Amazing Music

By: Randall D. Larson
Date: Thursday, June 22, 2006

THIS WEEK'S RECOMMENDATION

In the first of an intended three-volume series, Intrada's two-CD collection of music from the 19805-86 TV anthology series, AMAZING STORIES is an absorbing compilation of music from some of film scoring's top talents. The show, a kind of revival of the TWILIGHT ZONE-ish sci-fi anthology series of the early 1960s helmed by many of Hollywood's top feature-film directors was scored with a broad array of feature-like musical approaches. Varese Sarabande had issued a re-recording (nicely done by Joel McNeely, conducting the Royal Scottish National Orchestra) in 1999 featuring John Williams' Main Title Theme and his extended score for the hour-long Spielberg-directed episode, "The Mission," and Georges Delerue's sublime fantasy love story, "Dorothy and Ben," but this is the first release of the show's original soundtrack music. Intrada wisely avoids reprising those two scores and instead proffers the complete scores for ten episodes plus Main and End Titles, in-from-commercial bumper, and Williams' logo for Spielberg's Amblin Films.

The music ranges from Williams' pilot episode score, the gentle fantasy "Ghost Train" with its whispers of whimsy and personal destiny and awakened memory; James Horner's folksy Americana music for "Alamo Jobe," a sentimental Civil War story; two (of four) scores by Bruce Broughton ("Gather Ye Acorns," a nostalgic and underplayed score for a story about a tree troll; and the Herrmannesque and homage-filled tribute to horror film fans, "Welcome to My Nightmare); two (of three) scores by Georges Delerue, whose passionate romantic melodies imbued the melancholic love stories "The Doll" and "Without Diana" with unrivaled musical poignancy; Billy Goldenberg's nightmarishly psychotic dissonance for "The Amazing Falsworth," in which Gregory Hines' professional psychic encounters a serial killer during his nightclub act; David Shire's mixture of electronic music (created in collaboration with synthesist Craig Huxley) and orchestral motives to underscore "Moving Day," a story about a boy's first love being interrupted by the revelation that he is really an alien and must return to his home planet; Lennie Niehaus' lavishly dramatic classical scoring for Clint Eastwood's ghost romance story, "Vanessa in the Garden;" and the lively, playful underscoring of Danny Elfman & Steve Bartek for the humorous "Mummy, Daddy" episode.

This is an exquisite release, unfortunately almost sold out, and nicely preserves some of TV's best music of the last two decades. The second and third volumes are eagerly awaited.

www.intrada.com


Bear McCreary's music for the second season of the sci fi channel's hit series, BATTLESTAR GALACTICA, has found its way onto a new soundtrack release from La-La Land. Their release of the show's first season music was one of my Top 20 soundtracks of 2005; the second season follows in similar style although with less immediate appeal the music here seems much more understated; still McCreary emphasizes an extravagant and compelling array of musical modes and textures throughout the season's music. The depth of instrumentation and the cultural sensibilities the world-beat textures derive render the scores uniquely interesting and affecting. Far more than simple science fiction music, McCreary crafts environmental landscapes that seethe with ethnicities and living, breathing personalities. The music integrates orchestra, synthesizer, ethnic vocals, and prevalent percussion in individual episodes that find their own musical sensibility with little musical cohesion between episode lines beyond McCreary's stylistic musical textures.

"Allegro" is an extended cue for reflective violin figures; "Martial Law" is an effecting cue for horns over dramatically-pounded drums, emphasizing the human cost of government oppression; "Lords of Kobol" features an intriguing interplay between understated electric guitar and a sultry, Lisa Gerrard-like vocalism from Raya Yarbrough; "Scar" is a potent mix of percussion and synth, morphing into a poignant and melancholic meandering of solo violin; "Gina Escapes" is a potent cue for gangling electric guitar, subtle synth riffing, and driving percussion rumbles; "Prelude to War" is a compelling, classically-styled ostinato of resolute, massed violins playing over a rumbling battlefield of percussion; "Reuniting the Fleet" is given a profound poignancy through echoes from uillean pipes; "Worthy of Survival" is a gorgeous atmospheric cue for female voice, high above riffing synths and ethnic winds.

Oingo Boingo member and Danny Elfman collaborator (see AMAZING STORIES: "Mummy, Daddy" above) Steve Bartek plays featured guitar on one of the tracks ("Black Market"). Stu Phillip's splendid original theme for the 1970s BATTLESTAR is reprised nicely in the "Colonial Anthem" for the episode "Final Cut," and Richard Gibbs' vocalistic main theme for the new show's pilot and second episode is included as well, nicely capping this collection of the season's best musical moments.

www.lalalandrecords.com


FILM MUSIC NEWS

Be sure to check out screenarchives.com on this Friday for a major announcement having to do with the availability of a very limited, and very lavish, release of rare classic film music resurrected from the Elmer Bernstein Film Music Collection of the 1970s.

Also check out www.varesesarabande.com on Monday for the names of this quarter's limited edition Club releases. Since many of these titles typically sell out on the day of release, don't be late.

