SCORE CRAVE

2015-11-06T09:16:00.001-08:00

The 33

Music By James Horner

Article by Matt C

I am fresh off listening to the late composer’s score for the first time and I am happy to report that it is exactly what you'd expect - something borrowed, something new... but altogether beautiful.

The music is reminiscent of his other Latin flavored scores - mainly the love theme from the ‘Zorro’ films, the sprightly flute music from ‘Vibes’ and ‘Where The River Runs Black’ and the dirge-like music from ‘House of Cards’ and even ‘Beyond Borders’. Thematically, it's interesting that Horner chose to revisit some of the dramatic build from 'Glory' as he did in 'Avatar' and even more significantly the musical bridge from 'A Far Off Place' and 'Legends of the Fall'. That being said, it all seems pretty fresh - the Zorro love theme being the most noticeable 'rehash'. Amazingly, ‘For Greater Glory’, being a bit of a ‘best of Horner’ album, really never creeps in. No infamous 4 note danger motif, either! Thank goodness for small miracles.

Now that I have all that out of the way, let’s focus on the overall feel and impression of the score as presented on this album. It really holds true to the subject matter and feels perfectly authentic - there are guitars, flutes, light synths and some fairly thrilling modern action music - though it is handled in a restrained manner. This is a confident, mature work as we have came to expect from Horner score's of the 2000s. That leads me to the point that Horner’s works nearly always keeps things thematic. You can go away from nearly every one of his albums humming what you have heard. This is no exception, though what you may go away remembering are elements from other scores such as the aforementioned theme/bridge from ‘A Far Off Place’.

If I had to give this score a star rating as a stand-alone listen, I would give it 4/5 stars. However, knowing Horner’s catalogue, I would have to bring it down to at least 3.5/5 stars simply for the fact that the main themes are reworked themes from past scores and the most memorable elements and musical phrases were essentially reinterpretations from other works. For the listener, what does make 'The 33' a significant work is that it successfully replaces the need to ever revisit scores such as ‘Where the River Runs Black’ or 'Vibes' - not that either of those are particularly fondly remembered - though I am partial to 'Vibes' for some reason.

The overall feel of the album is one of urgency, steadfastness, strength, joy and emotional restraint. It is as melancholy, beautiful and joyful in moments as one would expect from James Horner and this particular project.

If you are even the slightest curious about this new album, I would recommend you picking it up or downloading it immediately! It's well-produced, alternating between more atmospheric, action, sweet and 'fun' music quite deftly. There is no room for boredom and losing focus. What I also love about this album is the 'payoff'. The album builds and builds to those thematic and emotional climaxes that keeps film score fans coming back for more.

Please leave your comments and thoughts below.

2015-05-07T16:29:00.000-07:00

The official trailer for Pas De Deux by James Horner! To be released on May 25th in the United States according to http://jameshorner-filmmusic.com. However, iTunes lists the expected release date as June 9th. Either way, the composition is stunningly beautiful. I cannot wait to hear it in its entirety on this official release.

2015-01-26T10:02:00.002-08:00

Upcoming Film Score Alert

James Horner has scored Jean-Jacques Annaud's new film, Wolf Totem. I am very excited to see James Horner's creative partnership with Annaud really paying off and am eagerly awaiting the chance to hear more music from the film.
Judging from the music in the first half of the trailer, it sounds like a mix of Horner's own scores for Troy, The Karate Kid, Legends of the Fall and something refreshingly new! Not a bad combination for a successfully evocative score.
There is no set release date for an official soundtrack album, however, the film is set to release on Feb, 25, 2015 in France. Here's hoping the score is released around that time. Hopefully, sooner than later. It's been far too long since this Horner fan's last JH score fix.

Please feel free to share any insights, thoughts and/or info and enjoy!

2013-11-12T07:43:00.000-08:00

Listen of the Day…

Jumanji by James Horner

Jumanji was actually the first film score I ever purchased. I had a fairly sheltered childhood (thankfully) when it came to media entertainment, so when I was allowed to watch something other than a Disney cartoon - called Jumanji - I was very excited, indeed. I was swept away into the music, the action and the (now horribly lacking) special effects.
Outside of the occasional Disney film and musical soundtrack that accompanied it, I had never paid much attention to the orchestral background score of a film. Like most people, I didn't really care or maybe I just wasn't aware of the magic and entertainment that could be derived from listening to orchestral scores. However, in the case of Jumanji, my ear was especially attuned to the music. I couldn't believe the kind of musical story telling I was hearing. Though it wasn't a musical, the cues had specific themes and motifs for different characters and events. I could close my eyes and imagine everything going on within the film. Needless to say, as soon as I scrounged up the money, I ran out and bought the score from the local Barnes and Noble. Ever since then, this particular film score has been planted firmly at the center of my film score collection. It clearly has a special place in my heart.

Fast forward to today in 2013, I have come to realize over many years of reading reviews and listening to hundreds, maybe thousands of scores, Jumanji was really a bit of a hack job for Horner. James Horner reused ideas, motifs and even themes from previous scores which had already been regurgitated numerous times before. However, to the young man that I was back in 1999, I didn't care or know any better. The music did for me what it was supposed to. I was transported to another time and another place, surrounded by the dangers of the jungle within my own town.
I say all of that to say this - James Horner is now my favorite composer and through good and bad, I will always defend him as a great film composer, though he does have his drawbacks. I still give Jumanji a spin every once in while despite the fact that I know I could have a better, more cohesive time with say Willow, Something Wicked This Way Comes or even Aliens. I don't know exactly what it is. I can't put my finger on it. Maybe it's nostalgia, maybe it's imagination, but I will always see Jumanji as a classic score despite its flaws. The orchestra's performance is fresh, the sound quality clear-as-a-bell and there is just something so fun, exciting and adrenaline-pumping about hearing a stampede, lion attack or monkey antics described musically. It never fails to put a smile on my face.

Recommended for those that grew up in the 90s and/or have fond memories of the film and it's music.

2013-11-11T08:05:00.001-08:00

Listen of the Day…

Edward Scissorhands by Danny Elfman is one of the quintessential holiday film scores. Due to it's macabre nature, it may be tempting to think that this score belongs strictly to a creepy, Halloween atmosphere. However, like The Nightmare Before Christmas, it successfully fits into either Halloween or Christmas listening quite easily. There are creepy and even tragic moments, but a good portion of the Edward Scissorhands score is filled with heartbreaking beauty, fun Elfman rhythms and most importantly a sense of child-like innocence.

To help truly convey the sense of magic and wonder in the film, Danny Elfman employs an ever present choir which quietly "coos", "ahhs" and generally follows the beautiful main theme melody. Elfman's expert use of choir is most clearly on display in "Ice Dance" and "The Grand Finale". There are no words for what Danny Elfman conjures within these two glorious tracks. They not only work superbly in the film, but on album they are just as wonderfully stirring and will indeed melt the coldest heart.

Also of mention is the distinct Elman style of zany yet cohesive sense of fun featured in tracks such as "The Cookie Factory", "Ballet De Suburbia (Suite)" and my personal favorite, "Edwardo The Barber" which features an astounding violin solo.

If you have not taken a listen to this classic in some time, do yourself a favor and give it a spin on the old CD player. This is definitely one for the ages. Highly recommended.

James Horner's Best Finale Cues of the Past Decade

2013-09-05T07:31:00.003-07:00

In the past 10 years, James Horner has produced some incredibly lovely, memorable and especially lengthy end title pieces.

Please enjoy this list of a few of my favorites from the past 10 years:

House of Sand and Fog - "A Return to the Caspian, And to the Iran of Old"

A tranquil, moving piece that perfectly captures the soul of the film and the ebb and flow of the Caspian sea.

The Missing - "The Long Ride Home"

Clocking in at approximately 14 minutes, this is a gargantuan, classic piece from Horner. It manages to effortlessly take the listener through the film's final showdown, resolution and finally the grand expansion of the main theme over the end credits.

Though the action music and themes are not incredibly original, this is still a great track that really showcases Horner's ability for passionate, haunting film music.

