8 1/2: Original Motion Picture Soundtrack Review

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8 1/2: Original Motion Picture Soundtrack Review*81/2" is Fellni's masterpiece as a film director, and with "La Strada," "La Dolce Vita," "Juliet of the Spirits" and "Amarcord," one the finest scores Rota composed for Fellini during his 30-year collaboration (ended only by the composer's death) with the director. I've enjoyed this recording since RCA issued in the U.S. in 1963 and also have the earlier stereo CD version produced by CAM in 1991. The selections are the same here as on the earlier issues. Regrettably, some major cues are missing. La Saraghina's dance, for instance, is heard not from the famed beach sequence, but only in a snippet reprised in the even more famous harem scene. Sadder, the nostalgic underscore, principally for guitar, to Guido's rememberance of one magic night from his boyhood and the wordless vocalise sung over the film's final credits aren't here either. Still, Rota's collage (including everything from music for circus band to some wittily employed selections from Rossini, Tchiakovsky and Wagner) remains potent, amusing and a complete delight.8 1/2: Original Motion Picture Soundtrack Overview

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Far from Heaven (Score) Review

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Far from Heaven (Score) ReviewIn contrary to the other readers' opinions, I found Bernstein's score a real 'charmer'. It sounds very 50s, and is deserving of the glowing accolades it has received in the media. This score is one of my favourite Elmer Bernstein scores. The quality of this score leaves modern scores for dead. If only film music would return to the golden -silver era once again. If this score doesn't get an Oscar nomination, I'll be very disappointed.
Peter..Far from Heaven (Score) Overview

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Halloween II: Original Motion Picture Soundtrack Review

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Halloween II: Original Motion Picture Soundtrack ReviewFor Halloween II the famous themes and cues were taken and given a grander treatment with some booming synthesizers and more instrumentation. The result might jar a few people at first, but give it a chance--this is a very rewarding, creepy horror film soundtrack.
The disc is short, and many of the themes are reused and somewhat recycled, not unlike the original soundtrack. All in all though you can listen to this disc beginning to end and get a great feeling for the film. Halloween II is a darker, more expressionistic film than the first while at the same time being more of a typical stalk-and-slash piece.
The real gem is the inclusion of Mr. Sandman by the Cordettes. I think it's the best use of this famous song in a film. Playing briefly before the prologue, the song plays in its entirety at the end of the film, extending into the credits. A cheery tune, it has forever been transformed into a somewhat sinister jingle for me after watching the film--and I love it. Definitely a nice stylistic choice by the filmmakers. The song's lyrics feature the female singers asking "Mr. Sandman" to bring them a dream--a dream man, in this case. The dream man in the film is, of course, the boogeyman in Michael Meyers. "Make him the cutest that I've ever seen" is juxtaposed with the plain, white-faced mask of the killer.
The best instrumental track here, to me, is "The Shape Stalks Again". It's the stalking music from the original film--the eerie, single-note piano bit--given a bolder treatment that is booming but still creepy. It leads into the operating room music, with its tense buildup to the climax.
Halloween II is a case where the filmmakers had more money, more time, and more resources, and they didn't squander it. Alan Howarth and Carpenter did justice to one of the most famous movie themes ever. It's not better or worse, it's different and very rewarding in its own right. This disc is a must for Halloween fans.Halloween II: Original Motion Picture Soundtrack Overview

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Death Race Review

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Death Race ReviewI saw this film today and would highly recommend the soundtrack and the film. Don't expect high brow wit, deep or complex plot or cutting edge character development; this is all about pure adrenaline-fuelled, high-octane action, and the music is just right for the job! On the heavy side, the score weighs in with enough threatening menace, rap, meaty guitar riffs and charisma to keep your playlist feeling 'too cool for school' for a while yet :DDeath Race Overview

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Gabriel Soundtrack Review

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Gabriel Soundtrack ReviewThis sound track is absolutely beautiful and reflects the movie. It is sad at times but also hopeful. It is beautiful to hear the voice of Andy Whitfield who plays Gabriel because his voice is extraordinary. I've listened to this cd so many times and will keep listening to it. It is one of the most moving sound tracks I've heard in a long time.Gabriel Soundtrack OverviewThis Soundtrack really takes the journey that we took in the film; Snippets of dialogue are pulled from the film And sound design elements from Purgatory.Cachia Scrupulously unites Rich Orchestrations and full vocal choirs along with a haunting soprano lead vocal, Heavy tribal beats and grooves along with explosions of heavy rock.It comes with a six page booklet displaying shots from the film.