Soundtrack.net has posted an exclusive "first listen" report on Hans Zimmer's new PIRATES OF THE CARIBBEAN: DEAD MAN'S CHEST score. Dan Goldwasser describes the new soundtrack as "a very different album than the first in tone and style. Where the first one was a veritable non-stop action album, the soundtrack to the sequel has a bit more restraint and emotion to it. With varying styles such as waltzes, jig, soft heartfelt cues, orchestral action, and even electronic mayhem, Zimmer's work will be sure to spark debate. There aren't as many of the themes from the original score heard in the sequel, but when you do hear them, they sound more mature, and the orchestra isn't buried in the electronics, for the most part." The soundtrack contains 51 minutes of music, while the film reported has more than two hours of score. The soundtrack CD will be released on July 4th from Disney. Read the track-by-track preview analysis at www.soundtrack.net

While you're over at soundtrack.net also have a look at their report on Steve Jablonsky's score for the forthcoming theatrical teaser from the new Michael Bay film, TRANSFORMERS (2007), which (the teaser) will be heard in theaters this year starting July 4th. Jablonsky's 90-second score was performed by a 59-piece orchestra, using "dissonant string glissandos, brass, and a female choir to provide tension building up to a dramatic climax that includes a hint at a theme." Jablonsky (THE TEXAS CHAINSAW MASSACRE, 2003 remake) is also set to score the TRANSFORMERS film next year, along with THE TEXAS CHAINSAW MASSACRE: THE BEGINNING, which opens this October.

Brian Tyler is scoring PARTITION for director Vic Sarin. The movie is a romantic drama set in the end of World War II. Tyler also scored William Friedkin's BUG, which recently won the FIPRESCI or international critics award for the Director's Fortnight at the 2006 Cannes Film Festival. The film stars Ashley Judd and Harry Connick Jr. and is set for release in December. Tyler recently had his web-site redesigned check it out at www.briantyler.com

Varese Sarabande will release John Debney's score for THE ANT BULLY, a new animated film from Academy Award-nominated filmmaker John A. Davis (JIMMY NEUTRON: BOY GENIUS) and producers Tom Hanks and Gary Goetzman (THE POLAR EXPRESS), combining vivid state-of-the-art 3D digital animation with a witty and heartwarming story for children of all ages. Debney's music for other family films such as ELF, CHICKEN LITTLE, SPY KIDS and THE EMPEROR'S NEW GROOVE have earned him acclaim for bringing great fun to the adventures of the young and the young-at-heart; while his richly imagined and heartfelt dramatic scores for THE RELIC, SIN CITY, and THE PASSION OF THE CHRIST demonstrate Debney's dramatic perception. Warner Bros.' THE ANT BULLY opens nationwide on August 4, 2006 and Varese will release the soundtrack on August 1st.

Set for a July release from La-La Land, ROCK AND ROLL NIGHTMARE features songs and score by Thor, as heavy metal and movie music fuse in first official soundtrack release from '80's horror/cult classic. www.lalalandrecords.com

Music from two distinct and popular composers is being released by Lakeshore Records in the coming week. Rachel Portman's The Lake House, written for the forthcoming romance across time starring Keanu Reeves and Sandra Bullock, and Philip Glass' music for Disney's IMAX feature documentary Roving Mars are the latest offerings from the label. The latter is certainly one to listen out for as Glass is something of an enigma these days when it comes to film projects. Portman's score is released tomorrow (June 20th), while Glass' will be available from June 27th. musicfromthemovies.com

Jeff Beal, whose previous credits include feature film POLLOCK and TV series MONK, is composing the music for NIGHTMARES AND DREAMSCAPES, a TV series based on Stephen King's collection of short horror stories. What's highly unusual is that there is one episode, "Battleground," starring William Hurt and directed by Brian Henson, that is completely without dialogue, thus giving the composer a unique opportunity to tell the story with music. Not since the 1961 Twilight Zone episode "The Invaders," starring Agnes Moorehead and composed by Jerry Goldsmith, has a dramatic television show aired an episode entirely free of dialogue. Beal has scored all eight episodes of the series, which premieres with the "Battleground" episode on July 12. On his list of upcoming projects, Beal also has two feature films, WHERE GOD LEFT HIS SHOES (directed by Salvatore Stabile) and THE SITUATION (Philip Haas), as well as the documentary PROTAGONIST. He will also continue to write music for the HBO TV series ROME. www.filmmusicradio.com

DRG will release Nino Rota's compelling Agathe Christie mystery score, DEATH ON THE NILE, on July 11th. One of the noted Fellini composer's last scores before his death in 1979, the score has been otherwise available on CD in now sold-out 1991 and 1993 editions from Japan and England, respectively.

