately, Giacchino does copy the John Berry style, but one must understand that that style is merely a blending of many other styles, including classical, big band, jazz, and even a bit of popular. The dissimilarities are clearly there, as well. The Incredibles has a distinctly cartoon-ish feel. Much of the Bond music would have been too epic for the subject matter, and Giacchino manages to replicate a style, while retaining a sound unique to himself.
What determines whether you enjoy this soundtrack is, as always, your own personal taste. If you enjoyed the Bond music, than you may enjoy a clever, nearly tongue-in-cheek, tribute to John Berry's music. If, however, this sort of music is too bombastic for you, be forewarned that The Incredibles is, if anything, more bombastic and unrestrained. Giacchino has made good the vision of Brad Bird, and shown that he can succeed amazingly, even within some quite limiting boundaries.
-Colin Thomson
Track List:
The Glory Days
Mr. Hurph Will See You
Adventure Calling
Bob Vs. The Omnidrold
Lava In The Afternoon
Life's Incredible Again
Off To Work
New And Improved
Kronos Unveiled
Marital Rescue
Missile Lock
Lithe Or Death
100 Mile Dash
A While Family Of Supers
Escaping Nomanisan
Road Trip!
Saving Metroville
The New Babysitter
The Incredits
Cars
Randy Newman
Rating: 3.1
Randy Newman has historically been the composer of choice for director John Lasseter's Pixar films, and so, when Lasseter was announced as director for Cars, a Newman score was sure to be part of the package. Finding Nemo featured an excellent score from Thomas Newman (cousin of Randy Newman), and The Incredibles' music by Michael Giacchino was definitely a stand-out, both being welcome breaks from what had become a used Randy Newman Pixar sound. So, back on the Pixar production team, would Randy Newman manage anything new? Unfortunately, we can hardly tell from the album presentation.
This is the first time a Pixar film has stooped this low with its soundtrack, and they completely follow the shameful trend of making popular music the draw of the score. The assortment of pop, rock, country, and old swing on the beginning of this album is just fine if you can't get enough, well, pop, rock, country and old swing music. But I'm afraid that you can hear pretty much whatever you want of the music on the first half of this album by simply switching to you favorite FM station playing one of the above mentioned genres. While there is a nice ballad or two, that in no way makes up for the complete lack of quality displayed in the usual pop music sound upon which most of the songs are built. Both "Our Town" and "Find Yourself" are nice, but mean nothing to the score outside of their four minute lengths. If you absolutely need one of the songs on the cd, then by all means buy it. But be aware that the same thing has been done, and is being done, constantly, for the simple reason that it sells better in our modern 4 minute interest span culture. If that is the culture to which you subscribe, than buy the album, or better yet, download the songs you want off of itunes, because there is no reason to get more than your favorite tracks since the whole is nothing more than the fragments (which, in my opinion, should not be the case).
But enough on the pop music. What about the score? Randy Newman is back in his normal style, and there is basically nothing new or especially interesting. There are two types of music on display with his scoring: the race, driving orchestrations, and the slow paced country feel. Beginning the score section of the album, "Opening Race" employs much of the modern rhythmical tendencies of the string section, with Randy Newman's normal brass usage. "McQueen's Lost" introduces the electric guitar into the mix, and, as always, it is mixed loudly and very much in the foreground. One of the better tracks on the cd, the 0:59 long "Bessie" uses some 'dirty' sounding instruments and combinations in a nice way to create a somewhat original sound. For the next few tracks Randy Newman keeps up the slightly country sound, and uses the acoustic guitar for both the melody and chorded rhythm. In the last three tracks he goes back to the race type of scoring, finishing off the album in that style.
Randy Newman's score is not really that bad, and fans of his will undoubtedly be interested in the music here represented. If you, however, are looking for any sort of change from his normal animation style, look elsewhere. Of course, the first half of the album is a different story, and we can only hope that this type of low quality is not a trend any more Pixar movies will follow.
-Colin Thomson
Track List:
Real Gone
Route 66
Life Is A Highway
Behind The Clouds
Our Town
Sh-Boom
Route 66
Find Yourself
Opening Race
McQueen's Lost
My Heart Would Know
Bessie
Dirt Is Different
New Road
Tractor Tipping
McQueen & Sally
Goodbye
Pre-Race Pageantry
The Piston Cup
The Big Race
The Prince Of Egypt
Hans Zimmer
Rating: 7.7
Hans Zimmer, perhaps the most criticized film composer ever, is known for his overbearing use of deep orchestral bass, loudly mixed synthesizers, and his obvious lack of classical training. Many have said that his music is so constantly 'big' in its efforts that no extra weight is left for moments that must soar above the others. While all these observations are true with many of his works, there is a kind of scoring in which Zimmer is completely at home: the animated musical. Along with The Lion King, The Prince Of Egypt shows Zimmer at his best.
An animated musical Old Testament Moses story is a very interesting concept, and the story line offers the composer many emotional moments. For the most part, Zimmer does an excellent job. Unfortunately, the album release of the music shows just how badly pop music has infiltrated film music, a trend that we can hope is now on its way out. On the very first track we hear Mariah Carey and Whitney Houston singing the pop version of "When You Believe", a song to be heard later in the film as a part of the story. I don't need to say much about this track. Only that it does exactly what one would expect, with its predictably repetitive synths and drum loops. Enough said.
