Dark Crystals and Spice Planets

By: Randall D. Larson
Date: Thursday, May 08, 2003

This Week's RecommendationS

THE DARK CRYSTAL has arrived on CD in a splendidly packaged, limited edition 2-CD set from Numenorean (NMCD 003). The first CD contains the contents of the original soundtrack LP (13 tracks), digitally remastered. The second CD contains the complete original score as heard in the film 28 tracks, 71+ minutes, with plenty of music not present on the first disc. The music is lavish, exotic, and compelling. In his first notable score after the Carmina Burana adaptations for EXCALIBUR, Trevor Jones composed a wondrous score rich in orchestral texture, emotive feeling, and exotic sensibilities. Jones composed the elaborate music for the Pod People early on, and then enlivened the music with a lavish and exuberant thematic base derived from the contrasting motifs for the Pod People and the Skeksis, two pieces that develop and ultimately merge at the film's climax as do the opposing species.

Music sources varied in the production process. The music from CD #1 was taken from the 1610 digital master tape for the LP, while that for CD #2 was taken from the original mag music stems for the film (the same source used to make the isolated music track on the DVD, because the master tapes of the original recording sessions were unavailable). Trevor Jones, for his own reasons, chose not to cooperate with this release and claimed not to own the master tapes of the complete score, even though in previous published interviews he stated that he did indeed possess much of this music. As a result, the sumptuous La-La Land release is the best we can currently hope for. While there is some slightly noticeable wow on CD #2 (tracks 11 and the first part of 28 stand out in this regard), for the most part the sources have been kind and the music is well preserved. The release is beautifully art-directed by Mark Banning and contains a 12-page color booklet with information about the film's production and a reprinted interview with Jones about the score. Get it at www.buysoundtrax.com.

Brian Tyler's take [IMG3R]on Arrakis differs substantially from that of Graeme Revell's in the first Sci-Fi Channel DUNE mini-series adaptation. But his score for the sequel, CHILDREN OF DUNE (Varese Sarabande 302 066 454-2), is a broadly conceived and magnificently mounted score. A primary theme is introduced midway into "Summon the Worms," and immediately defines the score as heroic, bold, epic, and adventurous. It is in moments intricate, spellbinding, tender and lyrical, urgently dissonant, but always compelling and driving, as if Tyler is echoing or summoning the very essence of the spice-filled sand dunes of Arrakis and its peoples. As director Greg Yaitanes remarks in the thin CD booklet, Tyler performed all the male vocals and played all the percussion and non-western stringed instruments in the score himself. He sifted through the complicated narrative of novelist Frank Herbert to decipher enough of the fictional Fremen language to write the lyrics for the haunting and powerful song "Inama Nushif" that is heard in an extended montage sequence. The CD contains 36 of 174 cues Tyler wrote for the film, and it's a marvelous collection of music. If Tyler hadn't shown his filmusical prowess in FRAILTY, DARKNESS FALLS, and THE HUNTED, he surely does with this resonant, sensitive, and zesty composition.

SOUNDTRACK NEWS

A number

of high-profile genre films continue to have their scores tossed. First it was Ang Lee's HULK, with Mychael Danna replaced with Danny Elfman at the 11^th hour (assuming Danny can be distracted from fiancée Bridget Fonda). Then it was Jerry Goldsmith, dumped from TIMELINE and replaced by the meteorically rising Brian Tyler. Last Friday Alan Silvestri departed from PIRATES OF THE CARIBBEAN: THE CURSE OF THE BLACK PEARL, citing creative differences evidently Silvestri and producer Jerry Bruckheimer did not see eye to eye on filmusical matters; one inside report claimed that Bruckheimer eschewed anything to do with temporary tracks set against rough cuts containing music by Goldsmith, Debney's CUTHROAT ISLAND, and the like (music that would seem to cry out: PIRATES OF THE CARIBBEAN!). Evidently, Bruckheimer wanted a more Hans Zimmer-like score and opted for the style of PEACEMAKER and BACKDRAFT that were also included in the temp score. Silvestri was in the middle of writing the score, and reportedly, none of his music for the film had been recorded. The swashbuckling Gore Verbinski ghost thriller, loosely influenced by the popular Disneyland ride, has a release date of July 9^th as of this week a new composer has not yet been named. Silvestri isn't hurting for work, though he's slated to score Nancy Meyer's new film (as yet untitled; Alan scored THE PARENT TRAP and both FATHER OF THE BRIDE movies for Meyer) as well as VAN HELSING (set for May, 2004), and his current score, IDENTITY, is getting very good reviews.

