ScreenSounds

2011-01-14T03:30:00.000-08:00

GOODBYE

OK, so you may have been wondering why I have been AWOL for the past week or so. Well, due to unfortunate circumstances, I have been shaken into re-evaluating my life. As you will know, if you've been following my blog, I have been struggling for a long time to keep up with the reviewing, what with work and health problems and the thing is, I've been putting so many other things off for a "rainy day" and have now come to realise that if that "rainy day" ever arrives, it might be truly "rainy day" and I might not then be in a position to do them anyway. So, the time has come to make changes and, after more than 30 years of writing about screen music, I think the time has come to stop. It's not that I've become disillusioned with the art or anything like that. No, there's still plenty of fine music being written out there, and an abundance of older scores are finally seeing the light, so times remain interesting and exciting.
So, it hasn't been easy to make the decision to quit, but I feel that it's no good continuing in a half-hearted fashion. It just isn't fair to anyone. So this is my final post and below you will see a brief roundup of all the things I have not gotten around to reviewing, just to alert you to the fact that they are out there.
I want to conclude by thanking all the record labels, composers and their publicists who have so generously furnished me with news and music over the years, and of course all of you who have taken the time to read my ramblings. I leave thinking, rightly or wrongly, that I haven't done a bad job for someone with a love of cinema and its music, but with no musical training. I don't know how it works, but hope Blogger will allow the site to remain open as a source of reference, for a while at least.
So goodbye and good listening!

After nearly a year of not hearing from them, KeepMoving Records have a couple of new CD releases now available. Firstly, we have St. George Shoots the Dragon, featuring Aleksander Randjelovic's music for this World War I drama, the most expensive Serbian film ever. It's a fine orchestral score performed by the Pro Arte Orchestra of Belgrade, though don't be expecting bombast, as the anti-war nature of the film demanded a more intimate, sympathetic accompaniment.
The other release is of Jorgen Lauritsen's music for Strings, director Aders RonnowKlarlund's 2004's puppet fantasy. It's another big orchestral score, performed by Danish Radio Sinfonietta, enhanced by ethnic voices, solo soprano and various instrumental soloists.
Both releases are accompanied by colourful and informative booklets and anyone ordering St. George will also receive a bonus CD of the video game soundtrack Genesis Rising. For further details of both these releases, together with samples, go to www.keepmovingrecords.com. If you haven't yet acquainted yourself with KeepMoving's releases, you should definitely check them out as there's some fine music to be heard, and just to remind you that reviews of many of their albums can be found by searching this blog.

I shall be sorry to miss out on La-La Land's future releases as they continue to resurrect many great scores from the past, often in wonderful expanded editions, with splendid accompanying booklets, as well as releasing great contemporary fare like their many Bear McCreary scores and music from animated movies. Anyway, their latest batch include expanded releases of Danny Elfman's Batman Returns, Jerry Goldsmith's Star Trek V: The Final Frontier and John Williams' Home Alone. Batman Returns features the complete score on disc one, continuing on disc two, with the addition of alternate cues and original album cuts. Whereas Elfman's original Batman score was largely straightforward, and often suitably bombastic and Herrmannesque, the inclusion of complicated characters like The Penguin and Catwoman required new and versatile material, including carnival-like music and a slinky string theme for the latter, whilst of course retaining the composer's original Batman theme. This album is limited to 3500 units.
Star Trek V: The Final Frontier features the original film tracks on disc one, with the 1989 album release tracks on disc two, together with sic additional music cues. Goldsmith returned to the franchise, having composed the score for the first Star Trek movie and, as well as reprising his main and Klingon themes from that film, composed some memorable new themes, "A Busy Man" actually being reprised in his later scores in the series. There are 5000 copies available of this edition. Finally, Home Alone, showed John Williams' versatility as a composer (if anyone had any doubts). This was no sci-fi/fantasy blockbuster, but a comedy about a small boy beating up burglars and it's Christmas setting lead to one of the composer's most joyful scores, with new seasonal songs (written with Leslie Bricusse) that have taken their place in the repertoire, and plenty of energetic action scoring. This single disc presentation features much previously unreleased material, together with six additional music cues, in this 3500 unit edition. All three albums are of course accompanied by the usual splendid booklets, with copious informative notes and plenty of colour stills from the films.
In addition to these, La-La Land have also given first-time releases to James Horner's score for the 1995 noir Jade and John Morris's music for the 1986 Gene Wilder comedy Haunted Honeymoon. Jade is a fairly brief score at 26 minutes and mixes orchestral and electronic elements, with a small band of musicians playing ethnic instruments like Shakubachi, Erhu and Chinese Flute. The score is very east meets west in flavour, and the five bonus tracks that complete the disc mostly feature Chinese source music, though there is also an excerpt from Stravinsky's Le Sacre du Printemps, and Loreena McKennitt's "The Mystic's Dream," which plays an important part in the score. This album is limited to 3500 units.
Haunted Honeymoon mostly plays it straight, though there are one or two moments of comedic writing to be found, with Morris employing a traditional Hollywood Gothic sound, including organ. This really is a previously unknown gem (to me) and a very welcome release indeed, but it is limited to just 1200 units, so you'd best hurry to grab your copy. Again, both releases are accompanied by the usual high quality booklets.
Go to www.lalalandrecords.com for all the above albums, where you can first listen to samples before ordering.

Silva Screen Records have announced the 7th February release of Martin Phipps' score for Rowan Joffe's adaptation of Graham Greene's Brighton Rock. Described as a"dark orchestral score," I would say that it is in fact much more interesting than it sounds, being really quite quirky and offbeat and quite a nice surprise to me. This is well worth checking out if you like scores that seem to defy convention. Will of course be available from www.silvascreenmusic.com.

It's rather sad that I have only just made acquaintance with composer Winifred Phillips, having reviewed her fine music for the Legend of the Guardians game but anyway, she kindly sent me links to two more of her game scores; firstly, for Sim Animals, which is really quite delightful. Although it is synthetically produced (with credit to Winifred's close ally Winnie Waldron), it mostly has a light and fluffy, woodwinds-based feel, which is very uplifting, even if the inclusion of bird and animal sounds on many tracks is slightly distracting. You can read a full review at www.gamertell.com. The second score is for Spore Hero and is much more of a conventional synth score, with, after a bright start, a good deal of dark, almost Gothic-styled material, before ultimately achieving Media Ventures-like heroics. You can read a full review at www.denofgeek.com. Both albums are available from www.ea.com. Keep up with Winifred and her music at www.winifredphillips.com.
Another composer I had only just connected with is Benedikt Brydern, he having kindly allowed me to review his score for The Pagan Queen. He has another album, out at cdbaby and shortly at iTunes and Amazon, featuring tracks from his score for an independent movie Out Patient, released a few years back, a mysterious drama featuring Justin Kirk of Weeds. Benedikt remains fond of the main theme he wrote, and describes the score as "dark, melancholic and melodic." I've given it a quick listen, and can highly recommend this strongly melodic work, with a versatile main theme, performed at times by piano and flute, and transformed into a lovely waltz at one point. There's even a dramatic aria, performed by solo soprano. It's well worth checking out. Follow Benedikt and his work at www.consordino.com.

Publicists Costa Communications have for several years been providing me with press releases, albums and links to their clients' works, for which I am very grateful, the latest score to have come my way being Christopher Young's music for The Black Tulip, directed by Sonia Nassery Cole, about a family who open a restaurant in Afghanistan following the fall of the Taliban, only to find themselves targeted by elements of the old regime. As one might expect, Young's score is very ethnic in character, and not to the liking of my western ears. But, if you like that sort of thing, this may well be your bag. Whatever, it certainly shows the composer's versatility. Unfortunately, I do not know at present whether the score will have a commercial release so, for now, you'll have to catch the film to hear it.
Finally, just to let you know that Tadlow Music have a new look website, so get along to www.tadlowmusic.com to check it out.

2011-01-06T08:19:00.000-08:00

CD REVIEW - UNSTOPPABLE

So I took a few days off. This was partly because I was working on a personal project, but also because I did it - I finally caught up with the backlog of CDs and suddenly found myself with nothing left to review. Anyway, I've since received a number of releases, including a big batch of La-La Land's latest releases and this is where I start:-

Unstoppable
Music by Harry Gregson-Williams
La-La Land Records LLLCD 1160 (US)
13 Tracks 42:22 mins

Taking brief time out from releasing all those excellent expanded editions and premieres of past scores, La-La Land Records here release Harry Gregson-Williams's music for the recent runaway train thriller Unstoppable, starring Denzel Washington and Chris Pine (the new Captain Kirk), a film that my brother informs me ticks all the right boxes.
Utilising synths, samples and a handful of musicians: Heitor Pereira and Tony Morales on electric guitars; Martin Tillman on electric cello, Hugh Marsh on electric violin and the composer himself on piano; and with the assistance of Justin Burnett, Gregson-Williams' score is naturally largely propulsive, often in a tense, electronic-pulsed/percussive fashion, as can immediately be heard in the opening "Stanton, PA." For our heroes, Frank and Will, the composer offers sympathetic scoring for strings and piano, but even the quieter moments offer an underlying propulsiveness.
Amidst all the tension, the music does of course break free in the more action-packed sequences, where the guitars and percussion really come into their own, culminating in the lengthy "The Stanton Curve," with "Who Do I Kiss First?" providing the appropriate sense of relief.
To sum up, it's a very contemporary sounding score, not really my cup of tea, but I am sure it serves its purpose well enough.
Get along to www.lalalandrecords/unstoppable.html.com for your copy.

2010-12-31T15:23:00.001-08:00

CD REVIEW - THE BOUNTY

The Bounty
Music by Vangelis
Arranged, Produced and Performed by Dominik Hauser
BSX Records BSXCD 8881 (US)
20 Tracks 68:03 mins

It's New Year's Eve and I'm bound and determined not to end the year on a sour note, so I'll temper my comments on this new release from BSX Records. Actually, what's to criticise really about the actual release? Vangelis' score for Roger Donaldson's 1984 version of The Bounty is one that many have wanted to hear on CD for a long time now, and so what if it is not an original recording? To the best of my knowledge, it's a pretty faithful recreation by Dominik Hauser, who has produced a number of re-recordings of themes for the label in recent times. Of course, I'm no expert on the score because, as with practically all of Vangelis' cinematic output, I have heard it once on film and once only. And I will not watch this or any of the period films he has scored again until they are appropriately re-scored. Granted, Vangelis is a talented melodist, as can be evidenced by this album, but electronic music does not and never will belong in a period film. Here, aside from some nice melodies, the remainder of his music comes across as B-movie sci-fi meets John Carpenter.
But that's enough. Be positive, I tell myself, and so, yes, the album is nicely produced, with an accompanying 12-page booklet, sadly lacking in stills and artwork from the film, but with informative notes by Randall D. Larson and profiles of Hauser, vocalist Katie Campbell, who performs the traditional shanty "She Moved Through the The Fair;" and violinist Elizabeth Hedman, who features on another traditional tune "Drowsy Maggie." There is also the additional attraction of suites and themes from three other Vangelis-scored movies, Bitter Moon, Francesco and La Peste - all again reveal the composer's gift for melody; the album concluding with the single edit of the "End Credits" from The Bounty.
Limited to just 2000 units, you'd best hurry along to www.buysoundtrax.com and grab your copy. If you're not a Vangelis fan and need some convincing, you'll maybe want to check out the samples there first.
It only remains for me to wish you all a very happy New Year, one in which you continue to find plenty of good screen music, old and new to enjoy.

2010-12-30T08:33:00.000-08:00

CD/DIGITAL DOWNLOAD REVIEW - CUCKOO

Cuckoo
Music by Andrew Hewitt
MovieScore Media MMS 10026
17 Tracks 31:17 mins

Yet another new name to me is British composer Andrew Hewitt, who has written the music for the recent thriller Cuckoo. Described as "essentially a musical study of inner claustrophobia," the score is written largely for strings and is basically an exercise in how many different ways one can present the "cuckoo" motif. Of course, there is a little more to it than that, with much suspenseful and mysterious writing, occasionally giving way to more uptempo passages. It's all very Herrmannesque, being especially reminiscent of his work for the Hitchcock classic Psycho, but I am afraid, for me, the whole "cuckoo" thing quickly grew very tiresome, and I was pleased the album has such a brief playing time.
Go to www.moviescoremedia.com/cuckoo.html for samples, a trailer for the film, and ordering suggestions for both CD and digital download versions of the album.

2010-12-28T13:07:00.001-08:00

CD REVIEW - THE KING'S SPEECH

The King's Speech
Music by Alexandre Desplat
Decca Records 476 4198 (EU)
14 Tracks 45:17 mins

French composer Alexandre Desplat seems to have become the composer of choice when it comes to scoring films dealing with the British throne, what with The Queen and now The King's Speech, a movie that is already receiving much attention even in advance of its release on 7th January, thanks of course to its Golden Globe nominations, as well as its triumph at the 2010 Toronto International Film Festival, The People's Choice Award, Hamptons International Film Award and a Hollywood Award. The film stars Colin Firth as King George VI, who of course suffered a terrible stammer, and Geoffrey Rush as the speech therapist who helped him overcome it.
Desplat's score was recorded at the famous Abbey Road Studios, utilising the very microphones through which the King used to give his speeches, bearing the royal coat of arms and insignia. Director of Engineering Peter Cobbin said of the use of these: "It was one thing for us to enjoy the visual presence of these rare microphones, but then quite another to hear the sonic tone and unique quality which wrapped and enveloped the score inside Abbey Road's Studio One."
For those of you who may be Strictly Come Dancing fans, you may be interested to know that piano is featured prominently in Desplat's score and the solos were performed by no less than Dave Arch, a name you will be familiar with for his excellent musical direction of the show.
The album opens with the restrained warmth of "Lionel and Bertie," tinkling piano joining strings to take it to its conclusion. The main theme follows in the title track, a flowing, happy and lightly purposeful piano-lead piece, which gives way to a much more uncertain, one could even say stammering conclusion. "My Kingdom, My Rules" follows, beginning uncertainly but then taking flight on piano. "The King is Dead" is suitably tragic, whilst "Memories of Childhood" is again an unhappy affair, full of self-doubt and uncertainty.
"King George VI" is no more confident to start with, but duty calls and the music assumes a certain nobility, for a time at least. The main theme, in its best and most complete incarnation, makes a welcome return in "The Royal Household," before more uncertainty in "Queen Elizabeth," despite some moments of warmth and sympathy. "Fear and Suspicion" follows and expands up on a John Barryish feel introduced at the conclusion of the previous track, with the main theme struggling to be heard and then eventually breaking free.
The penultimate track of Desplat's music, "The Rehearsal," builds expectantly to a quite joyous conclusion, but has to give way to darker matters and "The Threat of War," which closes the score in nervous anticipation of what is to come.
Another admirable effort from Desplat, who has overcome something of a gimmicky start to his international career to become a mature and dependable presence on whatever production comes his way.
In addition to Desplat's music, the album concludes with two pieces by Beethoven and one by Mozart, used to accompany especially dramatic moments in the film.
The soundtrack to The King's Speech will be released in the UK on 3rd January.

2010-12-27T15:53:00.000-08:00

DIGITAL ALBUM REVIEW - THE PAGAN QUEEN

The Pagan Queen
Music by Benedikt Brydern
ConSordino Music
18 Tracks 63:07 mins

I hope you all had a very merry Christmas, so here I am again with the first of my final reviews of 2010, this a digital album from a new name to me, Benedikt Brydern, to whom I am thankful for this opportunity of acquainting myself with his music for last year's historical drama The Pagan Queen from director Constantin Werner. The film is based on the legend of Libuse, the 8th century Czech tribal queen, who envisioned the city of Prague and founded the first Czech dynasty with Premysl, the Ploughman.
Appropriately, the score was recorded in Prague with an 80-piece orchestra and incorporates quotes from Dvorak's Romance in F minor. It has since gone on to win a Silver Unicorn Best Soundtrack Award at the 10th Estepona Fantasy& Horror Film Festival in Spain.
The album opens with a sense of foreboding but the "Main Title" eventually blossoms romantically on strings, presumably the first quote of Dvorak (I am not familiar with his work), before ending pretty much as it began. "Libussa" follows, opening nervously, before attaining some nobility and then blossoming romantically again, a mood that continues into "Moonlight Love," which surges with great passion before melting away. "Autumn Prophecy" follows somewhat suspensefully before lightening and moving nicely to its conclusion. There's both drama and passion to be found in "Eternal Love," whilst "The King's Funeral" is suitably mournful to start, before ascending to more dramatic heights.
"Assault/A New Queen" presents the most exciting action music of the score, before reaching a triumphant, proud conclusion. More action of a darker nature follows in "The Betrayal" and then "Dark Passion" opens very darkly before reaching a passionate crescendo and then ending with something of a feeling of desperation. "Winter" is initially appropriately bleak, but ends in more surging passion, and, I suspect, yet another quote of Dvorak. By contrast, "Heavy Heart" is pretty dark and conspiratorial, with a big dramatic ending, whilst the initially anguished "Separation," eventually lightens, but only briefly, before an overwhelming and then almost tragic conclusion. "Kazi" follows, opening quite mystically and proceeding suspensefully. "Love and Sacrifice" is as passionate and dramatic as the title might suggest, with "Mythical Treasures" offering more mysticism.
The story starts to build to its conclusion with "Off to War" striding purposefully towards "Last Battle," which surprisingly is for the most part devoid of action, with only a short burst before a noble resolution. "Final Destiny" concludes the album with more Dvorak and then a big horns-lead finale.
The Pagan Queen soundtrack is available to purchase as a digital download from the likes of Amazon.com and cdbaby.com, and for information on the composer go to www.consordino.com.

2010-12-26T05:53:00.000-08:00

NEW ITALIAN SOUNDTRACK RELEASES

For the latest Italian soundtrack releases, get along to www.hillsidecd.co.uk

2010-12-24T04:23:00.000-08:00

DESPLAT ON THE KING'S SPEECH

From Costa Communications:-

Alexandre Desplat's publicists, Costa Communications, have sent me the following, which serves as a taster for my review of the soundtrack album - coming soon!

When I saw the first cut of the King’s Speech, I was struck by Tom Hooper’s incredible talent and his gift for using the best cinematic language for the storyline. The way he places the actors in the frame, Bertie on the edge, as if he were on the edge of reality, his use of “wide” and “fish-eye” lenses showing Bertie as a distorted man, the production design as well as a prodigious and very well-directed cast make his film a pure cinematic delight.

Now this was quite a challenge for me.

How would I be able to find a way through the film and enhance it?

A film in which a man is struggling to express himself in words, to show his emotions and relate his difficult childhood….a man who cannot speak. A man with long, very silent, moments.

I suggested to Tom that the music should mirror the fact that, when Bertie tries to speak he is “stuck”.

A theme based upon on one, repeated, single note; on and in a rhythm i.e., a pattern of a funeral march. It is a melody which tries desperately to evolve, to find a way out, like a bird with broken wings trying to fly. It is the theme we hear as Bertie tries futilely to deliver his speech at Wembley Stadium, when he shares his pain with his wife, and when he tries to delve into his sad memories during therapy.

But the score could not just be introspective.

The opening title shows a light, bittersweet, Mozart-esque mood; and, there again, it is a theme that struggles to find its own completion.

As the menace of war is surrounding the protagonists, the music gets more solemn and dark.

The moment of joy will only appear in the score when Bertie and Lionel finally reach a rapport during the rehearsal scene at Westminster Abbey.

To convey the sense of restrained emotion and to capture the sound of the period, we found in the archives of EMI, the very microphones which belonged to and were used exclusively by George V, George VI, Queen Elizabeth and Queen Mary.

And we used them at Abbey Road Studios to record the orchestra. A very moving experience thinking that the very microphone in which King George VI delivered his speeches was right there in front of the podium from which I was conducting. It was also a very touching moment for the English musicians, as well, who were sending the sounds of their instruments through these very special microphones.

ALEXANDRE DESPLAT – Composer

After composing the music for over 50 European films and being nominated for two Cesar Awards, Alexandre Desplat, burst onto the Hollywood scene in 2003 with his evocative score to THE GIRL WITH THE PEARL EARRING (starring Scarlett Johansson and Colin Firth), which earned him nominations from the Golden Globes, BAFTA and European Film Awards.His reputation was solidified by his critically acclaimed score to Jonathan Glazer's film BIRTH (starring Nicole Kidman) and Stephen Gaghan's film SYRIANA (Produced by Steven Soderbergh, starring George Clooney and Matt Damon), which earned him yet another Golden Globe nomination. THE QUEEN (directed by Stephen Frears and starring Helen Mirren) garnered him his first Academy Award nomination. In the same year he was also won a Golden Globe Award for his score to THE PAINTED VEIL (starring Edward Norton and Naomi Watts). In 2007, he wrote the music for The GOLDEN COMPASS (directed by Chris Weitz and starring Nicole Kidman and Daniel Craig), which is the first movie based upon the beloved trilogy, HIS DARK MATERIALS by Philip Pullman and LUST, CAUTION (for Academy Award winning director Ang Lee). In 2008, Alexandre composed the score tor David Fincher's THE CURIOUS CASE OF BENJAMIN BUTTON (starring Brad Pitt and Cate Blanchett), which earned him his second Academy Award Nomination and his fourth Golden Globe nomination. In the following year, he composed the music for Nora Ephron's JULIE & JULIA (starring Meryl Streep and Amy Adams), CHERI (directed by Stephen Frears), COCO BEFORE CHANEL(starring Audrey Tautou), THE PROPHET (directed by Jacques Audiard), which was the Official French Selection for the Oscar category of Best Picture in a Foreign Language, TWILIGHT SAGA: NEW MOON (directed by Chris Weitz), and THE FANTASTIC MR. FOX (directed by Wes Anderson), which brought Alexandre his third Academy Award nomination. Recently released was Roman Polanski's contemporary film noir motion picture THE GHOST WRITER (starring Ewan McGregor and Pierce Brosnan). In 2010, Alexandre was selected as one of the nine luminaries to serve as a juror for the 63^rd Cannes Film Festival.Upcoming movies include THE TREE OF LIFE (directed by Terence Malick, starring Brad Pitt and Sean Penn), THE SPECIAL RELATIONSHIP (directed by Richard Loncraine), TAMARA DREWE (directed by Stephen Frears) and HARRY POTTER AND THE DEATHLY HALLOWS (PART 1) (directed by David Yates).

2010-12-23T07:09:00.000-08:00

CD/DIGITAL DOWNLOAD REVIEW - BRUC

Bruc
Music by Xavier Capellas
MovieScore Media MMS10025
26 Tracks 53:11 mins

MovieScore Media bring another new name to my attention with their release of Spanish composer Xavier Capellas' epic orchestral/choral score for the Napoleonic war film Bruc. In addition to standard orchestra and choir, Capellas also calls upon ethnic instruments, like duduk and bouzouki, as well as ethereal vocals credited simply to Beth.
The album opens with the suitably downbeat "A Defeated Empire," the mood continuing into "Secret Memories," with its duduk solo. Beth's vocals first make the scene with the powerful drums-lead "Echo," which marches determinedly onward. "Building a Dream" is in complete contrast to that which has gone before, presenting the main theme in an almost ethereal arrangement for harp, duduk and violin.
After this quiet interlude, it's back to more grim matters with the suspenseful "Enter the Dark," but "Hostage" follows in surprisingly hopeful vein. A somewhat religious-styled a Capella choral opens "On Your Knees," with orchestra eventually joining to take the track to another hopeful conclusion. Percussive conflict ensues in "I Want His Head," leading to more action in "Fear vs Love," which ends rather coldly. Bouzouki and violin offer a sad refrain in "Will I See You Again."
The dramatic "Hidden Shot" ends somewhat sadly, and there's tension a plenty in "The Trap," whilst "Bruce's Destiny" is a light, barely audible piece until strings join the solo harp at the end.
"Where Is He?" is another increasingly tense affair, a mood continued in "Black Soul," but brought to an end by the fateful "Birth of a Legend," with ethnic drumming, brass and female voice giving it a feeling of importance. The sad piano-lead "Killing a Friend" follows, and then the expectant "Bruc Raises" culminates in the warmth of "Twin Souls" and increasing hopefulness of "Back to Life," which continues into "The Big Lie," which is completely at odds with what has gone before, as the opening piano theme suddenly picks up a modern pop beat. It's all very jarring and inappropriate and spoils the moment.
The album closes with Beth singing both Spanish and Catalan versions (the latter only available on the download version) of the title ballad, which thankfully returns us to the more appropriate sound of the remainder of the soundtrack.
Go to www.moviescoremedia.com/bruc.html for samples, a trailer for the film and ordering suggestions for your CD or digital download purchase.