Beyond Borders - "Chechnya, Part 4"

Beginning with a mournful piece for flutes and piano (reminiscent of Horner's opening track to House of Cards, "Opening Credits - The Processional"), the piece segues into a gorgeous oboe solo worthy of Ennio Morricone. The track then blossoms into a beautifully rendered version of the main theme by choir, featuring an ethnic female soloist.

This piece is not for everyone, due to it's somewhat somber nature and the brief wailing vocals, but it in my opinion this is a musical gem.

Troy - "Through The Fires, Achilles...And Immortality"

Full of fanfares, the dreaded danger motif (only in the opening moments), a love theme, ethnic vocals and a sweeping hero's theme, this is another 14 minute track which leads the listener through the final pivotal sequences of the film.

Though Horner only had a couple of weeks to write this score, infamously replacing Gabriel Yared, he managed to come up with some fairly memorable themes. The heroic theme for Achilles brings back to mind the battlefield music from Legends of the Fall (which is a good thing) and the love theme for Briseis and Achilles is presented in voluminous proportions.

The Legend of Zorro - "My Family Is My Life..."

Not just a rehash of the original film score, Horner returned several years later to compose more vibrantly expansive music for the sequel to the very popular The Mask of Zorro. In this end credits piece, Horner does use the Zorro and love themes from the original, but arranges them with an incredible amount of romanticism and charisma.

The New World - "A Dark Cloud is Forever Lifted"

Though a majority of James Horner's music was not featured in the director Terrence Malick's final cut of the film, fans are still lucky enough to enjoy a full album of Horner's original music for the film.

I've always thought of the main themes to this film as a cross between the main themes from Beyond Borders and The Missing, but that in no way inhibits the joy of listening to such beautiful music.
"A Dark Cloud is Forever Lifted" is a graceful and poignant piece, featuring the gorgeous love theme for the film. I highly recommend the prior track "All Is Lost" from the album, as a companion piece, as well. It is a wonderfully constructed composition that is right up there with the dramatic likes of "For the Love of a Princess" from Braveheart or "The Ludlows" from Legends of the Fall.

The Boy in the Striped Pajamas - "Remembrance, Remembrance"

This end piece is a gorgeous piano solo that is undeniably stirring and clearly classically inspired. Horner revisits his chord progressions from Swing Kids with heartrending results. Great stuff.

The Spiderwick Chronicles - "Closing Credits"

Spiderwick Chronicles was an excellent scoring opportunity for Horner to return to his children's film style of scoring. He pulled through with some memorable moments such as "A Desperate Run Through the Tunnels" and "The Flight of the Griffin", along with the touching "Coming Home" and sweeping "Closing Credits".
The only unfortunate aspect of this score was the reuse of "Casper's Lullaby" from Casper (which does appear in the "Closing Credits" track. Thankfully, Horner does attempt to keep the theme fresh by incorporating some interesting counterpoint and variation on the well-known lullaby.

Avatar - "War"

Due to the end credits song, "I See You", sung by Leona Lewis, there is not an end credits cue on the album. However, I justify adding the track "War" to the list because it does accompany some of the final moments of the film, including the war scene and the final resolution sequence. (I don't want to give away any spoilers for the very few who may have not seen the film).

It goes without saying, "War" is absolutely one of James Horner's best cues of the past 10 years. Period. The epic choir, the fanfares, the wonderful variations on some great, affecting themes. It doesn't get much better than this in the film scoring world. This is the kind of music that makes me incredibly impatient for a sequel score. Bring on Avatar 2!

The Karate Kid - "Final Contest"

Similar to Avatar, in the respect that there is not actually an end credits piece, I chose to include this last cue from the album because it does an excellent job of wrapping up the thematic elements from the score and really brings the excitement and emotions of the film to life.

The Karate Kid features a number of great tracks, such as "Journey to the Spiritual Mountain" and "From Master to Student to Master", though it remains a largely overlooked work.

Black Gold - "A Kingdom of Oil"

A majestic and grandiose piece, "A Kingdom of Oil" showcases Horner's ability to expertly combine eastern and western music into lush and engaging film music. The entire score is not to be missed, but this finale piece is a real dazzler, full of passion and majesty.

For Greater Glory - "Just Another Chapter of History"

Melancholy and religious in nature, this end credits piece is a beauty. Unfortunately, Horner did decide to reuse "The Four Feathers" theme. However, like many Horner pieces before it, this really doesn't take away from the excellence of the music itself or the enjoyment that may be derived from it.

The Amazing Spiderman - "Promises - Spiderman End Titles"

Horner will be sorely missed on The Amazing Spiderman 2. I can only hope and pray that the producers and director (and maybe even James Horner) will come to their senses and realize that he needs to score the sequel! The overall score for the first film was excellent and the Love Theme and Spiderman Theme, unforgettable. That being said, this is one of the best Horner finale tracks of the past decade. It never fails to send chills up my spine and inspire this listener to compose and create!

I hope you have enjoyed this post!

Please leave a comment and share your thoughts, recommendations or opinions. I welcome any feedback and/or conversations to be had about film scores!

2013-09-04T04:48:00.001-07:00

I am very excited to announce my second piano solo release, "Wedding Dawn", available for purchase on CD Baby. In about a week or two it will also be available on iTunes and Amazon!

The single was written for a special couple when they were married a few years back. They were always so kind to me and were, in my opinion, a shining example of how harmonious and wonderful relationships can be.

Please show your support and download a copy of my single today for only $0.99.

Also, if you haven't had the chance please check out "Elena's Lullaby", inspired by the CW's The Vampire Diaries!

I hope you enjoy my music and thank you, again, for your support!

2013-08-26T06:36:00.004-07:00

2013-07-20T08:09:00.002-07:00

The Impossible

by Fernando Velazquez

ScoreCrave Review by MC Cadman

There are some film scores that come along that upon the very first listen you realize you are in for a special experience. This is one of those film scores. The real gem of the album is the main theme which perfectly captures a sense of family, tragedy and hope.
If you have heard any of Velazquez's previous works such as The Orphanage or Shiver, you will know to expect a high level of quality with regards to melody and orchestration. What he delivers in this score is a clear musical narrative. Velazquez perfectly bookends the listening experience with the wonderful "The Impossible Main Titles" and "The Impossible End Titles" music, as John Williams and James Horner used to produce so often in their score albums from the 90s and early 2000s. This creates a sense of easily acceptable structure and listenability. The musical narrative truly takes its audience on a journey.
There are several stunning highlights, all of which feature the gorgeous main theme. The stunning cello solos in The "Impossible Main Titles"and the "The Impossible End Titles", offer a tender and classy approach to the tragic subject matter. The busy string work with the main theme gliding atop in the tracks "Go and Help People" and "Let's Go, No Need to Wait"are fantastic moments, especially the latter. Also of note are the intimate piano solos featured in "The Best Holiday Season Ever", "I Will Bring Your Pappa Here" and "I Have a Family Too".
The only drawback to this score is the fact that there is only one real stand-out theme and that the music does occasionally becomes less interesting during what I assume are dialogue focused moments and the more disturbing portions of the film. Velazquez does, however, maintain the quality of the score by taking its stunning theme through numerous incarnations and variations, sometimes even adding alternate codas to the theme to expand it to heart-wrenching heights, such as in "He Looked So Happy".
I have yet to see the film, but after having the opportunity to delve into this album, I fully intend to. Please enjoy the video of a recording session, below. It is truly moving.

Overall ScoreCrave Rating: **** (4 out of 5)

2013-07-14T10:18:00.002-07:00

Horner Rejected,

Replaced by Korzeniowski

Original Article by MC Cadman

For reasons currently undisclosed to the public, James Horner's score for the upcoming 2013 version of Romeo & Juliet has been rejected.
In his stead, Abel Korzeniowski has completed a brand new score for the film. According to Korzeniowski's Facebook page, he started recording a new film score on June 25th and ended the process as of July 5th, stating that it was "the last day of mixing. Almost done." Korzeniowski has not disclosed specifically what score he has composed. Facebook fans of his page commented with references to the fact that it was Romeo & Juliet. They remain unchallenged and are actually supported by a report and an update. Wikipedia.org and FilmMusicReporter.com are the only sites confirming the change of compositional duties for Romeo & Juliet, at this time.