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Ice Age: Dawn of the Dinosaurs Review

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Ice Age: Dawn of the Dinosaurs ReviewJohn Powell returns to score the light animated fare, Ice Age: Dawn Of The Dinosaurs. The first film was scored by David Newman and was completely forgettable. Powell brought his fresh sound and style to the series with Ice Age: The Meltdown in what was one heck of a score. I still listen to that one all the time.
In the second film he established some themes that he touches base with in this score. So, we get lots of variations on these well known melodies that ooze with Powell's style. He has two trademarks that define him above all other composers; one is the way he strings his melodies in a sort of descending notion and the other is of course his percussion. Many of you may remember his amazing "Mini-Sloths Sing-A-Long" from the second film which is a perfect example of his percussive style. He goes a bit easy on the percussion with this score, but it's there (just a bit subtle) and I love it.
I guess one could argue that this score is just more of the same, but so what? Scores are one of the most important aspects of tying franchises together. Yes, there are the occasional "copy and paste" scores, but don't worry because you never get that with John Powell. Another complaint some people may have are the incredibly short track times. Yes, there are 44 tracks with some only 30 seconds long, but Powell fans should come to expect this. His score albums are gapless so they are meant for continuous listening. There are a few long tracks that provide a better solo listening experience, especially "End Credits" which sums up the album nicely.
Overall I'm happy to have another John Powell score in my hands. When stacked up against the second score and all his other animated scores this one does fall short, but that doesn't mean that this isn't an incredibly fun listen. I found the second one to have more emotionally driven music that really defined him as a composer, but this one almost gets there with the last few tracks. So, enjoy this one because we won't get any John Powell till Paul Greengrass' Green Zone.Ice Age: Dawn of the Dinosaurs Overview

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The Soloist Review

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The Soloist ReviewThis is a really intriguing idea for a soundtrack--cello and fragments from Beethoven's Eroica Symphony in interesting contexts, mixed in with some other equally interesting things. What is on the album is engaging and exciting to listen to, but the bottom line is that this should've been twice as long.The Soloist Overview

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Hellboy Review

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Hellboy ReviewOne might expect the music for Hellboy to be loaded down with throbbing percussion and blaring brass, but the opposite is true. Marco Beltrami has written a sensitive score that has more to do with the characters and their relationships than battle scenes. The tracks Liz Sherman, Rooftop Tango Father's Funeral and Investigating Liz come immediately to mind as music having well developed themes that are even more rewarding when heard again. There, of course, are great dramatic moments when Hellboy battles the villains, but Mr. Beltrami does not go for a cheap effect and is nicely descriptive; the track entitled Soul Sucker has a nice spooky quality.
In short, this is a thoughtfully composed score that is charming, thrilling and atmospheric. It is a film score than can be listened to again and again for the quality of the music and a CD you will not get tired of.Hellboy Overview