2010-12-22T15:08:00.000-08:00

CD REVIEW - LE PISTOLE NON DISCUTONO

Le Pistole Non Discutono
Music by Ennio Morricone
GDM Hillside Series GDM 4138
17 Tracks 41:41 mins

Once upon a time Ennio Morricone would not sanction releases of his early scores, but thankfully he seems more open to this these days, as is evidenced by the increasing numbers of releases of these important entries in his filmography. That's not to say that there hasn't previously been music from this 1964 western to be found. Around half a dozen tracks have been released over the years, and very welcome these were too, but at last we now have a 17 track presentation of the score of this little seen Italian oater, starring Rod Cameron.
For those not familiar with the maestro's themes for this film, let's just say that there are indications of what was to follow in his great western scores for Sergio Leone and others, the first of which, A Fistful of Dollars was composed in the same year.
The standout from the soundtrack is the song "Lonesome Billy, a long-time favourite of mine, dramatically performed by Peter Tevis. The song opens the 14 mono score tracks, and is reprised as one of three stereo bonus tracks at the end of the disc. The second strong offering is the galloping title track, first heard in track 2, but heard in differing arrangements in tracks 8, 11, and 14. Of course it also features again in the bonus tracks.
Another recurring track is "Gli Indiani," a striking piece of fight music, heard in tracks 3, 9, and in more tense and suspenseful mode in track 12. Again, we are given a stereo reprise in the bonus tracks.
The remainder of the score features source-like guitar solos, one with female vocal; another fight track, similar to "Gli Indiani," though not as powerful; and the jaunty "La Ragazza e Lo Sceriffo."
It's a fine score in its own right and has begged to be heard in full for a long time, so bravo GDM Hillside for finally getting it out there.
Accompanying the CD is a colourful booklet, with stills and artwork from the film, but sadly not text.
You can order your copy of this limited edition of just 750 units from www.hillsidecd.co.uk, but you'd better hurry as I wouldn't expect them to be around for long.

2010-12-22T01:42:00.000-08:00

NEWS FROM SILVA SCREEN RECORDS

From Silva Screen Records:-

"Silva Screen is proud to announce the February release of the soundtrack to Doctor Who - A Christmas Carol, this year's Doctor Who Christmas Day Special.

The Soundtrack features classical music superstar Katherine Jenkins. Katherine is both part of the cast and singer on 'Abigail's Song'.

The music is composed by Doctor Who composer of choice Murray Gold and performed by the excellent BBC National Orchestra of Wales and Crouch End Festival Chorus.

The album will be released both physically (SILCD1360) and digitally (SILED1360).

The TV episode will be broadcast on Christmas Day at 6pm and will feature Matt Smith as The Doctor, Karen Gillan as Amy Pond and Arthur Darvill as Rory Williams. They will be joined by Michael Gambon as Kazran Sardick and Katherine Jenkins as Abigail.

Short Synopsis:
Amy and Rory are trapped on a crashing space liner, and the only way The Doctor can rescue them is to save the soul of a lonely old miser , in a festive edition of the time-travelling adventure, written by Steven Moffat. But is Kazran Sardick, the richest man in Sardicktown, beyond redemption? And what is lurking in the fogs of Christmas Eve?"

2010-12-21T06:22:00.000-08:00

CD/DIGITAL DOWNLOAD REVIEW - AMALIA

Amalia
Music by Nuno Malo
MovieScore Media MMS 10024
23 Tracks 47:54 mins

MovieScore media promised more releases from Portuguese composer Nuno Malo, after releasing his score for Julgamento, and the first of these has not been long in coming; and if you were impressed by the first score, I am sure you'll be similarly happy with this one, written for "a dramatic portrayal of one of Portugal's most famous musical personalities - Fado legend Amalia Rodriguez," as it features lots of fine melodic writing, especially for strings and guitar.
The opening score track, "Lament: Fado Dos Meus Erros (orchestra version)," is lovely, yet at the same time quite heartbreaking, and leads into the spiritual "Opening: Close to Death," where the soaring strings are joined by heavenly choir.
Happier, more innocent times, are recalled in the waltz-like "Bola De Berlin (Young Amalia)," whilst the tender "Amalia and Santo" hints at Amalia's first tentative romantic steps towards romance. By complete contrast is "Nightmare," with the heavenly choir taking on a darker hew.
"Amalia At Her Parents' Home" is a nice, but subdued guitar piece, whilst guitar also features, along with whistler, in the brief but catchy "Cesar's Theme."
"The Death of Aninha" is suitably mournful, and "The Cliff" passionate, whilst "Amalia Tenders to the Poor" offers more tender guitar work. This is followed by "Making Love/The Beating/The Collapse" which, as you can imagine, goes through a range of emotions, with "Trashed Poem" suitably devastated, a mood continued in "The Girl From Israel."
The main theme gets a tender Spanish guitar treatment, that is all too brief, in "Amalia Remembered," with piano taking it up in the following "Goodbyes." Things take a much sunnier turn for "Amalia: The Ending," with strings reprising the waltz theme from "Young Amalia," before the score closes on a reprise of the "Lament" theme, featuring Tina Guo on cello.
After Julgamento, I was looking forward to hearing what more the composer had to offer, and I have certainly not been disappointed with this follow-up release. More of the same to follow, I hope.
Incidentally, in addition to Malo's score, the CD release also features two songs from Amalia herself.
Go to www.moviescoremedia.com/amalia.html for samples, a trailer for the film, and ordering suggestions.

2010-12-19T14:44:00.000-08:00

CD/DIGITAL DOWNLOAD REVIEW - THE NEXT THREE DAYS

The Next Three Days
Music by Danny Elfman
Silva Screen SILCD 1352
25 Tracks 71:32 mins

On 24th January, Silva Screen records release Danny Elfman's score for the Paul Haggis thriller The Next Three Days, starring Russell Crowe.
It's hard to believe that a big name composer like Elfman is still subject to the "curse of the temp track" but, from listening to his score, it seems pretty obvious that the film was temped with Alexandre Desplat's music for the likes of Birth and, more especially, Syriana. I say this because some of the tracks have the same annoying rhythmic pulse that, for me, all but completely ruined Desplat's scores for those films. Leaving these tracks aside (because I just can't bear to listen to them), we are left with a largely piano-based score, with some quite poignant and emotional writing in the likes of "Prologue;" "What She's Lost; the cello-lad "Same Old Trick;" "All is Lost;" "That's OK;" "Touch;" "Reunion;" "The Truth," which picks up a pop beat and wordless female vocal somewhere along the way; and the closing "The Aftermath;" whilst tracks like "A Way In;" "Pittsburgh is Tough;" "Don Quixote;" the lengthy "Breakout;" and "They're Off" offer more propulsive, dramatic fare.
Things take a brief middle-eastern turn in "The Evidence," complete with wailing ethnic vocals, but otherwise it is grounded in the more conventional western sound.
This lengthy album closes with a couple of numbers by Moby, if you're into that sort of thing.
Go to www.silvascreenmusic.com/shop/299/Danny-Elfman/329650/The-Next-Three-Days.aspx for samples and to pre-order the album on CD or as a digital download.

2010-12-17T15:54:00.000-08:00

CD/DIGITAL DOWNLOAD REVIEW - HAPPY NOW

Happy Now
Music by Dario Marianelli
MovieScore Media MMS 10023
17 Tracks 38:51 mins

As part of the label's "Discovery Collection," MovieScore Media has ventured into the past to resurrect a score by Atonement Oscar winner Dario Marianelli for a little-known British comedy, Happy Now, which was released some six years before his triumph.
The score for Happy Now was performed by the Munich Symphony Orchestra and this premiere recording, though fairly brief at under 39 minutes, features an interesting mix of styles , from quirky cues like the opening "The Strange Land,'" "Execution," "The Scream," "It's a Camaleon's Life," and "Photos;" to more conventional fare, such as the melancholy "Locked Away;" the somewhat Herrmannesque "Near Miss," "Derangement," "The Rock," and "Can't Be her...;" to the elegant "Hommage to David Rose; and the pseudo-spaghetti western sounds of "Bonanzaland;" whilst both "On the Chase" and "Glen Loses It" combine the quirky elements with the Herrmannesque, and Who's the Bullet For" the quirky with the spaghetti; the penultimate track "Wild West Wales" offering a little of everything.
All concludes with the closing title track which, after a slice of the "all's well that ends well," plays us out with a reprise of the main theme, introduced at the opening of the album.
Go to www.moviescoremedia.com/happynow.html for samples, and suggestions as to how you can obtain the album on CD, or as a digital download.

2010-12-16T15:47:00.000-08:00

CD/DIGITAL DOWNLOAD REVIEW - TANGLED

Tangled
Music by Alan Menken
Walt Disney Records
20 Tracks 55:39 mins

Latest Disney CG animation is Tangled, their musical take on the Rapunzel fairy tale, with Mandy Moore voicing Rapunzel, Donna Murphy as her mother and Zachary Levi as Flynn Rider. The voice cast also includes the likes of Ron Perlman, Jeffrey Tambor and Richard "Jaws" Kiel.
Now veteran Disney scorer Alan Menken provides the music, collaborating with lyricist Glenn Slater on the songs, voiced by the cast, which feature on ten of the albums twenty tracks, and there is a Grace Potter vocal tagged on at the end. The songs are standard fare - perfectly agreeable, without being anything exceptional - a mix of pop, folk and show tunes, the most memorable being the duet between Moore and Levi on "I See the Light."
As for the underscore, "Flynn Wanted" gets things off to an adventurous start, with some galloping action music. "Horse with no Rider" is more on the menacing side, with choir adding weight at one point then. The menace continues, initially march-like, into "Escape Route," though things do turn somewhat lighter, and "Campfire" is a much more peaceful affair, with again a folksy, somewhat Celtic feel, though the cue does turn menacing at the end.
The folksy element combines with a medieval feel for the increasingly lively "Kingdom Dance," whilst "Return to Mother" is sad and subdued, continuing into "Realization and Escape," before choir joins the orchestra in a soaring moment, leading to some tense moments, before ending with a burst of exciting action. The lengthy "The Tear Heals" follows and goes through many moods before reaching its lovely, emotional ending, with soaring strings, brass and choir, leading to a tender, guitar-lead conclusion. Finally, "Kingdom Celebration" opens on a very light and folksy note, complete with banjo and fiddle, before a rousing orchestral/choral conclusion.
A very listener-friendly album all round, Menken proving once more just how expert he is at this kind of fare.
The film is already in release in the States, but opens in the UK at the end of January. In the meantime, the Tangled soundtrack album is available both on CD and as a digital download.

2010-12-16T15:29:00.000-08:00

NEWS FROM CINEMEDIA PROMOTIONS

From CineMedia Promotions:-

BEAR MCCREARY HELPS THE NERD STEAL CHRISTMAS

ANGRY VIDEO GAME NERD’S CHRISTMAS SPECIAL FEATURES ORIGINAL MUSIC BY BEAR MCCREARY

(Los Angeles, CA – December 16, 2010) Hot off the airing of the season finale of AMC’s The Walking Dead, film, television and video game composer Bear McCreary’s latest project is a gift to the fans. Angry Video Game Nerd’s Christmas episode, How the Nerd Stole Christmas is viewable at http://www.cinemassacre.com/2010/12/08/avgn-episode-97-christmas-special-2010/

“Because I’m such a huge fan of the Angry Video Game Nerd,” described McCreary, “I thought that the least I could do was pitch in some music and help him out on one of his videos. However, I never really thought we would end up with something as cinematic, narrative and funny as we would end up with.”

“I needed a score for this one that was very different than the others,” said James Rolfe aka The Angry Video Game Nerd. Rolfe reviews really old, not-so-classic video games on his popular site. The idea for the Christmas episode was to create a take on Chuck Jones’ classic animated version of the Dr. Seuss story How the Grinch Stole Christmas. In How The Nerd Stole Christmas, the nerd steals all of the new video games and replaces with them with the, well, crappier video games from his childhood.

“This whole thing sounded like a lot of fun, so I dove in,” said McCreary. “I had a blast with the classic video game sounds in this score. I’ve had projects with 8-bit music, but few opportunities to mix these sounds together with live, orchestral music. The results were often surprisingly effective.”

In addition to mixing in the sounds of classic video games, McCreary incorporated a new arrangement of the classic song “You’re a Mean One, Mr. Grinch,” with lyrics written by the Angry Video Game Nerd. Doug Lacy. He also incorporated other holiday references, as Bear describes:

I even tucked several musical quotations into the score itself, including a Christmas classic, ‘Dance of the Sugar Plum Fairies’ by Tchaikovsky. I used this quote while The Nerd snuck into the village of Gameville to steal games. However, when he descends down the chimney, James added a well-known sound effect from Super Mario Bros. Taking that reference to its next logical level, I scored the following scene with a quotation of the underground music from Super Mario Bros, combining it with ‘Dance of the Sugar Plum Fairies!’

Bear McCreary was among a handful of select protégés of late film music legend Elmer Bernstein and is a classically trained composer with degrees in Composition and Recording Arts from the prestigious USC Thornton School of Music. At the age of 24, Bear McCreary was launched into pop culture with his score to Battlestar Galactica, "the most innovative music on TV today" (Variety). Io9.com declared Bear McCreary one of the Ten Best Science Fiction Composers of all time, the only composer under 50 on the list, (he is now 30), and the only one recognized for work in television.

McCreary earned his first Emmy© nomination for his original theme music for Human Target. The series featured the largest group of musicians to play on a television series, according to Variety. McCreary’s latest project is The Walking Dead -- the runaway hit of the 2010-2011 television season -- airing on AMC.

Next up for McCreary is The Cape, which begins airing January 9, 2011 on NBC. In addition to his work for television, McCreary’s credits include the video games SOCOM 4, Dark Void and Dark Void Zero, and the films Step Up 3D and Wrong Turn 2.

To read Bear’s in-depth blog entry about the creation of the music, and for a free download of the music, visit http://www.bearmccreary.com/blog/?p=5863

2010-12-15T15:57:00.000-08:00

CD REVIEW - IN A BETTER WORLD

In a Better World
Music by Johan Soderqvist
MoveScore Media MMS 10022
23 Tracks 47:12 mins

MovieScore Media's third Johan Soderqvist release is for the composer's eighth film collaborations with director Susanne Bier, the drama In a Better World.
The film's African settings allowed the composer to investigate sounds of the region and the Mbira is used especially for these scenes, and can be heard in many tracks starting with the lightly propulsive title cue and the brief, almost ethereal "Marianne;" together with haunting vocal solos, present in "Trying to Save Her, "Dawning" and "The Revenge." For the film's more domestic settings, Soderqvist principally uses warm strings for the more intimate and emotional scenes, and synths to underline the more atmospheric moments. Rhythmic elements come into play for episodes of tension such as "Let's Do It" and "Elias Says No," whilst strings are added to the mix for the dramatic build of "The Bomb."
All is well by the lengthy "End Title," when strings join with the Mbira to flow nicely to a conclusion, before a brief "Epilogue" ends the album with a reprise of "Marianne."
Go to www.moviescoremedia.com/inabetterworld.html for samples, a trailer for the film, and ordering suggestions for this CD only release.

2010-12-14T15:49:00.000-08:00

KEEPING UP WITH DEBBIE WISEMAN

I hadn't heard anything lately from composer Debbie Wiseman so, whilst sending her season's greetings, I asked her what she had been up to. I'd obviously been looking in the wrong place, because she's been as busy as ever, scoring "Joanna Lumley's Nile" and "Martin Clunes: Horsepower" for British TV, and also providing the music for Dutch costume drama "The Throne."
In February we will hear her music in the Channel 4 drama series "The Promise," and the second series of "Land Girls," which starts on BBC1 on January 17th. Even better news is that both will have soundtrack releases, "The Promise" by Silva Screen, and "Land Girls" by Warner Bros.
My thanks to Debbie for the update.

2010-12-14T15:12:00.000-08:00

DIGITAL ALBUM REVIEW - LEGEND OF THE GUARDIANS: THE OWLS OF GA'HOOLE - THE VIDEOGAME

Legend of the Guardians: The Owls of Ga'Hoole - The Videogame
Music by Winifred Phillips
WaterTower Music
17 Tracks 53:19 mins

I have yet to see Zack Snyder's CGI fantasy Legend of the Guardians: The Owls of Ga'Hoole, but from clips I have seen the animation certainly looks impressive. Snyder was also responsible for 300, so if that's anything to go by, I am sure it will be amazing.
Whilst Snyder has worked extensively with Tyler Bates on his previous movies, Australian David Hirschfelder go the nod for this one, and his efforts are available on CD from WaterTower Music.
Of course most films of this scope also have a video game created around them and Legend of the Guardians is no exception. Thus, Warner Bros. Interactive Entertainment duly obliged. Occasionally the music for such games is composed by the film's composer, as was the case with 300, where Tyler Bates duly adapted his themes but, more often than not, a new composer, or composing team is brought in to score the game, which is often in development before the film receives its final score mix. This was the case here, and for the Legend of the Guardians game, Snyder personally chose Winifred Phillips, who completed her score before Hirschfelder came on to the movie.
Winifred, aided an abetted by her producer Winnie Waldron, is of course responsible for some of the most entertaining and inventive game music of recent times, for some such diverse titles as Charlie and the Chocolate Factory, Speed Racer, The Da Vinci Code, God of War, Shrek the Third and Sim Animals. A multi-talented composer and vocalist, she utilises synths and samples in her scores and provides all the vocal work, whether it be in the form of solos or choral pieces. Often one finds it hard to believe it is just her you are hearing.
Although created with synths and samples, it has to be said that Phillips has achieved quite an epic cinematic sound with her music for Legend of the Guardians. As you know, I am not a great lover of synthetic music, but here I found I was very much entertained and swept along by the sheer scope of the score, which features more than 20 themes. As you know, I am a sucker for melody, so who could ask for more!
Chief among the themes on display is the "Guardians' Theme," which is utilised within the many action cues, as well as given a more ethereal treatment, care of Winifred's haunting vocal solo in the beautiful "With Hearts Sublime."
The other major theme Winifred describes as that for the "Ancient Evil" is very reminiscent of Howard Shore's choral writing, especially his Ring Wraiths theme from the Lord of the Rings trilogy.
Regarding the action cues, I don't know, but can imagine Phillips is something of a fan of Bear McCreary, as stylistically some of the more percussive moments, particularly in "Eyes in the Night," mirror his style on the likes of Battlestar Galactica and Human Target, so if you are familiar with his music, you will most likely enjoy this.
I should also mention the cue "Take Flight," a thrilling little scherzo, which I enjoyed and, for those of you who enjoy a world music sound, "Wild Fire" offers busy ethnic percussion and instrumentation. The tragic, yet beautiful "The Fallen" also impresses.
In November, "With Hearts Sublime" received a 2010 Hollywood Music in Media Award in the category "Best Original Song - Video Game." This should give you a good indicator as to the quality of the score.
Winifred Phillips' Legend of the Guardians score is available as a digital download from iTunes, and take time to visit her website at www.winifredphillips.com, where you can view an excellent documentary on the scoring of the game, featuring on screen commentary from both Phillips and Waldron, together with scored game play. Why not also check out samples of Winifred's other work while you're there, some of which is also available on iTunes.

2010-12-13T02:38:00.000-08:00

NEW RELEASES FROM HILLSIDE CD PRODUCTIONS

Go to www.hillsidecd.co.uk for these and all your Italian soundtrack requirements.

2010-12-12T07:31:00.000-08:00

DIGITAL ALBUM REVIEW - ONCE FALLEN

Once Fallen
Music by Jeff Beal
MovieScore Media MMD 0012
20 Tracks 43:32 mins

Available as a digital download only, MovieScore Media has released Jeff Beal's score for the recent low-budget crime drama Once Fallen, which reunites the composer with the film's star Ed Harris.
Beal, like fellow screen composer Mark Isham, comes from a jazz background and if you enjoy the latter's smoky and gritty urban scores, then chances are you'll like this one too, as it's very much cut from the same cloth, with trumpet drifting in and out of many of the cues, though absent from the film's title track, which moves along rather more optimistically than much of what follows. But the instrument quickly makes its first tentative appearance in the upbeat "Prison Fight" that follows. Aside from the jazz-based atmospheres, "There Are No Rules" and "The Kidnap" present some percussive movement, and "Beat and Leon," "If I Go, You Go," "Father and Son" and "Reunion" a few moments of sentiment; with the title theme (this time with trumpet) returning to close out the final album track "A Gift From Beat/End Credits."
Go to www.moviescoremedia.com/oncefallen.html for samples, a trailer for the film, and for ordering suggestions.

2010-12-11T15:48:00.000-08:00

CD/DIGITAL DOWNLOAD REVIEW - THE BIG BOSS

The Big Boss
Music by Peter Thomas
All Score Media ASM 034
20 Tracks 40:51 mins

The legendary Bruce Lee starred in only a handful of films, but his star shines as brightly today as it always did. Had he lived, he would have turned 70 on November 27th, and to mark the occasion All Score Media have premiered the soundtrack to his breakthrough film, 1971's The Big Boss (he had only enjoyed moderate success in the USA, prior to his move into the Hong Kong filmmaking scene, most notably in the TV show The Green Hornet), a film I first saw as a double feature with the following year's Fist of Fury at our local cinema (when we had one - oh I miss the many nights I enjoyed there!).
You didn't look for complicated plots with Lee's films. In his first three films at least, he was always the good guy going up against seemingly insurmountable odds. He displayed a certain charm in The Big Boss and Way of the Dragon, whilst was more ruthless in Fist of Fury. I urge you to seek out these early films in particular as, whilst the fights grew ever more spectacular in Enter The Dragon and Game of Death (which had to be completed using a double), the rawness and simplicity of the first three show off Lee's martial arts talents just as well, and let him dominate the screen more so than the latter films with their largely American casts.
So, what of the music on this album? Well, The Big Boss was originally scored by Chinese composer Wang Fu-ling, but the powers-that-be decided it would sound too alien for the majority of western audiences. It was retained in the English release however, but I don't recall if it was still attached when I first saw the film at the cinema. Certainly, every time I have seen it since, it has had the replacement score by the redoubtable Peter Thomas. I know this for a fact, because as soon as I put this CD on the player I immediately recognised the composer's versatile main theme, first heard in the opening track as the "Big Boss Theme," in all its brassy propulsive glory. The theme is reprised in various forms throughout the tracks that follow, in a score that is very much of its time, a jazz-pop concoction, with plenty of groovy, beat-driven source-like cues, action writing and tension, plus a love theme that plays airily in "Girl Loves Cheng Li," and smokily in "China Love." There is also "Communication in Hyperspace" with its simulated satellite electronic chatter, and more weird electronics in "EKG." But overall this is a tuneful and enjoyable listen and a great reminder of the film.
The accompanying 12-page booklet features a number of stills from the film, plus Gerd Naumann's introductory notes in both German and English.
You can sample the tracks by going to www.allscore.de/sites/ASM_034_DE.htm, where you can also find ordering suggestions for the album, both on CD and as a digital download.

2010-12-11T15:41:00.000-08:00

NEWS FROM COSTA COMMUNICATIONS

Sorry there's been nothing from me since Wednesday, but the run-up to Christmas is always a busy time for me, work-wise. Can't promise something every day next week either, but I'll do my best. Anyway, here's some news from Costa Communications:-

CHRISTOPHE BECK

WINS HOLLYWOOD MUSIC IN MEDIA AWARD FOR BEST “ORIGINAL SCORE DOCUMENTARY”

LOS ANGELES – Award-winning composer Christophe Beck wins an HMMA for “Best Original Score: Indie/Short/Documentary” for his moody and introspective score to the critically-acclaimed Paramount Vantage documentary “Waiting For Superman.” Directed by Academy Award-winner Davis Guggenheim (“An Inconvenient Truth”), the documentary is a deeply personal exploration of the current state of public education in the United States, and how it has affected our children. Just announced as one of 15 contenders for “Best Documentary Feature” at next years Academy Awards, the film opened in October to major markets. The score released by Lakeshore Records is now available in stores on CD and online through Amazon.com and iTunes.

“One of the great things about working on a documentary is that you're dealing with real people in real situations,” says Beck. “The music's function isn't to merely push the action along, or to manufacture some kind of feeling that for one reason or another wasn't captured on film – it's to support real, authentic, genuine characters and emotions.”

The film uses playful animations to help convey some fairly disturbing facts when it comes to our failing education system. “I found I could complement that by using some whimsical instrumentation such as pizzicato strings, bouncy percussion and a slightly-too-optimistic feeling,” explains Beck. This helps liven up the presentation of otherwise fairly dry facts and statistics. Then, of course there's the human side too. We wanted to underscore the kids' stories of struggle, hope, disappointment, and for a lucky few, celebration. We used simple, intimate instrumentation – often a plaintive single guitar or piano to help tell these kids' stories.”

In 2000, the cheerleading comedy "Bring It On" launched Beck's prolific film scoring career. His credits include "Under the Tuscan Sun," "Saved," "We Are Marshall," "Red," "The Hangover," the highest-grossing R-rated comedy of all time and recently released musical drama, “Burlesque.”

Beck’s road to film scoring was circuitous. The Montreal native started piano lessons at five and by eleven he was writing music for his first-ever band. During high school he studied flute, saxophone, trombone & drums, and performed in rock bands. While studying music at Yale, Beck had an epiphany: “I discovered my talent for composing was far greater than my talent for performing.” He wrote two musicals with his brother Jason (a.k.a. Chilly Gonzales, the Berlin-based hip-hop recording artist), as well as an opera based on Edgar Allen Poe’s “The Tell-Tale Heart.”

Upon graduation from Yale in 1992, he moved to Los Angeles to attend USC's prestigious film scoring program, where he studied with notable composers Jerry Goldsmith and Christopher Young. Beck was immediately attracted to the creative challenges unique to the marriage of music and picture. A personal recommendation from the legendary Buddy Baker, head of the USC Music Department, led to his first assignment for a TV series called "White Fang.” Soon thereafter, he was asked to score a new TV series, “Buffy,” based on the movie “Buffy The Vampire Slayer” for which he received the Emmy for Outstanding Music Composition.

The Hollywood Music in Media Awards recognizes and honors the music in visual mediums, the talented individuals responsible for creating and placing it, and the music of both mainstream and independent artists from around the globe for their compositions and recordings in all forms of media including film, TV, video games, commercial advertisements, movie trailers and music videos. The HMMA is also the first music awards event to recognize and honor excellence in music supervision. In addition, iconic individuals are presented with special awards for outstanding career achievement and longevity in entertainment.