As I write this article, IMDB.com still reflects that James Horner is the composer attached to this project. Also of interest, www.amazon.co.uk only indicates that the score is composed by "Various Artists" and will not be released until August 26th, 2013.

On a personal note, as a fan of both composers, I am extremely excited to see what Korzeniowski has done with this scoring opportunity. I only regret that he did not have more time to complete the project, but sometimes that proves to be a catalyst for inspiration. Korzeniowski's sensibilities as a composer are romantic, sensuous, classically influenced and of a Golden Age era gone-by. In other words, he is a perfect choice for a film such as Romeo & Juliet. If you are not completely familiar with his work, he closest resembles Alexandre Desplat and Dario Marianelli, within the current pool of modern film composers. I would highly recommend his scores for the films A Single Man, W.E., Copernicus' Star and Escape From Tomorrow. Clips from his film scores are available on his website: http://www.abelkorzeniowski.com/

With regards to James Horner, I am somewhat heartbroken that his score will no longer be used for the film. As previously mentioned in various film music site forums, this was the perfect opportunity for Horner to finally utilize some of the motifs from Prokofiev's Romeo and Juliet ballet that he has referenced in so many previous scores in an actually entirely appropriate setting.
Reports of Sissel, trumpet soloist Alison Balsom and the Rodolfus Choir being on board caused my mind to whirl with interest and anticipation. On February 11th, a film projectionist, Kevin Costigan, relayed that he had just shown the film and that he had "...heard Sneakers, Apollo 13 and The Pelican Brief everywhere in the score and [that] it doesn't sound like the original scores cut into a temp track. Sounds like all new score, but heavily influenced by the above three. Weird! Horner recorded the score this past December, but it sounds so much like his mid-90's work."
This news caused my active imagination to envision listening to a Horner score mash-up of Titanic with the above mentioned scores, all tied together with some stunning Elizabethan era twists. For this Horner fan, this was not only intriguing but downright exciting!
I sincerely hope James Horner's score either ends up on the DVD/Bluray of the film as an isolated track, or is preferably made available as an MP3 download. Otherwise, maybe a few years down the road a record label like Intrada or La-La Land Records will be able to obtain the rights and release the score. Sadly, as so many rejected scores, it may never see the light of day.

References/Sources:

Amazon.co.uk:
http://www.amazon.co.uk/RomeoJulietVarious/dp/B00CZ1TMWE/ref=sr_1_1ie=UTF8&qid=1373814170&sr=8-1&keywords=james+horner+romeo+and+juliet

Facebook:

https://www.facebook.com/abelkorzeniowski

FilmMusicReporter.com:

http://filmmusicreporter.com/2013/07/11/abel-korzeniowski-scoring-carlo-carleis-romeo-juliet/

Filmscoremonthly.com:

http://filmscoremonthly.com/board/posts.cfm?forumID=1&pageID=2&threadID=92203&archive=0

IMDB.com:
http://www.imdb.com/title/tt1645131/fullcredits?ref_=tt_cl_sm#cast

jameshorner-filmmusic.com:
http://jameshorner-filmmusic.com/romeo-juliet-new-images-of-london/

2013-04-18T06:56:00.003-07:00

James Horner talks about his phenomenal score to Star Trek 2: The Wrath of Khan.

2012-10-04T07:54:00.001-07:00

"Jose's Martyrdom" from James Horner's score to the film, Greater Glory.

Testament by James Horner

2012-03-27T09:16:00.023-07:00

Testament by James Horner

ScoreCrave Review by MC Cadman

In the midst of quite a few of James Horner's most magnificent sci-fi/fantasy works produced in 1983 (Something Wicked This Way Comes, Krull, and Brainstorm) he wrote one of his most quietly elegant and somber dramatic film scores.

Testament is only around 30 minutes long, but it certainly makes an impression, not unlike the score album for Brainstorm released the same year. James Horner uses intricate elements in Testament to surround the listener in a bleak, though alluringly graceful soundscape.

Testament is made up of three notable themes, amongst some occasional harmonic meandering. Opening the album, "Main Title" introduces the listener to the pitch perfect french horn solo that indicates the gravitas of the film's nature. Its role is as a bookend, not appearing frequently within the film's score, but just enough to keep us grounded to the proceedings. This sort of musical idea would stylistically influence Horner's later score to the uplifting Field of Dreams, amongst others.

The second theme, which I would call the "family theme," is one of Horner's loveliest and most charming but sadly short-lived themes. It is first featured in track 2, on flute, in a lilting and optimistic fashion. It gets a bit of a workout later in the lengthy track 6, "Carol Consoles Liz/Carol Says Goodbye to Neighbor", which deftly hands the theme off from french horn to clarinet. The theme then helps to close out the score, appearing in the finale cue. Track 6 also introduces us to the third theme which may be considered the "mother/son" theme, since the prominent cue to really define the melody is track 8,"Carol Bathes Scottie". The theme is a simplistic quasi-lullaby performed with flute, piano and cello, which is really quite outstanding. Out of the three main themes, this melody in particular gets the chance to mature and shine, since it later returns as a brief, yet stunning choral round in track 11, "Hiroshi Hands Teddy to Carol/End Credits". It is quite simple to draw the conclusion that this is a precursor to the large scale, emotionally charged choral mark achieved in Horner's 1988 score to The Land Before Time. In this score, the choir actually plays quite an integral part, though the ensemble does not appear until about halfway through the album, in"Mother and Daughter Talk", the vocals add that extra bit of dramatic and ethereal "oomph", much like the solo french horn moments, giving the work the reflective seriousness and human quality that Horner was clearly seeking to achieve.

If you are a Horner completist, I encourage you to add this admirable, dramatic film score to your collection. If you are not a huge fan of James Horner, it is still recommended if you are intrigued to hear one of the composer's more original and entertaining family drama scores (without synth/electronic elements or saxophone). Though the run time is short, this is a score that has a definite identity, a sort of weight that it carries with it. This music does not come across as boring, though it is melancholy and meditative. The sound quality is crisp and clear, the composition itself is impeccable, and the themes are interesting, if not somewhat memorable. However, be forewarned, because of the fairly dismal subject matter, this is probably not a film score that you will return to frequently.

1) Main Title (Main Theme From Testament) (1:40) ***
2.) Bike Talk: Dad & Brad/Bike Ride: Dad & Brad/Brad's Bike Challenge (2:24) ****1/2
3) The Picnic (1:29) ****
4) Liz Plays Pied Piper/Pied Piper Play/Pied Piper Flute/Pied Piper Piano (1:14) **
5) Pied Piper Curtain (0:39) ***
6) Carol Consoles Liz/Carol Says Goodbye to Neighbor (6:07) ****
7) Mother and Daughter Talk (2:24) ****
8) Carol Bathes Scottie (2:40) ****
9) Brad and Henry Call CQ/Brad and Hiroshi Ride Double (1:29) ****
10) Carol and Priest Graveside/Desire to Live (2:36) ****
11) Hiroshi Hands Teddy to Carol/End Credits (5:15) *****

Bonus Tracks
12. Liz Enjoys Mozart (Piano Quartet in G Minor, K. 478. Wolfgang Amadeus Mozart, arr. Horner) (1:50) n/a
13. Fania Plays Mozart (Piano Sonata No, 12 in F Major k. 332, Mozart, arr. Horner) (0:37) n/a

ScoreCrave Rating: ***1/2 (3.5 out of 5 stars)

ScoreCrave Meter:

* : Hated it.

** : It was tolerable.

*** : Liked it.

**** : Really enjoyed it.

***** : Crave it!

Please share your opinion and let me know what you think of the review!

Buy the album HERE!

Real Steel by Danny Elfman

2011-10-16T17:06:00.002-07:00

Danny Elfman's Real Steel score is an attractive, warm and enjoyable film score. It has a bit of magic, as was heard in Elfman's scores for Good Will Hunting and Big Fish, but instead of a celtic or mountain-music feel, he keeps things fresh, yet familiar, with electric guitar, rock beats, full orchestra and even a beautifully understated choir and female soloist. Some of the rock and blues elements nearly give the score a slightly dated sound, as if pulled straight from a mid-90s sports film, but the mix is right.