In other news, Craig (MOULIN ROUGE) Armstrong is off the TOMB RAIDER II: THE CRADLE OF LIFE scoring stage. Paramount reportedly wanted a more emotional score and didn't feel this is what Armstrong was delivering. He has been replaced by... Alan Silvestri, fresh from his own rejected efforts on PIRATES OF THE CARIBBEAN! Jan de Bont (SPEED, TWISTER) directs. The film will open on July 25.

Tossing out scores, even after they are mocked-up and recorded, continues to be a prevalent trend in contemporary moviemaking. It's an unfortunate but now commonplace practice that composers even of the stature of Jerry Goldsmith have to contend with. I spoke to one veteran soundtrack album producer and film music expert to ask his opinion of this ongoing trend. Ford A. Thaxton, producer of dozens of soundtrack CDs over the last 25 years, feels there are three basic reasons why film scores are thrown out these days. "The first is that producers feel the movie is in trouble and the easiest thing to change is the music," Thaxton says. "Second: there are warring camps (producer/director, director/studio execs, etc) who see the film differently and the composer gets caught in the middle. And third, the score truly doesn't work (but this is far more rare than one might think)."

Next up for Jerry Goldsmith is LOONEY TUNES: BACK IN ACTION (directed by Joe Dante, a frequent Goldsmith collaborator - GREMLINS 1 & 2, SMALL SOLDIERS, INNERSPACE, EXPLORERS, THE 'BURBS, and TWILIGHT ZONE: THE MOVIE) and Fred Schepisi's new film, PICASSO AT THE LAPIN AGILE, a comedy based on a Steve Martin play that is now in pre-production, and David Anspaugh's THE GAME OF THEIR LIVES.

Lalo Schifrin's intricate and frenzied score for the insectile documentary THE HELLSTROM CHRONICLE will make its first debut as a score recording from Aleph Records (Schifrin's own label) in late spring.

Hot on the heels of FROM BEYOND, La-La Land Records will issue a notable compilation in June: The Fantasy Film Worlds of George Pal, Volume One will feature suites from THE TIME MACHINE, ATLANTIS THE LOST CONTINENT, THE 7 FACES OF DR. LAO, THE POWER, DOC SAVAGE, TOM THUMB, and THE WONDERFUL WORLD OF THE BROTHERS GRIMM, almost all cues previously unreleased.

David (GODZILLA, TOMORROW NEVER DIES) Arnold will score the Frank Oz remake of THE STEPFORD WIVES, starring Nicole Kidman.

George S. Clinton will return to the cybernetic killing fields when he scores MORTAL KOMBAT 3: THE DOMINATION.

John Debney (THE RELIC, THE SCORPION KING, SPY KIDS) will score Disney's CHICKEN LITTLE.

Robert Folk (KUNG POW, ACE VENTURA: WHEN NATURE CALLS, TOY SOLDIERS) will score the adventure thriller, IN THE SHADOW OF THE COBRA, and also KUNG POW 2: TONGUE OF FURY.

Julian Nott (WALLACE AND GROMIT) will take the Nick Park characters to the big screen when he scores WALLACE AND GROMIT: THE GREAT VEGETABLE PLOT, due out in 2004.