"Deliver Us" shows us what this album really is about. Stephen Schwartz provides good lyrics, and the Zimmer Schwartz collaboration works very well together. This musical synopsis of the Hebrew's situation, as well as the beginning of Moses' story, all works together quite well in an epic Broadway style. In "All I Ever Wanted" Zimmer shows intelligent theme usage by employing the theme to be more fleshed out later in "The Plagues". A very convincing portrayal of Moses and the emotional conflict within him is created by these two songs. The weight of his choice between God and the Hebrews, or the life he had known as an Egyptian prince forms a very strong musical identity.
Brian Stokes Mitchell performs the track "Through Heaven's Eyes" outstandingly, his voice carrying all the identity of the character he plays in the movie. It is perhaps the most 'fun' track on the album. "When You Believe" is the obvious effort to make it onto a radio station. But, despite this, it fits the mood quite well in the form it takes on this track, and the orchestration preserves continuity with the rest of the score. Michelle Pfeiffer and Sally Dworsky perform well together, and their harmonies weave through each other nicely. The one exception to the standard of quality among the songs is "Playing With The Big Boys", which is quite boring and unimaginative both lyrically and musically.
As for the score, Zimmer incorporates melodies from the movie songs on the album into his instrumental framework very well. "Goodbye Brother" displays excellent scoring, and a very believable climax is managed. Synths and such are appropriately avoided, and the orchestra is allowed to fly unfettered. "Death Of The First Born" features a solo cello, performing a mournful melody, and is an appropriate follow-up to "The Plagues". Choral textures are employed frequently to give a larger, more epic effect. Perhaps the best Zimmer decision on the whole album was employing the vocals of Israeli singer Ofra Haza. In an interview with Film Score Monthly, Zimmer said, "I have always loved Ofra Haza and asked for her. If I ask hard enough, I get it, and she was the first person we cast. She is tremendous and recorded 13 of the foreign translations as well." Her inflections, ornamentation and tone lend authenticity to the atmosphere. After a very impressive and long orchestral build, her vocals provide the climax for "The Burning Bush", a track that displays the best of the best when it comes to Zimmer's orchestral scoring.
The album ends very disappointingly, and, among the four pop songs that make up the end, the listener is left with absolutely nothing memorable, unless it is the enormous cast of artists that was assembled for "Humanity", which include, among many others, dc Talk, Amy Grant, Jars Of Clay, and Toby Keith. Still, nothing interesting is ever attained, and the album is most certainly ended on the wrong note.
The five pop songs included really are nothing less than a disaster for what could otherwise have obtained a very high rating. Still, these can be removed, and should be in order to preserve the continuity of the listening experience. The score and songs heard in the movie are definitely among Zimmer's finest works, and are alone worth the price of the album.
-Colin Thomson
Track List:
The Prince Of Egypt (When You Believe)
Deliver Us
The Reprimand
Following Tzipporah
All I Ever Wanted
Goodbye Brother
Through Heaven's Eyes
The Burning Bush
Playing With The Big Boys
Cry
Rally
The Plagues
Death Of The First Born
When You Believe
Red Sea
Through Heaven's Eyes
River Lullaby
Humanity
I Will Get There (A Cappella)
E. T.: The Extra-Terrestrial
John Williams
Rating: 8.9
The collaboration of Steven Spielberg and John Williams is one to which film music fans must forever find themselves in debt. Though Williams seems to excel with any director, somehow the Spielberg efforts have even more of a tendency to soar. Nestled in between 1981's Raiders Of The Lost Ark and 1883's Return Of The Jedi is the little gem known as E. T.: The Extra-Terrestrial. Being right in the middle of two such cinematically and musically groundbreaking trilogies, one might think Williams would be too focused elsewhere to create a masterpiece. But he did exactly that, and the Academy Award winner has stood the test of time and proven itself as one of film music's most innocently compelling scores.
From the beginning of the album, Williams starts incorporating bits and pieces of what is later to become the principle themes. But he does so in an ominous way, creating tension and uncertainty. "Three Million Light Years From Home" and "Abandoned And Pursued" are both full of foreboding, yet they are presented in such a way that, though there is tension, it is still a child's tension. This is the brilliance of these tracks. When the music is sinister, it is sinister in an innocent, frightened way. Williams manages much of this orchestrationaly, using the flute and other woodwinds to their most child-like ability. Even with the string tremolo tension and brass forte warnings, the mood never strays anywhere close to overbearing.
"E. T. And Me" lightens the mood to one of friendship trust, and "E. T.'s Halloween" continues the trend. Also on display in this track is the Yoda theme from Star Wars, an interesting Williams self-quote. But the melody fits the mood perfectly, and only adds to the piece. "Flying" contains the soaring Williams music one would expect from a such a title. Flying scenes, it has been observed, often are the best opportunities for film composers to create some of their best music, and Williams does not disappoint. The album's most tragic scoring is to be found in the first half of "E. T. Phone Home", and the sad effect is even more pronounced because of the normally lighthearted and childish nature of the themes here presented in such a subdued manner.