Elfman's music has a great energy and even a few beautifully chill-inducing moments as featured in the choir-laden "Meet Atom", the brief, yet stirring female vocal in "Parkway Motel" and the exuberant "Final Round".

It is great to hear Elfman getting a chance to once again expand on his gently dramatic sensibilities as heard in "Safe With Me," which gorgeously features an acoustic guitar, piano and light-choir. Real Steel is such a well rounded and beautiful score, the only thing holding this back from being a full four-star effort, in my opinion, is that this sort of music has nearly all been done before. For instance, in "Atom Versus Twin Cities" and "This Is A Brawl" there are moments that sound like they could have been directly lifted from John Powell's Bourne Identity scores. Not to mention the cue "Twin Cities' Intro" sounding remarkably similar to parts of John Powell's Paycheck film score, namely the "21 Items" cue. No matter, Elfman is a class-act and successfully pulls off his own take on the edgy string and electronic beat combo.

Danny Elfman has simply utilized what works. He certainly seems to have come to this project inspired and invigorated and ready to make us feel the same.

Overall ScoreCrave Score: ****

Tracks
1) Charlie Trains Atom ****
2) On The Move ****
3) Into The Zoo **

4) Why We’re Here (feat. vocal by Poe) ***
5) Meet Atom ****
6) It’s Your Choice **
7) Safe With Me ****
8) Atom Versus Twin Cities ****
9) … For A Kiss ***
10. Get In The Truck ***
11) Bonding ****
12) Twin Cities’ Intro ****
13) Parkway Motel (feat. vocal by Poe) ****1/2
14) This Is A Brawl ****
15) You Deserve Better ****
16) Into The Ring ***
17) Taking A Beating ****

18) Final Round *****
19) People’s Champion ****

ScoreCrave Meter:

* : Hated it.

** : It was tolerable.

*** : Liked it.

**** : Really enjoyed it.

***** : Crave it!

Green Lantern by James Newton Howard

2011-06-19T11:01:00.001-07:00

I have not been this disappointed in a JNH film score in quite some time. You would think a superhero movie that is inhabited by alien beings, a mystical ring and a mad scientist would be great territory to work in for a film composer.

Apparently, it was not.

Either JNH was completely tied to temp track and was advised to stay away from inspiring super hero themes (or themes period), or it was just that JNH knew this film was horrible, disjointed and cartoonish and wanted to accentuate that fact.

This film score is an unoriginal, directionless effort, lacking in any kind of real emotional connection or satisfying build up.

Amidst the headache inducing cues there is a glimmer of beauty that is worth the download if you are a diehard James Newton Howard fan.

Track 10, "We Are Flying Now", is easily the best cue on the album. It is a not-so-distant cousin of the flying music for JNH's Peter Pan score, though it is entirely too short and under-developed. Like a sweet morsel buried within a Zimmer-esque wall of synth sounds, random beats, loops and electric guitar.

I do have to mention that the brass fanfare for the Green Lantern that shows up prominently in the first track and several moments throughout the score is fairly interesting, but never gets a true chance to flourish, not to mention that it sounds tremendously similar to a Jerry Goldsmith fanfare.

I realize that I have spent a lot of time in this review saying how much bad the score is, but I do have to say that it is not entirely unlistenable, it just okay and that is what is so disappointing. Compared to other James Newton Howard scores such as the epic The Last Airbender, the breathtaking Lady in the Water and the wonderous Atlantis: The Lost Empire, it doesn't hold a candle.

However, if you are a fan of modern, electronic scores penned by Ramin Djawadi, BT and a majority of the members of the Hans Zimmer gang, do check it out. You may find something to enjoy.

Score Crave Rating: ** (out of 5 stars)

Legend of the Guardians by David Hirschfelder

2010-09-23T18:52:00.002-07:00

Legend of the Guardians by David Hirschfelder is a complexly orchestrated straight forward fantasy effort that should tide over the appetite of anyone that is a fan of the genre - at least until Alexandre Desplat's first score for a Harry Potter film next month.

As talked about in other reviews on this score there are some striking similarities to previous film works of the genre and their composers. John Williams, Elliot Goldenthal and Harry Gregson-Williams come to mind.

All this being said, the theme may not be the most original but the orchestrations are impeccable and needless to say, very interesting. I caught myself listening much more closely to this album than other recent scores just to hear what kind of textures and instruments I would "discover" next. There is a lot of fluttering of the woodwinds to represent the fluttering of wings. There is a dulcimer and duduk and an odd piano and string bass mixed into the story-telling at unexpected times, which helps to keep things unusual and moving forward.

I have not heard a lot by David Hirschfelder besides his score for Australia and Elizabeth, but I can firmly say that I hope to hear much more from him in Hollywood films to come. It is always refreshing to hear a modern composer - in the 2000's - that has such a great command of the acoustic, traditional orchestra.

Having listened to this score many times over, I can easily hear the good and the bad.

The good being the engaging textures and intriguing use of choir and instruments with a fairly memorable main theme. The bad being nearly every time the music becomes stunning and triumphant it almost always ends, either abruptly or just from the music being slightly frenetic in nature - following every action or situation on screen - though it isn't exactly "mickey-mousing".

This can be highly frustrating for score fans, based on the fact that most of us expect some kind of suite or complete musical story to be told from track to track, without leaving us hanging or asking the questions - "Where is the rest? Is that it?"

All in all, LOtG could have benefited greatly from a more expansive release of the action material and less of the jazz influenced and fluttering meandering - though I have to admit, it is all very well done. As an overall product, I have to say that Hirschfelder's latest entry into his musical career is regularly top notch, but shy of classic due to some unoriginal themes and the lack of complete battle music cues.

Overall Score Crave score: ****

Tracklist:

1) To The Sky - Owl City: N/A

2) Flight Home (The Guardian Theme): A well done opening title track. It accurately portrays the Guardian theme without the full development to come in latter tracks such as "The Boy Was Right". A good part of the horn section and fantasy music actually reminds one of a mid-90's James Horner fantasy score. ****

3) Taken To St Aggeles: Fluttering woodwinds and slightly ominous horns and strings start the cue. A jazzy piano and bass playing interrupt, playing the role of the evil yet somewhat dull owls taking the young owlets to St. Aggeles. A catchy and suspenseful string and woodwind ostinato pushes forward until the end. ***1/2

4) Welcome To The Pellatorium: The piano and bass are back, keeping things jaunty in the midst of some sinister and exciting music featuring choir and the woodwind and string ostinatos from the previous track. ***1/2

5) A Long Way To The Guardians: One of my favorite tracks of the score. It seemingly incorporates tastes of the styles and orchestrations of John Williams, Danny Elfman and Hirschfelder, himself. It really is wonderfully bombastic and exciting stuff. *****

6) You Know We’re Flying: A playful cue that gives a joyful rendition of the Guardian theme at the last moment. I found it entertaining, but brief. ***

7) A Friend Or Two: This is an extremely multi-faceted cue. It starts out a bit ominous, then bursts into a frenetic version of the main theme, which is thoroughly enjoyable for anyone who loves exciting action music. The strange thing is, the exact part that I mention actually sounds tremendously similar to John Williams' E.T. score. Thereafter, in the middle section of the cue it goes into a smaller ensemble sound, resembling some of Bruno Coulais' latest work. Finally, it ends in a more traditional manner, closing out the cue with horn calls of the main theme. ****

8) The Boy Was Right: One of the best cues on the album and as heard in the film, itself. The chorus is absolutely goosebump inducing when combined with the visuals. The Guardian theme is heard in all it's glory, thoroughly sumptuous and full of wonder.*****

9) Sharpen The Battle Claws: A great dramatic track. This could have be in any epic war film, which is a compliment, considering this is a children's film. The cello adds a lush compliment to the string section. ****

10) Follow The Whale’s Fin: This is a strong tension filled track which seems to be building to the battle action music. Whirling strings and osinato stir things up, but it's nothing you haven't heard before. ***

11) Into Battle: This cue sounds like Hirschfelder's take on a MediaVentures approach to battle music - it was interesting on how my ear actually was able to overlay certain music from recent Harry Gregson-Williams efforts such as Kingdom of Heaven and Chronicles of Narnia. After the first couple of minutes this track goes into fairly generic action music territory. ***1/2

12) Hello Brother - An atmospheric piece with a forbidding tone. The male choir dominates, making it much more interesting then it could have been. ***

13) My Soldiers My Sons - This cue is what I had expected from "Into Battle" - it features some electrifying moments, especially towards the end, with an all too short chanting choir. This will have score fans keeping a look out for a complete score release. ****

14) More Baggy Wrinkles - A nice closing to the score, reprising a fairly emotional take on the main theme, not dissimilar to the track, "The Boy Was Right". ****

Mother and Child by Edward Shearmur

2010-08-01T10:38:00.001-07:00

Released May 11, 2010 by Varese Sarabande this album has seemed to pass under the radar, largely unnoticed.