Selections from the score can be heard at www.christophebeck.com.

2010-12-08T07:31:00.000-08:00

CD/DIGITAL ALBUM REVIEW - FASTER

Faster
Music by Clint Mansell
Lakeshore Records
16 Tracks 54:06 mins

Composer Clint Mansell has two films currently showing, the Natalie Portman starrer Black Swan and the Dwayne Johnson thriller Faster. The score for the latter has been released by Lakeshore Records, both on CD and as a digital download.
The first six tracks on the album feature various vocal numbers, the most interesting being the DeAngelis brothers' "Goodbye My Friend," and Kenny Rogers' version of "Just Dropped In." After that, it's score all the way, with Mansell evoking a typically contemporary urban sound, all electric guitars and percussion. At times, the music is dark, dramatic and atmospheric, and sometimes quite mournful; at others it's hi-octane, like the highly percussive "History Lesson" and the opening of "The Driver Drives." There is very little light to be found, though "Lovers" does provide a piano-lead interlude. But even this develops a pounding drumbeat as it progresses.
The penultimate track, "On a Mission," brings matters to a fatalistic close, before "Redemption" builds from a quiet opening to a big, dramatic conclusion.
I am not a great lover of this genre, but I have to say, as contemporary urban-styled scores go, this one has more to offer than many I have heard in recent years.

2010-12-07T14:04:00.000-08:00

CD REVIEW - JACKBOOTS ON WHITEHALL

Jackboots on Whitehall
Music by Guy Michelmore
MovieScore Media MMS 10021
32 Tracks 64:10 mins

Composer Guy Michelmore first came to my attention through his excellent orchestral scoring of a number of Marvel animated features based on popular comic book characters like The Avengers, Iron Man, Doctor Strange and The Hulk. He has up to this point rarely ventured into the realm of cinema scoring, and it is therefore nice to see him getting an opportunity like for this big screen alternate history of World War II, Jackboots on Whitehall, which is told by puppetry and features a stellar British voice cast, including Ewan McGregor, Rosamund Pike, Richard E. Grant, Timothy Spall, Alan Cumming, Tom Wilkinson, Richard Griffiths and Pam Ferris.
Seizing the opportunity with both hands, the composer unites with the City of Prague Philharmonic to come up with a score that draws on the finest orchestral war film scoring traditions, evoking the spirits of Ron Goodwin, Elmer Bernstein et al, whilst adding more contemporary Media Ventures-styled guitars in places, and a notable Celtic twist. It's all very rousing, particularly the heroic main theme, with plenty of exciting action writing and menacing guitars for the Nazis, whilst always remaining just that little bit tongue-in-cheek. "Harvest and Village" makes for a rare pastoral interlude, and there are some rousing highland reels for the Scottish forces, who it seems play a big part, and also a rocking version of "Scotland the Brave." It all makes for a highly entertaining listen indeed.
Available on CD only, go to www.moviescoremedia.com/jackboots.html for samples, a trailer for the film and ordering suggestions.
Let's hope this is just the start of bigger things for the underrated Michelmore.

2010-12-03T15:34:00.000-08:00

CD REVIEW - CONAN THE BARBARIAN

Conan the Barbarian
Music by Basil Poledouris
The City of Prague Philharmonic Orchestra and Chorus conducted by Nic Raine
Prometheus Records XPCD 169
Disc 1 - 18 Tracks 60:21 mins
Disc 2 - 14 Tracks 61:48 mins

For the second collaboration between Prometheus Records and Tadlow Music, following their successsful teaming for the complete recording of Dimitri Tiomkin's The Alamo, we now have a new complete recording of another, more contemporary, masterpiece, Basil Poledouris' score for 1982's Conan the Barbarian, the film that gave "The Governator," Arnold Schwarzenegger his first big cinematic break. As before, the music is performed by The City of Prague Philharmonic Orchestra and Chorus, under the baton of Nic Raine, using Poledouris' regular collaborator Greig McRitchie's orchestrations.
A soundtrack album was issued at the time of the film's release, and an expanded edition followed some years later, but for those of us who love the score, there was always the regret that a complete version never appeared and whilst, in an ideal world, that complete version would be compiled from the original soundtrack recordings, this re-recording is the next best thing.
The score is spread over two discs, and features 14 previously unreleased cues, with five bonus tracks at the end of disc two featuring three alternate cues, two of which are also previously unrecorded, an orchestral version of "Riders of Doom" and, as an extra special bonus, the "Chamber of Mirrors" track from the film's disappointing sequel Conan the Destroyer, the score of which could also do with a re-recording, as it is one of the worst soundtrack performances I have ever heard.
Performances are adequate, though perhaps lacking the gusto of the Alamo recording and there has been some criticism of the recorded sound. The main difficulty I find is that I am so in love with the original performance of the score (even if the composer was himself less than happy with both the performance and recording of it), that, for all its faults, it will always be the definitive recording, rawness et al. Having said that, I very much welcome having all the extra music and, if one cares to take the trouble, I suppose one can always listen to the two recordings in tandem.
The accompanying 24-page booklet is sadly minus original artwork and stills from the film, but does feature some very nice pictures of the composer ( a couple taken at his performance of the score at the 2006 Ubeda Festival, shortly befopre his all too early demise) and his family, as well as some of the re-recording sessions; all these accompanying album producer James Fitzpatrick's introductory notes, cue-by-cue guide and production notes, with a foreword by Basil's daughter Alexis. All-in-all, a fitting tribute to the composer and, along with Lonesome Dove, one of his masterworks.
If you go to www.tadlowmusic/conan.html, you can watch footage from the recroding sessions, as well as order your copy of the album.

2010-12-02T15:58:00.000-08:00

CD REVIEW - FRANCIS LAI: THE ESSENTIAL FILM MUSIC COLLECTION

Francis Lai: The Essential Film Music Collection
Music by Francis Lai
Silva Screen Records SILCD 1338
20 Tracks 68:54 mins

Although not released in the UK until February, Silva Screen kindly sent me a link to the latest in their "Essential Film Music Collection" series, this one a single disc offering, featuring many of the best themes written by the great French melodist Francis Lai, here featuring the composer conducting orchestral arrangements, recorded in Paris a couple of years ago. Some of the themes were originally conceived electronically, so it is interesting to have the opportunity to hear what they would have sounded like had they been orchestrated originally.
Of course this collection barely scratches the surface of the great man's cinematic output, which numbers more than 100 films, but generally most of his best remembered themes are included.
I first fell in love with Lai's music when, as many lusty youngsters did at the time, I ventured to the cinema to catch up with the exploits of sex bomb Sylvia Kristel in Emmanuelle II, but it wasn't the near groundbreaking (at the time) sexual antics on display that I took away with me, but rather Lai's beautiful music. It started me on a quest and, as well as the soundtrack album to that film, I soon added Love Story, A Man & A Woman, Love is a Funny Thing and Hannibal Brooks, with Bilitis and International Velvet following as the films were released.
This collection has many of my favourites, including main themes to Bilitis, Emmanuelle II, Love Story, A Man & A Woman, Rider on the Rain, Mayerling and Vivre Pour Vivre; the beautiful "Concerto Pour La Fin d'Un Amour" from Love is a Funny Thing;" to a couple of selections from Les Uns et Les Autres, the film on which he collaborated with fellow Frenchman Michel Legrand. It's a shame International Velvet and Hannibal Brooks are not presented, but at least there's the opportunity for me to catch up with less familiar pieces from the likes of 13 Jours en France, Itineraire d'Un Enfant Gate, La Belle Histoire, La Course du Lievre a Travers Les Champs, Le Lecon Particuliere, Le Genre Humain, Les Etoiles du Cinema, Les Miserables, Les Ripoux and Pour L'Amour de Tes Yeux Noirs.
Nearly 70 minutes of largely highly melodic and varied music, some of it pop-styled, some more conventional, this is a fine introduction to the music of Francis Lai for anyone not familiar with it, and something of a concert-styled overview for those who are.
You'll have to keep an eye on www.silvascreenmusic.com if you want to snap up a copy in February.

2010-12-02T02:17:00.000-08:00

NEWS FROM COSTA COMMUNICATIONS

From Costa Communications:-

CRIMINAL COMPOSERS

RECEIVE

HOLLYWOOD MUSIC IN MEDIA AWARD FOR

“BEST TV SCORE”

LOS ANGELES –Five-time ASCAP Award-winning TV and film composers Steffan Fantini, Scott Gordon and Marc Fantini win the 2010 HMMA: “Best TV Score” for the weekly CBS’s series Criminal Minds. The Hollywood Music in Media Awards were held at the Hollywood & Highland Center, home of the Academy Awards, Thursday, November 18^th, 2010. The team is back for the sixth season of the hit show Criminal Minds starring Shemar Moore and Thomas Gibson as members of the FBI’s Behavioral Analysis Unit. The composers are also scoring the new Criminal Minds spin-off Criminal Minds: Suspect Behavior starring Oscar^® winning actor Forrest Whittaker, which will debut later this year.

Explains Steffan Fantini, “For Criminal Minds, the idea for the music was to bring haunting elements into the drama. It is a hybrid score which blends dark orchestral, guitar loops and sound design. Music is composed that is literal to a specific scene. A spot of blood or an eyelash is all addressed musically to build the drama of a scene for the viewer.”

Due to the uniqueness of the scores and the popularity of the show, the Criminal Minds’ composers write a weekly blog describing the music they have written for each episode. The blog appears on the cbs.com/criminalminds website. The current entry explains that the current episode needed a score that harkened back to the golden age of Hollywood. For this specific episode, the composers created a classical orchestral motif that was reminiscent of that era. The composers described the episode as the films: “Sunset Blvd” meets “Psycho”.

The three composers attend spotting sessions for each episode and develop their own perspective. “Knowing that our music is the unseen character, we strive to create a unique and original musical identity for each project,” says Steffan. “The pay off for us is that we can play off each other’s strengths and weaknesses,” says Scott Gordon. “There are no egos, until there are,” he laughs. The composing team’s singular and combined musical backgrounds and talents make them leaders in the film, TV and videogame music genres. Their musical palette spans multiple genres from classical to pop, rock to jazz, and alternative to hip hop.

The Fantinis began their careers as recording artists and producers. At age 12, Marc played guitar solos on leading New Kids On The Block albums. Steffan and Marc also sang and produced many artists’ hits. They then transitioned into film and TV scoring. Meanwhile, Scott Gordon was becoming a leading engineer and mixer for many iconic performers including Ringo Starr, Alanis Morissette, Bon Jovi, The Eagles, Tom Petty and Aerosmith. Through the Ringo Starr session, Gordon met the Fantinis which led to the collaborative relationship.

The trio eventually moved into film scoring by writing music for composer Mark Mancina on Training Day and Shooter. Fantinis and Gordon went on to compose for films including Hurricane Season and Mercy Streets. Their current projects include the film The Lost Medallion: The Adventures of Billy Stone, the Sony Playstation game Sorcery and the TV series Army Wives.

The Hollywood Music in Media Awards recognizes and honors the music in visual mediums, the talented individuals responsible for creating and placing it, and the music of both mainstream and independent artists from around the globe for their compositions and recordings in all forms of media including film, TV, video games, commercial advertisements, movie trailers and music videos. The HMMA is also the first music awards event to recognize and honor excellence in music supervision. In addition, iconic individuals are presented with special awards for outstanding career achievement and longevity in entertainment.

2010-12-01T15:33:00.000-08:00

DIGITAL ALBUM REVIEW - ASSASSIN'S CREED BROTHERHOOD

Assassin's Creed Brotherhood
Music by Jesper Kyd
20 Tracks 63:11 mins

The latest game in the Assassins Creed series is set during the occupation of Rome by The Borgias in 1503 and is again scored by BAFTA award-winning composer Jesper Kyd, who utilises Renaissance period instrumentation alongside He says of the project: "Researching the history of the Borgia Family it became clear early on that Assassin's Creed Brotherhood would require a very dark score in order to match the Borgias' aspirations to become the rulers of Italy."
I am working from a copy of the album the composer's publicists, Top Dollar PR, kindly sent me, which has 20 tracks, but I gather the commercial download, available from the likes of iTunes and Amazon.com, has 21.
The first track on my copy is "Master Assassin," a powerful, ethnic styled, percussive piece with ethnic female voice thrown into the mix. This is followed by the impressive majesty of "City of Rome," which moves steadily to the same ethnic sound, enhanced by choir and various instrumental/vocal soloists. A savage male voice choir introduces "Cesare Borgia," whilst "Flags of Rome" becomes increasingly percussive, while female voice soars over. "The Brotherhood Escapes" offers hi-octane action for choir and percussion, with the initially brooding "Brotherhood of the Assassins" gradually gaining impetus, before fading away. "The Pantheon" opens expectantly, but percussion then drives it forward. The male choir return for "Villa Under Attack," effectively mixing with percussion to provide a powerful moment in the score. After this, there's time for reflection in "Echos of the Roman Ruins," with its mournful female vocal, before the pulsing "Borgia Tower" and "Borgia Occupation," with its echoing voices and pounding drums, which build in power, joined by chanting male choir.
"Roman Underworld" is dark and desolate, giving way to "Countdown," which ticks along, building in intensity as it goes. "Borgia - the Rulers of Rome" is a pretty desolate affair, with female voices; the propulsive "Ezo Confronts Lucrezia" following, with the propulsion continuing into "Battle in Spain," where male voices join to provide another powerful moment. "Fight of the Assassins" offers percussive conflict, giving way to "Desmond Miles," with mournful electric cello or violin, backed by shimmering electronics.
The penultimate track, "VR Room" is an ethereal affair, with "Apple Chamber" continuing the shift to a more electronic sound, as it closes the album in somewhat minimalistic fashion with its rippling keyboards and synth pulsings.
A hit and miss affair then, rather like Kyd's previous scores for the series; at its best when the percussion and voices drive the score forward, and also in the haunting use of ethnic female vocals, but the increasing shift towards electronics provide a disappointing close to the album.

2010-11-30T08:57:00.000-08:00

NEWS FROM COSTA COMMUNICATIONS

From Costa Communications:-

CHRISTOPHE BECK

WINS HOLLYWOOD MUSIC IN MEDIA AWARD FOR BEST “ORIGINAL SCORE DOCUMENTARY”

LOS ANGELES – Award-winning composer Christophe Beck wins an HMMA for “Best Original Score: Indie/Short/Documentary” for his moody and introspective score to the critically-acclaimed Paramount Vantage documentary “Waiting For Superman.” Directed by Academy Award-winner Davis Guggenheim (“An Inconvenient Truth”), the documentary is a deeply personal exploration of the current state of public education in the United States, and how it has affected our children. Just announced as one of 15 contenders for “Best Documentary Feature” at next years Academy Awards, the film opened in October to major markets. The score released by Lakeshore Records is now available in stores on CD and online through Amazon.com and iTunes.

“One of the great things about working on a documentary is that you're dealing with real people in real situations,” says Beck. “The music's function isn't to merely push the action along, or to manufacture some kind of feeling that for one reason or another wasn't captured on film – it's to support real, authentic, genuine characters and emotions.”

The film uses playful animations to help convey some fairly disturbing facts when it comes to our failing education system. “I found I could complement that by using some whimsical instrumentation such as pizzicato strings, bouncy percussion and a slightly-too-optimistic feeling,” explains Beck. This helps liven up the presentation of otherwise fairly dry facts and statistics. Then, of course there's the human side too. We wanted to underscore the kids' stories of struggle, hope, disappointment, and for a lucky few, celebration. We used simple, intimate instrumentation – often a plaintive single guitar or piano to help tell these kids' stories.”

In 2000, the cheerleading comedy "Bring It On" launched Beck's prolific film scoring career. His credits include "Under the Tuscan Sun," "Saved," "We Are Marshall," "Red," "The Hangover," the highest-grossing R-rated comedy of all time and recently released musical drama, “Burlesque.”

Beck’s road to film scoring was circuitous. The Montreal native started piano lessons at five and by eleven he was writing music for his first-ever band. During high school he studied flute, saxophone, trombone & drums, and performed in rock bands. While studying music at Yale, Beck had an epiphany: “I discovered my talent for composing was far greater than my talent for performing.” He wrote two musicals with his brother Jason (a.k.a. Chilly Gonzales, the Berlin-based hip-hop recording artist), as well as an opera based on Edgar Allen Poe’s “The Tell-Tale Heart.”

Upon graduation from Yale in 1992, he moved to Los Angeles to attend USC's prestigious film scoring program, where he studied with notable composers Jerry Goldsmith and Christopher Young. Beck was immediately attracted to the creative challenges unique to the marriage of music and picture. A personal recommendation from the legendary Buddy Baker, head of the USC Music Department, led to his first assignment for a TV series called "White Fang.” Soon thereafter, he was asked to score a new TV series, “Buffy,” based on the movie “Buffy The Vampire Slayer” for which he received the Emmy for Outstanding Music Composition.

The Hollywood Music in Media Awards recognizes and honors the music in visual mediums, the talented individuals responsible for creating and placing it, and the music of both mainstream and independent artists from around the globe for their compositions and recordings in all forms of media including film, TV, video games, commercial advertisements, movie trailers and music videos. The HMMA is also the first music awards event to recognize and honor excellence in music supervision. In addition, iconic individuals are presented with special awards for outstanding career achievement and longevity in entertainment.

Selections from the score can be heard at www.christophebeck.com.

2010-11-30T07:52:00.000-08:00

WARNER CLASSICS & JAZZ RELEASE NEW ALBUM BY BRITISH VIOLINIST CHARLIE SIEM

Although not really screen music-related, you may be interested to know that British violinist Charlie Siem, who is already regarded as one of Europe's most gifted violinists, has a new album out on Warner Classics & Jazz.
The album includes works by some of the finest composers to have written for the violin, including Sarasate, Wieniawski, Kreisler and Heifetz. A performance of Franz Waxman's well-regarded Carmen Fantasie is also included. Waxman of course was one of the all-time Hollywood great film composers, but also championed the works of classical composers.
The album, just titled Charlie Siem, is already available in Europe, and receives its UK release in February 2011.

2010-11-29T13:48:00.000-08:00

DIGITAL ALBUM REVIEW - THE BIRD CAN'T FLY

The Bird Can't Fly
Music by Mark Kilian and Paul Hepker
Lakeshore Records
22 Tracks

On November 2nd Lakeshore Records digitally released Mark Kilian and Paul Hepker's score for Dutch novelist Threes Anna's directorial debut The Bird Can't Fly, a drama starring Barbara Hershey, which was originally released in 2007, earning The City of Utrecht Film Prize for Best Dutch Debut.
Kilian and Hepker previously collaborated on 2005's Best Foreign Film Oscar winner Tsotsi, and also Rendition and here they continue their exploration of world music sounds. CineMedia Promotions' press release describes the results better than I ever could, stating that the composers "have created a sensitive, yet powerful aural backdrop for the film; their use of flutes and distant voices, over a bed of buzzing and shifting slide guitars, lends an evocative and unsettled ambience that occasionally breaks out into bursts of hi-octane percussive muscle."
In addition to Kilian and Hepker's instrumental cues, they created a number of songs, a couple of which feature on the album, including "Mine," which is very Oliver Onions in style; and there is also a typical New Orleans-styled funeral march, featuring the voice of Inara George.

2010-11-28T09:13:00.000-08:00

THREE FROM LA-LA LAND RECORDS

La-La Land Records recently released these albums. Mirrors 2 is a new score, whereas both Alien Resurrection and Haunted Summer are expanded reissues. Firstly, I'll concentrate on Mirrors 2. The film is a sequel to 2008's Mirrors, which had a score by Javier Navarrete. Here, Frederik Wiedmann (The Hills Run Red, Return to House on Haunted Hill) steps in and utilises orchestra and electronics, supplemented by vocalists Kate Conklin and Katrin Wiedmann, explaining that "the vocals within the score represent the missing girl, and her calling from beyond."
After the largely propulsive "Main Title" gets the album off to a good start, there's some pretty exciting and really quite savage action to be found in the likes of "Slice," "Run!," "Keller Returns," "The Murder," "Want a Slice?," "A Corpse in the Basement," and "Broken Glass For Dinner,"
There are also plenty of mysterious and pretty dissonant passages, along the way, whilst more melodic, emotional fare can be found in "Kayla," "Alive," "Eleanor's Lament," "Max's Theme," and "Mirror Syndrome."
"Loosing Her Up" is quite an interesting track, mixing harsh dissonances with trumpet-lead jazz, and "Revenge" impresses with its sheer power.
The penultimate track, "It's Over," brings a welcome sense of relief, but this is short-lived as the closing title track propels us to an unsettling conclusion.
All-in-all, an above average genre score, with a good blend of melody with exciting action writing.
Mirrors 2 LLLCD 1151 - Total Time: 51:16 mins

1997's Alien Resurrection, the fourth film in the Alien series, saw Sigourney Weaver play a cloned human-alien hybrid (her character, Ripley of course met her demise in Alien 3). The film wasn't as weighty as 1 or 3, nor the great war film that was 2, but it was still pretty enjoyable and the actress seemed to enjoy herself. And anything with Ron Perlman in is worth watching.
With notable composers, Jerry Goldsmith, James Horner and Elliot Goldenthal to follow, James Frizzell faced a tough task in coming up with the music for his biggest assignment at that time. He chose to score the film's overt sensuality, whilst also taking elements of what had gone before, for instance, coming up with a mysterious main theme that very much evokes the spirit of Goldsmith's original. There's probably more thematic material than in previous films, for which the composer largely utilised orchestra, but he mixed in electronic elements for a more "alien" sound. Of course there's much suspenseful material on display, as well as a good dose of action writing, culminating in the "Finale," a fabulous chorale, featuring female choir, brass and strings.
On this expanded presentation, the complete score is presented on Disc One, concluding with four tracks on DiscTwo. Four alternate cues follow, and then the original 1997 album presentation completes the programme. The accompanying booklet features notes on the film and its music by Al Kaplan (with comments from the composer), as well as the invaluable cue-by-cue guide, all lavishly illustrated with colour stills from the film.
Alien Resurrection LLLCD 1145 - 2 Discs - Total Time:140:37 mins

I've long had a love-hate relationship with Christopher Young's score for 1988's Haunted Summer. The film, which starred Eric Stoltz, Alice Krige and Laura Dern, was a fantasy on the events that lead to Mary Shelley's creation of her classic work of fiction Frankenstein, and was an opportunity for its composer to show that he had more to offer than the horror fare he had become synonymous with. Whilst the score is predominantly electronic, Young also called upon a handful of acoustic instruments, providing the film with something of a "new age" score; at times delicate and ethereal, at others horribly atonal - and I do mean horrible - excruciatingly so at times. The 18-minute-plus "Hauntings" has to be one of the worst cues I have ever had to sit through, and I find his repetitive title motif quite irritating. But this is where the love-hate part comes in, because other cues (or parts thereof) are quite beautiful, particularly his "Menage" theme, variously heard played by violin and flute over synths.
The music Young originally composed for the film was changed considerably when Cannon executives couldn't quite understand his approach, and the original album, released by Silva Screen in 1989, gave Young the opportunity to present his music as originally intended. These tracks make up the first eleven selections on this expanded presentation, with the remaining seven featuring the score that ended up on the film, with the emphasis seemingly on Renaissance composer Orlande de Lassus' song "Mon Coeuer se Recommande a Vous," performed by soprano Evalon Witt, who subs for Dern, when her character sings it on film.
Accompanying the disc is the usual informative booklet, with notes on the film and its music by Randall D. Larson, including cue-by-cue guide, all lavishly illustrated by colour stills from the film.
Haunted Summer LLLCD 1148 - Total Time: 77:06 mins

Mirrors 2 is a regular release, whereas Alien resurrection is limited to 3500 units, and Haunted Summer to 1200. You can, as always, hear samples from all three albums by going to www.lalalandrecords.com, where you can of course also purchase them.

2010-11-25T14:38:00.000-08:00

DECEMBER ISSUE OF JOURNAL INTO MELODY

I am indebted to the Robert Farnon Society for continuing to send me a copy of their official magazine Journal Into Melody, even though I have not contributed for some time. I used to run a regular column therein but, as you know, I am having enough trouble keeping up with things here, let alone being able to contribute anywhere else.
Anyway, I just thought I'd give the latest issue a plug, for there is always something screen music-related to enjoy therein, and the current issue is no exception, as we have a piece on the latest album from film & TV composer Nigel Hess, Silent Night, with the composer at the piano, joined by the strings of the Royal Philharmonic Orchestra in a collection of Christmas Carols; a celebration of the centenary of the birth of David Rose, who of course is especially remembered for his work on Bonanza, The Little House on the Prairie and The High Chaparral; part two of "The Great Arrangers," which features Nelson Riddle, of TV's Batman fame; the second part of a feature on "Aviation and Light Music," which mentions a good many high-flying film themes; a tribute by Laurie Johnson (The Avengers, The Professionals et al) to Jack Parnell; reports on John Wilson's splendid Rodgers and Hammerstein Prom; obituaries for Geoffrey Burgon and Mitch Miller (who of course contributed to films such as The Inn of the Sixth Happiness and The The Bridge on the River Kwai); plus short reviews of albums such as Nigel Hess' Ladies in Lavender, Ron Goodwin's That Magnificent Man and His Music Machine, The Prisoner (featuring the complete Chappell Recorded Music Library cues utilised therein), and Lalo Schifrin's Mambo in Paris( which I of course gave a mention to recently).
If you think you may be interested in joining the Society, send an e-mail to the Membership Secretary, Albert Killman, at rfs@mypostoffice.co.uk, or visit the Society's website at www.rfsoc.org.uk.