Perhaps the most famous track on the album is "Over The Moon", and fans can never seem to get enough of it. The brisk theme is presented on the piano over a triplet accompanying figure. At a mere 2:12 long, the track wastes no time, and is probably the 'easiest' piece to listen to on the album. On the opposite end of the length spectrum, "Adventures On Earth" sits at a lengthy 15:09, but never once does the piece drag, and each little bit is meaningful. The flow of the music is wonderful, and part of the reason for this is Steven Spielberg. When the E. T. recording session was taking place, Williams and the orchestra were having a hard time getting this last climax to properly flow. It really is complicated, with many different climaxes, a touching bit of dialogue underscore, and two separate fanfares. After some unsuccessful attempts, Spielberg turned off the scenes of the film that they were trying to play to, and told Williams to let the music do what it must. He then cut the film to match the music. The result of this technique is stunning, and other directors should learn from the respect Spielberg had for music in film even at this early time. I simply cannot say enough good things about this piece.
There is no good reason that anyone interested in film music should be without E. T.. The innocence of this music is unmatched. Williams never uses the cliched xylophone to create his fantasy effect, but, through other orchestrational and compositional techniques, he creates an atmosphere that, though much different in it's children's fantasy approach, rivals the works of Alan Menken for the genre. The emotional impact is perfect. This still stands as one of Williams greatest masterpieces.
-Colin Thomson
Track List:
Three Million Light Years From Home
Abandoned And Pursued
E. T. And Me
E. T.'s Halloween
Flying
E. T. Phone Home
Over The Moon
Adventures On Earth
National Treasure: Book Of Secrets
Trevor Rabin
Rating: 4.0
After the unexpected success of the first National Treasure, a sequel seemed imminent. And why change anything successful? National Treasure: Book Of Secrets was as enjoyable as the first, but don't expect anything new. It seems the folks at Jerry Bruckheimer Films figured the best way to make a successful sequel was not to change anything, unless it makes it bigger, better, and more dangerous. Replace the Declaration of Independence with the president of the United States, keep everything else pretty much the same, and it's sure to be a success, right? Back are the three main actors, back is the unbelievable story-line, back is the history-based treasure hunt, and back is Trevor Rabin.
Considering the size of the production, one might assume that the soundtrack would at least get a little interest. As it turns out, it isn't even available in any form other than an internet download. It seems that little to no attention was paid to the soundtrack, and the film-makers must have thought it no more than noise-backing considering its small release. I desperately hope this is not setting a standard of movie scoring that anyone else will follow. But, on to the merits of the album itself.
"Page 47" begins the score quite promisingly, with its pleasant melody, and some interesting orchestrational techniques. The strings begin with a quickly moving motif, which is continued as the melody begins, with slight variations for chord changes. The melody is presented first on the oboe, moving into the violin. At this point in the score, the wet Media Ventures string sound is not at all present, with a coarser, more solo-like sound on display. At 1:10, the wet strings take over, but the result is more tasteful, because it has been prepared from the beginning, instead of being overdone the whole time. "Cibola" begins with some very nice textures of woodwind and strings, mixed nicely, and then some good solo cello over top of the normal Rabin scoring. Even thought "Cibola" moves into some very cliche Rabin music, it never seems quite as overdone because of the taste in both the first track and the beginning of this one. So far, so good.
In "Spirit of Paris" despite the slightly interesting accordion usage, most of the normal Media Ventures sound is back. Unfortunately, the album then goes much the way of the original National Treasure soundtrack, and most of my review for that score applies to the rest of this album. The percussion, guitars and strings doing their best to add adrenaline, foregoing the addition of anything else, and everything is so big that nothing becomes big. "Franklin's Tunnel" makes a very in character conclusion, and if that is the character you like, you should enjoy the track.
National Treasure: Book Of Secrets begins well, and the first two tracks show that Rabin is capable of interesting scoring. But the majority of what is presented differs only slightly from its predecessor. However, at only 8 tracks and 22:35 minutes long, the cliched scoring has less time to become repetitive, no matter how hard it tries. For this reason, and the two beginning tracks, it is a more interesting listen than the original effort. If you enjoyed the first, you will enjoy this. If you enjoyed the first, but wished for a little more creativity, a very little more is given here. Rabin can score nicely. Hopefully, it is a side of him we will see more often.
-Colin Thomson
Track List:
Page 47
Cibola
Spirit Of Paris
City Of Gold
So!
Bunnies
Gabby Shuffle
Franklin's Tunnel
National Treasure
Trevor Rabin
Rating: 3.6
National Treasure, a 2004 Indiana Jones-esque flick, has been both hailed as highly entertaining, and criticized as completely unbelievable. No doubt, a treasure map on the back of the declaration of independence seems unlikely. Yet it cannot be denied that the movie has a certain charm. It really is a breath of fresh air to have such a family-friendly action adventure that is this entertaining.
National Treasure might be Indiana Jones-esque; its score is most certainly not. Trevor Rabin was brought on board to score the movie, and the guitarist wrote basically what everyone expected. Some have mistakenly put Rabin in the list of hollywood composers to come out of Media Ventures (now called Remote Control Productions), and, while this is not true, there is a definite Media Ventures sound to this album. I will not deny that every once in a while I am in the right mood for it. But usually it is the same sort of mood that I would listen to pop or rock music in.