If you are someone, such as myself, who wished Thomas Newman would get back to his "roots" and compose scores as lovely as Fried Green Tomatoes and How to Make an American Quilt, then Mother and Child may be just the album you were looking for. It is lovely in every way, a feel good, yet familiar confection.

If you enjoyed Edward Shearmur's quietly dramatic score for the modern drama, K-Pax, then you will certainly find much to like in this work. It is perfect for reading on a lazy Sunday. The music flows effortlessly between strings, acoustic guitar, oboe, and piano creating a fluid and emotional atmosphere.

However, if you are in any way against composers clearly emulating Thomas Newman's unique style and compositional techniques and orchestrations, I would stay away from this one.

Though with some exceptions (Wall-E, Angels in America and moments from A Series of Unfortunate Events) I really, truly find myself missing Thomas Newman's work throughout the 90s (How to Make an American Quilt, Meet Joe Black, Fried Green Tomatoes, American Beauty). It is almost as if the director felt the same way and specifically asked Mr. Shearmur to create a Thomas Newman score without actually hiring Thomas Newman just to do the job himself. Edward Shearmur handles this score with complete class and adds his own touches of magic here and there with simplistic waltzes and a "catchy" motif like theme that is welcome each time it is played by the guitar and piano.

Tracks of special note are "Elizabeth's Letter" which is allowed to be a cohesive mix of a gentle waltz and the main theme, presenting a small emotional climax before the beautiful stunner entitled "Karen's Letter", which is the last track of the album. It features one of the most exquisite oboe solos and counterpoint in recent memory.

This score is not original enough to be labeled a classic but Mr. Shearmur really showcases his ability to pull emotional strings without being overtly sappy as well as respectfully presenting his own take on one of the most prolific composers of our generation.

Overall ScoreCrave Score: ***1/2

Tracklist:

1. Little One (song by Lucy Schwartz) n/a
2. Karen ****
3. A Dream ***4. Nora Takes A Turn ***
5. Elizabeth ****
6. Elizabeth And Paul ****
7. A Kind Word ***
8. Paco ***
9. A Wedding ***
10. Elizabeth Alone ****
11) Elizabeth’s Letter ****
12) Mother And Child **
13) Ray Keeps The Baby ****
14) The Letter Is Found ****
15) A Waltz For Karen ****
16) Karen’s Letter : One of the most thoroughly lovely pieces of music I have heard this year. *****

Runtime - 40 mins

The Karate Kid by James Horner

2010-06-15T07:50:00.002-07:00

It goes without saying that James Horner has been one of the most controversial yet strongest composers of our time, possessing one of the most easily identifiable sounds in Hollywood.

The Karate Kid is the most recent display of Horner’s knack for story-telling through the art of film score bringing together the dramatic, romantic, spiritual, and thrilling aspects of the character’s journey throughout the film.

I want to take a moment before actually reviewing the high and low points of the score and its overall effectiveness by saying “yes” the famed Japanese shakuhachi is used (though the film takes place in China), but thankfully not to excess – acting as more of a punctuation mark or transitional tool than a lead instrument. There was also talk of the infamous “4 note motif ” possibly making an appearance (if you don’t know what I’m talking about, listen to Willow) which thankfully does not exist at all!

The Karate Kid score as presented on album, is easily split into two halves. The feelings of leaving home for a foreign country and culture, which introduce Dre’s theme in “Leaving Detroit”, as well as moments of “wonder and awe” for China and Kung Fu itself, as demonstrated in “Kung Fu Heaven” & “I Want To Go Home – The Forbidden City”. The second part of the soundtrack runs on a bit of a faster pace, though deals evenly with the character’s spiritual as well as physical journey as a student of Kung Fu.

After some playful underscore in “Looking For Mr. Han”, the main motif/theme is presented as an innocent love theme in “The Lunchroom” as well as being combined with a lovely, piano-led melody heard in “Mei Ying’s Kiss” & the atmospheric, prelude, “Beijing Valentine”.

Moving right along, the cue that turns the tide of the score is ”Jacket On, Jacket Off” taking us from a domestically dramatic tone combined with romantic themes, to a much more mystical, intense, and triumphant one.

“Journey To The Spiritual Mountain” & “From Master To Student To Master”, hold tremendous weight in the spiritual and physical odyssey of the character, making for two substantial pieces of film music.

Though suffering from brevity,”Hard Training” is an intriguing and fun cue, considering that the successful combination of electronic loops, percussion hits, and light flowing strings is something a bit foreign to Horner.

“All Work And No Play” & “Dre’s Gift And Apology” round off the “human drama” side of the album .

The colors of trepidation, tenacity, and celebration are expertly painted with the last two tracks, “Tournament Time” & “Final Contest”. The first being more of a prelude to the action and “Final Contest” being the final culmination of the mystical and victorious elements of the score.

All in all, this soundtrack is a fine addition to any James Horner collection. Though The Karate Kid score is above average, it does not stand with his previous classics such as Braveheart, Legends of the Fall, and even last year’s Avatar, due to the lack of a truly original and memorable main theme.

Overall Score Crave Score: ****

1. Leaving Detroit (2:54) ***
2. Looking for Mr Han (1:29) ***
3. Kung Fu Heaven (1:19) ***
4. I Want To Go Home – The Forbidden City (4:29) ****
5. The Lunchroom (2:29) ****
6. Backseat Beating (3:34) ***
7. Han’s Kung Fu (1:39) ****
8. Ancient Chinese Medicine (1:25) ***
9. Beijing Valentine (1:34) ***
10. Mei Ying’s Kiss (3:22) ****
11. Jacket On, Jacket Off (2:32) ****
12. Journey to the Spiritual Mountain (8:49) ****1/2
13. Hard Training (1:20) ****
14. All Work and No Play (1:40) ***
15. From Master to Student to Master (10:33) ****1/2
16. Dre’s Gift and Apology (3:07) ***
17. Tournament Time (5:09) ****
18. Final Contest (6:47) *****

Babies by Bruno Coulais

2010-05-24T19:49:00.001-07:00

Babies by Bruno Coulais is not your average film score. The music is so fresh, so sweet, so Coulais.

You can definitely tell you are listening to the composer of such fine film scores as 2009's Coraline and this year's DisneyNature distributed film, Oceans.

The marks of a "typical" Coulais score are prevalent with playful, lyrical vocals, bouncy strings and marimba, joined by a small ensemble of very interesting combinations of clicking and clattering wood and stringed instruments "thumbing" about.

This score, though short on track length and overall run time, is chock full of charm, tender melodies and effervescent innocence.

Some of the best tracks on the album include the addictive second track, simply named,"Baby", and the eleventh track called, "Premiers Pas" ("First Steps") which display Coulais' lively, story-telling writing.

This film score comes recommended as a confectionery treat to the ear, though it suffers somewhat as an overall experience from its brevity and lack of true thematic development.

***1/2 (out of 5)

Don't hesitate to comment and let everyone know what you thought of this score!

Dear John by Deborah Lurie

2010-03-28T14:00:00.001-07:00

Dear John by Deborah Lurie was digitally released on Feb. 2, 2010.

Deborah Lurie is quickly becoming a name to know in Hollywood. Her work on the animated film 9 last year was certainly above average - showcasing her ability to weave themes into different emotions and colors which will most certainly make her a household name in the not so distant future.