DISNEY'S WONDERFUL WORLD OF POLYCARBONATE

A recent [IMG4R]visit to Disneyland in Los Angeles afforded an opportunity to scout out some filmusical opportunities at the Magic Kingdom. As many of you may know, film composers often accept assignments scoring shows for theme parks, and Disneyland has captured many of them. In keeping with its penchant to market any and all aspects of its movies and theme parks, CDs are now abounding with a variety of musics from these shows and rides. Of particular interest is Disneyland Park: The Official Album (Disney 60047-7), a 17-track compilation of music from various shows and rides at the original park. This updated version omits some songs from the 1997 version - Fantasyland castle medley, two songs from Splash Mountain, the Main Street electrical parade, the Mickey Mouse march, fantasy in the sky (from the fireworks show) and Frontierland's ballad of Davy Crockett. But there's plenty of splendid cinematic music here, including the John Williams' adapted suites from the Indiana Jones Adventure ride and Star Tours. In addition there's a fair amount of instrumental underscoring from the Pirates of the Caribbean and Haunted Mansion rides before the "Yo! Ho!" and "Grim, Grinning Ghosts" songs begin. The stirring finale from the Fantasmic show and a 10-minute track from the Fireworks Spectacular are included. The mixture of orchestral music and songs (yes, we do have "It's a Small, Small World" in case you wish to use the CD as a family torture device), and the new Williams variations make this a notable acquisition.

The equivalent [IMG5L]CD for the new Disney theme park is Music from Disney's California Adventure (Disney 6044-7), which contains a similar mixture of songs and score. The highlight is definitely the wondrous Jerry Goldsmith montage "Soaring' Over California," which accompanied the virtual free flight simulation over IMAX-sized images of the Golden State. The 4.43-minute track contains essentially all the music Goldsmith wrote for this attraction. Bruce Broughton (best known to Disney fans as the composer of THE RESCUERS DOWN UNDER and HOMEWARD BOUND) working with George Wilkins did the arrangement on the weird but wonderful "Beauty and the Bees" number that is heard in the "It's Tough to Be a Bug" theater lobby in the Bountiful Valley Farm area; more notable, though, and another highlight of the CD, is Broughton's lyrical underscore for the Golden Vine Winery's "Seasons of the Vine" show. Other segments include songs and tracks from other rides from this trendy but fun theme park.

But as [IMG6R]if these compilations weren't enough, Disneyland has also generated complete soundtrack CDs from attractions like the Fantasmic show and the Electric Light Parade, and the venerable Haunted Mansion (Red Dot Net 92766) and Pirates of the Caribbean (Red Dot Net 92774) rides. The latter two are elaborately compiled, containing the complete attraction soundtracks (music + dialog; the Pirates CD contains the entire soundtrack of each individual character, not just the segments you might hear as you drift past in the boat). There's also alternate tracks, audio tests, and outtakes of un-used narration by Paul Frees and others, some niftily spooky organ tracks by Gaylord Carter from the Haunted Mansion, and a smattering of unused music, including some John Debney-arranged cues played under un-used Vincent Price narration from the Phantom Manor ride at Disneyland Paris. The content is partial novelty, partial treasure trove, and an interesting glimpse into the audio attributes of these fun theme park attractions.

There are some other Disney theme park CDs lurking around out there that I didn't find, including a longer suite of John Debney's Phantom Manor music and Steve Bramson's Space Mountain exit music on Une Journee A Disneyland Paris, and several bootlegs lurking around that preserve some of this music on their discs. Take a look at http://www.kolumbus.fi/kenneth.sundberg/musiclib_thpa.html for a very good listing of all things Disneyland on CD.

These CDs are not sold in regular record stores they are available only at the gift and music shops inside Disneyland, or online from www.amazon.com or via http://laughingplacestore.com/Cat-MusicParks-1.asp.

Soundtrax is our weekly Movie Soundtrack column.

Questions? Comments? Let us know what you think at feedback@cinescape.com.