Interestingly, there are moments when Rabin throws off completely the modern Media Ventures sound that he employs for most of the score, opting for a pure orchestral texture. He even manages to build to a climax without relying on the usual percussion and guitars. But in these moments Rabin's lack of classical training is on display, and, while some moments are nice, overall there is not much of interest. The writing is usually overly homophonic, which is curious, considering he has no problem in this area with his modern, guitar driven pieces. Probably the reason is that he decided to make the purely orchestral moments very noble, but failed to realize how this could be done interestingly.
The modern Rabin sound, mentioned above, is actually pulled off quite well. He manages to create some interesting textures with his combinations of synthesizers, electric guitar and drum loops. However, he rarely moves past the rhythmic and textural side of music, to put any sort of meaning into his music. What he writes serves as a fine background to add adrenaline to chase scenes, and a touch of nobility to 'big' moments. But fine background music does not make fine album music in this case, and by the end the listener has been completely worn out by the constant percussion and insistent use of the same themes over and over again.
One of the more original tracks is "Library Of Congress", which showcases some quite interesting piano writing. Beginning promisingly, it introduces it's little piano theme over somewhat laid-back percussion. But, unfortunately, the track quickly becomes predictable, and is as repetitious as the rest of the score.
Some compare National Treasure with Indiana Jones, and while the comparison may be valid for the movies, there is no point in doing so with the score. Nor should Rabin have created a Williams adventure score for this, as the movie-making techniques are all deferent. Whereas Indiana Jones was more staged, National Treasure is close-up in its production. Rabin could have been the right choice as composer, if he had chosen to move out of the mindlessly repetitious and create something original and interesting. Unfortunately, the good ideas he had are completely worn out from over-usage by the end of the album.
-Colin Thomson
Track List:
National Treasure Suite
Ben
Finding Charlotte
Library Of Congress
Preparation Montage
Arrival At National Archives
The Chase
Declaration Of Independence
Foot Chase
Spectacle Discovery
Interrogation
Treasure
The Spiderwick Chronicles
James Horner
Rating: 7.7
2007 was the first year since 1979 in which no James Horner work was released. With the quantity of Horner's music fans have come to expect, there was high expectations for The Spiderwick Chronicles. Being the composer's first venture back into the fantasy genre for many years, many hopes were also laid for a return to the style some of his previous popular fantasy scores. The combination of his older fantasy style with some of the newer writing techniques that he had been picking up certainly was a tantalizing thought. With all these hopes in place, fans eagerly awaited Spiderwick.
"Writing The Chronicles" begins the album, and sets the tone for the following music, with brooding, bass-heavy orchestrations and string glissandi slowly outline a long musical theme. This theme is interesting, because it is not a melody, as movie themes often are, but is instead a series of harmonies and textures. It is in no way hum-able, nor does it lend itself to easy recognition. But the listener who will listen to, as opposed to only hearing, the music, will be rewarded. Because it is not a melody, it certainly lends itself more to thematic development, but is also harder to develop while retaining enough of the original to be recognizable. Horner's ability to develop certain parts, while leaving enough of the original intact, is on display here. Sometimes it is the string glissandi, sometimes the quiet bass drum rhythm, or sometimes the harmonies themselves which remain. However it is attained, Horner succeeds in developing the theme in an interesting and meaningful way. This is just one of the many examples of the complexity of scoring that permeates the soundtrack.
Throughout the album, Horner manages to hold together an orchestral texture quite unique to this score. String glissandi, harpsichord, anvil and accordion are just some of the devices and instruments employed in the creation of this soundtrack's texture. With these and other somewhat exotic combinations, it might seem as if the album would lack continuity. In fact, the exact opposite is true. Through the consistent way in which Horner orchestrates these effects, a sound-scape is created which gives this album a very unique fantasy ambiance.
Horner's ability to maintain tension throughout action scoring is evident with tracks such as "Dark Armies From The Forest Attack" and "A Desperate Run Through The Tunnels". A semi-religious feel is attained through the use of chimes in "Burning The Book", and "The Flight Of The Griffin", which seems to have emerged as the Horner fan favorite, truly soars. "Coming Home" is a very nice combination of many themes from the rest of the album, and "Closing Credits" serves basically the same purpose. One of the only problems I have with this soundtrack is the end of "Coming Home", which is stagnate, and serves no musical purpose. It is the sort of ending which makes the listener say "Wow. They must have had a bunch of people get on the credits for this film". A rather unfortunate finish to such an otherwise solid score.
Horner's habit of eschewing the use of click-tracks when recording is a major element which sets him apart from other film composers. Instead of composing and timing his music to match things such as orchestral hits perfectly with movie scenes, he writes music for scenes, but records music for music. Sometimes pacing is not perfect with the scene, or other things don't match up perfectly, but this gives the music a much more operatic feel with the movie, and there is no doubt it makes the album version better. The music ebbs and flows wonderfully, and is in no way mechanical feeling, as is sometimes the result of click-tracks.