Probably best known in the film music community for her "additional music" and "arranger of music" role in some of Danny Elfman's most recent scores such as Alice in Wonderland, Hellboy 2, Wanted and "orchestrator" for Charlotte's Web, she is certainly making a name for herself, slowly but surely climbing the ladder to mainstream composer.

The score to Dear John is sweetly pleasant though actually quite sad and ambient at times. A nice listen for any given lazy afternoon while reading a somewhat depressing love story, preferably penned by none other than Nicholas Sparks.

Though Ms. Lurie's work is indeed beautiful at times, nothing new visited these ears during its entire run-time. There are a few occasions where Lurie manipulates the sound of the piano and guitar, for instance in the cue titled "See You Soon Then" to give the effect of being in a small room, like Thomas Newman did in How to Make An American Quilt for the track "Portraits/Pond".

As a matter of fact, for the latter half of the album Deborah Lurie creates some very ghostly, "watery" textures in the cues "Mr. Tyree","Coins", and "Dear John Letter", amongst others, which are extremely reminiscent of Thomas Newman's work, particularly the Horse Whisperer. There is also some notable similarities with John Powell's approach to "chick flicks" - P.S. I Love You and Gigli to name a couple. I guess imitation is the highest form of flattery.

On the positive side the theme for John and Savannah as performed in the first cue aptly named "John and Savannah" gets some very beautiful renditions in tracks such as "The Barn", "Airport Goodbye", "I Kept Writing", (a gorgeous piano solo), and "Goodbye Savannah" (which features solo guitar), tending to bring the music up a notch and create a cohesiveness to the album.

Hopefully Ms. Lurie will get more projects like 9, but in the mean time you can get some mild enjoyment out of this lovely, yet derivative composition.

Tracklisting:

1) John and Savannah ***1/2

2) The Pier ***

3) See You Soon Then ***

4) Walk on the Beach ***

5) First Date ***

6) Letters/the Moon ****

7) Savannah and Mr. Tyree ***

8) Chasing Mules ***

9) The Barn ***1/2

10) Mr. Tyree **

11) September 11th **

12) Airport Goodbye ***

13) Coins ***

14) Dear John Letter ***

15) Wounded ***

16) Returning Home ***

17) Waves ***

18) I Kept Writing ****

19) Goodbye Savannah ***1/2

20) Final Letter ***

21) John and Savannah (live quartet) ***

Overall ScoreCrave Score: ***

Replay Value: ***

Sound Quality: ****

Length: ***

Thematic Content: ***

Originality: *

Composition: ***

Check out this link to listen to Dear John clips on Deborah Lurie's Official Website:

CLICK HERE!

Alice in Wonderland by Danny Elfman

2010-03-26T12:59:00.000-07:00

Alice in Wonderland was released March 2, 2010.

When the creative forces of Tim Burton and Danny Elfman come together there is almost always reason to rejoice and Alice in Wonderland is clearly no exception. In the tradition of the dynamic duo’s most phantasmagorical works such as Edward Scissorhands, Batman, Batman Returns, and Sleepy Hollow there is a a supremely gothic and mystical essence that perhaps no other composer and director captures quite so deftly.

The music takes us on a journey - which if you have read any of my other reviews - is a surefire way to get me excited about a film score album. If music has no variance, no highs or lows, where is the interest and intrigue? Elfman takes us down the rabbit hole, through the dangers and beauties of Wonderland, and back out again with a smooth, varied, and exciting progression.

There are two major themes that dominate this score:

“Alice’s Theme” and Alice's "coming-of-age" theme. After listening to the score numerous times I have come to think of “Alice’s Theme” as the child Alice who is unsure about crossing from childhood into womanhood, while Alice's "coming-of-age" theme is a thematic idea that represents the reality Alice is hit with at the proposal party and how she handles the situation as a grown up individual. The "coming-of-age" theme is much more restrained and delicately beautiful, performed primarily on flute, while “Alice’s Theme” is urgent, mesmerizing, and gothicly stunning with string ostinato and soprano boy choir and soloists creating the ultimate dream-like atmosphere.

Even when the two themes representing our heroine are not present there is still much to enjoy creating a coherent and thoroughly entertaining listening experience. The eerie and odd textures that Elfman creates for Absolem, the caterpillar, which is somewhat mystically religious and the Chesire Cat, which carries a chilled vibe make for interesting musical interpretations of these characters.

The one thing I feel is missing is the battle music. The actual tracks featured for the end battle total to about 5 minutes and that is basically just the "book-ends". Hopefully the actual battle music will be made available someday on an extended or complete score release.

Otherwise, we are treated, early in 2010, to a brand new Danny Elfman classic that is sure to find its way into any Elfman or fantasy fan's heart.

Tracklisting:

1. Alice's Theme: A wonderfully strong start to a fantastic score! Fully lyrical with whirring strings, pounding drums, flighty flutes and soprano boy choir. *****
2. Little Alice: A brief cue that introduces us to Alice and her family in the beginning of the film. Glockenspiel and woodwinds dominate. ***
3. Proposal / Down the Hole: This cue starts out rather calmly for the proposal scene featuring the "coming-of-age" theme, but quickly segues into a slightly toned down version of "Alice's Theme" before ending with the frenetic

"down the hole" music. ****
4. Doors: "Doors" is basically an atmospheric track with unnerving string slides and light glockenspiel tones. ***
5. Drink Me: Another descriptive track, "Drink Me" is almost identical in flavor and instrumentation to "Doors", but with an addition of the choir softly "ahhing" in the background. I actually find these two cues to be quickly forgettable. ***
6. Into the Garden: Another too brief track, over as soon as it starts. **
7. Alice Reprise #1: Beautiful soprano boy choir track, but extremely short. ***
8. Bandersnatched: One of the better action tracks of the score, it showcases some hints of Elfman's Batman score complete with cathedral organ, choir, and driving percussion. ****
9. Finding Absolem: Esoteric and brooding, this makes for a good ambience track as well as featuring a brief statement of Alice's coming-of-age theme in french horn which is quite nice. ****
10. Alice Reprise #2: The second of five total reprises of "Alice's theme" which is more of a solo this go-round. Lovely, ethereal stuff. ****
11. The Cheshire Cat: The choir work in this particular track reminds me of the way Elfman utilized the voices in the woods sequences of Sleepy Hollow. Another good track for setting the mysterious and sometimes ominous tone of Wonderland. It ends strong with a building of "Alice's theme" complete with the lyrics "oh how will you find your way?" ****
12. Alice And Bayard's Journey: Who doesn't love a good "journey" track? It really gets going around a minute in and actually becomes very epic in nature. Unfortunately it does die back down after another moment giving way to the creepy elements of Wonderland - though it still retains interest. ****
13. Alice Reprise #3: My favorite reprise besides #5 because of the completely mystical, music box effect. ****
14. Alice Escapes: Only a moment long, this track is full force ahead - a wonderously unrestrained version of

"Alice's Theme." ****
15. The White Queen: An extremely brief recap of "Alice's theme". **
16. Only A Dream: One of my favorite presentations of Alice's "coming-of-age" theme which is quite gorgeous. ****
17. The Dungeon: This track is all about the ambience - leaning on the underscore side, though it still maintains the feel of the album. What's amusing is the first 30 second's string ostinato sounds like the track "Salvation" from last year's Terminator Salvation by Elfman is about to begin. ***
18. Alice Decides: A great momentum building cue, very enjoyable and gloriously over-the-top with full

orchestra and choir. ****1/2
19. Alice Reprise #4: A pleasant recapitulation of "Alice's Theme" before the brief battle music breaks. ****
20. Going To Battle: In league with "Bandersnatched", "Alice Escapes", and "Alice Decides" - this cue is thoroughly enjoyable with racing strings, cymbal crashes, and the omnipresent "Alice's Theme". ****
21. The Final Confrontation: There was some clear editing done between "Going To Battle" and this cue which is kind of disheartening, considering it would have easily been a 5 star score if they had retained more of the battle material and not smoothed over the true action music in 4-5 minutes. Oh well, it still offers about 30 seconds of strong material in the beginning of the cue. ****
22. Blood Of The Jabberwocky: I don't know why, but I picture the Hobbits saying goodbye to the elves in Return of the King right before leaving for the Grey Havens. Anyway, this is a lovely little piece to start wrapping up the score. ****
23. Alice Returns: Alice returns to reality and having to grow up very quickly upon her departure from Wonderland. We hear a statement of the "coming-of-age" theme almost seeming to battle it out with the child "Alice's theme", but now "Alice's theme" is much more sturdy with less busy strings but still a sense of wonderment, backed by choir. ****
24. Alice Reprise #5: Just as good as the first presentation of "Alice's theme" which is sure to be stuck in anyone's head by this time for weeks upon end, is less on the lyrics side, but definitely still as lyrical. A wee bit more mystical, the solo boy soprano comes in first, singing "oh how will you find your way" before the music box type effects lead into the full boy's choir taking control until the ending notes. ****1/2

Overall ScoreCrave Score: ****

Replay Value: ****

Sound Quality: ****

Length: ****

Thematic Content: *****

Originality: ****

Composition: *****

The Lightning Thief by Christophe Beck

2010-02-11T15:34:00.000-08:00

Percy Jackson & the Olympians: the Lightning Thief by Christophe Beck was released Feb. 16th, 2010.