2010-11-24T08:37:00.000-08:00

DIGITAL ALBUM REVIEW - RED HILL

Red Hill
Music by Dmitri Golovko
Milan Records
22 Tracks

Patrick Hughes became famous for his YouTube short film Signs, and here he makes his feature directorial debut with the Australian modern western Red Hill, which stars Ryan Kwanten of TV's True Blood fame.
The music for the film is provided by award-winning composer Dmitri Golovko, whose screen music could previously be heard in the TV advertising field, and for video games. He has collaborated on various projects with director Hughes (including Signs), but this too is his feature debut.
The score for Red Hill is largely an acoustic affair, written very much in the spare, modern style utilised in contemporary western fare, featuring the likes of guitars, mandolin, harmonica, percussion and piano. The opening title track carries much tension, but is followed by the pleasant, easy-going "Alice's Theme." There's a nice flow to "The Police Station," whilst "Skins Creek"and "Main Street" have more urgency to them. "The Shootout" features big and bad guitars and percussion, whilst "The Panther" is a fateful affair, and "Payback" suitably vengeful. A Spaghetti Western vibe is introduced in the likes of "Jimmy Returns," with its melancholy guitar solo and ominous rumblings, and the galloping "Shane's Theme," with its iconic trumpet solo. Everything culminates in the mournful strings of "The Finale."
In addition to Golovko's original score, there is an instrumental of "What a Friend We Have in Jesus," plus numbers by Stevie Wright and Charlie Parr.
You can download the Red Hill album from the likes of iTunes and Amazon.com, but if you'd like to check it out first, visit www.milanrecords.com/releases/releases.php?release_name_=RED_HILL, where you can first listen to some samples.

2010-11-23T05:51:00.000-08:00

CD/DIGITAL DOWNLOAD REVIEW - WELCOME TO THE RILEYS

Welcome to the Rileys
Music by Marc Steitenfeld & Various Artists
Lakeshore Records (US)
18 Tracks

This is a film that has been attracting some attention due to the fact that Twilight Saga star Kristen Stewart plays a pole dancer, opposite Sopranos star James Gandolfini in Jake Scott's drama. Unfortunately, those of you hoping to see much more of Kristen than has gone before are going to be disappointed as I gather much of her on stage footage has been cut from the film.
As for the film's music, German-born Marc Streitenfeld has worked on Ridley Scott's last four films and now extends his alliance to the great director's son Jake.
The album leads off with 12 tracks of Streitenfeld's music, and concludes with six numbers by the likes of Kitty Daisy And Lewis, Odetta, Joe Simon, Shiny Toy Guns, The Kills, and Ying Yang Twins.
The score is quite a sparse affair, typically represented by the mandolin-lead title theme, reflecting the largely downbeat nature of the film, and features an assortment of acoustic instruments, many of which are played by the composer himself. There are few bright moments, like the propulsive "I Am Here," and A touch of jazz is injected for "Walking in New Orleans, with something of a country feel to "Alive."
The Welcome to the Rileys album is available both on CD and as a digital download.

2010-11-22T05:56:00.000-08:00

CD REVIEW - DOCTOR WHO - SERIES 5

Doctor Who - Series 5
Music by Murray Gold
Silva Screen Records SILCD 1345
Disc 1 - 28 Tracks 67:25 mins
Disc 2 - 35 Tracks 64:49 mins

Following hard on the heels of UK No.1 Soundtrack Album Doctor Who - Series 4 - The Special comes Doctor Who - Series 5, another splendid double-disc set of music from the recent episodes, with Matt Smith debuting as the last of the Time Lords.
With the exception of The Specials, previous Doctor Who series releases have been limited to a one-disc presentation, which might make for a tighter and more consistently enjoyable listening experience, but there were always notable omissions and I'm sure, like me, you would rather have as much music as possible, and be able to pick and choose your favourites, rather than miss out on something. I therefore applaud this change in direction and hope it continues for the next eagerly anticipated series.
Disc One opens with Gold's latest take on the famous Ron Grainer Doctor Who theme, but I think this is really a bridge too far and maybe he should take a step or two back. This one is not as attractive as other versions.
There follow 10 tracks from the series opener The Eleventh Hour, including the blockbusting opening "Down to Earth;" the child-like innocence of the young Amy theme, first heard in "Little Amy;" the comic antics of "Fish Custard;" the urgency of "The Sun's Gone Wibbly;" the increasing determination of "Zero;" the new rhythmic Matt Smith-Doctor theme composed for the series, introduced in "I Am The Doctor;" and the "The Mad Man With a Box," with its strange and unattractive vocal.
Another new theme, that for the grown-up Amy, which disappointingly features a similar vocal performance to "The Mad Man With a Box," is introduced in episode 2, The Beast Below, from which we have three tracks, and from which we have some frightening choral sounds in the episode's title track, and a beautiful choral conclusion in "A Lonely Decision."
The Daleks returned in "Victory of the Daleks," and again we are afforded three tracks, with plenty of diabolical menace and of course great swashbuckling, heroic action in the memorable "Battle in the Sky," where the Spitfires take on the Dalek ship. Incidentally, for those of you, like me, who found the new Dalek designs laughable, I hear they have thankfully been ditched in favour of a return to the old design.
The Time of Angels/Flesh and Stone, the two-parter that saw the return of the terrifying statue-like Angels is only afforded two tracks here, but there's some powerful, propulsive stuff on display in "River's Plan," whilst "The Time of Angels" has some pretty frightening electronics added to the mix.
Vampires are of course all the rage at the moment, and even Doctor Who had its vampires of sort in The Vampires of Venice, five tracks from which are featured here. Gold does some nice Mediterranean-styled scene setting, whilst also nodding towards the Hammer-style of dramatic scoring, and includes an elegant theme for "Signora Rosanna Calvieri." There's also a percussive action cue "Cab for Amy Pond," with the title track starting off music box style, before taking on large choral proportions.
The two tracks from Amy's Choice includes "Wedded Bliss," a quirky theme with ticking clock accompaniment, and dark menace of "This is the Dream," whilst the final adventure on the disc, the two-parter The Hungry Earth/Cold Blood again features two tracks, the initially quaint, then cold and menacing "Rio de Cwmtaff" and the "The Silurians," which starts out darkly on bassoon, before Herrmann-like horns signal a furious ending.
Disc Two commences with five tracks from, for me, the best episode of the series, "Vincent and the Doctor," which sees the time-travelling duo team up with Vincent Van Gogh to combat a monster that only the painter can see. It's a sympathetic look at the great painter's troubled psyche and the music reflects this, though "Vincent" actually paints a semi-comedic picture.
Seven tracks from The Lodger follow, starting with the almost '60s-styled driving opening to "Adrift in the TARDIS." "Doctor Gastronomy" offers a largely breezy introduction to the whimsical capers of "You Must Like it Here," whilst the Doctor gets down to serious business in the propulsive "A Useful Striker" and there's more action and drama in "Kiss the Girl," with brief pauses for a heavenly choral passage and some romantic strings.
The bulk of this disc is given over to the two-part series closer The Pandorica Opens/The Big Bang, an entertaining, but unlikely adventure, with more plot holes than a moth-eaten jacket, in which the Doctor's enemies band together to imprison him. The 22 tracks presented take one through the whole range of emotions and include plenty of drama, as you can imagine, with menacing and heroic action, as well as some pretty awe-inspiring stuff for "The Pandorica," which is to be the Doctor's prison, and inspirational heroics in "Words Win Wars." But there is also some tender, but short-lived romance for the reunion of "Amy and Rory," some great orchestral variations on Amy's theme for "The Life and Death of Amy Pond," and touching, quiet devotion from "The Patient Centurion" along the way. "A River of Tears" presents some interesting electronic manipulation of the character's theme, which subsequently develops a feeling of genuine sadness in "The Sad Man With a Box," before the Doctor's rhythmic theme takes over. Of course, the quirkiness of Smith's Doctor is also explored here and there, with farcical moments among all the drama, before proceedings come to a happy conclusion in "The Big Day." But the story is far from over, and our intrepid trio (Rory is now firmly in tow) prepare for adventures anew, with the Doctor's theme returning in all its rhythmic glory to close "I Remember You" and continue to the conclusion of the album's final track "Onwards!"
As always, a colourful booklet, with stills from the show and Murray Gold's summation of the music presented accompanies the disc, which can be sampled at www.silvascreenmusic.com, where you can of course also order your copy. Roll on Series 6!

2010-11-20T15:46:00.000-08:00

DIGITAL ALBUM REVIEW - HARRY POTTER AND THE DEATHLY HALLOWS PART.1

Harry Potter and The Deathly Hallows Part.1
Music by Alexandre Desplat
WaterTower Music Digital Download
26 Tracks 73:58 mins

I doubt that you've been able to escape the enormous amount of hype surrounding the release of this the penultimate film in the Harry Potter series. Personally, I have never been that impressed with any of the films, though they all have their moments, and I certainly don't go out of my way to see them, but instead am perfectly content to wait for them to air on TV.
The music for the series has, unlike the Star Wars and Lord of the Rings Films, been placed in the hands of a variety of composers. Of course the great John Williams started the ball rolling, then William Ross set about adapting his themes. Patrick Doyle had a very creditable go, and then Nicholas Hooper was on board for the last two David Yates-directed episodes. Yates returns as director for this the first part of a two part adaptation of J.K. Rowley's final Potter book, but Hooper seems to have been dropped in favour of a "name" composer, Alexandre Desplat who is a hot property internationally. Fans were hoping Williams might be persuaded to close the saga, but I gather Desplat will also score next summer's concluding part.
There are various versions of Desplat's score to be found out there. Here, I am covering the WaterTower digital release, but there is also an iTunes release, which I gather has some bonus tracks, a standard CD release, and finally, there will be a special numbered limited edition collector's edition box set, featuring the soundtrack, a bonus CD with extra music, an exclusive poster, picture disc vinyl, a DVD including video interviews, the soundtrack in 5.1 Surround Sound, original Harry Potter film, cells, and autographed sheet music. So take your pick!
As the series has progressed so the tone has gotten increasingly darker, and this movie is hailed as the darkest yet but, though Desplat's score contains moments of threat and menace, and a few bursts of action, the overall feel is of poignancy and sadness, with some heart-warming and noble moments along the way, though there's a good questing feel to be found in the album's opening track, "Obliviate," and yet more energy in "Snape to Malfoy Manor," which moves along furiously, aided by choir. "Polyjuice Potion," harks back to the Hogwarts days, with its increasingly magical feel, with voices joining again, whilst "Sky Battle" is really the biggest action cue, "At the Burrow" offering light and shade in its aftermath.
A solo piano opens the poignant romance of "Harry and Ginny," which is followed by "The Will," which positively soars, before coming to earth and proceeding in subdued fashion into "Death Eaters," then picking up a sense of urgency. Another light interlude follows in "Dobby," before our heroes take flight again. There's a nice bouncy opening to "Ministry of Magic;" whilst "Detonators" has a surprising air of mischief about it.
The next highlight is "Fireplaces Escape," with its furious, if episodic, action. There's a sadness, yet nobility to the ending of "Ron Leaves," and a poignancy to "Godric's Hollow Graveyard" and "Hermione's Parents." Finally, "Ron's Speech" is heart-warming, and "Farewell to Dobby" emotional.
In conclusion, Desplat's music does not seem out of place in the Potter universe and serves its purpose admirably, it seems, though rarely coming close to matching the Williams (and even the Doyle) scores. "Hedwig's Theme" only makes a very brief appearance, which is probably right, as it speaks of more innocent days.
The final film in the series promises many slayings of well-loved characters, and let's hope Desplat is up to providing even more sorrowful moments than displayed even here.

2010-11-18T15:48:00.000-08:00

AARON ZIGMAN SCORES FOR COLORED GIRLS

Composer Aaron Zigman's sixth collaboration with director Tyler Perry is on Lionsgate's For Colored Girls, which is based on Ntozake Shange's Tony and Obie award-winning choreopoem For Colored Girls Who Have Considered Suicide When The Rainbow Is Enuf, and stars Janet Jackson, Whoopi Goldberg, Thandie Newton, Phylicia Rashad, Anika Noni Rose, Kimberly Elise and Kerry Washington.
Along with his underscore, Zigman composed "La Donna in Viola," an aria he composed "for one of the film's most pivotal and emotionally-charged scenes." Zigman says: "The idea of the aria was to capture the essence of Ntozake Shange's poetry and incorporate it into an Italian libretto."
The composer's publicists, Costa Communications, kindly sent me a promotional disc of Zigman's score, which plays for just over 40 minutes. His haunting "Main Title" theme features the composer on piano and expressive violin playing by no less than Joshua Bell. It's a lovely piece, tinged with sadness, but with a bridge that holds the promise of happier things. The mood is continued into "Double Poem," where flute alternates with Zigman's piano. The troubled "It Makes Sense" and "Alice in Hospital" follow, and then comes the aria, with vocals by Karen Slack, Andrea Jones-Sojola and chorus. The aria's main theme is then taken up by smoky, trumpet-lead jazz combo in "Lady in Purple." We return to more downbeat territory with "Kelly's Pyramid" and the dramatic "Babies."
The main theme makes a welcome return for "Frank Frank," with the smoky trumpet alternating with more conventional woodwind solos. The trumpet is retained for the downbeat "NYLA Alley," but there's hope to be found later in "I Ask Myself" and "I Found Joy."
The penultimate track, "Yasmin's Poem" is a delicate affair, and is followed by the "End Title," for which Zigman's piano and Bell's violin return, before a sunny orchestral finish.
Zigman's score is a fine effort and is very deserving of a commercial recording, but at least the aria is featured on the soundtrack album, released by Atlantic Records, along with vocal performances from the likes of Estelle, Gladys Knight, Macy Gray, Nina Simone and Leona Lewis. Let's just hope that a score release is forthcoming from some enterprising label. This is certainly a score that deserves to be heard.
Incidentally, you can watch a video interview with the composer, in which he talks about his music for For Colored Girls, at www.movieweb.com/movie/for-colored-girls/aaron-zigman-interview.

2010-11-17T08:33:00.000-08:00

CD REVIEW - 100 GREATEST MUSICALS

100 Greatest Musicals
Various Composers/Lyricists
Performed by Stars of the London Stage,
The Royal Philharmonic & The City of Prague Philharmonic Orchestras
Silva Screen Records SILCD 1328
6-CD Box Set

With publicity for this release describing this release as "tracing through the history of stage and song from the influential 1927 musical hit Show Boat to 2010's highly anticipated release from Andrew Lloyd Webber, Love Never Dies," one would expect it is devoted to musical shows, originating on the stage, but this is not the case, as a good number of film musicals are also included, which begs the question are these really the 100 greatest musicals. Whilst there is no doubt that many of them deserve to be included, I am sure you will find many a film musical, which you, at least, may consider your favourite, missed out. I certainly did, and consequently some of my favourite songs from musicals are not found here. And indeed you may find some of yours absent, but don't forget that many a fine song has come from a mediocre musical, so this may well account for their absence. In the end, it's all a matter of personal taste of course and what we have here is indeed a very fine and generous collection of great numbers from many of the top musicals down the years, presented over 6 discs, with Disc 1 covering the period 1927-1948, and featuring the likes of Show Boat, The Wizard of Oz, Oklahoma!, Carousel and Annie Get Your Gun. Disc 2 covers 1949-1957 and features shows like South Pacific, Guys and Dolls, Paint Your Wagon, The King and I, Singin' in the Rain, Seven Brides for Seven Brothers, My Fair Lady, High Society and West Side Story; whilst Disc 3 concentrates on 1959-1967, and features the likes of Gigi, The Sound of Music, Camelot, Oliver!, Fiddler on the Roof, Funny Girl, Mary Poppins, Man of La Mancha and Cabaret. The period 1967-1979 is explored on Disc 4, with such as Hair, The Jungle Book, Chitty Chitty Bang Bang, Joseph and the Amazing Technicolor Dreamcoat, Jesus Christ Superstar, Grease, A Little Night Music, A Chorus Line, Chicago and Annie covered; whilst Disc 5 spans 1979-1986 and features the likes of Evita, Sweeney Todd, Fame!, Les Miserables, Cats, Little Shop of Horrors, Starlight Express and Phantom of the Opera. Disc 6 brings us right up to date with such as Chess, Aspects of Love, Miss Saigon, Sunset Boulevard, Hairspray, High School Musical and even Glee, with a couple of selections from the aforementioned new Webber musical Love Never Dies to round things off (even if these don't really belong on this collection, as it is new and therefore its success has yet to be determined).
I have to say though I am pleased with the performances, both by the vocalists and orchestras, and generally approve of many of the numbers selected, there are a good many songs from the featured shows that deserve inclusion, but are absent. Of course, we may be talking 8 discs or more in order to include them, but still it has to be said.
What definitely emerges is that, with the exception of a very few, it is hard to see songs (more sophisticated though many may be) from the modern era achieving the kind of timeless popularity of those written many years ago, their expertly crafted simplicity of lyric and memorable melodies being much easier for the masses to latch on to and hold in their hearts and minds.
As a footnote, you may be interested to know that to celebrate this release, Silva Screen, with its partners Pure Solo and The Stage ran a competition to discover the next musical star, with James Loynes the winner, whose winning audition song "All I Ask Of You," from The Phantom of the Opera, is featured on Disc 5.
A great Christmas gift, order your copy from www.silvascreenmusic.com.

2010-11-17T08:31:00.000-08:00

NEWS FROM TOP DOLLAR PR

From Top Dollar PR:-

BAFTA AWARD-WINNING COMPOSER JASON GRAVES SCORES PSYCHODRAMATIC ORIGINAL MUSIC FOR
DEAD SPACE 2
Thematic Horror Video Game Soundtrack Evokes Intense
Personal Drama of Isaac Clarke's Dark and Emotional Journey
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Los Angeles, CA - November 17, 2010 - Classically trained BAFTA-winning composer
Jason Graves returns to create a psychodramatic orchestral score for Dead Space
2, the highly anticipated next installment in the blockbuster action horror videogame
franchise. Reflecting hero Isaac Clarke's dementia and nightmarish personal journey,
Graves' original music score for Dead Space 2 features the intricately woven thematic
movement "Lacrimosa," a concerto for string quartet that runs throughout the game.
The game's intense and varied soundtrack also immerses players in this thrilling
action horror experience with haunting Unitology choral compositions, visceral
action music and spine-tingling string arrangements performed by A-List musicians
at Skywalker Sound.

"The score really runs the gamut as you play through the game. There are much bigger
and scarier pieces along with quieter, more personal moments to counterbalance them.
I wrote for string quartet to portray Isaac's vulnerable side. It's quite the
emotional arc, but of course still done in a very 'Dead Space' way."
- Jason Graves, Composer

Jason Graves previously composed the innovative, unique soundtrack for the original
Dead Space, which has been called "the scariest game ever made." Jason's groundbreaking
score was hailed by critics as a "truly original soundtrack" and "the best score
of the year." It was recognized with a myriad of worldwide nominations and won
two BAFTA awards - one for Original Score and one for Use of Audio. For the latter,
the Academy stated, "It's the music soundtrack that boasts horror and tension."

"It has been a real pleasure working with Jason on Dead Space 2. The range of his
composition is impressive, and his attention to detail never fails to amaze me.
His creativity, energy, and unique vision for the music has been key to establishing
the atmosphere of Dead Space 2."
- Andrew Boyd, Audio Director

More information on the composer can be found at www.jasongraves.com.

For more information on Dead Space 2, visit the official website at www.deadspacegame.com.

2010-11-16T05:32:00.000-08:00

CD/DIGITAL DOWNLOAD REVIEW - HUMAN TARGET - SEASON 1

Human Target - Season 1
Music by Bear McCreary
WaterTower Music download or
La-La Land Records LLLCD 1150 (US)
Disc 1 - 21 Tracks 78:16 mins
Disc 2 - 22 Tracks 79:23 mins
Disc 3 - 20 Tracks 47:11 mins

There are plenty of soundtrack albums released on both CD and as a digital download these days, but I can't recall two different sources making available an album before, like Bear McCreary's music for the first season of tongue-in-cheek adventure-thriller TV show Human Target. First up were WaterTower Music with their digital release, which basically presents the main material from the album, discs 1 & 2. La-La Land Records' limited edition /3-CD release presents the same material, but with the addition of a third disc, featuring "Bonus tracks," which include more cues from the 12-episode series, as well as an alternate version of the show's prominent "Main Title" theme, and demos and sketches, including an abandoned concept for the theme, which go together to provide a fascinating look into the composer's creative process. Publicity also states that the disc includes a conversation between McCreary and Executive Producer/Writer Jonathan E. Steinberg, but I have been unable to access this.
For those of you not familiar with the show, it follow the adventures of the enigmatic Christopher Chance (played by the charismatic Mark Valley), who each episode hires himself out to protect some innocent target. The show is very fast-paced, with plenty of action, as one would expect, and not a little sly humour. At times, it reminded me of the popular '60s show The Man From U.N.C.L.E.
Coming off the back of successful and very different scores for the Battlestar Galactica and Terminator: The Sarah Connor Chronicles shows, McCreary and Steinberg sought a symphonic approach to the show, and the composer benefited from the "unprecedented creative freedom" he was given, with each show featuring as much as 30 minutes of orchestral music played by as many as 60 musicians (94 on the season finale). In these days of largely synthetic scoring for TV, this was quite unheard of, and presented the composer with a punishing schedule, but he delivered in spades. Unfortunately, its like may not ever be heard again, because Bear recently revealed that he is no longer on board for Season 2, which starts this week, and I fear it will be back to synth land for the music.
So, make the most of what you have here, which is simply a delight - especially if you enjoy exciting symphonic action scoring, of which there is a huge amount to be found here. But, for those of you who worship the composer's scores for Battlestar Galactica, have no fear - there are still ethnic solos to be found where appropriate (the show's scenarios offer a variety fo exotic locations), and the action is often driven by Battlestar's trademark Taiko drums. This is not to say that there aren't quieter moments to be heard, particularly where a little romance is injected into proceedings. Throughout, McCreary integrates his Emmy-nominated main theme, a simple, straightforward and versatile composition that will soon lodge in your memory. It will be interesting to see how the new composer(s) utilise it, assuming the new creative team have the rights.
Going back to the album presentation, I suppose the only criticisms that can be levelled against it are firstly, that the music is not presented in episode order and secondly, that La-La Land's otherwise excellent booklet, with notes by the composer and Steinberg, as well as a little tribute from Valley, is for once missing the cue-by-cue guide that we are used to from the label. Otherwise, I have no hesitation in recommending this outstanding music to you but, if you still need convincing, head over to the www.lalalandrecords.com/HumanTarget.html to hear samples and ultimately order your copy; or if you prefer to download the album, visit www.watertowermusic.com.

2010-11-16T05:24:00.000-08:00

NEWS FROM ALEPH RECORDS

From Aleph Records:-

ALEPH RECORDS IS PROUD TO CONGRATULATE LALO SCHIFRIN ON RECENT ACCOLADES IN JAZZ AND CLASSICAL WORLD

Schifrin Earns Latin Grammy for Best Contemporary Classical Composition

And Earns Lifetime Achievement Award From Oklahoma Jazz Hall of Fame

Aleph Records proudly congratulates the legendary Lalo Schifrin on his Latin Grammy Award® win on November 11^th for Pampas, written expressly for the Broad Stage concert and recorded by Antonio Lysy for his release Antonio Lysy at The Broad: Music from Argentina. In addition, Schifrin will receive the Jay McShann Lifetime Achievement Award from The Oklahoma Jazz Hall of Fame on November 16, 2010.

Pampas, earned Lalo his fifth Grammy in the Best Contemporary Classical Composition category. The recording evokes the magic and majesty of the Argentine plains. Maestro Schifrin describes, “It’s a very moving piece reflecting desolation and the infinite horizons of The Pampas, which is from my home country”.

The win for Schifrin’s current works comes on the heels of the announcement that he will receive the Jay McShann Lifetime Achievement Award from the Oklahoma Jazz Hall of Fame. The award recognizes the contributions Schifrin has made to jazz throughout his six-decade career.

“I feel very fortunate,” said Schifrin, “that even when I’m still writing and active they still consider a lifetime achievement award. I suppose it’s because of the sum of all of the things I’ve done so far.”

Composer Lalo Schifrin is a true Renaissance man. As a pianist, composer and conductor, he is equally at home conducting a symphony orchestra, performing at an international jazz festival, scoring a film or television show.

Schifrin has written over 100 film and television scores including Mission Impossible, Mannix, Cool Hand Luke, Bullitt, The Cincinnati Kid, Amityville Horror, four of the Dirty Harry films, and more recently Abominable and the Rush Hour trilogy. Lalo Schifrin has now won five Grammys® (twenty-two nominations), one Cable ACE Award, and six Academy Award® nominations. His longtime involvement in both the jazz and symphonic worlds came together in 1993 as pianist and conductor for his on-going series of “Jazz Meets the Symphony” recordings. The seventh “Jazz Meets the Symphony” recording is planned for release in February 2011.