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Predators Review

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Predators ReviewEmmy-winning and Oscar-nominated composer John Debney really makes his mark with the soundtrack to the Predator reboot. The overall sense of foreboding and hidden danger is very appropriate for the `Most Dangerous Game' scenario at the core of the Predator franchise. Debney introduces a more horror-themed style; the horn and string arrangements will remind you of the classic 30's, 40's and 50's horror flicks. You can almost see Dracula fighting the Wolfman atop a burning tower while listening to it.
Debney generates an almost constant sense of menace within the music, always including some sort of ambient reverb, distorted animal noises and metallic sound effects into the mix. He makes good but minimal use of the well-known piano cues from the original franchise, only slipping them in now and again, which is kind of a shame. Toss in some rock/rhythm guitar riffs for emphasis (which seems to be the new trend) and you get a whole new kind of Predator, and it's a pretty good listen. DM's from all over will be adding this one to their collection.
But the tracks are also very formulaic: they all tend to slow down towards the end and fade out on an ominous, lingering note, making them seem more like episodes. Debney's also not above a little atmospheric trickery- just about every track contains a dramatic pause for about two or three seconds to build the suspense before the music resumes. Problem is he does it so much you start expecting it; a little less would've improved its effectiveness.
Some highlights:
This Is Hell- Opens with an ominous descending 4-note cello with a static ambient underscore. Rattles, shakers and other miscellaneous instruments help play up the fear of the unknown. Background buzzing lends it a Friday the 13th feel.
Hound Attack- Slowly builds the tension with minimal instrumentation and assorted effects, including a raspy flute acting as a signal whistle. At :39 some good string rushes and tight percussion drop you right into the chase as the Predators flush the group with their dogs. At the 1:26 mark the tension increases as the tempo rises even higher before the classic Predator piano cue slows things down.
Predator Attack- Fast and hard-hitting, just like its namesake. Timpanis and trombones lead the charge with some odd kind of high-pitched rattle sitting beneath them. A 7-note rising brass motif is the standout here, reminiscent of the classic black and white horror flicks. Add some guitar riffs for support and it makes for a good time.
Meet Mr. Black- Opens as a tribal rhythmic beat with mosquito shakers and other odds and ends. Horns and strings arrive at :28, lasting until :50 where it switches into an ambient mood for the remainder.
Edwin & Isabella Captured- Starts out more rock-oriented with the riffs and techno-style programmed percussion, but incorporates the previous 7-note brass motif and strings nicely. Definitely gets your attention.
Theme From Predator- A nice, updated version of the Alan Silvestri original. Needed more of it.
This is a fun listen, but has a few dead spots and some tracks that are only interesting either at the beginning or the end. I personally would've liked a little more of an Alan Silvestri homage, but its worth your while.
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The Godfather Part II (1974 Film) Review

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The Godfather Part II (1974 Film) ReviewThe music score of the Godfather Part II was above and beyond Part I or Part III. The italian arrangments, the tragic melodies WOW. This is the one to get. Part I CD is nowhere nears as good as this and I only listened to some samplers of the compilation CD of all 3 films, and some of those arrangments are different from the movies. Go with the best, this is it.
The songs on this CD are pure and untouched. Total perfection.The Godfather Part II (1974 Film) Overview

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Jumper Review

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Jumper ReviewThis is a wonderfully written score, that combines electronic music, with guitar, and orchestra. Usually, I prefer the songs on a CD like this that are reflective, thematic, or slower. But in this case, even the action cues are fantastic! If you are even looking at this page, something about the music from this movie caught your attention - and I say, "Go for it." You will not be disappointed.Jumper Overview