When taken as a whole, the consistent creativity in orchestrating, and the originality in themes (although there are very occasional occurrences of the infamous Horner self-quote) make this album stand far above most competition. Does it meet the built-up expectations? I think it does. The first listen through I was not impressed. But the second and subsequent listens revealed to me the depth and maturity of this work. Those who need memorable melodies might come away disappointed, but hopefully they can appreciate what Horner has done. At the risk of making this not the easiest nor most immediately compelling soundtrack, he has made a very original and creative score. Give this more than one listen, because the depth easily overcomes any lack of easy listening material.
-Colin Thomson
Track List:
Writing The Chronicles
So Many New Worlds Revealed
Thimbletack And The Goblins
Hogsqueal's Warning Of A Bargain With Mulgarath
Discovering Spiderwick's Secret Workshop
Dark Armies Of The Forest Attack
Burning The Book
A Desperate Run Through The Tunnels
Lucinda's Story
The Flight Of The Griffin
Escape From The Glade
The Protective Circle Is Broken...!
Jared And Mulgarath Fight For The Chronicles
Coming Home
Closing Credits
Pride And Prejudice
Dario Marianelli
Rating: 7.0
With the numerous adaptations of Jane Austen's classic novel, Pride And Prejudice, for the big screen, it seemed as if there was nothing more to add, and many Austen fans considered the 1995 A&E TV mini-series to be unsurpassable. But with the all-star cast of actors assembled for this production, a new take on the story could be of interest. And with the collaboration of composer Dario Marianelli and acclaimed solo pianist Jean-Yves Thibaudet, soundtrack collectors were sure to be in for a treat.
In an interview with SoundtrackNet, Marianelli says, "In our very first conversation (with director Joe Wright) we ended up talking about Beethoven early piano sonatas: they became a point of reference, and their spirit (or my understanding of that spirit, at least) became a starting point for the score." He then goes on to talk about the piano pieces written to be played by characters in the movie, which, because of this, needed to be written before the shooting, and how these "contained the seeds of what I developed later on into the score, when I abandoned historical correctness for a more intimate and emotional treatment of the story." It is true that tracks such as "Georgiana" are somewhat in the style of the early Beethoven's sonatas, but on the whole this album is very heavy on the side of the "more intimate and emotional treatment". Certainly classical strains run throughout, with maybe one quarter of the tracks dominated by the style, but on the whole a more romantic melodramatic feel prevails.
"Dawn", "Leaving Netherfield" "The Secret Life Of Daydreams" and "End Credits (Pride & Prejudice)" are all very subdued, usually containing slow moving piano melodies over very homophonic orchestral scoring. The dance music of the time is well represented in "Meryton Townhall", and "Another Dance". "A Postcard To Henry Purcell" also underscores a dancing scene in the movie, but is certainly not a period-correct piece. It begins with a slow, stately solo on the violin, which, though it continues for a long time, contains enough interesting melodic characteristics to be hold attention. But then, while the violin continues, the complete string section begins harmonizing the melody, creating a wonderfully transcendental moment. It is certainly a standout on the album. My personal favorite,"Your Hands Are Cold", is perhaps the most melodramatic of them all. Beginning with a cello melody, the music then moves into the closest that this album gets to "action" music. Ending with soaring piano and orchestra, it is, no matter how over-the-top, very moving.
This album definitely provides an enjoyable listening experience, and the brooding qualities are sufficiently broken up by the dance music so that it is not overbearing. Jean-Yves Thibaudet's performance is very solid. His control and technique show pianistic maturity, while his romantic style fits perfectly. Marianelli's composition is good, and while the orchestrating could be considered "boring", most of the time it's purpose is to underscore the piano, and so should not bring too much attention to itself. Although nothing really great is done, much is done quite will. If you seek a creative and groundbreaking score, look someplace other than the soundtrack for the adaptation of an 18nth century novel. Marianelli understood the material, and scored accordingly. The product is an easily listen-able, tasteful experience, with moments of very powerful emotion.
-Colin Thomson
Track List:
Dawn
Stars And Butterflies
The Living Sculptures Of Pemberly
Meryton Townhall
The Militia Marches In
Georgiana
Arrival To Netherfield
A Postcard To Henry Purcell
Liz On Top Of The World
Leaving Netherfield
Another Dance
The Secret Life Of Daydreams
Darcy's Letter
Can't Slow Down
Your Hands Are Cold
Mrs. Darcy
End Credits (Pride And Prejudice)
The Water Horse: Legend Of The Deep
James Newton Howard
Rating: 7.6
Alan Menken created a certain fantasy sound with movie scores like The Little Mermaid, Beauty and the Beast, and Aladdin. Since then, he has been endlessly mimicked, with varying degrees of success, as originality in a childrens’ fantasy film has been hard to come by. But it seems we finally have a new kind of fantasy in James Newton Howard's music. Where other scores try to impress you with their sheer scope, this score succeeds because of its simplicity. Where other scores try to bring you to tears with their pure beauty, the charm of Howard’s score is in its effortlessness.
Howard and his bosses must have (correctly) assumed that Americans would not particularly notice the fact that this music is Irish, instead of story-correct Scottish. Or it could have simply been the director’s choice, and it actually might not have been a bad one. The two are certainly similar, having common Celtic origins. What is very interesting is the use of traditional Irish instruments, some of which have become uncommon even in Irish music; uilleann pipes (similar to Scottish bagpipes, but softer in tone and more difficult to play) and Irish harp are both used in the score, revealing a curiously strict regard for Irish musical tradition. The harp in Irish music fell curiously out of fashion for a while, and has only recently started to enjoy a revival. But Howard masterfully handles the incorporation of these and other exotic instruments into the framework of the conventional orchestra.