2010-11-15T15:47:00.001-08:00

CD REVIEW - FABLE III

Fable III
Music by Russell Shaw
Sumthing Else SE-2091-2 (US)
24 Tracks 72:29 mins

Russell Shaw returns with his music for the latest in the Fable video game series, Fable III, the soundtrack album for which has been released on CD and as a digital download by Sumthing Else Music.
Shaw's music is performed by the Slovak National Symphony Orchestra, under the baton of Allan Wilson, together with a 40-piece choir and solo vocalisations by Tanja Tzarovska. The score is as rich and varied as we have come to expect from the Fable franchise, with the opening title theme embodying that, going from dark to light and then mysterious over its just under 3-minute running time.
Standout tracks, for me, include the percussive, syncopated action of "Fight or Flight;" the expressive violin solo of "Dwellers Camp;" the tranquility of "Sanctuary;" the airy and charming "Brightwall;" the exotic travel music for "The Desert;" "Kalin's Theme," with its mysterious vocals, courtesy of Ms Tzarovska; the brief, LOTR-like choral of "Coronation;" the doom-laden "Execution;" and the heart-breaking pairing of "Death of Walter" and "Farewell Walter."
Not being a gamer, I am not familiar with the game play, but thought there might be some action moments to perk things up a bit, but these are sadly very thin on the ground. However, if you like orchestral/choral fantasy scoring, I am sure you'll find moments to enjoy on this lengthy album.

2010-11-12T07:01:00.001-08:00

NEWS FROM TOP DOLLAR PR

From Top Dollar PR:-

SUMTHING ELSE MUSIC WORKS ANNOUNCES
RELEASE OF SPEED RACER THE SOUNDTRACK
Remastered Collection Features the Speed Racer Original TV Theme Music Composed
by Nobuyoshi Koshibe and Peter Fernandez
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

New York - November 12th, 2010 - Sumthing Else Music Works, through its licensing
relationship with Speed Racer Enterprises, proudly presents Speed Racer: The SoundTRACK
featuring remastered music from the 1960's animated television series including
the Classic Speed Racer Original TV Theme. The theme and music for the show were
composed by Nobuyoshi Koshibe in Japan with English lyrics written by Peter Fernandez
for US audiences. The album also features new tracks from contemporary independent
music artists such as Lillix, Derek McKeith, Back Pocket Memory, Daybreak Ends,
Melodramus among others. Speed Racer: The SoundTRACK will be released on November
26th, 2010 to retail outlets through Sumthing Else Music Works www.sumthing.com,
and for digital download at www.sumthingdigital.com, Amazon MP3, iTunes® and other
digital music sites.

"This is a project that has been on our minds for a long time and we're very fortunate
that Sumthing Else Music Works allowed the album to be exactly how we envisioned
it," said Michael Cisneros at Speed Racer Enterprises. "We're very fortunate to
have such talented artists on the record and we're more than happy to give them
some well-deserved exposure. The driving beats of this soundtrack are meant to
be played very loud in your car and driven fast to... after all, it is Speed Racer."
"'Speed Racer' is based on a Japanese Manga Comic Strip entitled 'Mach Go Go Go'
and soon after made into an anime cartoon. In 1967 the show was brought to the
United States and became one of the most popular characters in American Television
History. Featuring Speed and his high-tech driving machine, The Mach 5, Speed Racer
combines racing with intrigue as he takes on the most treacherous of adversaries
with the aid of his family and the mysterious Racer X.
Now, over 40 years later, Speed Racer is fully encompassed as a pop culture icon
and more popular than ever."

Track listing:
1. Speed Racer Theme
2. Black & Grey (Melodramus)
3. Race Against The Mammoth Car
4. Can't Get Enough (Derek McKeith)
5. Round The Track (Billy's Vacation)
6. Respiration is a Daunting Task (Back Pocket Memory)
7. The Most Dangerous Race
8. Nowhere To Run (Lillix)
9. The Challenge Of The Masked Racer
10. Vehicular Promicide (Daybreak Ends)
11. The Great Plan
12. Speed Racer Wannabe (Dino-Mike)
13. Asphalt Jungle (Ledhead)
14. Speed Racer Reanimated (Ear Kandy Music)

For more information on Speed Racer, visit www.speedracer.com.

For more information on Sumthing Else Music Works and its complete catalog of video
game soundtracks, please visit www.sumthing.com and www.sumthingdigital.com.

2010-11-12T06:53:00.000-08:00

NEWS FROM ALL SCORE MEDIA

From All Score Media:-

On November 27, 2010 martial arts legend Bruce Lee would celebrate his 70th birthday.
In compliment to this extraordinary filmstar Allscore in cooperation with Chris' Soundtrackcorner releases the soundtrack to "The Big Boss" for the first time on CD.
The Big Boss (aka The Fists of Fury) was the film which started Bruce Lee’s international career.
The composer of this groovy soundtrack is Maestro Peter Thomas.

Here you can find all information, one-sheet, cover art and soundsamples:

http://www.allscore.de/sites/ASM_034.htm

German release date: November 26, 2010.
First copies available November 16, 2010.

On December 1, 2010 this great German composer, Peter Thomas, celebrates his 85th birthday.

2010-11-11T15:50:00.000-08:00

CD REVIEW - THE FILM & TV MUSIC OF CHRISTOPHER GUNNING

The Film & TV Music of Christopher Gunning
BBC Philharmonic conducted by Rumon Gamba
Chandos Movies CHAN 10625 (UK)
12 Tracks 75:50 mins

The latest release from Chandos Movies pays tribute to British film & TV composer Christopher Gunning, who has composed for both large and screen productions over his long career, but is probably best known for the many splendid scores written for television. So many, in fact, that this collection barely scratches the surface. In his guide to the pieces presented, found in the accompanying 36-page booklet (with notes in English, German & French), the composer admits that "selecting scores for this CD was far from easy," but having the services of the BBC Philharmonic, "suggested some of my bigger scores, and I also wanted to employ some of the brilliant soloists I have worked with over the years," namely soprano Nicole Tibbels, guitarist Craig Ogden and saxophonist Martin Robertson.
For the opening track, "Poirot Variants" (which of course features Robertson), Gunning has woven together a piece based around his quirky theme for the television adventures of the Belgian detective.
Next up comes "La Mome Piaf" taken from material for the 2007 cinematic feature, known here mostly as La Vie En Rose, based on the life of the great French singer Edith Piaf. The heart of the piece is an expansive waltz, featuring wordless vocalisation by Ms Tibbels.
1991's Under Suspicion opens darkly and quite disturbingly, with some furious action writing leading to a big crescendo, before Gunning introduces his passionate love theme.
1996's futuristic Cold Lazarus was the last work by the great television dramatist Dennis Potter. Both the production and its music enjoyed great acclaim at the time and here the composer provides a ten-minute summary of his material for the piece, including his impressive main theme, some exciting action music, and a picture of tranquility for Potter's beloved Forest of Dean.
The popular TV series Rosemary and Thyme, with its sleuthing gardeners Felicty Kendal and Pam Ferris, received a charming main theme, based around the folk tune of the same name, played by Ogden.
Emilia Fox's first role of any impact was for the 1997 television adaptation of Rebecca, for which Gunning provided suitably dark and dramatic music, though the main theme, featuring solo cello is by turns quite lovely and deeply passionate.
The 2003 adaptation of Pollyanna was really asking to be scored by the composer, who has a daughter by the same name. For the production, Gunning came up with a suitably light and melodic accompaniment, including a lovely main theme.
For the 1997 film Firelight, Gunning capably supported the repressed emotions on display, with yet more strong melodic material, with solo violin to the fore, culminating in a passionate love theme.
1989's score for the film When the Whales Came is a thing of great beauty, inspired by the composer's own witnessing of the tragic beaching of some thirty sperm whales, whilst on vacation in the Canary Islands. Gunning's music incorporates slowed-down whale sounds and is at its most haunting when his main theme is voiced by wordless soprano.
The composer returns to the world of Poirot for tracks 10 and 11, which feature music from the episodes The Hollow and Five Little Pigs. Firstly, we have the questing main theme for the former, then a mysterious violin-lead theme for the latter.
This splendid collection concludes with 2004's Lighthouse Hill and its initially largely subdued love theme, with which Gunning strove to "create feelings of romance the stillness," of course succeeding admirably.
If, like me, you enjoy strong melodic screen music, this is an album you should seek out for your collection. Splendidly performed, as always, by Rumon Gamba and the BBC Philharmonic, the album is a pure delight and leaves one begging for more.
Chandos releases can now be purchased from the label's website at www.chandos.net.

2010-11-10T07:58:00.000-08:00

CD REVIEW - NINJA

Ninja
Music by Stephen Edwards
MovieScore Media MMS10019
19 Tracks 50:29 mins

Stephen Edwards has scored many an action picture in his career and his latest effort is for Isaac Florentine's martial arts adventure Ninja. His score mixes Japanese and Western elements, utilising standard orchestra, as well as wailing electric guitars and rhythm section, with ethnic instruments such as shakuhachis and taikos.
The album opens boldly with the noble and heroic "Main Title" theme, which then appears in a sad and subdued arrangement in the following "Fight Ejection," and goes on to appear in snatches throughout the score, most notably in the elegiac ""Namiko's Waltz," before returning in its full glory in the "End Credits."
Of course there's a deal of action-packed writing to be found throughout tracks like "Sensei Killed," "Police Station Melee," "Whoopass Latte," and "Casey the Ninja," as well as some tension and menace, but there are also plenty of quiter, more introspective, and sentimental moments like "History Lesson," "Painful Past," "Mother Theme," and "Casey's Solemn Duty."
Go to www.moviescoremedia.com/ninja.html for samples, a trailer for the film, and of course full details of how to obtain your copy of the album on CD or as a digital download.

2010-11-10T04:31:00.000-08:00

NEWS FROM SILVA SCREEN RECORDS

From Silva Screen Records:-

PEARL & DEAN PRESENTS THE NATION'S FAVOURITE MOVIE THEMES

Pearl and Dean survey reveals Top 100 favourite film tunes as voted by
the British public

CD: SILCD1344

REL. DATE: 22nd November 2010

Reflecting a broad taste in film music, The Pearl & Dean survey of the
nation's top 100 movie theme tunes has resulted in the top spot being
secured by Ravel's Bolero as featured in the movie 10. The survey took
place from July to 12th September, 2010 and music was made available for
selection and voting from over 1,000 films from the 1930s to the present
day.

The survey covered a wide age group with the younger generation
influencing John Murphy's 28 Days Later at No.5 and Tyler Bates' 300 at
No. 11 spot, and the older generation insuring that classic themes, Max
Steiner's Gone With The Wind (#83), A Summer Place (#40) and Kenneth
Alford's The Bridge On The River Kwai, (#85), appear in the top 100.

Some unusual choices involved John Addison's A Bridge Too Far at No. 6
and Dimitri Tiomkin's 55 Days at Peking at No.27.

Also featured are the expected "pick of the nation" themes such as 633
Squadron by Ron Goodwin in second position, the Richard Strauss's Also
Sprach Zaratustra from Kubrick's 2001: A Space Odyssey in third
position, John Williams' Star Wars: A New Hope at number 8 and Vangelis'
Chariots of Fire in 10th place. Surprisingly, The James Bond Theme came
in at No. 39.

The result of the Pearl & Dean survey will appear on a 6 CD set released
by Silva Screen Records and will be available exclusively through Amazon
from November the 22nd. The collection opens with Asteroid, Pearl &
Dean's legendary 20" signature tune. This distinctive staccato theme was
written by Pete Moore and was originally produced as a mono track.
Following developments in audio technology, Asteroid was given a full
stereo treatment in the early 1990's with two out of three original male
singers appearing on the new recording.

CD1 2010 - 1997 Position In Vote

1. Asteroid - The Pearl & Dean Theme (Pete Moore)

2. Alice In Wonderland (Danny Elfman) # 79

3. Avatar (James Horner) # 82

4. Star Trek (Michael Giacchino) # 96

5. 300 (Tyler Bates) # 11

6. War Of The Worlds (John Williams) # 50

7. Pirates Of The Caribbean: The Curse of the Black Pearl (Klaus Badelt)
# 64

8. The Lord Of The Rings: The Return Of The King (Howard Shore) # 97

9. 28 Days Later (John Murphy) # 5

10. Bend It Like Beckham (Puccini) # 41

11. Amelie (Yann Tiersen) # 34

12. Harry Potter And The Philosopher's Stone (John Williams) # 55

13. The Lord Of The Rings: The Fellowship Of The Ring (Howard Shore) #
86

14. Gladiator (Hans Zimmer, Lisa Gerrard) # 24

15. American Beauty (Thomas Newman) # 22

16. Armageddon (Trevor Rabin) # 65

17. Saving Private Ryan (John Williams) # 84

18. Titanic (James Horner) # 33

CD2 1997 - 1985

1. Austin Powers (Soul Bossa Nova) (Quincy Jones) # 42

2. Braveheart (James Horner) # 99

3. Pulp Fiction (Nick Roubanis arr Dick Dale) # 37

4. Jurassic Park (John Williams) # 28

5. Schindler's List (John Williams) # 47

6. 1492: Conquest of Paradise (Vangelis) # 9

7. A Few Good Men (Marc Shaiman) # 93

8. The Last of the Mohicans (Trevor Jones) # 100

9. Ghost (Alex North) # 18

10. Edward Scissorhands (Danny Elfman) # 60

11. Dances With Wolves (John Barry) # 62

12. Batman (Danny Elfman) # 45

13. Beetlejuice (Danny Elfman) # 68

14. Platoon - Adagio For Strings (Samuel Barber) # 57

15. Top Gun (Harold Faltermeyer) # 44

16. Aliens (James Horner) # 98

17. Back To The Future (Alan Silvestri) # 4

CD3 1985 - 1978

1. A Room With A View (Puccini) # 51

2. A View To A Kill (John Barry) # 23

3. Ghostbusters (Ray Parker Jr.) # 15

4. Beverly Hills Cop (Harold Faltermeyer) # 17

5. A Nightmare On Elm Street (Charles Bernstein) # 67

6. The Terminator (Brad Fiedel) # 92

7. Merry Christmas, Mr. Lawrence (Ryuichi Sakamoto) # 70

8. E.T. The ExtraTerrestrial (John Williams) # 59

9. Rocky III (Sullivan / Peterik) # 61

10. Blade Runner (Vangelis) # 72

11. Chariots of Fire (Vangelis) # 10

12. Raiders Of The Lost Ark (John Williams) # 13

13. Star Wars: The Empire Strikes Back (John Williams) # 35

14. 10 - Ravel's Bolero (Maurice Ravel) # 1

15. Apocalypse Now (Richard Wagner) # 12

16. 1941 (John Williams) # 25

17. Alien (Jerry Goldsmith) # 80

CD4 1978 - 1971

1. Superman (John Williams) # 14

2. The Deer Hunter (Stanley Myers) # 71

3. Halloween (John Carpenter) # 73

4. A Bridge Too Far (John Addison) # 6

5. Star Wars: A New Hope (John Williams) # 8

6. The Spy Who Loved Me (Marvin Hamlisch, Carole Bayer Sager) # 89

7. Close Encounters Of The Third Kind (John Williams) # 94

8. A Star Is Born (Paul Williams, Barbra Streisand) # 21

9. Rocky (Bill Conti) # 95

10. Jaws (John Williams) # 20

11. Live And Let Die (Paul McCartney, Linda McCartney ) # 49

12. The Exorcist - Tubular Bells (Mike Oldfield) # 78

13. Deliverance (Eric Weissberg, Steve Mandel) # 53

14. The Godfather (Nino Rota) # 74

15. A Clockwork Orange (Beethoven arr. Carlos) # 16

16. Shaft (Isaac Hayes) # 58

CD5 1971 - 1964

1. Diamonds Are Forever (John Barry, Don Black) # 77

2. M.A.S.H. (Johnny Mandel) # 54

3. Love Story (Francis Lai) # 69

4. Battle Of Britain (Ron Goodwin) # 43

5. Butch Cassidy And The Sundance Kid (Burt Bacharach, Hal David) # 48

6. Midnight Cowboy (John Barry) # 90

7. The Italian Job (Quincy Jones, Don Black) # 91

8. 2001: A Space Odyssey (Richard Strauss) # 3

9. Where Eagles Dare (Ron Goodwin) # 81

10. You Only Live Twice (John Barry, Leslie Bricusse) # 30

11. The Good, The Bad And The Ugly (Ennio Morricone) # 32

12. Alfie (Burt Bacharach) # 38

13. Born Free (John Barry, Don Black) # 46

14. A Man And A Woman (Un Homme et Une Femme) (Francis Lai) # 75

15. Doctor Zhivago (Maurice Jarre) # 36

16. 633 Squadron (Ron Goodwin) # 2

17. A Fistful of Dollars (Ennio Morricone) # 7

CD6 1964 - 1939

1. Zorba The Greek (Mikis Theodorakis) # 31

2. Goldfinger (John Barry) # 63

3. A Shot In The Dark (Henry Mancini) # 76

4. Zulu (John Barry) # 88

5. 55 Days At Peking (Dimitri Tiomkin) # 27

6. The Great Escape (Elmer Bernstein) # 29

7. The Pink Panther (Henry Mancini) # 87

8. Dr. No - The James Bond Theme (Monty Norman) # 39

9. Lawrence Of Arabia (Maurice Jarre) # 56

10. Breakfast At Tiffany's (Henry Mancini) # 19

11. The Magnificent Seven (Elmer Bernstein) # 52

12. A Summer Place (Max Steiner) # 40

13. The Bridge On The River Kwai (Kenneth Alford) # 85

14. The Dam Busters (Eric Coates) # 26

15. Casablanca (Herman Hupfeld) # 66

16. Gone With The Wind (Max Steiner) # 83

2010-11-10T04:26:00.000-08:00

NEWS FROM PERSEVERANCE RECORDS

From Perseverance Records:-

Richard Band, Jeff Walton, John Massari & Peter Bernstein's
Puppet Master - The Soundtrack Collection Box
Available for Pre-Order Now at a Special Price

Perseverance Records PRD 033
$39.95 (OFFER GOOD UNTIL NOV 27, 2010)
Limited to 2000 copies.
Will ship the second week of December 2010.

This is the ultimate in Puppet Master music! This 5-disc deluxe box set features the complete scores in chronological order. All original scores from Parts 1-4, 6, 7, 9 & 10 are represented here in digitally re-mastered form. (Parts 5 & 8 had no original scores but were tracked with music from other Puppet Master/ Full Moon features.)

In the case of the first four films, we have gone back to the composer's original 1/2" 4-track analog tapes and digitally transferred them to hard disk. The scores from the other movies were all digital recordings, so we could use those files as they were sent to us by the composers.

The box comes with a 28-page booklet that features in-depth notes about the music for the ten films, as well as interviews with all four composers.

This offer is only good until November 27, 2010. After that, the box will sell for its regular price of $44.95.

To order and to hear sound samples, click here:
http://store.fortytwotradingco.com/soundtracks.html

CD One
PUPPETMASTER
Composed by Richard Band
CD Two
PUPPET MASTER II
Composed by Richard Band

CD Three
PUPPET MASTER III: Toulon?s Revenge
Composed by Richard Band
PUPPET MASTER 4
Composed by Richard Band

CD Four
Curse of the PUPPET MASTER
Composed by Jeff Walton
RETRO PUPPET MASTER
Composed by John Massari

CD Five
PUPPET MASTER vs Demonic Toys
Composed by Peter Bernstein
PUPPET MASTER: Axis of Evil
Composed by Richard Band
____________________________________________________________________________________________

Coming Soon
Coming in January 2011:
Unforgettable by Christopher Young

It is a newly sequenced mix created by the composer, and differs considerably from the 1996 promotional recording he put together at the time of the film?s release. To create a more cohesive and progressive listening experience, several of the tracks presented separately on the promo album have been combined while nearly 20 minutes of previously unreleased music have been added, including two solo piano pieces intended as source music but not used in the film (?Riddle Fiddle? and ?Riddle Fiddle Faddle? ? the latter incorporates the film?s main theme into its melody). The result is surely a score worth remembering.
_________________________________________________________________________________________________________

The Film Music of Jim Manzie, Vol.1 Back in Stock

We recently found another small box of this album and are selling those CDs now at the original sale price. This album was issued as a promotional CD for the composer, and only 250 copies were pressed. 30 of which are now available in our Yahoo store. The majority went to the composer and film makers.
The album gives a broad cross selection of the composer's varied work in films. The colorful booklet with tons of artwork features in-depth notes by film music journalist Randall Larson, as well as notes by the directors of the films. The ultimate promo!
Vol.2 is still available in limited quantities, as well.

2010-11-09T13:52:00.000-08:00

TWO MORE FROM LAKESHORE RECORDS

Took me longer than I thought, but here I am with two more releases from Lakeshore Records. First up is Hans Zimmer and Lorne Bale's enjoyable score for the latest Dreamworks animation Megamind, which was released to U.S. Theatres on 5th November. Megamind (voiced by Will Ferrell) is described as "the most brilliant super-villain the world has ever known ... and the least successful." Constantly thwarted by super-hero Metro Man (voiced by Brad Pitt), when he finally defeats him a new villain arrives and Megamind might just have to turn hero to save the day.
Zimmer has been collaborating a lot with Balfe lately and the two of them have certainly come up with a winner here, with catchy melodies a plenty right from the outset, sometimes surprisingly light, at others more heroic or villainous, with some appropriately propulsive action scoring in the likes of "Crab Nuggets," "Black Mamba"and "Game Over;" romance ("Roxanne"); and even a little pathos in "Mel-On-Cholly" and "Rejection in the Rain." Overall, a thoroughly entertaining listen, particularly, for those of you who, like me, enjoy melodic writing.
In addition to the score, the Megamind album also features numbers by George Thorogood & The Destroyers, Gilbert O'Sullivan, Minnie Riperton, and no less than Elvis Presley.
The Megamind soundtrack is available both on CD and as a digital download.
Lakeshore have also released John Powell's score for the political thriller Fair Game, starring Naomi Watts and Sean Penn, which sees the composer re-team with director Doug Liman, with whom he has previously worked on the likes of The Bourne Identity and Jumper. This score is a very different animal. Mixing live musicians and electronics, Powell comes up with some undeniably catchy grooves in the likes of "The White House," "Joe's Report," and "Smaky," as well as a few rhythmic action moments along the way, with a streak of ethnicity throughout. There's something of a love theme in "Uncomfortable Love," but it's not pretty, with its twangy electric guitar lead, and ends in more rhythmic action in any case. The most "in your face" music to be found is in the percussive "Ready to Fight" and "Testify," both of which blend together to bring the album to a powerful conclusion.
The film was released in U.S. Theatres on 5th November, and the Fair Game soundtrack album is now available in stores, or as a digital download.

2010-11-06T04:27:00.000-07:00

NEWS FROM COSTA COMMUNICATIONS

Sorry I've been out of action again, but work intervened. Hope to get back to the reviewing this weekend. In the meantime, here's some news from Costa Communications:-

ALAN MENKEN’S NEW HAIR-RAISING MUSIC TO “TANGLED”

AVAILABLE ON CD NOVEMBER 16

MENKEN AWARDED STAR ON HOLLYWOOD WALK OF FAME NOVEMBER 10

Composer Alan Menken, winner of eight Academy Awards – more than any living person, will receive a star on the Hollywood Walk of Fame on November 10 prior to his new film “Tangled” opening in theatres this Thanksgiving. Menken has created many of the 20^th and 21^stcentury’s most memorable film and theatrical music including “The Little Mermaid,” “Beauty and the Beast,” “Aladdin,” “Pocahontas” and “Little Shop of Horrors.” His score and original songs for Walt Disney Pictures’ 50^th animated feature can be heard on the soundtrack to be released on November 16 and in the film opening November 24.

Menken will be in attendance and honored at an open to the public, star-studded ceremonial unveiling of his star next week in front of Disney’s El Capitan Theatre, site of the premieres of many of his films. The ceremony will be held at 11:30 AM at 6838 Hollywood Boulevard, Hollywood, CA.

“I wanted folk rock on this,” explains Menken about the score. “I thought about Rapunzel’s long hair and the freedom she wanted. Immediately I thought about Joni Mitchell’s “Chelsea Morning” and all that folk music that I love. Cat Stevens and that energy.”

Mandy Moore (“A Walk To Remember”) voices Rapunzel, a feisty teen with 70 feet of magical hair who is joined by Zachary Levi (“Chuck”) as Flynn Rider and Tony winner Donny Murphy (“The King and I”) as Mother Gothel on the playful soundtrack. The first song written for the film was the “Healing Incantation” sung by Mandy Moore which runs throughout the movie.

“Mandy brings that wonderful quality that’s totally compatible with Rapunzel. This voice that’s light, airy, and yearning. She’s adorable, and Rapunzel is adorable.” Moore and Levi perform a duet on “I See The Light,” a sweeping, romantic ballad to make hearts swoon.

A musical theatre type song was created for Mother Gothel, performed by Donna Murphy. “I’ve known Donna for a long time; in fact she was one of our Audreys in ‘Little Shop of Horrors’ way back Donna brought that kind of exciting drama to the song.”

Menken has won four Oscars^® for Best Score (“The Little Mermaid,” “Beauty and the Beast,” “Aladdin” and “Pocahontas”) and four Oscars for best song (“Under the Sea,” “Beauty and the Beast,” “A Whole New World” and “Colors of the Wind”). In addition, he has been nominated 18 times, including Best Song nominations for “Mean Green Mother From Outer Space,” “Kiss the Girl,” “Belle,” “Be Our Guest,” “Friend Like Me,” “Go the Distance,” “Happy Working Song,” “So Close” and “That’s How You Know,” plus a Best Score nomination for “The Hunchback of Notre Dame.” He has won ten Grammy Awards^® (including Song of the Year for “A Whole New World”), seven Golden Globes^®, London’s Evening Standard Award, the Olivier Award and the Outer Critics Circle Award. Other notable achievements include Billboard’s number one single (“A Whole New World”) and number one album (“Pocahontas”), an honorary doctorate in Fine Arts from New York University and induction into the Songwriters Hall of Fame.