The Review:

The Lightning Thief is Christophe Beck's latest work and just may just be one of his crowning achievements so far in the vast world of film scoring. It is fairly thrilling, purely orchestral, and contains some memorable moments.

There are energetic ostinatos, heroic fanfares, and thorough development and variation upon a number of solid (yet slightly derivative) themes.

Chrisophe Beck may be proving himself to be a worthy contender to Michael Giacchino with his ability to handle a full orchestra and create bold themes with numerous variations.

Tracks such as "the Minotaur", "Hydra", "Fighting Luke, Pt. 1 & 2" are superb action cues that showcase majestic, theme-filled pieces full of intense excitement.

Besides the action-packed tracks, Christophe Beck also addresses the mysterious and ethereal by way of cues like "Medusa", and "Lost Souls," and "End Credits".

Every track has something to offer and with a surplus of themes and secondary motifs for the multiple characters that inhabit the mythical world of Percy Jackson, the ride is quite engaging and beautiful at times.

Despite this being a "children's film score" there is intricate detail in the orchestration, decent emotional depth, and a true edge-of-your seat excitement to some great action cues.

Christophe Beck as a whole has risen to the occasion to create a satisfying 4 star fantasy score.

Tracklisting:

1) Prelude: A lovely opening cue that introduces the main theme, or what I will also refer to as Percy Jackson's theme. ***
2) The Minotaur: Intensely exciting - this is a detailed, exhilirating, and even passionate action cue which showcases some excellent writing for woodwinds, percussion and strings. ****
3) Chiron: An somewhat inspiring track of which features a lovely flute solo of the main theme similar to "Prelude" followed by a great horn lead into a majestic string melody before closing out the cue. ***
4) Victory: Another take on the main theme, this track is stimulating with soaring horns and woodwinds to rightly fit its title. ****
5) The Fury: This cue starts out lightly enough by way of interesting clarinet and flute work with whirring, bouncing strings. It then quickly ascends into a rousing fanfare full of turbulence - though ends a bit short of satisfying. ***1/2
6) Dyslexia: This cue is extremely brief, yet features a melancholy secondary theme for Percy Jackson. ***
7) The Hydra: A magical and electrifying cue, "the Hydra" is a perfect example of how action music should be. Instead of pounding us over-the-head with typical ostinato and electronic samples, it builds and grows along the way, utilizing racing strings, fantastic drum work (a la Dances with Wolves), and soaring brass to tremendous effect. *****
8) Medusa: An otherworldly choir ascends and descends tones, causing a shifting, unnerving feel to this ethereal cue, followed by lightly magical piano, harp, and strings. An ominous feeling in the music then takes over, becoming much more serious in tone - you can easily picture Medusa turning her victims to stone with no second thoughts. ***1/2
9) Son Of Poseidon: The proud and noble theme for Percy Jackson is gloriously displayed, though just too short. ***1/2
10) The Parthenon: This track is tenderly stirring and mystical while also driven by some intense fervor from the strings and woodwinds, but doesn't feel wholly developed as a stand-alone cue. ***1/2
11) Hollywood: David Arnold's exciting orchestrations are brought to mind in this celebratory exploration of the score's main theme, as well as containing the "Dyslexia" secondary theme. ***
12) Lost Souls: Moody and mysterious, this cue belongs in the same camp as "Medusa" - a great little story-telling piece. ***
13) Fighting Luke, Part 1: This is the start to a stunning duo of action cues. It starts out calmly enough, but by 1:30 the orchestra starts into unrelenting and undeniably fun action-packed string ostinatos accompanied by the main theme in a heralding fanfare. ****
14) Fighting Luke, Part 2: Right on the heels of its predecessor, this has one of my favorite moments of the album - starting at 1:03 - this track is exciting (and reminds me of John Powell's Phoenix Rising theme from Xmen: the Last Stand) with enormous choir, brass, and strings. ****1/2
15) Hades: Though this cue starts out darkly looming, it surprisingly gives way to a more child-like wonderment, unfortunately it feels a bit like filler. ***
16) Mount Olympus: Obviously majestic and "awe-inspiring", this track lives up to its name, and actually takes an unexpected turn by ending in a somewhat harsh fashion with whip-like percussion and ominous choir and strings. ****
17) Poseidon: Starting out a bit unnervingly, this cue is actually a thoughtful and regal

track, revealing that the theme originally heard in the track "Dyslexia" is actually a theme for Poseidon. ***1/2
18) Homecoming: A typically triumphant end-of-the-story cue which features

Percy Jackson's theme aka "the main theme" in a grander, slower version before ending on an energetic note. ****
19) End Credits: This cue is a 7 minute suite of the two main themes taken through numerous variations and expansions. A fine ending to a solid score. ****

Overall ScoreCrave Score: ****

The Spy Next Door by David Newman

2010-01-24T10:03:00.000-08:00

David Newman's score for the Spy Next Door has been released.

May we have hope for a surprise treasure?

Judging by the album packaging alone you might say, no - and regrettably you would be all too correct in your assumption.

Ever since Mr. Newman's scores for Anastasia, Ice Age and the Affair of the Necklace, I have purposely watched for upcoming soundtrack releases from this composer, hoping that he would get another chance to pull more beautiful themes and orchestrations out from under his sleeves.

Unfortunately, David Newman is simply a talent that is pigeon-holed in Hollywood as a comedy/family-film composer.

His score for 2008's the Spirit really had my hopes up for his re-emergence into more "serious" work (and it wasn't bad) but either he has a way of picking films that bomb - or they just happen to find him. It truly is lamentable, for I really enjoy the beauty and passion he can express with choir, piano, and strings in the previously mentioned compositions.

Now, we move on to his most recent effort, the Spy Next Door.

We, as film score fans, have heard the spy-genre dozens of times, in all of its various incarnations. It goes without saying, every James Bond/Mission Impossible reference is there - utilized to ad nauseam throughout the run-time of this release.

Upon bringing these spy elements to a child-like level, David Newman incorporates some of his own rhythms and extremely upbeat touches - replete with piano, guitar, woodwinds and strings (some real, some synthetic). Sadly, he takes the well-worn path of conventional genre-specific repetition and cartoon-ish sensibilities, producing a mediocre, unimaginative effort for this critically bludgeoned film.

On the other hand, there are a few transient moments of attractive melodies and orchestrations as featured in "Bob Eavesdrops", "I Love You Bob", "Bob's Childhood", and the finale cue "Colt to the Rescue - Part 2".

Otherwise, unless you are a David Newman completist and don't mind the idea of both the film's star, the beloved martial-arts expert, Jackie Chan and the highly underrated David Newman checking their pride and ingenuity at the door for a steady paycheck - please do yourself a favor (like you really needed my advice) and skip this one or at least save your money and buy it as a digital download or from a local bargain bin.