For the first half of the score, Howard never really unleashes the full power of the orchestra, with much of the album staying in the realm of background conversational music. But that is where the charm really succeeds. The first part of the album version meanders through many a delicate scoring technique, with harps, guitars and Irish whistles playing a large part in the textures. The soaring, romantic strings are refreshingly restrained, and the woodwinds get a chance to take center stage frequently, a rarity in modern film scoring.
The result of all this restraint is that, when moving moments are called for, their effect is much more pronounced because the audience has not already been wearied with overblown music, or constant string melodies trying their hardest to be “soaring.” "Run Angus," "Swimming," and "There's No Monster" all offer stirring moments of strong emotion, but none are cliche in their emotional impact. In "Saving Crusoe," "The Net," and "The Jump," we find out how accomplished an action-scene scorer Howard can be. In fact, they are good enough to stand comparison with the climax of emotions in Manken's "Battle On The Tower" from Beauty and the Beast, which is one of the highest compliments I can give. Some may not like the meandering qualities in the beginning of the album, but they must understand that this is what really makes the ending work so well. The early sections introduce musical themes and textures so nicely that you care about them and what will happen to them. Then the music is thrown into bold action cues which obviously put in danger all that Howard created in the first half. When he finally releases the tension in "End Of The Story," Howard has succeeded in telling a complete story through music.
The one song, "Back Where You Belong (Theme from Water Horse)" appears at the beginning of the album, and flows much better with the score than is typical of songs written for film. Sinead O'Connor, like Howard, shows tasteful restraint in her singing, and the resulting emotion is powerful rather than over-the-top. This ballad really shows how a song can help a score, without drawing unneeded attention to the artist and away from the story.
The album concludes with "The Water Horse Suite," a compilation of many themes from the rest of the score, performed by The Chieftains, who are probably the most widely known Irish musical group of today (an excellent, authentic touch). Yes, yes, I know the story is not Irish. Cultural infidelity in relation to the movie aside, Howard has created a confluent piece of art. This is fantasy.
-Colin Thomson
Track List:
Back Where You Belong (Theme From The Water Horse)
The Water Horse Main Title
Angus Feeds Crusoe
You Didn't Even Get Wet
The Workshop
Ann
Bathtub
Driving To The Loch
Run Angus
The Fishermen
Angus In Training
Swimming
The Children Laugh
The Dinner Party
There's No Monster
Saving Crusoe
The Net
The Jump
End Of The Story
The Water Horse Suite
This review appeared in Patrol Magazine. Visit it at www.patrolmag.com
The Chronicles Of Narnia: The Lion, The Witch And The Wardrobe
Harry Gregson-Williams
Rating: 5.7
After the huge success of The Lord Of The Rings movies, many films were made obviously trying to mimic them, hoping to gain the same sort of success. This is to be expected, because the easiest route to money is the safest, and risk is inherent in originality. Many thought that The Chronicles Of Narnia: The Lion, The Witch And The Wardrobe would be just another attempt to replicate the Lord Of The Rings. It seems, however, that Andrew Adamson is a better director than that, and this franchise is turning out to be very much its own type of movie. Instead of the gritty realism of Lord Of The Rings, we have the somewhat child-like fantasy of, well, a children's series. Adamson realized that The Chronicles Of Narnia were written as children's books, and treated the first of them appropriately. The whole feel of the film is fantasy, and I think it succeeds because of it.
Any and all reviews of The Lion, The Witch, And The Wardrobe's music seem to compare it with The Lord Of The Rings, and the amazing depth found in those scores. I really think this sort of comparison is pointless. The movies are so completely different, that Howard Shore's music for The Lord Of The Rings would have been completely out of place in this movie. When Harry Gregson-Williams was chosen to score the film, many thought all hopes of a good soundtrack gone. Gregson-Williams is one of the many composers to come out of Remote Control Productions, formerly Media Ventures, which is headed by Hans Zimmer, and which, some think, has produced some of the worst film music ever. Many of those who had worried over the choice of Gregson-Williams felt their fears confirmed when they heard the soundtrack for The Lion, The Witch And The Wardrobe.
The album starts out with a modern sounding, rhythm oriented piece called The Blitz, 1940, which underscores the bombing at the beginning of the movie. It employs some modern techniques, such as strange percussion, semi-randomly inserted into a framework of driving rhythm in the bass string choir, melody in the upper-register strings, as well as brass coming in to help out frequently. For what it is, I think it fits quite well. The album then moves on to Evacuating London, which begins with strings and oboe alternately playing. As the piece moves forward, the piano enters with the melody and arrpegiated chords, while the strings play the more homophonic fluid harmonies. From there, it changes, rather suddenly, to a very modern sounding piece, with background percussion fluttering non-stop, and a woman's voice singing sounds, without words. This track really is creative, and I must say Gregson-Williams has created quite an interesting piece of music on this track, and it works well. Many would strongly disagree, pointing out that it has nothing in common with the time period. It is true, the second part has a distinctively 21st century sound to it, yet this whole score cares nothing for history, from beginning to end, and I do not think it suffers for it. This is a fantasy story, and the music should be treated as such.