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Inglourious Basterds Review

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Inglourious Basterds ReviewWe all get excited anytime a new film by Quentin Tarantino comes out, and with every new film, he keeps topping himself with a more epic soundtrack. Well he's did it again! and with a very unique selection of music. If you're lucky enough to have the complete soundtrack to Inglourious Basterds (like me) than you will especially love this killer soundtrack. There is a few problems I have with the soundtrack they're selling here (not the music used in the movie) but I will share that with you on the last part of my review.
(the list below is also of songs not on the offical soundtrack, but within the movie and in order of how they are played in the film)
The Green Leaves Of Summer by Nick Perito: Opening Credits.
The Verdict (La Condanna) by Ennio Morricone: Hans Landa Arrives.
L'incontro Con La Figlia by Ennio Morricone: The assassination of Shosanna's family and her subsequent escape.
White Lightning (Main Title) by Charles Bernstein: Pvt. Butz's introduction and Basterds aftermath/Lt. Aldo carving a swastika into Butz/introduction to Shosanna and the theater in 1944.
Il Mercenario (ripresa) by Ennio Morricone: Nazi Scalping/Werner is taken to Lt. Aldo.
Slaughter by Billy Preston: Presentation of Hugo Stiglitz, Hugo's flashback.
Algiers November 1, 1954 (from Battle of Algiers) by Ennio Morricone & Gillo Pontecorvo: The Basterds springing Stiglitz from jail.
The Surrender (La Resa) by Ennio Morricone: Donny kills Werner.
One Silver Dollar (Un Dollaro Bucato) by The Film Studio Orchestra: Bistro music when Shosanna and Fredrick talk.
Hound Chase (from 'White Lightning') by Charles Bernstein: Maj. Hellstrom informs Shosanna she must come with him.
Al Di Là Della Legge by Riz Ortolani: Piano music at Maxim's when Shosanna has lunch with Goebbels, Francesca, Zoller and Maj. Hellstrom.
Bath Attack (from 'The Entity') by Charles Bernstein: Shosanna sees Hans Landa again for the first time.
Claire's First Appearance by Jacques Loussier: Shosanna decides to burn the theatre down the night of the Nation's Pride premiere.
The Fight by Jacques Loussier: Stiglitz sharpens his knife in front of Lt. Hicox.
Davon Geht Die Welt Nicht Unter by Zarah Leander: First song playing in La Louisiane (when the first card game is going on).
The Man with the Big Sombrero by Samantha Shelton And Michael Andrew: The second song playing in La Louisiane (when Bridget is attempting to inform the Basterds of the recent changes in Operation Kino).
Ich Wollt Ich Wär Ein Huhn by Lilian Harvey & Willy Fritsch: The third song playing in La Louisiane (when Sgt. Wilhelm interrupts the conversation to talk to Bridget).
Main Theme from Dark of the Sun by Jacques Loussier: When Lt. Aldo and Bridget start coming up with Plan B for Operation Kino.
Cat People (Putting Out Fire) by David Bowie: Shosanna's preparation montage for her revenge.
Mystic And Severe by Ennio Morricone: Col. Landa studies the lobby and finds Bridget and the Basterds.
The Devil's Rumble by Davie Allan & The Arrows: Donny and Omar study the opera boxes and take their seats among the Nazi officers.
What'd I Say by Rare Earth: Donnyz and Omar study the area outside Hitler's opera box.
Zulus by Elmer Bernstein: Marcel bars the doors and takes his place behind the screen with the nitrate film prints.
Tiger Tank by Lalo Schifrin: Fredrick leaves the opera box to see Shosanna; Shosanna switches reels.
Un Amico by Ennio Morricone: Shosanna is killed by Fredrick.
Eastern Condors by Sherman Chow Gam-Cheung: Omar kills one of Hitler's guards.
Rabbia e Tarantella by Ennio Morricone: Lt. Aldo carves his masterpiece; the ending credits.
The problem I have with the soundtrack is...... THERE IS NO DIALOGUE TRACKS! every one of Quentin's soundtracks there is dialogue tracks and it sucks these does not have any... Thats what is fun about his soundtracks, but oh well... Nice front and back cover and etc.Inglourious Basterds Overview

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Scent Of A Woman: Original Motion Picture Soundtrack Review

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Scent Of A Woman: Original Motion Picture Soundtrack ReviewAs a matter of fact I bought this CD not as much due to Mr. Newman's original scrore, but since I liked very much the treatment of the beatiful Spanish song "La Violetera" in key moments of the film. Mr. Newman's music is very good, but the Spanish and Argentine music he used was much better. The performances of "The Tango Project" are superb. "La Violetera" is probably the nicest Spanish song, talking of a florist; it is widely known in its original version in Spain and Latin America, and moreover, came to international light thanks to Charles Chaplin's "City Lights" where it was the Leitmotif of the blind florist girl (a very adequate use indeed). The tango "Por una Cabeza" is probably the highlight of the score, because it is the piece danced by Al Pacino; unfortunately the other tango "Caminito", played by the orchestra at the restaurant, does not appear here. It is a petty. As a whole, I like the CD very much, especially the two performances of "The Tango Project", but just because they are more touching to my cultural heritage. Nonetheless, I praise both Mr. Newman's personal compositions as well as his perfect use of other's melodies.Scent Of A Woman: Original Motion Picture Soundtrack Overview