Intrada's Special Collection Volume 33 will present two previously unreleased scores by Michael Small. Following the label's recent release of Small's mesmerizing score to BLACK WIDOW are two more thrillers from the vaults of 20th Century Fox. THE STAR CHAMBER (1983), written and directed by Peter Hyams, tells the tale of an idealistic, albeit disillusioned, young judge (Michael Douglas) who is persuaded by a colleague (Hal Holbrook) to join a secret society of like-minded jurists who mete out rough justice to criminals who, they believe, have slipped from the righteous clutches of the law. THE DRIVER (1978, from writer/director Walter Hill), stars Ryan O'Neal as a laconic getaway specialist eager to evade a rogue cop (Bruce Dern) using a variety of means to keep a car-length ahead of the law.

Michael Small puts his musical eccentricity into both scores, producing his trademark musical juxtapositions: shivering strings, bursts of echoing brass, unusual uses of synthesizers; in THE STAR CHAMBER, Small introduces a stately, measured judicial fanfare as the wheels of justice turn, which he then subverts as those wheels come off the rails. In THE DRIVER, he takes a chance remark (Bruce Dern referring to Ryan O 'Neal as "a cowboy") and spins it into a lovely musical trope: a delicately countrified theme for the character of the Driver that tenderly uses keyboards with a touch of slide guitar. While producing this album, CD producer Nick Redman discovered far more music than was utilized in the release versions of the either film. In THE STAR CHAMBER, much of the music is dialed-down to the point of almost subliminal effect. In THE DRIVER, Small's score has been trimmed to virtual non-existence. Intrada features THE STAR CHAMBER from the original stereo elements in excellent condition, and THE DRIVER in its original mono format. This release is limited to 1200 units. For cover art, track listing, and sound samples, please visit http://shopping.netsuite.com/s.nl/c.ACCT67745/it.A/id.4942/.f

Christopher Young has been brought back to compose the music for Curtis Hanson's drama LUCKY YOU. Young has been attached to the project before, but left scoring duties on the film a few months ago. He was then replaced by French composer Alexandre Desplat, but is now back working on the score and Desplat is no longer associated with the film. Warner Bros. has refused to comment on the reasons behind this unusual chain of events, but it should be noted that Christopher Young and Curtis Hanson have worked together before on WONDER BOYS, so it's likely Young was the director's first choice in any case. LUCKY YOU, which is scheduled to open on September 15, stars Eric Bana, Drew Barrymore and Robert Duvall. Young has also just finished scoring the action film GHOST RIDER, and he also has the scores for THE GRUDGE 2, THE MESSENGERS and SPIDER-MAN 3 on his platter as well. Meanwhile, Alexandre Desplat is scoring two films called THE PAINTED VEIL and MR. MAGORIUM'S WONDER EMPORIUM. via www.filmmusicradio.com

The Brigham Young University's Film Music Archive proffers another Max Steiner masterpiece with the original soundtrack to the 1939 drama DARK VICTORY. Bette Davis earned an Oscar nomination for her role in this classic tearjerker. A major success and perennial favorite, DARK VICTORY was later remade as STOLEN HOURS with Susan Hayward and as a TV movie starring Elizabeth Montgomery. BYU's premiere soundtrack release is accompanied by a 36-page deluxe color booklet with notes by film historian Rudy Behlmer and album producer Ray Faiola. Available from www.screenarchives.com

This summer's Aspen Music Festival will include a special event film music concert for chamber orchestra on July 17. The program, prepared by Varese Sarabande producer Robert Townson, will include extended suites from Alex North's WHO'S AFRAID OF VIRGINIA WOOLF? as well as DEATH OF A SALESMAN. Jerry Goldsmith will be represented by suites from PAPILLON and the first ever concert performance of the score from the TWILIGHT ZONE episode "The Invaders." Also on the program will be Bernard Herrmann's CITIZEN KANE.

www.aspenmusicfestival.com

The Rozbitek Institute, Polish film composer Jan A.P. Kaczmarek's centre for film music students, will organize a "Global Score for Global Village" seminar in Poznan, Poland, on July 1-July 3. Paul Broucek, executive vice president of music at New Line Cinema and composers Peter Golub (THE LARAMIE PROJECT) and Jan A.P. Kaczmarek (FINDING NEVERLAND) will take part in the event, which is aimed at composers, film professionals, and "those passionate about music in film." For more information, see: www.rozbitek.org (via filmmusicradio.com)


Former editor/publisher of CinemaScore magazine, Randall Larson was for many years senior editor for Soundtrack Magazine and a film music columnist for Cinefantastique magazine. He is the author of Musique Fantastique: A Survey of Film Music in the Fantastic Cinema (Scarecrow, 1984) and Music from the House of Hammer (Scarecrow, 1995). In addition to Soundtrax and Music News for Cinescape.com, Randall reviews soundtracks Music from the Movies, writes for Film Music Magazine, and in many other fields.


Recommended Soundtrack sources:

www.buysoundtrax.com
www.intrada.com
www.screenarchives.com
www.footlight.com
www.arksquare.com/index_main.html (Japan)
www.intermezzomedia.com/ (Italy)
www.moviegrooves.com
www.moviemusic.com


For questions or comments, contact the author at Soundtrax@cinescape.com