Up until now, I have been defending the under-dog album, because I think it really has some potential, and some very good moments, and has been ridiculed far too much. But, I must say, as a whole, the good moments are far between. A Narnian Lullaby is a wonderful bit of music, but is ridiculously short. From there the album meanders through many tracks, some with nice moments, but nothing very memorable until The Stone Table. This piece is appropriately eerie, with harsh percussion dominating the writing. The Battle is the most famous of the tracks, and really deserves the attention it gets. Employing a refreshingly balanced mix of choral and orchestral textures, Gregson-Williams uses all the means at his disposal. The percussion is largely modern, as is the choral writing. But, as I continue to point out, this is a fantasy, and the modern touches work quite well to create a magical, somewhat removed from medieval reality, product. Some say that the recording of this piece falls flat, but I strongly disagree. The writing, while not especially original, works well, and the recording quality is not below average.
The four songs at the end really were not needed. All they do is move the mood from the fantasy feel which the album has acquired, and place it firmly into the modern pop setting. I do enjoy Wunderkind a little, but I do not think any of them fit the album very well. This album is not groundbreaking, nor is it even interesting for its entirety. But it deserves more credit than it often gets from the musical elite. It is not because Gregson-Williams didn't know that syncopation and the use of the synth are modern techniques, but because he chose to use them anyway. I think it was a good choice.
-Colin Thomson
Track List:
The Blitz, 1940
Evacuating London
The Wardrobe
Lucy Meets Mr. Tumnus
A Narnian Lullaby
The White Witch
From Western Woods To Beaversdam
Father Christmas
To Aslan's Camp
Knighting Peter
The Stone Table
The Battle
Only The Beginning Of The Adventure
Can't Take It In
Wunderkind
Winter Light
Where
Gods And Generals
John Frizzell/Randy Edelman
Rating: 7.1
Ten years after the movie Gettysburg was made, Ronald Maxwell returned to direct the prequel, Gods and Generals, in what was to be a trilogy of movies made of the civil war. Because of the lackluster reception Gods and General met in the box office, all plans for the third movie were, and still are, indefinitely postponed. The reason for the lack of enthusiasm which greeted Gods and Generals can be explained by the slow pacing of the movie, and by the serious over-acting that occurs some throughout the film. It certainly has moments, but as a whole drags far too much. But what of the music?
The score, written largely by John Frizzell with some help from the the returning Randy Edelman, has a very subdued atmosphere the whole way through. The title track, Gods and Generals, is a choral arrangement of the main theme, and starts out the score in a very solemn way, repeating twice before bringing in the snare drum, giving it a resolved feel. War is inevitable, and the theme carries a sadness, a sense of the weight of this moment in history, as well as a dignity, in it. This theme dominates much of the writing, but is good enough not to suffer from over-exposure. Even when the music is of a lighter quality, it never comes very far out of the somber mood of the main theme. Lexington Is My Home, as well as The School Of The Soldier both demonstrate this, as they feature some dance-like music, yet never really sound happy.
The tracks which give credit to Randy Edelman often feature simple piano played with orchestral settings of the themes. Sometimes the piano parts are overly simplistic in a much too modern way (one chord repeated over and over with a melody played in the orchestra), but over-all it adds a nice touch for those who can keep from being too critical.
Another element is the use of Irish music. Thankfully, John Frizzell did not do the same thing as many composers, and mix the Irish with the Scottish music. There is a difference, and Frizzell seems to be aware of it. Most casual listeners will identify the bagpipes in the piece These Brave Irishmen, but it is actually the uilleann pipes being played, as the bagpipes are Scottish, and not Irish. Both forms of music evolved from Celtic music, but there is a difference. The Scottish tend to be somewhat less subdued, while the Irish have more of mystical a quality to their music. You do not hear the Scottish marching bagpipes, but the reflective Irish uilleann pipes. The piece begins with the fluid sound of wet orchestral strings, playing the theme to be reprised later by the uilleann pipes. Frizzell made no attempt to hide the harsh sound of the pipes, which was a very good decision on his part. When they come in, they sound perfect. Out of place, yet so noble.
VMI Will Be Heard From Today is the most interestingly different track on the album. It is the only real battle music that seems to have made it to the album, and underscores the confederates stealthily approaching the union. It is appropriately intense, and builds very slowly. The bass is overriding, and sounds quite out of place compared to the rest of the music. When it finally builds through its crescendo to the forte, it turns to a short, driving, choral, triple meter, orchestral outburst.
The two songs, Going Home by Mary Fahl and 'Cross The Green Mountain by Bob Dylan are both adequate, although I don't really understand the constant electric guitar usage in 'Cross The Green Mountain.
In my review of the Gettysburg soundtrack, I wrote of the bad, somewhat synthesized sound of the recording. That problem is completely non-existent with this cd. In fact, the recording is so flawless as to put many other quite good sounding albums to shame. There is such a depth to the stereo image, as well as a quality to the sound, that puts this album at the very top as far as orchestral recordings.