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The Last Airbender Review

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The Last Airbender ReviewI realize the review's title isn't very imaginative, but that's the only way to describe this. James Newton Howard was an outstanding choice for the soundtrack to this film; as directors tend to go with the ones they trust- Lucas/Williams, Burton/Elfman, etc- M.Night Shayamalan and Howard have a good relationship, blossoming in his under-appreciated effort on The Lady In The Water. The general public knows him from his collaborations with Hans Zimmer on the Batman Begins/Dark Knight scores, but as of this moment Howard is about to become a household name. Last Airbender is powerful in its composition, crystal clear in its vision and astounding in its depth and scope. This is the Oscar- right here.
Some folks have decried the lack of usage of the existing themes from the tv show; while these concerns carry a certain validity, believe me- you will never miss them. Howard delivers an outstanding piece of work that at times may well move you to tears from its sheer poetry and poignancy.
There are some resemblances to his previous efforts; he remains a master at string arrangements and makes liberal use of the two-note motif technique popularized by Batman/Dark Knight by either repeating it into a full measure or applying variants to reflect different events and personas. Multiple themes and cues are used to great effect; notable among these is Aang's motif- a string and brass rapid two-noter repeated four times that descends on the last note. Variants include a couple of six-note alternates, simple two-note leitmotifs and even a couple of 14-note extended movements. There's also a general motif for 'bending' that also differs in instrumentation and tempo to let you know what's being referred to. The Fire Nation theme excels in its percussion and brass- usually fueled by fierce snare and taiko drums, very high strings, trombones and choral chants, the last delivering a Basil Poledouris-like 'Conan' feel to the music. The Fire Nation themes appear in several different forms but are always recognizable.
By far the most dramatic pieces are what I'm calling the 'Avatar Movements'- all generally comprised of flowing string arrangements for violin, viola and cello, layering and blending with french horns and tubas. The most prominent of these is a 14-note downward cello progression introduced in 'Earthbenders'. The different Avatar Movements make several other appearances throughout the soundtrack before they're all gloriously showcased in the final two tracks 'Now We Are the Gods' and 'Flow Like Water'. These three pieces especially will garner the most attention and may well be what finally nets Howard the Oscar for his efforts. It's here that all the hyperbole clichés apply: no words in the English language, words fail, etc. They are truly magnificent sets.
Some highlights: *Potential Spoilers Alert*
Earthbenders- The cello, taiko drum and brass are strong, powerful and as solid as the element they're invoking. Befitting of the Earthbenders as they strike back against their captors, it's percussion heavy and forceful. The Avatar Movement in cello begins at 0:12 and Aang's 8-note motif debuts on tuba and string at 1:20. Here lies the best use of the 'variations on a theme' ideal; at 1:55 the 4-note Earthbender theme appears as timpani, tuba blast and cello. In comes a tension building triangle and rim shot bridge until 2:35. The tuba and timpani-based transition introduced at 2:35 to sustain the action is amazing. Staying in Earth mode Aang's 8-note motif smashes in at 2:42 as a hard-hitting snare drum, string and trumpet combo. No pun intended, it all simply rocks! The whole thing almost makes you want to try a few Bending moves, just to see...
Journey to the Northern Water Tribes- Opens with a Fire Nation Theme variant until the 0:36 mark. At 0:50 a very bold use of Aang's motif on brass leads into the search to find a Waterbending Master to teach both Aang and Katara at 1:07; from here their 'Journey of Discovery' becomes a fully realized adventure within the rim shots, snare drums and trumpets as they head north.

Hall of Avatars- Opens with and centers upon the Avatar Movements, most notably at 1:30, reflecting Aang's connection to his past lives.
The Blue Spirit- As good an action piece as you'll find. The brass use reminded me of the swashbuckler flicks from the '50s, very appropo as Zuko steals Aang from his captors in the guise of the Blue Spirit. The whole of it is an across-the-board exploration of the Fire Nation rhythms and themes, but is done very well- check out the drums at 4:08.
We Are Now the Gods- Mostly reflective and angst-laden, but never dull. More Fire Nation themes appear to help show off new string arrangements and snare drums during the first 2:30 as Commander Zhao destroys the animal form of the Moon Spirit. At 3:30 secondary Avatar Movements appear as variants at their most somber, laden and sweetly melancholic. The much under-used chorus is very evocative and in perfect harmony with the strings to emphasize Princess Yue's sacrifice.
Flow Like Water- Aang defends the Northern Water Tribe against the Fire Nation. The Avatar Movements and themes are displayed in their full harmonies, the overall effect much like that old Maxell commercial set to Wagner- blowing you away while you're still sitting in your chair. There really are no words for this one: starting with the now-familiar Avatar cellos to 1:38 when the full string arrangements are layered starting at 2:40 and continues while the orchestra pulls it all together with Aang's horn motif sitting atop it all like a cherry on ice cream- at that point you're in another world and can almost see the Waterbending happening. It all ends with a strong alternate of the Fire Nation taiko drums and a Bending reprise mixed with Aang's motif on brass as Aang accepts his role as the Avatar.
*End Potential Spoilers*
I freely admit to being blown away by it all; until now my favorite and Oscar front-runner for the year had been Elfman's Alice in Wonderland, both for its sheer brilliance and the fantastic Alice's Theme- which should still take Best Song. The only real complaints here are once again the tracks aren't laid out in sequential order to get a sense of the film and the flow of the score, and equally important is the minimal use of choral arrangements on the cd, since revealed as a corporate decision so as not to have to pay them royalties. Penny-pinching and randomness aside, the Best Soundtrack of the year is unmistakably the one before you right now.
The Last Airbender Overview