Earlier this fall the musical stage adaptation of the Steve Martin film “Leap of Faith” with original music by Menken and lyrics by Glenn Slater had its world-premiere. Alan Menken’s upcoming projects include the April 2011 Broadway opening of the musical “Sister Act” and the development of a stage musical version of the films “Newsies” with writer Harvey Fierstein and lyricist Jack Feldman as well as “The Hunchback of Notre Dame” and “Aladdin.”

2010-11-02T09:17:00.000-07:00

ALEX WURMAN SCORES TEMPLE GRANDIN AND THE SWITCH

Composer Alex Wurman's publicists, Costa Communications, have kindly forwarded me promotional CDs of his scores for the HBO film Temple Grandin, which of course recently won seven Emmy Awards, including one for Wurman's music; and the big screen comedy The Switch.
Of course the scores and subject material couldn't be more different, with Temple Grandin being the true story of a remarkable woman, who struggled against autism to emerge as a person with a pretty unique understanding of animal behaviour. The film is directed by Mick Jackson and stars Claire Danes, both of them winning Emmys for their contributions.
Of his score, Wurman says: "my nephew is autistic and I've learned a lot from him and my tireless sister. The film gave me the opportunity to create music that conveys the frantic, smart and passionate mindset of Temple Grandin."
The Temple Grandin promo only contains some 18 minutes of music, which I imagine is just a sampling of the score, although it is not unknown for brief scores to win awards.
The "Opening Titles" is a propulsive affair, whilst "Chestnut's Dead," after an appropriately downbeat opening, actually takes flight. The propulsive, optimistic nature of the music continues throughout subsequent tracks, with strings very much to the fore. Even "Slaughterhouse Procession" has a lightness to it. Overall, I suppose the music reminds somewhat of Philip Glass in its minimalist nature, save for the final track on the disc "Ladder into the Future," which has a rural Southern feel, courtesy of slide guitar.
The Switch couldn't be more different than Temple Grandin. Starring Jennifer Aniston as a 40-year-old single woman who uses a turkey baster to become pregnant, not knowing that an accident leads to her best friend, played by Jason Bateman, replacing her preferred sperm sample with his own.
As for Wurman's orchestral score, well maybe that's not quite so different, at least not on the evidence of the opening track, which continues in minimalistic vein. A floaty, sentimental piece follows, but quickly transforms into comic sneakiness. There is a touch of minimalism to be found in subsequent tracks, but mostly what follows over the 37-minute running time is light and melodic, with a good dose of sentiment, but also some comedic moments.
As is often the case with comedy scores, many of the cues are quite brief, hence the 31 on this disc but, all-in-all, a very pleasant listening experience, which really deserves to be released commercially.
Temple Grandin is available on DVD in the States, but The Switch has yet to be released to the home market.

2010-11-02T09:11:00.000-07:00

NEWS FROM PROMETHEUS/TADLOW

From Prometheus Records and Tadlow Music:-

ONE OF THE FILM MUSIC EVENTS OF THE YEAR

PROMETHEUS RECORDS and TADLOW MUSIC
Present The World Premiere Recording
of the Complete Score to

CONAN THE BARBARIAN
Composed by BASIL POLEDOURIS

A Special 2CD Edition featuring
the finest film score from BASIL POLEDOURIS

Composer of ROBOCOP | THE HUNT FOR RED OCTOBER | RED DAWN |
BIG WEDNESDAY | FAREWELL TO THE KING |
STARSHIP TROOPERS And FREE WILLY

Recording Produced for Prometheus Records by James Fitzpatrick

“A masterful translation of a film score into a symphonic piece,
this recording combines the best of new recording technology
with the lushness of the full orchestra and choir
our father always wanted.” Zoe and Alexis Poledouris

Catalogue Number: XPCD 169
Release Date: NOVEMBER 2nd, 2010

2 CD Set WITH 24-PAGE FULL COLOUR BOOKLET
Featuring for the First Time the COMPLETE
100-Minute Film Score
The Original Greig McRitchie Orchestrations
Over 2 Hours of Music
Includes Previously Unreleased Music
Newly Recorded in Stunning and Dynamic Digital Sound
Performed by the Acclaimed and Award-Winning 96-piece
City of Prague Philharmonic Orchestra and 100-voice
CPPO Chorus Conducted by Nic Raine
Bonus Material including alternate cues and music from
CONAN THE DESTROYER
Informative and Expert Sleeve Notes by Frank K DeWald
Booklet introduction by Zoe and Alexis Poledouris

2010-11-02T09:07:00.000-07:00

NEWS FROM ORCHARD MUSIC

From Orchard Music:-

Christopher Gunning's new CD!

This is the Gunning publicity machine swinging into action again, with the news that Chandos Records have just released a new CD of Christopher’s film and TV music.

The music is performed by the BBC Philharmonic Orchestra, conducted by Rumon Gamba, and also features some soloists with whom Christopher has worked in the past - Craig Ogden, Martin Robertson and Nicole Tibbels.

For Christopher the album has been a labour of love; it provided him with an opportunity to revisit some of his favourite scores, dust them off, and rework them where necessary to make pieces that stand on their own. “Poirot Variants,” for alto saxophone and symphony orchestra, is a mini concerto taking in many of the variations of the famous theme and is a brilliant showpiece for both soloist and orchestra. “La Mome Piaf” is the music he composed for “La Vie en rose,” the film starring Marion Cotillard portraying the life of Edith Piaf. “Rebecca,” featuring a solo cello, is the dark, dramatic and watery music he composed for the TV adaptation of Daphne du Maurier’s novel, and “Firelight,” featuring a solo violin, is the emotionally charged score which unashamedly tugs at the heartstrings. Elsewhere on the CD you can hear Nicole Tibbels singing along with whales in “When the Whales Came,” and, in complete contrast, the epic score Christopher composed for “Cold Lazarus,” the last work for television by Dennis Potter. Poirot is visited again with themes from “Five Little Pigs” and “The Hollow,” while “Pollyanna” is pretty and optimistic. “The Rosemary and Thyme caprice,” featuring Craig Ogden’s guitar, is part Gunning and part quotes from the well known folksong, and “Under Suspicion” is alternately mysterious, extremely violent, and finally romantic. The album winds down with the touching love theme from “Lighthouse Hill.”

The album may be purchased direct from Chandos and may be viewed here: http://www.chandos.net/details06.asp?CNumber=CHAN%2010625
Alternately it may be downloaded from The Classical Shop by following this link: http://www.theclassicalshop.net/Details.aspx?CatalogueNumber=CHAN%2010625

Also available from Chandos: Christopher Gunning’s Symphonies 3 and 4, and his Concerto for Oboe and Strings: http://www.chandos.net/details06.asp?CNumber=CHAN%2010525
This may also be downloaded from the Classical Shop: http://www.theclassicalshop.net/Details.aspx?CatalogueNumber=CHAN%2010525

Both CDs are available from Amazon and the usual outlets.

For his film and TV work Christopher Gunning has won four BAFTA awards, three Ivor Novello awards, a Czech 'Lion' and many other nominations. He has also composed six symphonies, concertos for the flute, oboe, clarinet, saxophone and piano, and numerous other concert pieces. For further information please visit http://www.christopher-gunning.co.uk/

Chandos have kindly sent me a copy of the CD and I shall be covering it on the site in due course.
Ed.

2010-11-01T16:28:00.000-07:00

CD REVIEW - HALO: REACH

Halo: Reach
Music by Martin O'Donnell and Michael Salvatori
Sumthing Else SE-2084-2 (US)
Disc 1 - 7 Tracks 56:15 mins
Disc 2 - 20 Tracks 51:22 mins

The Bungie team's final offering in the Halo series of videogames is Halo: Reach, which tells the story of Noble Team, a squad of heroic Spartan soldiers, and their final stand on Planet Reach.
The music is provided by series regulars Martin O'Donnell and Michael Salvatori (with additional music by C. Paul Johnson and Stan LePard), whose efforts are released on this splendid two-disc set from Sumthing Else Music. Culled from more than five hours of recorded material, the music is here presented in the same order that gamers experience them in the game, though some pieces are shortened and combined. As with previous scores, the composers utilise a combination of orchestra (The Northwest Sinfonia), percussion, voices, electric guitar and synths. There's the usual wide variety of styles on display, with strong thematic material, some exciting moments, often driven by percussion, as well as the almost religious choral passages we've come to expect.
For more detailed reviews of the release, go to http://g4tv.com/thefeed/blog/post/707727/halo-reach-soundtrack-review.html, where you can also listen to samples; and www.tracksounds.com/reviews/halo_reach_martin_odonnell_michael_salvatori.htm.
The Halo: Reach soundtrack is available on CD from all good retail outlets, or as a digital download from www.sumthingdigital.com or iTunes.

2010-10-31T16:27:00.000-07:00

DIGITAL DOWNLOAD REVIEW - MEDAL OF HONOR (2010)

Medal of Honor (2010)
Music by Ramin Djawadi
EA Games
20 Tracks 60:20 mins

The latest in the series of Medal of Honor videogames leaves the theatre of World War II behind and brings us up to date with its Afghanistan setting, and focuses on the Tier 1 Operator, described as "an elite warrior and relatively unknown instrument of the US Military that operates under the National Command Authority, taking on missions no one else can handle.
Obviously, a whole new style of music was required for the game and Iron Man and Clash of the Titans composer Ramin Djawadi got the gig. His music mixes ethnic stylings with more western sounds in the modern electronic-percussive vein. There are suitably propulsive episodes, mysterious middle-eastern atmospheres, as well as more reflective and moving passages, topped off with the composer's noble, yet fateful main theme. For a full review of the score, I suggest you visit www.tracksounds.com/reviews/medal_honor_ramin_djawadi.htm. Whilst you're there, you may also want to check out an audio interview with the composer.
Personally, I prefer the previous, more traditionally orchestral Medal of Honor scores, particularly those of Michael Giacchino, but Djawadi's score has its moments, and if you are into the more modern approach to scoring, and like ethnic colouring, this may well be the very thing for you.
The Medal of Honor soundtrack is available as a digital download only from the likes of Amazon.com.

2010-10-31T09:16:00.000-07:00

CD REVIEW - DOCTOR WHO - SERIES 4: THE SPECIALS

Doctor Who - Series 4: The Specials
Music by Murray Gold
Silva Screen Records SILCD1340
Disc 1 - 21 Tracks 52:12 mins
Disc 2 - 26 Tracks 64:19 mins

The final Doctor Who series to feature David Tennant as the last Time Lord was something of a disappointment. Instead of a proper series, we were treated to just three adventures (the last split into two, airing on Christmas and New Year's Days), none of which were particularly inspiring. In fact, the last one was almost irritating, its long, drawn-out ending coming close to that of the final Lord of the Rings film. He was only regenerating, guys, like he's done many times before - not dying as such! Personally, I never really liked Tennant's Doctor and he had become almost unbearable as his episodes (and specials) progressed, so I was glad to see the back of him. Young Matt Smith has replaced him, and I'm finding him more tolerable - just - must be my advancing years!
Murray Gold has written the music for the character ever since he was resurrected and has produced some memorable stuff, with the able assistance of Ben Foster and the musicians of the BBC National Orchestra of Wales, here supplemented by the Crouch End Festival Chorus. This splendid double-disc set presents their efforts for the specials, the first disc featuring music from The Next Doctor and Planet of the Dead, with Disc 2 featuring the scores from the two-parter The End of Time. As always, there is great variety in the music, with high adventure and exciting action moments, stunningly beautiful interludes, and not a little comedy, with also reprises of some favourite themes from past series. And of course there's a good dose of pathos to the scenes that lead to and see Tennant's Doctor take his leave. It's all great stuff, as anyone familiar with the soundtracks of previous Doctor Who series (all on Silva Screen, of course) will appreciate, and I just wish I had time to go into detail here; but I'm still playing catch-up and therefore will have to do the next best thing by pointing you in the direction of some more detailed reviews of the collection at http://blogcritics.org/music/article/music-review-doctor--who-series-4/ and www.denofgeek.com/Reviews/145914/doctor_who_series_4_soundtrack_cd_review.html.
The collection comes complete with the usual splendidly illustrated accompanying booklet, featuring the composer's introductory notes and cue-by-cue guide to the music presented.
Go to www.silvascreenmusic.com, where you can sample the tracks before purchasing your copy on CD or as a digital download.
Incidentally, the label has announced the release of yet another double-disc presentation of Doctor Who music, this time from Matt Smith's adventures in Series 5. The album will be released on November 8th and I hope by then to be able to bring you a more detailed review of this music.

2010-10-30T15:52:00.000-07:00

CD REVIEW - DEXTER SEASON 4

Dexter - Season 4
Music by Daniel Licht & Various Artists
Milan Records M2-36494 (US)
27 Tracks 77:59 mins

Season 4 of Dexter saw him playing cat-and-mouse with the excellent John Lithgow's serial killer; the series culminating in the shocking demise of a leading cast member.
As for the music, as always there was a good selection of source music, mainly of the Cuban influenced variety, perfectly illustrating the Miami locations, alongside Daniel Licht's original score, as always a model of subtlety, utilising familiar motifs laid down in previous seasons, as well as creating new material, often achieved inventively, utilising instruments from all over the world, such as gamelon, duduk, dejmbe and toy piano, often obtained by the composer from trawling eBay no less, He even found instruments made from human bones, the use of which seems very fitting due to the nature of the show.
This lengthy album features a generous 17 tracks of Licht's music, the remaining 10 featuring a sampling of the source music, with perhaps the more familiar numbers being Frankie Avalon's "Venus" and Culture Club's "Karma Chameleon;" all topped off with Rolfe Kent's "Main Title Theme," though it's mostly Licht's own Dexter theme that accompanies him through the show.
The accompanying booklet features full song and music credits, and a note from the composer, illustrated with colour portraits of some of the characters.

2010-10-29T14:01:00.000-07:00

CD REVIEW - DUNSTON CHECKS IN

Dunston Checks In
Music by Miles Goodman
La-La Land Records LLLCD 1147 (US)
13 Tracks 57:00 mins

La-La Land Records continue their tribute to the late Miles Goodman with their release of his score for 1996 family comedy Dunston Checks In. Goodman's tragically short career in film scoring saw him perhaps somewhat typecast in the comedy genre, which is why I am not all that familiar with his work, as comedy is not really my bag, but I welcome the chance to discover his music. I enjoyed the label's previous release of his score to Dirty Rotten Scoundrels and Dunston provides plenty of entertainment too, and is bursting with thematic material, which you know by now I like.
The film concerns an orangutan who happens to be a jewel thief - certainly an unusual premise, and the exotic creature, though not scored with geographically correct sounds, receives sparkling accompaniment of a South American-styled nature, filled with samba and tango rhythms - all highly entertaining. And, needless to say, the comical antics that ensue are expertly caught by the composer as well. What I like too about this album is that it only has 13 tracks, but runs for nearly an hour, giving the music plenty of opportunity for development within each cue. Often comedy scores consist of quite brief offerings, which promise but fail to deliver away from the action up there on the screen.
Accompanying the disc is the usual high quality booklet, with detailed notes and the invaluable cue-by-cue guide, courtesy of Daniel Schweiger, lavishly illustrated with full colour stills from the film. You can hear samples of the score on the label's website and, as the album is limited to just 1200 units, you'd best hurry along to www.lalalandrecords.com/Dunston.html if you want a copy.

2010-10-29T04:48:00.000-07:00

NEWS FROM CINEMEDIA PROMOTIONS

From CineMedia Promotions:-

WaterTower Music Announces November 16 Release Date for the Soundtrack to Harry Potter and the Deathly Hallows – Part 1

Limited Edition Soundtrack Collector’s Set Also Unveiled

BURBANK, Calif.--(October 27, 2010)--WaterTower Music is excited to announce the release of the original motion picture soundtrack for Harry Potter and the Deathly Hallows – Part 1, the latest installment of the Harry Potter film franchise. The album will be available everywhere Tuesday, November 16. Featuring 26 compositions by Golden Globe winner and Oscar- and Grammy Award-nominated composer Alexandre Desplat, the soundtrack provides the listener with over 70 minutes of new music from the film. All fans who purchase the CD will also receive a free download of the entire soundtrack in 5.1 Surround Sound Audio

“It’s an extraordinary story of extraordinary people, which allows me to play with a world of extraordinary sounds.”

Additionally, a special limited collector’s edition of the soundtrack will be made available. Each numbered collector’s set features the full soundtrack, a bonus CD with extra music, an exclusive poster, picture disc vinyl, a DVD including video interviews and the soundtrack in 5.1 Surround Sound Audio, original Harry Potter film cells, autographed sheet music, and a numbered certificate of authenticity. This special set will be made available at retail stores in time for Christmas and is available by pre-order now at online retail. More details are available at www.deathlyhallowssoundtrack.com.

Desplat composed the captivating score, which was recorded by the London Symphony Orchestra at the famed Abbey Road Studios. “I’m thrilled to be involved with the magical world of Harry Potter,” declared the composer. “It’s an extraordinary story of extraordinary people, which allows me to play with a world of extraordinary sounds.”

Alexandre Desplat is a three-time Academy Award^® nominee for his scores for Fantastic Mr. Fox, The Curious Case of Benjamin Button and The Queen. He also won a Golden Globe Award for The Painted Veil. His additional work includes the scores to Twilight Saga: New Moon, Julie & Julia, Syriana and Birth.

Harry Potter and the Deathly Hallows – Part 1, which opens nationwide on Friday, November 19, begins the seventh and final adventure in the Harry Potter film series, the much-anticipated motion picture event to be told in two full-length parts. Part 2 opens nationwide on July 15, 2011.

Warner Bros. Pictures presents a Heyday Films Production, a David Yates Film, Harry Potter and the Deathly Hallows – Part 1. The film is directed by David Yates, and produced by David Heyman, David Barron, and J.K. Rowling. Steve Kloves adapted the screenplay, based on the book by Rowling. Lionel Wigram is the executive producer. Daniel Radcliffe, Rupert Grint and Emma Watson reprise the roles of Harry Potter, Ron Weasley and Hermione Granger. Harry Potter and the Deathly Hallows – Part 1 will be distributed worldwide by Warner Bros. Pictures, a Warner Bros. Entertainment Company. It has been rated PG-13 for some sequences of intense action violence, frightening images and brief sensuality.

www.harrypotter.com

2010-10-28T08:11:00.000-07:00

THREE FROM MOVIESCORE MEDIA

Still playing catch-up and here are three recent releases from MovieScore Media. Firstly, we have The Legend of Silkboy by another new name to me, British Columbian resident Alain Maynard, composer in residence of the Vancouver Metropolitan Orchestra. His best known film score is Echoes of an Epic, for which he was Leo nominated, and his concert piece "A Garden of Music" has received worldwide acclaim.
The Legend of Silkboy is an animated Jackie Chan production for which Maynard has come up with a delightful, theme-filled, and adventurous score, with a few comic touches. I encountered a few problems getting hold of this release and when I finally did it was unfortunately too late to do it full justice. However, for more detailed coverage, you'll find reviews at www.filmscoreclicktrack.com/2010/10/cd-review-the-legend-of-silkboy/ and http://scorenotes.com/soundtracks/silkboy.html.
Next up is Bill Brown' score for something of an unusual project. The soundtrack for Dark Prophecy is "from the motion picture elements (cyber-bridges) of the unique online multimedia experience which is an interactive extension of 'Level 26' book series by CSI creator Anthony E. Zuiker," and is the follow-up to best-selling novel Dark Origins. I hope all that means more to you than I. Brown's score features both live and electronic elements and features plenty of dark suspenseful material, as well as exciting action moments, topped off by the lovely, strings-and-piano "Henry's Theme." There's another slightly more detailed review of the score to be found at www.filmmusicmag.com/?p=6345.
Finally, the score that impressed me most on first listening was that written by 32-year-old Portuguese composer Nuno Malo for the psychological drama Julgamento, and I'm pleased to say that the label plan to release more of his work in the future. For Julgamento, Malo utilises traditional orchestra, augmented by the likes of the Ukrainian Bandura and bowed Dulcimer.
There's plenty of fine melodic material on display, as well as some exciting action writing. For another view on the score, go to www.reviewgraveyard.com/00_revs/r2010/music/10-09-28_julgamento.html.
For further details of these releases and their composers, samples, trailers for the films the scores accompany, and of course ordering details, go to www.moviescoremedia.com.

2010-10-27T15:09:00.000-07:00

NEWS FROM TOP DOLLAR PR

From Top Dollar PR:-

ASSASSIN'S CREED® BROTHERHOOD FEATURES MASTERFUL RENAISSANCE MUSIC SCORE BY WORLD-RENOWNED
COMPOSER JESPER KYD
Original Soundtrack to be released November 16 on iTunes
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Los Angeles, CA - October 27, 2010 - BAFTA award-winning composer Jesper Kyd has
composed an original music soundtrack for Ubisoft®'s Assassin's Creed Brotherhood,
the next iteration of the critically acclaimed, multi-million selling video game
franchise. Assassin's Creed Brotherhood is inspired by historical events during
the occupation of Rome by The Borgias in 1503. Kyd's new music score for Brotherhood
draws influence and authentic instrumentation from this Renaissance period, immersing
players in Ezio's adventures to liberate Rome from a corrupt and tyrant regime.
The Assassin's Creed Brotherhood Original Soundtrack will be available for digital
download from iTunes on November 16, 2010, to coincide with the North American release
of the game on Microsoft Xbox 360® video game and entertainment system and the Sony
PLAYSTATION®3 computer entertainment system.

"Researching the history of the Borgia Family it became clear early on that Assassin's
Creed Brotherhood would require a very dark score in order to match the Borgias'
aspirations to become the rulers of Italy. The music reflects the compelling story
of Ezio as a Master Assassin going up against the Borgias," said Kyd.

Kyd's globally acclaimed score for Assassin's Creed® 2 continues to receive top
honors for Best Original Music including the Gold Spirit Awards, Hollywood Music
In Media Awards, GameSpot Readers' Choice, GameSpy Editors' Choice, Game Audio
Network Guild Awards as well as recognition from the British Academy of Film and
Television Arts, Academy of Interactive Arts and Sciences, International Film Music
Critics Association, Golden Joystick Awards and Spike TV VGAs.

In Assassin's Creed Brotherhood the critically acclaimed single player experience
of Assassin's Creed is back and better than ever as Ezio returns in an enduring
struggle against the powerful Templar Order. Now a legendary Master Assassin, he
must journey to Rome, center of power, greed and corruption to strike at the heart
of the enemy. Defeating the corrupt tyrants entrenched there will require not only
strength, but leadership, as Ezio commands an entire Brotherhood that will rally
to his side. Only by working together can the Assassins defeat their mortal enemies.
Assassin's Creed Brotherhood is also the first time the franchise has featured a
multiplayer gameplay experience, which has already received numerous industry awards.

Assassin's Creed Brotherhood is a worldwide production effort led by the Ubisoft
Montreal development studio in collaboration with Ubisoft studios in Singapore,
Bucharest, Québec City and Annecy. Assassin's Creed Brotherhood will ship on November
16, 2010 for the Microsoft Xbox 360® video game and entertainment system and the
Sony PLAYSTATION®3 computer entertainment system. For more information about Assassin's
Creed Brotherhood,please visit www.assassinscreed.com.