The music is quite good, but, as a whole, can be tough to listen to in large amounts because it is so brooding. However, it certainly fits the film well, and works quite nicely on cd, too. At the scores worst, it is a little repetitive with it's themes, and somewhat overbearingly contemplative. At its best, it reaches towards great.
-Colin Thomson
Track Titles:
Going Home
Gods And Generals
You Must Not Worry For Us
Loved I Not Honor More
Lexington Is My Home
The School Of the Soldier
Go To Their Graves Like Beds
My Heart Shall Not Fear
These Brave Irishmen
To The Stone Wall
You'll Thank Me In The Morning
The First Crop Of Corn
My Home Is Virginia
No Photographs
VMI Will Be Heard From Today
Too Much Sugar
Let Us Cross Over The River
The Soldier's Return
'Cross The Green Mountain
Gettysburg
Rating: 6.4
Gettysburg is a movie which is so basic in its construction, so predictable in its execution, and yet, somehow, so moving. There is nothing new here, but all the re-used movie-making techniques have been used to the films advantage to create a powerful civil war movie. The acting and photography is quite good, and the music certainly gives it all an emotional push.
This seems to be the sole purpose of the music. To add that slight heart tug with a nicely crafted melody played on a guitar, or to add a little adrenaline for the charges. Unfortunately, not much more. Interestingly, the soundtrack for this film seems to have quite a large following of fans, and I am afraid they might not appreciate this review. I think that the popularity of this soundtrack demonstrates the stranglehold that melodies have on the movie music industry. After all, it is much easier to listen to the melody when you don't have all that annoying counterpoint distracting you from the real reason for the music, which is the melody, right? Unfortunately, this is what the public seems to think, and not only that, they want overly simplistic diatonic melodies for which there is no need to listen through more than once, because you already know pretty well what is coming on the first go-'round.
OK, perhaps that is a little harsh, and no, I have no problem with diatonic melodies. Actually, this rant has nothing to do with the review. The melodies are simple, yet good, and sometimes the hardest music to write is the most simple. It is just that in the realm of tug-your-heart melodies, there seems to be little to no imagination in much of film music. The reason Beethoven stands out in history is not because he could write music just like Mozart, but because he could build on a foundation already laid, and yet use new techniques to achieve his aim. But I am getting way off-subject, and it is unfair to compare anyone to Beethoven. I do not really blame Randy Edelman for his style in this film, as he is just following the path to what sells, and can sound quite good in the background. I don't want this review to sound too negative about the music, because sometimes Edelman really hits a stride, and, especially in the movie, it can create quite an effect. There is no doubt that Edelman is a fine writer of melodies, and I salute him as such. But very little imagination is used with his harmonies. The use of quite homophonic writing in this score is unrelenting, and the otherwise very good melodies suffer from it. Just a little more use of counterpoint in the underlying instruments would make the solemn, understandably homophonic, moments much more powerful and moving. Orchestration- wise, this music does nothing new, and nothing really great. The snare, as would be expected, is used frequently to give it the army feel, and the guitar is used quite nicely to create an unrefined, very approachable effect. These are both effective, and the guitar especially adds a nice touch. Besides this, nothing is done above average orchestration-wise.
A somewhat lacking element in this music is the development of themes. There are certainly themes. Used, recycled, and used again. But not very much is done to develop them, besides the quiet or bold settings. But, despite these issues compositionally with the music, there is no doubt that it works well in the movie. The melodies really are wonderful, and the usage in the movie is quite good as well. The album does have some stand-out tracks, including 'Main Title', 'Fife and Gun', 'Battle at Devil's Den', and 'March to Mortality'. 'Fife and Gun' is the one really creative track on the album, with a sprightly theme played on the flute overtop of a finger-picked rhythm on an acoustic guitar, and low harmonies, which all add together to create a very surreal moment in the film.
Undoubtedly, there are times when this music soars. Unfortunately, it really is hard to appreciate them with the recording techniques used. I understand that they were probably on a tight budget, and recorded sometime around '93, but the movie was too well done in other areas to let the music fail so completely in this area. Never once do the strings really sound good except perhaps when they are far enough in the background of what is happening musically not to be too noticeable. I am not aware of whether they used synths to duplicate some orchestral instruments, but it certainly sounds like it. If synths were used, which I must assume from the quality, that might explain the block-writing employed with much of the harmonies, as anything more complicated would have only exposed the synth usage more. Perhaps it was the recording, perhaps the synth usage; either way, the outcome is not acceptable. This, added to the overly homophonic writing, makes it all sound too 'thick'. The mixing really is not much better.
Over-all, the melody writing is first-class in it's style, the harmony works, but is nothing special, and the recording is just plain bad. I listen to it every once in a while, and enjoy it. But all enjoyment of the music must fight its way through the recorded sound, which is an uphill battle in this case.
-Colin Thomson
Track Listing:
Main Title
Men Of Honor
Battle Of Little Round Top
Fife And Gun
General Lee At Twilight
The First Battle
Dawn
From History To Legend
Over The Fence
We Are The Flank
Charging Up The Hill
Dixie
General Lee's Solitude
Battle At Devil's Den
Killer Angel
March To Mortality (Pickett's Charge)
Kathleen Mavourneen
Reunion And Finale