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Malena (2000 Film) Review

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Malena (2000 Film) ReviewEnnio Morricone's score to MALENA is totally original, but totally Morricone at the same time. Perhaps that's why one disgruntled reviewer felt there were too many similarities to another of his scores. My musical ear does not hear what he hears. And another reviewer sadly stated that you can sum up the Maestro's entire career in 6 albums, and proceeded to name them. Unfortunately, the 6 cds he named are all from a Morricone "later period" [roughly '86 - '98] and, thus, only cover a small fraction of his range and genius. You'd be missing that most wonderful period from '70 - '76, or thereabout, that for many of us diehards defines a big part of the Morricone mystique. [Those totally original and extremely creative and unforgettable scores for THE BURGLARS, A FISTFUL OF DYNAMITE [A/K/A DUCK, YOU SUCKER], LE PROFESSIONEL, VERUSCHKA, etc., etc. Not to mention even earlier masterpieces as diverse as METTI UNA SERA A CENA, THE LADY CALIPH, AND ONCE UPON A TIME IN THE WEST.]
There simply is no greater movie score composer, and it's hard to peg just one Morricone "sound," because the Maestro's genius is just too big. Quite plainly, no one has created a body of work for movie music that is as diverse, and at the same time, so distinct and identifiable. In a nutshell, that is the genius of Morricone.
Now, for the music to MALENA. I can't imagine how it could have better captured the feel of what happened on the screen, and, at the same time, elevate the story, and become a character in itself. It's also wonderful how Morricone used a period song, written by D'Anzi & Galdieri, "Ma, l'amore no!" to accentuate the story. What a beautiful addition to the movie, what an unforgettable melody, how absolutely brilliant and evocative!! If I have a complaint, it's that the original sung version of the tune [which we hear a few times in the movie, when Malena dances with the picture of her missing-in-action husband, etc.]is not included, rather, a lovely and fully orchestral version by the Maestro is featured on the album. Also, one of my other favorite original themes is not isolated, but always combined with either an action cue or another theme. I would have liked one version of this theme by itself.
The score to MALENA, while perhaps not Morricone's VERY best, still represents the absolute best of his work. Yo Yo Ma, in fact, included the main theme in his Morricone tribute album, which has been one of the biggest "classical" cds of the year.
TOTALLY and thoroughly enjoyable, very satisfying, and highly recommended.Malena (2000 Film) OverviewSoundtrack Written, Orchestrated and Directed by Ennio Morricone for the Film 'malena' from Italian Director Giuseppe Tornatore.--This text refers to an out of print or unavailable edition of this title.