2010-10-27T05:31:00.000-07:00

CD REVIEW - CI RISIAMO, VERO PROVVIDENZA? & OTHER ITALIAN WESTERN RECOMMENDATIONS

Ci Risiamo, Vero Provvidenza?
Music by Ennio Morricone & Bruno Nicolai
GDM Hillside Series GDM 4136
15 Tracks 40:44 mins

You probably know now by now that I am a big fan of the Italian Western genre and its music. I am not however a fan of the more comedic entries. In fact, I would go so far as to say that those I have had the misfortune to sit through must number among the worst films ever made. I haven't seen Ci Risiamo, Vero Provvidenza? but, judging by the artwork and stills accompanying this limited release of just 750 copies, with its Chaplinesque hero, played by Tomas Milian, I am quite sure I would hate it.
The music however is courtesy of the great Ennio Morricone and Bruno Nicolai and as such is worth checking out. Some of it has been made available on recordings before, but the majority of the music presented here was prepared for an unreleased promotional RCA LP.
The main theme is an easy-going, jaunty little melody, enhanced by I Cantori Moderni di Alessandroni's voicings of "Provvidenza," featured in both the opening ancd closing tracks, and also as an instrumental scherzo in track 7, and as a harpsichord solo on track 13.
The secondary theme is a charming love theme, "Bocca a Bocca," for airy flute, harpsichord and strings that features three times on the album.
Other tracks include a fiddle-lead hoe-down; an infectious vocal number, voiced in Italian by the film's star, again supported by I Cantori Moderni; a fast-flowing piano theme, straight out of the Chaplin era; something of a Native American dance, complete with guttural vocalisations; a semi-comedic military march; a Russian-styled performance dance number, with expressive violin lead; an Oriental styled theme; and a French Can-Can. All-in-all, an infectious and fun little listen.
I don't know how many copies of the album are left but, if you want one, you'd best hurry along to www.hillsidecd.co.uk, who of course specialise in Italian soundtrack music, which brings me to three other Italian Western scores for films of a more serious nature that are available there, which I'll briefly mention, should you wish to check them out also.
Firstly, we have the Beat Record Company release of Vasco Vassil Kojucharov's music for the films Dio Perdoni La Mia Pistola and Anche Per Django Le Caroone Hanno Un Prezzo (Beat CDCR 109). The first 14 tracks are given over to the former score and include a pretty decent main theme, performed as the song "A Man Called Texas," unfortunately with uncredited English vocal; as an atmospheric harmonica solo, courtesy of Franco De Gemini; as an acoustic guitar solo; a dramatic showdown; and as a couple of fully orchestrated instrumentals.
There's a good helping of dramatic scoring along the way, as well as a brief comedic moment in track 6 (the tracks are all untitled as such).
The remaining 9 (again untitled) tracks are from Anche Per Django and largely features another fine main theme, only presented as a variety of instrumentals, from more straight-ahead to laid-back styles, including the standard showdown and galloping versions. It's all enjoyable stuff.
The CD is enhanced and, if you pop it into your PC, you should be able to access and interview with the composer (in Italian of course, but with English subtitles provided). There is also a very nice foldout included with the disc, featuring notes on the film and its music, both in Italian and English, illustrated with full colour artwork and stills from the films.
Next up is the GDM Music release of Enrico Ciacci and Marcello Marrocchi's score for 1967's Vendo Cara La Pelle. The first 19 tracks make up the body of the score, with a further five bonus tracks, featuring stereo mixes and alternates. I've never come across the duo's names before, let alone their music, but the score features another strong and versatile main theme, introduced in the opening track as a galloping, electric guitar-lead instrumental, but also featured as an easy-going flute theme, in one track introduced by tinkling music box, and there are also church organ/trumpet duets, with English and Italian vocal versions provided by Nico e I Gabbiani. A pretty love theme, voiced by a variety of instruments, features as the secondary motif, and of course, there's also a good helping of dramatic scoring along the way. A very welcome release of an above average genre score.
Accompanying the disc is a colourful booklet, featuring stills and poster artwork,with brief introductory notes (unfortunately in Italian only).
Finally, we have the great Angelo Francesco Lavagnino's score for the 1964 Guy Madison starrer Sfida A Rio Bravo. There are 23 unnamed cues, with a couple of bonus tracks of stereo mixes, presumably for a single release at the time. The versatile main theme is familiar from past collections and is most often presented as a bold, sturdy piece, sometimes with whistler and harmonica, but features in various forms throughout the score, including a romanticised version, and is always welcome. Again, there are plenty of dramatic moments, and some tuneful source music, featuring solo guitar and honky-tonk piano, along the way. Another fine example of the genre.
Again, there are plenty of full colour stills and artwork in the accompanying booklet, with the introduction unfortunately still only in Italian.
Don't forget, www.hillsidecd.co.uk is the place for all your Italian soundtrack requirements. Tell Lionel I sent you.

2010-10-26T05:28:00.000-07:00

THREE FROM LAKESHORE RECORDS

Well, here I am with my first catch-up attempt, and I'll begin with three recent releases from Lakeshore Records, starting with the digital download only release of Christopher Gordon's score for Bruce Bereford's Mao's Last Dancer, which is based on the autobiography of ballet dancer Li Cunxin, who went from a life of poverty to one of great acclaim as a world-class performer.
I briefly mentioned Christopher Gordon's acclaimed score for the film when reviewing his music for Daybreakers and, like buses, it seems you wait an age and then two come along at once, as was the case with these two fine scores. If only we heard more of this talented composer.
Of his score for Mao's Last Dancer, Gordon says: "There can be few movies that require such a broad array of musical ideas. From the simple exercises for piano to the complex pseudo-jazz of "Free Dance;" from the delicate "Pas de Deux" to the martial bombast of "Madame's Model Ballet;" from the joyous "Becoming a Dancer" to the sorrow of "Dance of Longing;" from the dramatic underscore of "The Consulate" to the chaste emotion of"Brush Dance," and from the Chinese folk-sounds of "Village Life" to the Hollywood orchestral epic of "Finale."
The score is simply gorgeous, but don't take my word for it, check out reviews at www.filmmusicmag.com/?p=6345 and http://buysoundtrax.com/larsons_soundtrax_9_24_10.html.
I should say that Gordon's music accounts for 18 of the 23 tracks on the album, with the remainder given over to ballet pieces by the likes of Tchaikovsky and Mozart.

Next up we have Philip Sheppards's music for The Tillman Story, a documentary dealing with the life and death of Pat Tillman, who, in 2002, gave up his glittering life as a pro-footballer to join the military, and whose subsequent tragic demise was exploited by the government for propaganda purposes.
Sheppard first came to my attention with his music for 2007's In the Shadow of the Moon and, whilst writing scores for the odd fictional tale, is mostly known for his work in the field of documentary. Dedicating the album to Pat's mother, Mary "Dannie" Tillman, Sheppard says: "I didn't want to apply a heroic sheen to the seductive images of sport and war, as this would only be adding to the myths that this film so eloquently deconstructs." He continues: "In writing documentary music I believe it is the composer's job to lead the viewer to a place where they can think, but not to tell them what to feel, so in a sense the music has to act as a clean slate. This is essential in a story where the original facts of the matter have been distorted an re-imagined in the first place."
Comprising no less than 32 tracks, Sheppard's score is somewhat fragmented, which is not unusual for a documentary of this nature, but many cues are of a decent length, and there is the odd lengthy offering along the way, like the tense "Into the Valley." Largely utilising strings, with telling solos by the likes of cello, violin, piano and trumpet, the music is very much emotion-filled, mixing the suitably solemn and tragic, with moments of warmth and nostalgia, and the odd upbeat moment, like the paranoid "Suspicion," with its insistent plucked stringed opening, an element that features further in subsequent tracks; the airy "Flight;" the rhythmic exotica of "The Afghan;" and the flowing string quartet of "The Hearing." Electronics are used sparingly, often when an element of threat is required. The standout, for me, are the strident brass and strings of the "Jessica Lynch Waltz."
Already available as a digital download, The Tillman Story soundtrack is released in U.S. stores today.

The final release here from Lakeshore is Mark Kilian's score for Legacy, which focuses on a decorated anti-terrorist black-ops soldier as he reflects on a botched mission in Eastern Europe.
Kilian describes his music as: "an exciting blend of retro flavoured orchestral writing, reminiscent of Bernard Herrmann's work with Alfred Hitchcock, and a modern electronica sensibility applied to the writing and manipulation of acoustic and electronic instruments and percussion." He continues: "to give the sense of psychological breakdown and the loss of reality, the music never lets the audience settle into a comfortable thematic development pattern, but rather keeps the 'nail on the chalkboard' idea throughout, where many sounds are not quite right."
There's actually very little of the Herrmann style on display here, with the more modern sensibilities very much to the fore. Standout tracks, for me, include the menacing percussion and brass of "Dead End;" the brief, but haunting "Valentina;" the exotic and somewhat unhinged "Dancing with the Enemy;" the pounding "Descent;" and the fragile, out-of-tune piano of "Scars," which is reprised in the closing "Goodbye Again."
Mark Kilian's score for Legacy is available now as a digital download only.
My thanks to Beth Krakower of CineMedia Promotions, without whose press releases I would have been hard pressed to put together this piece.

2010-10-25T15:33:00.000-07:00

NEWS FROM COSTA COMMUNICATIONS

Well, there appears to be some light at the end of the tunnel and I hope to have some reviews for you this week. Unfortunately however, I am now quite behind with these and will not be able to review everything in such detail as I normally would. The main thing though, it seems to me, is to let you know what is out there and provide as much guidance as time and resources allow. You can therefore expect things to be a little different but, at least for the time being, this is unavoidable. The alternative was to cease operations altogether and, though I have previously considered this on more than one occasion, whilst the record labels, publicists and composers continue to send things my way, I'll do my best to cover everything in some form or another.
In the meantime, you will recall I recently reviewed Christophe Beck's score for Waiting For Superman, released by Lakeshore Records (see http://screensounds.blogspot.com/2010/09-digital-download-review-waiting-for.html), well, now I have received a press release from the composer's publicists, Costa Communications, which I thought you might like to read:-

CHRISTOPHE BECK’S SCORE TAPES INTO THE EMOTIONALITY OF

“WAITING FOR SUPERMAN” DOC

LOS ANGELES (October 25, 2010) – Award-winning composer Christophe Beck creates a moody and introspective score to the critically-acclaimed Paramount Vantage documentary “Waiting For Superman.” Directed by Academy Award-winner Davis Guggenheim (“An Inconvenient Truth”), the documentary is a deeply personal exploration of the current state of public education in the U.S. and how it is affecting our children. The film opened earlier this month in major markets and continues to open throughout North America in the next few weeks. The score – released by Lakeshore Records – is now available in stores on CD and online through Amazon.com and iTunes.

“One of the great things about working on a documentary is that you're dealing with real people in real situations,” says Beck. “The music's function isn't to merely push the action along, or to manufacture some kind of feeling that for one reason or another wasn't captured on film – it's to support real, authentic, genuine characters and emotions.”

The film uses playful animations to help convey some fairly disturbing facts when it comes to our failing education system. “I found I could complement that by using some whimsical instrumentation such as pizzicato strings, bouncy percussion and a slightly-too-optimistic feeling,” explains Beck. This helps liven up the presentation of otherwise fairly dry facts and statistics. Then, of course there's the human side too. We wanted to underscore the kids' stories of struggle, hope, disappointment, and for a lucky few, celebration. We used simple, intimate instrumentation – often a plaintive single guitar or piano to help tell these kids' stories.”

In 2000, the cheerleading comedy "Bring It On" launched Beck's prolific film scoring career. His credits include "Under the Tuscan Sun," "Saved," "We Are Marshall," "Year of the Dog," "What Happens in Vegas," and "The Hangover," the highest-grossing R-rated comedy of all time.

Beck’s road to film scoring was circuitous. The Montreal native started piano lessons at five and by eleven he was writing music for his first-ever band. During high school he studied flute, saxophone, trombone & drums, and performed in rock bands. While studying music at Yale, Beck had an epiphany: “I discovered my talent for composing was far greater than my talent for performing.” He wrote two musicals with his brother Jason (a.k.a. Chilly Gonzales, the Berlin-based hip-hop recording artist), as well as an opera based on Edgar Allen Poe’s “The Tell-Tale Heart.”

Upon graduation from Yale in 1992, he moved to Los Angeles to attend USC's prestigious film scoring program, where he studied with notable composers Jerry Goldsmith and Christopher Young. Beck was immediately attracted to the creative challenges unique to the marriage of music and picture. A personal recommendation from the legendary Buddy Baker, head of the USC Music Department, led to his first assignment for a TV series called "White Fang.” Soon thereafter, he was asked to score a new TV series, “Buffy,” based on the movie “Buffy The Vampire Slayer” for which he received the Emmy for Outstanding Music Composition.

Currently playing in theatres across the nation, “Waiting for Superman” continues to roll out in new markets this season. Selections from the score can be heard at www.christophebeck.com.

-

2010-10-21T08:46:00.000-07:00

NEWS FROM TOP DOLLAR PR

Still no reviews for you, I am afraid. I think I'd best give up making promises. I just hadn't realised how much other work had piled up whilst I was engaged outside. I'm catching up as fast as I can though, and I think that's all I'd better say for now. But, at least here's some news from Top Dollar PR:-

AWARD-WINNING COMPOSER JAMES HANNIGAN
IN CONCERT AND IN CONVERSATION AT GAMECITY 2010
One-of-a-kind Music and Gaming Event Celebrates Acclaimed
Composer James Hannigan; Live Concert Performances by
The Pinewood Singers and Soprano Tamara Zivadinovic
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

LONDON, England, October 21st, 2010 - British Academy award-winner James Hannigan,
renowned for his original music scores featured in video game franchises such as
Command and Conquer, Evil Genius, Harry Potter, Republic, The Lord of the Rings,
Freelancer as well as contributing to the BBC sci-fi drama television series Primeval,
will take part in an evening retrospective of his music for video games during GameCity
2010, the UK's leading independent video game festival held in Nottingham from 26th-30th
October. Presented as both a concert and discussion, this one-of-a-kind music and
gaming event takes place on Thursday October 28th, 7.30pm at the 14th Century St.
Mary's Church in Nottingham. Tickets can still be purchased at www.gamecity.org.

The concert will feature a selection of James Hannigan's compositions performed
by The Pinewood Singers and conducted by Allan Wilson (Sleepy Hollow, Fable), including
the world premiere of Hannigan's new theme for EA's Harry Potter and the Deathly
Hallows: Part One video game, an exclusive arrangement of the Evil Genius theme
for guitar, music from Command and Conquer: Red Alert 3, Command and Conquer 4:
Tiberian Twilight and The Lord of the Rings: Aragorn's Quest from Warner Bros.
Interactive Entertainment.

Soprano Tamara Zivadinovic, the singer of "Soviet March 2" as featured in Red Alert
3 Uprising, will also be attending the event and performing her unique and powerful
interpretation of the popular Command & Conquer anthem "Soviet March" for the first
time in public.

In between the concert performances, there will be a conversation with composer
James Hannigan on the subject of writing music for video games, looking at the creative
process from composition through to recording themes like Hannigan's "Soviet March"
and "Yuriko's Theme" from the Command & Conquer series - complete with unique live
demonstrations of his interactive music at work.

The concert set-list includes:

"Soviet March" - Command and Conquer: Red Alert 3 (EA)
"Evil Genius Theme" - Evil Genius (Rebellion)
"The Prophet's Ascension" - Command and Conquer 4: Tiberian Twilight (EA)
"Main Theme" - Harry Potter and the Deathly Hallows: Part One (EA)
"Rivendell" - The Lord of the Rings: Aragorn's Quest (WBIE)
"Welcome to Hogwarts" - Harry Potter and the Order of the Phoenix (EA)
"Yuriko's Theme" - Command and Conquer: Red Alert 3 (EA)

For more information on James Hannigan and the latest updates please visit:
www.jameshannigan.co.uk.
The James Hannigan concert is one part of GameCity 2010, the annual festival that
explores and celebrates videogames culture. For full details of the festival line-up,
visit www.gamecity.org.
The names of products mentioned herein are the trademarks of their respective owners.

2010-10-18T15:26:00.000-07:00

NEWS FROM COSTA COMMUNICATIONS

It's taking a little longer than I first expected, but I'm at least in the planning stages for some kind of order to my forthcoming reviews - just need the time to listen to the CDs! In the meantime, here's some news from Costa Communications:-

AWARD WINNING COMPOSER AARON ZIGMAN’S CREATES POIGNANT SCORE AND SONG “FOR COLORED GIRLS”

FILM OPENS NOVEMBER 5

Award-winning composer Aaron Zigman scores “For Colored Girls.”The film marks Zigman’s sixth collaboration with director Tyler Perry.

The highly anticipated Lionsgate film is based on Ntozake Shange’s Tony and Obie award-winning choreopoem “For Colored Girls Who Have Considered Suicide When The Rainbow Is Enuf.” and The story has become a right of passage reading for many young women Now, thirty six years later, Tyler Perry adapts this landmark work for the big screen, integrating the vivid language of Shange’s poems into a contemporary narrative that explores what it means to be a woman of color - and a woman of any color - in this world.

The classically-trained Zigman’s sweeping original score is complemented with an evocative aria he composed, “La Donna in Viola,” for one of the film’s most pivotal and emotionally-charged scenes. The music is performed by a full orchestra and features solo performances by violin virtuoso Joshua Bell with Aaron Zigman on piano. “The idea of the aria was to capture the essence of Ntozake Shange’s poetry and incorporate it into an Italian libretto,” explains Zigman. The aria pays homage to Puccini and Verdi while incorporating Aaron Zigman’s unique voice.

The film weaves together the stories of nine women as they move into and out of one another’s existences; some are well known to each other, others are as yet strangers. Crises, heartbreaks and crimes will ultimately bring these nine women fully into the same orbit where they will find commonality, understanding and truth. The all-star cast includes Janet Jackson, Whoopi Goldberg, Thandie Newton, Phylicia Rashad, Anika Noni Rose, Kimberly Elise and Kerry Washington

Aaron Zigman’s experience in the arenas of classical, big band, urban, and pop make him one of the most formidable composers working today. His pop music accomplishments include arranging and producing artists from Sting and Dionne Warwick to Jennifer Holliday and Christina Aguilera. His love of orchestral music would eventually lead him to the film scoring. His foray into film composing occurred when film director Nick Cassavetes went to hear Zigman’s classical 35 minute symphonic tone poem “Rabin,” performed by the Los Angeles Jewish Symphony. This lead to Zigman scoring the Cassavetes films “John Q” and “The Notebook” and his film career flourished. By 2007 he scored an unprecedented nine films in one year and the Hollywood Reporter crowned him “the busiest and most sought-after composer in the industry.” The prolific composer’s film scoring credits include: “The Ugly Truth,” “Bridge To Taribithia,” “Mr Magorium’s Wonder Emporium,” “Take The Lead,” “Alpha Dog,” “Why Did I Get Married,” Zigman’s. Aaron Zigman work has been recognized with nominations and awards from Emmy, BMI, Hollywood Music in Media, among others.

Earlier this year Zigman’s instrumental piece “Steve’s Song” from the film “The Last Song” starring Miley Cyrus debuted at #1 on the Billboard charts.

2010-10-17T15:25:00.000-07:00

NEW FROM PERSEVERANCE RECORDS

Hans Zimmer's
Rain Man
Available for Pre-Order Now

Perseverance Records PRD 037
$19.95 MSRP
Will ship the first week of November 2010.
Limited to 2000 copies.

World premiere release of Hans Zimmer's complete Academy Award-winning score to Barry Levinson's seminal film. This album features the full score in its entirety with two bonus tracks. A landmark score that set the tone for years to come. It comes with a 16-page booklet with lots of artwork from the movie and an interesting essay by Randall Larson that gives insight into the film's long and arduous way from script to screen.

01 - Drive From the Country 1:23
02 - Empty House 0:44
03 - Charlie's Memories 0:36
04 - Drive To the Bank And Wallbrook 1:23
05 - Leaving Wallbrook 1:40
06 - Traffic Accident and Aftermath 3:57
07 - Train Crossing 0:18
08 - Walk Don't Run 1:27
09 - Farmhouse 0:47
10 - Putting Ray To Bed 2:00
11 - On The Road 1:22
12 - Las Vegas 6:51
13 - Piano Source Music 1:04
14 - Smoke Alarm 1:23
15 - Pancakes 1:07
16 - My Main Man 1:33
17 - Train Station Goodbye 1:52
18 - End Credits 3:12
19 - On The Road (Wild Panpipes) 1:16
20 - Las Vegas (Wild Vocals & Percussion) 1:11

Ennio Morricone's
Red Sonja
Available for Pre-Order Now

Perseverance Records PRD 035
$19.95 MSRP
Will ship the third week of November 2010.
Limited to 2000 copies.

With the Varese CD long out of print, the release of this album fills a gap in many a listener's Morricone collection. The music is sequenced in chronological film order so that it makes sense, and not in an arranged "suite" as it was on previous albums. The cue "Entering the Castle" can be heard here for the first time on an official album. A great score by the Maestro that has been long sought after. It comes with a 16-page booklet with liner notes by film music expert Gergely Hubai that analyze the music on a track-by-track basis and tell about the impact of the score on the genre in particular.

1 Prologue 1:24
2 Main Title 2:22
3 The Talisman 3:15
4 Temple Raid 1:39
5 Touch It 1:03
6 Sonja And The Sword Master 1:49
7 Vanna's Death 2:00
8 The Gate Of Brytag 1:47
9 Sonja Vs. Brytag 1:14
10 Fighting The Soldiers 3:36
11 The Chamber Of Lights 2:02
12 Sorcery 0:46
13 Sonja Teaches Tam 1:33
14 Treasure In The Cavern 2:07
15 Kalidor and Sonja 1:43
16 A Fair Fight 1:50
17 Entering The Castle 2:12
18 Sonja Defeats The Queen 1:36
19 End Credits 3:42

Coming Soon
Unforgettable by Christopher Young
Puppet Master: The Soundtrack Collection Box by Richard Band, Jeff Walton, John Massari & Peter Bernstein
Death Warrant by Gary Chang

Perseverance Records
http://www.PerseveranceRecords.com

2010-10-15T09:00:00.000-07:00

MORE NEWS FROM TOP DOLLAR PR

From Top Dollar PR:-

ACCLAIMED GUITARIST AND COMPOSER STEVE OUIMETTE RELEASES DEBUT SOLO ALBUM "EPIC"
CD Features Ten Original Tracks Spanning Multiple Rock Genres;

DVD Features Behind-The-Scenes Recording Of Album and Technical How-To-Play Video
Guides

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

New York - October 12th, 2010 - Steve Ouimette, critically acclaimed guitarist and
composer, today announced he will release his debut solo album "EPIC" with Sumthing
Else Music Works, the award-winning industry leader for licensing and distributing
video game soundtracks. Best known for his covers for the highly successful Guitar
Hero® series as well as the memorable guitar performances on hi-octane original
video game scores such as Red Steel(TM)2, "EPIC" showcases Steve's diverse repertoire
and is laden with extraordinary musicianship, performed across a wide range of styles
that marry cinematic elements with over-the-top guitars. "EPIC" will be released
as a CD/DVD on October 26th, 2010 to retail outlets through Sumthing Else Music
Works www.sumthing.com, and will also be available for digital download on Sumthing Digital www.sumthingdigital.com, Amazon MP3 and iTunes®.

"Sumthing's philosophy for artist-driven music coupled with their commitment and
track record in the video game world made them the ideal partner for releasing
my debut solo album," said Steve Ouimette. "The label has been incredibly supportive
of my music and in helping to bring this album to life. I hope gamers and guitar
music fans everywhere will enjoy these original tracks as much as I had composing,
playing and recording them."

Sumthing Else Music Works is the world's leading music label for gamers dedicated
to releasing the latest and greatest soundtracks from gaming's biggest franchises
including Halo®, God of War®, Fable®, Gears of War®,Hitman(TM), Mass Effect(TM),
Resident Evil®, Street Fighter®, Uncharted as well as exciting new properties such
as Alan Wake(TM), Borderlands(TM), Darksiders(TM) and InFamous. Sumthing's release
of the Halo® 2 Original Soundtrack Volume One is the best-selling original video
game soundtrack to date. Sumthing has boosted its commitment to enhancing gamers'
overall experience by acquiring many new titles to complement its current catalog
of releases and is now recognized as the leader in this newly emerging music genre.
Andy Uterano, President of Sumthing Else Music Works, commented, "Sumthing is a
creative outlet and distributor for various independent artists and numerous innovative
music projects. We're always interested in championing unique music talent and we're
excited to be releasing Steve's debut solo album to his fans throughout the gaming
community and beyond."

A lifelong guitarist, composer and recording studio veteran, Steve Ouimette's passion
for guitars, and the recording studio lifestyle took him on an experiential musical
journey; from graduating with a B.A. in composition to owning various recording
studios and a career in the video game space. Ouimette's expertise and love of playing
music along with his experience in the video games industry led him to form his
own music production company in 2005 and subsequently a long-standing association
with the world-renowned Guitar Hero franchise. Steve Ouimette's inspiration for
"EPIC" combines his guitar prowess and eclectic musical influences with the rich
heritage of classic and modern rock music genres.
"EPIC" Track Listing

"Speaking In Tongues"
"El Toro"
"Lou's Revenge"
"I Saw God"
"Fear And Reverence"
"This Is Scorpion Gulch"
"The Divining Witch"
"Mr. Bones"
"Neverending Fog"
"A Dark Reversal"
Bonus Tracks (from Guitar Hero®)
"The Devil Went Down To Georgia"
"We Three Kings"
"Dueling Banjos"
"Hark! The Herald Angels Sing"
Produced and engineered by Steve Ouimette, he also performs guitars as well as bass,
keys and programming, with Kenny Aronoff (John Mellencamp, Bob Seger, John Fogerty,
Lynyrd Skynyrd, Santana) on drums. The bonus track covers are made available with
the kind permission of Activision Publishing, Inc. The recording diaries and instructional
videos featured on the DVD are also written, created and produced by Steve Ouimette.

For more information on Steve Ouimette visit: www.steveouimette.com.

For more information on Sumthing Else Music Works and its complete catalog of video
game soundtracks, please visit www.sumthing.com and www.sumthingdigital.com.

Join Sumthing Else Music Works online:
www.facebook.com/SumthingElseMusicWorks
www.myspace.com/SumthingElseMusicWorks
www.twitter.com/SumthingDigital.

2010-10-11T15:06:00.000-07:00

NEWS FROM TOP DOLLAR PR

Still very much up to my eyes in work at the moment, but hope to have turned the corner by the weekend and be back in normal reviewing mode by the start of the week. In the meantime, here's some news.

From Top Dollar PR:-

SUMTHING ELSE MUSIC WORKS ANNOUNCES RELEASE OF FABLE III ORIGINAL SOUNDTRACK
Blockbuster Action-Adventure Role-Playing Video Game Features
Original Music Score Composed by BAFTA Nominee Russell Shaw
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

New York - October 11th, 2010 - Sumthing Else Music Works, Inc proudly presents
the Fable III Original Soundtrack featuring the original music score from the latest
installment to the action-packed and critically acclaimed role-playing video game
franchise for Xbox 360. Fable III Original Soundtrack will be released on October
26th, 2010 to retail outlets through Sumthing Else Music Works www.sumthing.com,
and for digital download at www.sumthingdigital.com, Amazon MP3, iTunes® and
other digital music sites.

Fable III Original Soundtrack features the rich and musically diverse music score
composed by BAFTA nominated series composer Russell Shaw. The Fable III score was
recorded with the Slovak National Symphony Orchestra and 40-piece choir at the Slovak
Radio Concert Hall in Bratislava and features solo vocal performances by international
singing star Tanja Tzarovska. The soundtrack was mixed at Pinewood Film Studios,UK.