Track Listing:

1. Bob Wakes Up **

2. Stalking Poldark **
3. Satellite Dish **

4. Bob Eavesdrops ***
5. Breakfast Mess **
6. Too Many Princesses **
7. The Russian Test **
8. Glaze Is The Mole **
9. I Love You Bob ***
10. Bob Comes Clean ***
11. Bob's Childhood ***
12. Goodbye To Bob ***
13. The Russian's To Warehouse - Part 1 **
14. The Russian's To Warehouse - Part 2 **
15. Getting Free **
16. Bike Tricks **
17. Race To Gilliann's - Part 1 **
18. Race To Gilliann's - Part 2 **
19. Race To Gilliann's - Part 3 **
20. Race To Gilliann's - Part 4 **
21. Big Fight At Gilliann's - Part 1 **
22. Big Fight At Gilliann's - Part 2 **
23. Colt To The Rescue - Part 1 ***
24. Colt To The Rescue - Part 2 ***

Replay Value: *
Sound Quality: ***
Length: **
Thematic Content: ***
Originality: **
Composition: **

Overall ScoreCrave Score: **

Click HERE to purchase the Spy Next Door soundtrack from Amazon.com.

Legion by John Frizzell

2010-01-23T15:36:00.001-08:00

Legion is an average action/horror score for an apparently below average film. It truly disappoints me to report this.

I have to admit, the trailers looked pretty exciting and John Frizzell is always a composer I enjoy hearing from - not to say this project was a total loss.

There are numerous moments of intense action scoring and interesting sound design to engage the listener. Choir, piano, and strings are the driving factors of this score. The choral elements are used sparingly, so when they do show up, you will take notice.

The piano offers a subtle theme for humanity and the strings serve to keep the momentum going, always racing, gliding, or trilling.

The problem that plagues this album, like so many other recent soundtrack releases is the disjointedness caused by an average 1-2 minute run time for each individual cue.

Frustratingly, the listener is not allowed the chance to become fully immersed into the sonic world of Legion for at least 3/4 of the soundtrack's run-time.

Though some glimmers of enticing chaos, "Clouds Don't Buzz","They're Here"and "Attack of the Possessed" might draw your interest, they are all just entirely too short.

Thankfully this issue starts to resolve itself by track 18, "Open the Door", which sounds like the portal for unleashing supernatural fury has just, indeed, been broken. For the last 20 minutes of Legion, Frizzell's music is finally allowed to "spread its wings" and become a fairly solid action score.

Also, to offset the frenetic elements of tension and warfare, we are provided with some lovely moments in "You Are the True Protector", and its alternate version, bringing to life the brief piano melody - representing humanity - scattered throughout the score in tracks such as "Old And P***ed Off"and in a more despairing variation, "I Didn't Even Want This Baby".

All in all, John Frizzell delivers a score that is for the most part ferocious and rip-roaring, though disjointed and commonplace as far as horror/action film scores go.

If you would like to invest in his latest release, I suggest doing a digital download of the last few tracks - starting at "Open the Door" and skip the CD album.

As a side note: I was reading an interview with John Frizzell featured on fandomania.com, that he worked on an interesting technique he refers to as "frozen sounds" for this particular score.

He created this effect by manipulating seconds long instrumental samples and stretching their lengths to just under a minute, rendering unusual textures you may have never heard before, creating an otherworldly atmosphere for Legion.

Track Listing:

1. When I Was A little Girl ***
2. Michael Descends ***1/2

3. It’s Started ***

4. Old and P***ed Off ***
5. This is Not A Test **
6. Clouds Don’t Buzz ***1/2
7. The Aftermath **

8. Now What? **
9. They’re Here ***1/2
10. The Ice Cream Man ***

11. Attack of The Possessed ***1/2
12. We Got ‘Em Running **

13. God’s Plan ***
14. Percy’s Story **
15. Dark World ***

16. Bob Blames Himself **
17. I Didn't Even Want This Baby ***
18. Open the Door ****
19. Are We Safe Now? ***1/2
20. A Rebellious Son ***1/2
21. The Battle ****1/2
22. Die Like One of Them ***
23. That is Why You Failed Him ***1/2
24. You Are The True Protector ****
25. You Are The True Protector (Alternate Version) ****

Replay Value: **

Sound Quality: ***

Length: **

Thematic Content: **

Originality: **

Composition: ***

Overall ScoreCrave Score: ***

Click HERE to purchase the Legion soundtrack from Amazon.com .

Ninja Assassin by Ilan Eshkeri

2010-01-17T17:35:00.001-08:00

Ilan Eshkeri has been an exciting new-comer to watch these past few years. He has been composing for American films since 2001 but has been essentially under the radar until 2007's Stardust exploded on the scene.

He comes across as classically influenced, or at least enjoys incorporating great classical pieces into his movie scores. Young Victoria, Hannibal Rising, and the aforementioned have helped him lay some strong ground in the film music community.

Much to this reviewer's initial chagrin, Ninja Assassin is a complete 360 from what we have become accustomed to expect from this composer.

It feels strongly as if Ilan Eshkeri just wanted to stay within "the box" and let action scores of the past 10 years dictate and/or inspire the way he would approach this project.

Mr. Eshkeri starts things off with a nod to spaghetti westerns (Ennio Morricone, specifically), complete with electric guitar motif backed by male chorus, then proceeds to borrow the feel and orchestration of multiple Hans Zimmer and John Powell film scores. In the quieter moments featuring cello and string section, I was reminded of the Last Samurai, but at an inferior level. In the bounding, outright action moments a plethora of Remote Control scores, and even Alan Silvestri's action music, as of late, are heralded with little variation. In summary, if you come expecting anything substantially original, you will be fairly disappointed, but if you simply desire a new action score of the "kick-butt entertainment" variety, then this just may be for you.

Ilan Eshkeri's usual love themes, and swash-buckling moments are nearly completely absent. Though full orchestra is integrated and occasionally brought to the forefront, a majority of the highlights feature brief, yet lovely cello solos, intense and complex electric rock guitar writing, dark string textures, multi-faceted percussion, and interestingly placed electronic beats.

Track-listing:

1. Ninja Assassin: This cue begins with an electric guitar and male choir (a la Kill Bill), but sadly this cue doesn't do much with its 6 minute run time after the initial motif is established. ***
2. Training: Fun electric guitar and orchestra hits set up as driving momentum that is taken over by drums and clanking percussion of every sort. It then segues into some thoughtful cello, before ending with a building action feel.***1/2

3. Kiriko Runs: This cue is tragic, passionate and does a lot to highlight the string section with little interruption. ***1/2
4. Mika's Apartment: The first few moments of this track are filled with suspense and action which will attack your senses, replete with huge electric rock guitar and orchestra hits, probably not to everyone's taste. ***
5. First Kill: Electric guitar builds with an intense beat and a string section producing eerie sliding tones. True vigor and suspense is conjured, but with an unsatisfying conclusion. ***

6. Skyscraper Rain: The last minute of this track earns it an extra half a star. Electric guitar, strings, and a driving percussion section make things extremely entertaining for the listener. It has all the attributes of a gothic rock opera, without the vocalists.***1/2

7. Escape From Safehouse: A rock-star, mythical beginning starts this supremely intense cue with electric guitar, intensely racing strings, and effortless electronics keeping it all together. It sounds as though Hans Zimmer and Alan Silvestri got together to formulate this breathless piece; a truly exciting and impressive cue that may be a bit too noisy for some tastes near the end. I only wish the entire album was this engaging! ****1/2

8. Healing: A good track - of which I like to say "tells a story". There's building tension, moments of tranquility, and racing strings with a smooth beat to follow.***1/2
9. Soldiers Attack: An in-your-face track that may startle at the beginning, but from then on, "hang on to your seat", you are in for a cacophonic ride. ***1/2

10. Raizo vs Ozuno/Freedom: It begins as a powerfully urgent action track that is simply over-the-top, if not just a bit too noisy. The music then subsides to a more thoughtful passage, recapping some of the softer moments of the score before concluding with the spaghetti western-like electric guitar motif from the beginning of the score. ***1/2

11. Being Boiled n/a

12. Helden n/a

13. Shazam! n/a

14. The MC Remix n/a

15. Legacy (Explicit) n/a

Overall ScoreCrave Score:

***1/2

Ilan Eshkeri