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Revolutionary Road Review

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Revolutionary Road ReviewThomas Newman's music so easily evokes emotion and the older songs "The Gypsy" and "Count Every Star" are so classy and romantic. Loves it! I only wish they had included the song from the trailer, "Wild is the Wind" by Nina Simone...otherwise it's a beautiful CD.Revolutionary Road Overview

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Paris, Texas: Original Motion Picture Soundtrack Review

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Paris, Texas: Original Motion Picture Soundtrack ReviewOne of the immortal scenes: Harry Dean Stanton in the desert, scrambling out of nowhere, a tortured Everyman in search of solace. And then Ry Cooder`s slide guitar notes, modeled on Blind Willie Johnson`s " Dark was the night" - when have so few notes said so much? The music and the film images fit like hand and glove. I do not know whether "Paris, Texas" is a great movie, but I do know that it, for me and a host of others, is one of the most unforgettable movies ever, with images and feelings that refuse to let go, creeping under the skin and staying there. The music underlines this feeling, with not a surplus note, every little vibrato inuitively perfectly suited to the atmosphere conveyed in the movie - love and loss, union and aloneness, and, above all, compassion . If the music doesn`t reach these feelings, the experience may be that of the 1-star reviewer quoted. But to me, this music is one of the most durable selections I have in my 1000-piece collection, one of the few that always brings rewards and new nuances when listened to.Paris, Texas: Original Motion Picture Soundtrack OverviewCD > POPULAR MUSIC > MOVIE SOUNDTRACK

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Quantum of Solace Review

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Quantum of Solace ReviewDavid Arnold's soundtrack to QUANTUM OF SOLACE is not up to his exceptional CASINO ROYALE. It is rather repetitive, somewhat innovative yet unfortunately strangely mundane and uninspiring. There were many complaints about the sparse use of The James Bond Theme in CASINO ROYALE. Well, you can barley find it on this soundtrack. It is there, interwoven, interpolated or whatever but essentially it is missing. I think many of us were led to believe that the use of The James Bond Theme would be more prominent since the finale of CASINO ROYALE ended in such a grand display of the theme and James Bond was now ready to return musically to his roots but continue with the new found realism in the next film. Unfortunately that is not the case, at least musically speaking. Too bad, David Arnold's score for CASINO ROYALE was pure genius.Quantum of Solace Overview

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The Majestic Review

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The Majestic ReviewThis CD is a great compilation of jazz and classics from the era in which the movie was set. There are several piano solos on this CD but Track 5 is some of the most awesome piano that I have ever heard. I believe this is the solo from the scene where the Jim Carrey character discovers he can jam and it has resparked my own interest in playing jazz piano. Thank you! Additional songs include Spencer's clarinet solos and a couple of Nat King Cole classics that really round off the selection.The Majestic Overview

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Aliens: The Deluxe Edition Review

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Aliens: The Deluxe Edition ReviewSitting in a darkened theatre ~ watching the opening sequence of this overpowering sequel was a riveting thrill ~ the first film "Alien" (1979) from director Ridley Scott and was scored by Jerry Goldsmith, believe his music for this film could not be topped, he is without a doubt one of the greatest films-composers with past credentials a mile long ~ however, James Horner has for this sequel mind you, surpassed Goldsmith's original outing for our complex creature from another planet.
Varese Sarabande once again, include the releasing of a deluxe edition with bonus tracks ~ alternate takes, previously unreleased material and this time something very interesting called "percussion only", works well for this sci-fi multi-hit from director James Cameron ~ "Aliens" (1986) ~ Horner takes the music to new and undiscovered heights, very much like his scores for "Star Trek II: The Wrath of Khan" (1982) ~ "Patriot Games" (1992) and "Apollo 13" (1996), each score enhances the films story-line, which only proves if you turn the sound down while watching the film, it's simply blase` not the same excitement you would experience with the soundtrack inclusive.
Would make mention our stand outs ~ "RIPLEY'S RESCUE", both instrumental and percussion only versions, simply turns the heat up on the films progress ~ "FUTILE ESCAPE", over 8 minutes in length, Horner writes a scoring masterpiece essentially using strings, brass and overlapping percussion for this staggering musical journey that sends chills up and down your spine, can't say enough about this cue.
A big thank you to ~ Robert Townson (executive producer), as always in their pitching ~ Nick Redman (deluxe edition producer) ~ the London Symphony Orchestra ~ and our composer, conductor and producer, serving up this magnificent feast for all film-score-buffs to drool over ~ JAMES HORNER!
Total Time: 75:44 on 24 Tracks ~ Varese Sarabande 302-0666-241-2 ~ (2001)Aliens: The Deluxe Edition OverviewNo Description AvailableNo Track Information AvailableMedia Type: CDArtist: ALIENSTitle: SCOREStreet Release Date: 05/01/2001

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