"From fairy tale to drama, action and adventure to horror, the lush, varied orchestrations
combine to keep the magic of the Fable musical tradition alive," says Russell Shaw,
Head of Music and Composer at Lionhead Studios. "Drawing on music styles from around
the world, the Fable III soundtrack enhances the richness and diversity fans have
come to expect from the Fable universe."

Fable III is the latest installment to the action-packed and critically acclaimed
Xbox 360 exclusive franchise that has sold more than six million copies. In Fable
III, you will be called upon to rally and fight alongside your people, ascend to
the seat of power and experience the true meaning of love and loss while defending
your throne. In your quest to seize power and defend your kingdom, the choices you
make will change the world around you for the greater good or your own personal
gain. Who will you become? A rebel without a cause, the tyrant you rebelled against,
or the greatest ruler to ever live?

Fable III launches in North America on 26th October and in the UK on 29th October,
2010. For more information, visit www.xbox.com/fable3.

For additional details, visit Lionhead at lionhead.com/fable3.

For more information on Sumthing Else Music Works and its complete catalog of video
game soundtracks, please visit www.sumthing.com and www.sumthingdigital.com.

2010-10-08T02:00:00.000-07:00

NEWS FROM COSTA COMMUNICATIONS

You'll have to excuse me if reviews are a little thin on the ground at the moment, only I currently have a pretty heavy workload and am just not getting time to listen to all the goodies I've got lined up for you. I'll do the best that I can to keep up, but cannot make any promises. Just know that I have things like Halo Reach, Dexter Season 4, Medal of Honor (2010), Doctor Who: The Specials, the acclaimed Mao's Last Dancer, a couple of Alex Wurman scores (one of them an Emmy winner), and a bunch of Italian Western scores for you. In the meantime, here's some news:-

From Costa Communications:-

BRUNO COULAIS’ SCORE TO DISNEYNATURE’S OCEANS HEARD ON BLU-RAY AND DVD RELEASE OCTOBER 19

COULAIS TO PERFORM LIVE AT WORLD SOUNDTRACK AWARDS

LOS ANGELES (October 7, 2010) – This fall the music of Bruno Coulais will be heard around the world. His Oscar-worthy score to Disneynature’s hit documentary OCEANS can be heard when the Blu-Ray and DVD are released in the U.S. on October 19. The 10^th Edition of the World Soundtrack Awards at the Ghent Film Festival in Belgium will feature a suite of his scores live in concert at the awards presentation on October 23.

Coulais is one of the world’s most imaginative composers as demonstrated in CORALINE (Annie Award winner), LES CHORISTES (César winner, Oscar and BAFTA nominated), and the César winning MICROCOSMOS and HIMALAYA. Although not singled out for recognition in 2010, two films that he scored were Oscar nominated for Best Animated Feature, CORALINE and THE SECRET OF KELLS.

His relationship with Belgium’s Ghent International Film Festival dates back to 1996 when he won the Georges Delerue Prize for his work on MICROCOSMOS. Again in 1999, the festival honored him Audience Award and a Special Mention in 1999 for HIMALAYA. In 2001, the festival’s World Soundtrack Academy began the World Soundtrack Awards to honor the best in film music. Coulais will be in attendance at the awards where a suite of his music will be performed live by the Brussels Philharmonic – the Orchestra of Flanders, conducted by Dirk Brossé.

Released earlier this year, OCEANS is the 7^th largest grossing documentary. USA Today said “Bruno Coulais' musical score provides an evocative counterpoint to the often dazzling photography. A scene featuring diving sea birds and whales moving in concert with the rhythm of the waves is stunning.” While the Associated Press called the score “sweeping.” Directors Jacques Perrin and Jacques Cluzaud take viewers on a breathtaking and unprecedented high-definition journey to discover nature’s mysteries, showcasing creatures captured on film for the first time and state-of-the-art imagery of the colorful symphony that lives under the sea.

“OCEANS is more than a film. It is a manifest for nature,” Coulais said. His score – which is available through iTunes – is written for a full orchestra, a kind of concerto for harp and violin with electronic sounds. His score was recorded in Paris featuring French soloists Marielle Nordmann (harp) and Laurent Korcia (violin); along with the French choir Mikrokosmos. Coulais’s unquestionable contributions to the environment earned him recognition from Vice-President

Al Gore’s Climate Project Foundation and Spain’s Tenerife International Film Music Festival (FIMUCITÉ) when they presented him with the Fimucité Green Award in June 2010.

In 2010 Bruno Coulais scored another hit documentary that is now on DVD. Focus Features’ BABIES has become the 17^th highest grossing documentary.

2010-10-06T01:00:00.000-07:00

CD REVIEW - GREYSTOKE - THE LEGEND OF TARZAN LORD OF THE APES

Greystoke - The Legend of Tarzan, Lord of the Apes
Music by John Scott
La-La Land Records LLLCD 1144 (US)
17 Tracks 38:30 mins

One of the label's briefer recordings, but a very welcome one nevertheless, is John Scott's score for Hugh Hudson's 1984 representation of Edgar Rice Burroughs' classic character Tarzan. Scott is well respected by the soundtrack collecting community, but somewhat underrated by the industry. His score for Charlton Heston's Antony & Cleopatra is among the greatest film scores ever written, and he has composed many a fine theme in his time, including the heroic Final Countdown, as well as its gorgeous love theme, and the great, sax-lead Shoot to Kill theme. He is also known of course for his work on many a Jacques Cousteau documentary, but it's fair to say that he has never really made the A-list, which is sad, as he has as much talent (and more) than many who have.
Sadly, all too few of his scores have been released commercially but, to his many admirers' delight, he has over the years released much of his work on his own JOS label.
Greystoke did receive a commercial release, on LP, but this is the premiere commercial CD release of the score. Sadly, an expanded treatment proved impossible, though, in addition to the original 15 album cues, La-La Land have managed to extract the Overture and End Credits from the original magnetic track, so that there is at least some new material, albeit totalling less than five minutes of music.
At the heart of the score is yet another memorable Scott theme, which is heard for the first time as the opening track, "The Family." The theme is brassy, noble and expansive, yet also warm and lush when strings take the fore. An innocent variation on the theme is to be found in "Child of the Apes;" a further variation in the suitably hallucinatory "D'Arnot's Vision;" with its final appearance being reserved for the closing "Return to the Jungle."
For "Greystoke," Scott adapted Elgar's First Symphony to provide an appropriate sense of nobility for scenes in which Tarzan tries to integrate into his grandfather's polite English society, but the music most represents the grandfather himself, a warm, winning performance by Sir Ralph Richardson, who sadly died just after filming was completed. Further music from Elgar's "Chanson De Matin" accompanies "Gardens of Greystoke." Continuing in the classical idiom, Scott composed a traditional polka sound for "(The Dancing Lesson) Sontag Polka."
The more dramatic cues include "Catastrophe;" "Pygmy Attack; "Tarzan, Lord of the Apes;" "Tarzan Leaves the Jungle;" "Edge of the World;" "Half of Me is Wild;" and ""Dance of Death;" the latter ending sympathetically as Tarzan's adoptive father, the ape Silverbeard, dies in his arms. Throughout, Scott pulls out some pretty menacing and cacophonous sounds to accompany the appropriate action, whilst drama of the more emotional kind to be found in "The Weight of Greystoke."
One can tell the difference in sound quality between the bonus tracks and the album programme, but they are perfectly acceptable and, in any case, provide a welcome opportunity to hear Scott's magnificent main theme a couple more times again.
Accompanying the CD is the usual colourful booklet, with Jeff Bond's notes on the film and its score, as well as the invaluable cue-by-cue guide, all illustrated with stills from the production.
Among the things Bond mentions are the filming locations, but here's where I can add to his knowledge, as he fails to mention that a sizeable sequence was shot on the Hall Barn Estate in Beaconsfield, Buckinghamshire. I was a clerk in the Estate Office at the time, and well remember all our staff were asked to play beaters for scenes where Greystoke, still very much a fish out of water, participated in a pheasant shoot, with the King of England one of the guns. My boss, the Lord of the Manor, The Baron Burnham also got to play a gun, and it was great fun seeing everyone kitted out in period costume. Unfortunately, there were problems with the length of the finished film, resulting in the entire sequence being cut. However, on a personal note, though I have never met the composer, the location manager on the picture did kindly obtain his autograph for me.
Limited to just 3000 units, get along to www.lalalandrecords.com/Greystoke.html to order your copy and, if you're not familiar with the score, you'' find some samples there to guide you.

2010-10-05T15:17:00.000-07:00

NEWS FROM COSTA COMMUNICATIONS

From Costa Communications:-

AWARD WINNING COMPOSER

SCORES NEWEST MEDAL OF HONOR

Gamers can sample new game for free through October 7^th

Soundtrack available now – Videogame available October 12^th

Largest pre-order in Medal of Honor franchise history

REDWOOD CITY, Calif. – October 4, 2010 – Ramin Djawadi is already receiving critical acclaim for his just released score to the newest Medal of Honor™. The game will be available in eight days, but now through October 7, Gamers can hear Djawadi’s score as they play the game for free. PC gamers worldwide can sample two diverse maps and two action-packed multiplayer modes in the PC Multiplayer Open Beta. Go to www.medalofhonor.com/pcopenbeta Djawadi is best known for his film and TV scores including Iron Man, "Prison Break" and Clash of the Titans. His videogame score matches the intense soldier’s story and Tier 1 experience told throughout Medal of Honor, which takes place in the current war in Afghanistan. Medal of Honor score album is now available on iTunes; Game available October 12th.

"The new version of a landmark game always requires a next-level soundtrack," said Steve Schnur, Worldwide Executive of Music and Marketing. "But this 'reinvention' of Medal of Honor demanded a composer who could create an epic score that brings the game into a whole new era. The intuition and skill that makes Ramin Djawadi one of Hollywood's top young talents in film scoring is exemplified in MoH. This is an incredibly intense score, and we're tremendously proud to have him in the EA family."

For the first time in its 11-year history, Medal of Honor leaves the World War II theatre and enters the modern day setting of war-torn Afghanistan told through the lens of a small band of fictional characters. Medal of Honor introduces players to the Tier 1 Operator, an elite warrior and relatively unknown instrument of the U.S. Military that operates under the National Command Authority, taking on missions no one else can handle. Composer Ramin Djawadi explains "The fact that it is modern day with various locations asked for a completely different approach both stylistically and thematically. The score is very wide spread from emotional orchestral to edgy modern action. Western and ethnic instruments are used to represent the different cultures."

Djawadi composed over 100 minutes of music which needed to play perfectly with the actions that constantly change throughout the game including an abrupt ending. "Designing a score that defines both the scalpel-like quiet professionals that are the Tier 1 Operators and the bold execution of the sledge hammer big military, has been truly unlike any project I’ve had the opportunity to work on," said Djawadi. "Between the fast paced action and the precise battle sequences, players will be kept on the edge of their seats the entire game."

Medal of Honor launches on October 12, 2010 in North America and October 15 in Europe for the PlayStation®3 computer entertainment system, Xbox 360® videogame and entertainment system and PC. Follow the game on twitter at: http://www.twitter.com/medalofhonor or become a fan on Facebook at http://www.facebook.com/medalofhonor.

2010-10-03T10:27:00.001-07:00

BOOK REVIEW - THE MUSIC OF THE LORD OF THE RINGS FILMS

The Music of the Lord of the Rings Films
Written by Doug Adams
Carpentier and Alfred Music Publishing
416 Pages + bonus CD

At times I despaired this book would ever be published but, having delved into its pages, it is more than evident as to why it took almost ten years to write, for author Doug Adams, who had, even before this book was put together, written many guides and conducted numerous interviews for recordings and publications concerning the LOTR music, has obviously spent countless hours going through the films, identifying all the many themes and motifs and discovering where they appear and how they develop through the course of the trilogy.
With a Foreword by the composer himself, Howard Shore, who also contributes throughout, an Introduction by LOTR screenwriter/producer Fran Walsh, all illustrated with countless original sketches by John Howe and Alan Lee, as well as numerous colour stills from the films, this impressive tome is basically split into three sections, the first being an exploration of the many themes Shore wrote for the films, illustrated with musical examples that, with my lack of musical training go somewhat over my head, though it's nevertheless fascinating to discover how themes I didn't really notice until later in the story often had their roots in the very beginnings of the trilogy. To illustrate just how many there are, this section takes no less than 123 pages.
There is a kind of diary of episodes from the many recording sessions that took place in London, Watford (north of London) and Wellington, New Zealand, which includes insights from those involved, including musicians who played on the scores, which is a rarity.
However, the bulk of the book (some 225 pages) takes the reader on a complete musical tour of the trilogy, the author detailing both the plots and the music that accompanies each scene, so that even if the exploration of the themes in the first section did, like me, go somewhat over your head; if you are as familiar with the films as I guess you are, should you have waited as patiently as I have for this book, you will certainly recognise the themes and their development in the context of the plot. Of course, in an ideal world, should you have the time to pour over the book with the films playing alongside you'll get the maximum benefit but, I recognise only too well that this might not be possible - certainly not in one sitting, anyway. All-in-all, this is the perfect guide to Shore's musical masterpiece.
But before concluding, I should firstly bring to your attention the appendices, which provide mini biographies for the many vocal and instrumental performers featured in the scores, a description of the principal instruments, many of them of course unusual, and which characters and/or scenarios they illustrate; and finally, I should mention the bonus CD that comes with the book, that can be found inside the back cover, and which features all new material,consisting of everything from alternate takes, to pieces originally written for scenes that were subsequently changed, to early demos of themes that will become familiar to us when fully fleshed out. There's plenty to enjoy over the 23 tracks of this 79-minute disc, with many of my favourite themes cropping up in one form or another; and the final two tracks feature a brief conversation between author and composer.
Already widely available in the European Union, The Music of the Lord of the Rings Films will be released in the U.S. and worldwide from October 5th.
I am unfortunately too late to point you in the direction of events that have taken place in the U.K., including a signing and Q&A, and the Return of the King concert at the Royal Albert Hall but, if you reside in the U.S., there's a signing and Q&A with Shore and Adams at Barnes and Noble in New York on October 7th and The Two Towers concert at Radio City Music Hall, in the same city on October 8th-9th.
My thanks to the publishers and to publicist Beth Krakower of CineMedia Promotions for the opportunity of reviewing this groundbreaking publication.

2010-10-01T14:54:00.000-07:00

CD REVIEW - JOHNNY ORO (RINGO AND HIS GOLDEN PISTOL)

Johnny Oro (Ringo and His Golden Pistol)
Music by Carlo Savina
GDM Hillside Series GDM 4135
21 Tracks 50:23 mins

Many moons ago I caught a rare TV airing of this 1966 Sergio Corbucci western under its alternate title of Ringo and His Golden Pistol and remember enjoying both the film and its music, so I was delighted when this premiere recording of Carlo Savina's score came along in the latest batch of releases in the GDM Hillside Series.
The opening title song is sung in Italian by the dependable I Cantori Moderni di Alessandroni and is a lusty affair, with whistle courtesy of Alessandroni himself of course. Alessandroni continues his work into track two (there are not track titles as such), a brooding affair, which transforms into a dramatic deguello; and track 3 opens the same before a plaintive harmonica refrain takes over, only to be cut short by harsh guitars, which continue into track 4 in somewhat doom-laden fashion, but with spirited trumpet-lead interludes. The harmonica refrain returns for the brief track, but is quickly cut short, only for electric guitar to take up the melody.
Track 6 is your usual barroom piano track that features in countless genre entries and, similarly, we have a Flamenco guitar piece following in track 7, but this is cut short in favour of a whistled variation on the title song, which is taken up by trumpet and flows spiritedly to a dramatic conclusion. Track 8 is a largely tense affair, but with a couple of welcome interruptions by Alessandroni.
The brooding melody from track two returns in more positive fashion, played by electric guitar at the start of track 9 and then suddenly steps up a gear to gallop onward in splendid fashion before slowing down again, heralding a complete change of mood to one of tension and threat. Things immediately lighten again though with track 10 presenting a fine galloping Alessandroni-lead variation on the title song.
Track 11 sees the deguello return to provide a dramatic opening and close to the cue, with the following tack being a somewhat muted affair; the tense track 13 following that.
Track 14 offers another splendid variation on the title song, featuring first Alessandroni, then trumpet, but unfortunately this doesn't last long before the harsh electric guitars break it up, before accompanying trumpet in a great closing version of the deguello. The following track is largely a menacing affair, the menace continuing into track 16.
Track 17 features yet another fine instrumental take on the title song (this time minus the whistle) and ends with the deguello, with the following track another tense, suspenseful affair; the mood continuing into track 19, but quickly dispersing to reveal another fairly brief variation on the title theme.
Track 20 features the English language version of the title song, but it actually sounds a little chaotic and, in this case, I think I prefer the opening Italian version, even if I didn't know what they were singing about. In case you think you could do better, a bonus backing track concludes the album, ideal if you fancy a spot of karaoke.
The accompanying booklet features plenty of original full colour poster artwork and stills from the film.
It's great to finally have this fine score available, and you'd best get along to www.hillsidecd.co.uk pretty fast if you want a copy of this very limited edition release of just 500 units.

2010-09-30T03:10:00.000-07:00

CD/DIGITALDOWNLOAD REVIEW - HOWL

Howl
Music by Carter Burwell
Lakeshore Records (US)
12 Tracks 35:58 mins

Available from Lakeshore Records now, as a digital download, and on CD from October 19th, is Carter Burwell's score for Howl, which stars James Franco as Beat Generation chronicler Allen Ginsberg.
The opening track of the fairly brief album, "Supernatural Darkness," is filled with guitar-lead mysticism, and "I Saw the Best Minds" continues in that mode, building in wonderment before being carried along by piano and strings. "From Park to Pad to Bar to Bellevue" introduces a jazz rhythm to propel it steadily on its way, before taking a more driven turn. "Weeping in the Park" is a morose effort for string quartet, and mercifully quite brief, whereas "And Their Heads Shall Be Crowned" briefly returns us to that same feeling of wonderment, before being interrupted by harsh electric guitar work, which heralds an exhilarating climax. "My Mother" follows, and offers strings-lead sentiment, with piano taking the lead to conclude the track. "Now Denver is Lonesome For Her Heroes" is initially a sad affair, although the "wonderment" feel does return to close the track. "Prophecy" opens intimately on piano, before those harsh electric guitars return, with the track concluding purposefully to close. "Moloch!" takes a little while to get going, but a weaving cello theme then propels it forward, accompanied by piano.
"I'm With You in Rockland" is a base-driven piece, which continues into the penultimate track "Angelic Bombs," with "Holy" closing out the album in more guitars-lead wonderment.
This is an intimate, melodic little score - nothing too much to get very excited about, but a pleasant enough listen, if you like things more on the quiet side.

2010-09-30T03:05:00.000-07:00

NEWS FROM TOP DOLLAR PR

From Top Dollar PR:-

THQ SELECTS SUMTHING ELSE MUSIC WORKS
TO RELEASE VIDEO GAME SOUNDTRACKS

Award-winning Label to Distribute Soundtrack Albums including Darksiders(TM), Red
Faction® and Homefront franchises
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Sumthing Else Music Works, the premier label dedicated
to licensing and distributing video game soundtracks, today announced that it has
entered into a multiple-title licensing agreement with THQ Inc., a leading interactive
entertainment developer and publisher, to release the original soundtrack albums
for best-selling franchises including Darksiders(TM), Red Faction, Company of Heroes®
and MX vs. ATV, and upcoming titles including Homefront(TM). Under the terms of
the agreement, Sumthing Else Music Works will license THQ's catalog for distribution
as digital and/or CD format. Physical releases will be distributed by Sumthing Distribution
and digital releases will be available on Sumthing Digital www.sumthingdigital.com,
Amazon MP3, iTunes®, and other digital music sites.

"We are very excited to partner with THQ in bringing their video game soundtracks
to the marketplace," said Andy Uterano, President of Sumthing Else Music Works.
"Our mission as a label is to support and enhance the lifestyle experience of the
gamer by offering the latest and greatest soundtracks so they can enjoy and revisit
their favorite gaming moments through the music.

"Great music, quite simply, elevates the gameplay experience," said Germaine Gioia,
Senior Vice President of Licensing and Merchandising. "This partnership underscores
our commitment to core gamers as we continue to offer new and exciting ways to engage
with our brands, be it merchandise, original programming, and, now, music."
Building on its reputation as the industry leader for licensing and distributing
video game soundtracks, the deal with THQ further expands Sumthing's growing list
of partnerships with the world's top video game developers and publishers and continues
its tradition as a distributor of high quality entertainment products for the gaming
consumer. The deal announced today with THQ includes the following titles:
Homefront(TM)

Red Faction: Armageddon(TM)

Red Faction: Guerrilla(TM)

Darksiders(TM)

Company of Heroes®

Conan®

MX vs. ATV(TM) Reflex(TM)

Frontlines: Fuel of War(TM)

The Outfit(TM)

Deadly Creatures(TM)

For more information on Sumthing Else Music Works and its complete catalog of video
game soundtracks, please visit www.sumthing.com and www.sumthingdigital.com.

2010-09-29T15:11:00.000-07:00

CD REVIEW - PER IL GUSTO DI UCCIDERE (BOUNTY KILLER)

Per Il Gusto Di Uccidere (Bounty Killer)
Music by Nico Fidenco
GDM Hillside Series GDM 4137
35 Tracks 59:37 mins

The first of three new releases in the GDM Hillside Series, Tonino Valerii's 1966 western stars genre regulars Craig Hill, George Martin and Fernando Sancho and follows a bounty hunter who tracks stagecoaches, watches them robbed and then moves on the perpetrators to collect his reward.
The first twelve tracks on the album are in stereo, which sugggests they were prepared for an album release but, to the best of my knowledge, this never happened, though nine of them featured on an RCA collection of four of composer Fidenco's western scores. The remainder of the selections on this release feature the mono film tracks.
The music is familiar Italian Western fare, sporting one of my favourite genre songs, titled "The Yankee Fellow" on this album, but actually is "A Lanky Gunman," sung by the Wilder Brothers who also sang another of my favourites "Johnny Yuma." The song opens the album and is followed by "Titoli," which is a great instrumental version on the song, though I Cantori Moderni di Alessandroni also feature prominently. Further variations on the theme can be found in "Lanky Fellow Il Bounty Killer," "Transporto Blindato," "La Sfida," "Omaha," and "Transporto Blindato (#2); all of which demonstrate the theme's great versatility.
The remainder of the stereo tracks are made up of the fast-flowing, but all-too brief "Il Carico D'Argento;" the somewhat mournful "L'Orgoglio di Lanky" and "Addio Lanky Fellow;" and the tense "La Sfida (#2); with a more laid-back reprise of the vocal closing things out.
As for the mono tracks, well, it should be said that there's a good deal of suspenseful stuff here, which is typical of the genre, and doesn't make for great listening away from the film; but there are of course versions of the themes featured in the stereo tracks, and also new material in the form of a fife and drum march theme, with "A Lanky Gunman" again closing out the programme.
The colourful accompanying booklet is lacking in information, but features plenty of poster artwork and stills from the film.
Order your copy of this very limited edition release of just units from www.hillsidecd.co.uk, but you'd best hurry, as I'm sure it will quickly sell out.

2010-09-27T13:54:00.000-07:00

CD REVIEW - HELL'S BELLES

Hell's Belles
Music by Les Baxter
La-La Land Records LLLCD 1149 (US)
17 Tracks 41:22 mins

The latest in La-La Land Records' recent line of Les Baxter releases is his score for the 1969 biker movie Hell's Belles, a kind of western with motor bikes, which apparently draws its plot from sources like the 1934 serial Law of the Wild and the classic oater Winchester '73. The film was one of the final entries in American International's biker gang series, with the most notable name in the cast perhaps being Angelique Pettyjohn, who will always be remembered for her turn in one the original Star Trek series episodes and who infamously later turned to porn to eke out a living when the straight roles dried up.
Whilst the film's plot may be seated in traditional western fare, Baxter's music draws more from the popularity of the spaghetti western at the time, mixing familiar sounds from those productions with contemporary pop stylings. This remastered recording offers a straight reissue of the original twelve LP tracks, issued at the time of the film's release, and adds a further five previously unreleased cues, which include alternate versions.
Baxter's main titles theme, "Wheels," is driven by a typically American pop beat, but features organ, harmonica, electric guitar and trumpet, instruments oft favoured by Italian western composers. The theme returns in "Chain Fight" and "Hogin' Machine."
"Groove" forsakes the spaghetti western sound for a funky American sound, as does "Dan's Theme," with its harmonica and chorus singing "sha-la-la-las;" the theme continuing into "Hot Wind," where it is eventually taken up by brass and electric guitar, and then appearing later in "Dan Again." The brassy, laid-back "Take It From Me" follows, and the penultimate track from the original album programme, is also a new, easy-going theme, "Scoobee Doo," with a male vocalist providing the appropriate "scoobee doos."
In addition to Baxter's score, Chuck Cowan sings the title song, featured on track 2, and "Travelin' Man," with a brief reprise of the latter for the final track off the original album.
Amongst the bonus material, there is a tender harmonica-lead love theme, heard in "Cathy Reminisces/Cathy Reminisces Part 2."
Accompanying the CD is the usual quality booklet, with Randall D. Larson's notes on the film and its music, including the invaluable cue-by-cue guide and an indication of the order the tracks appear in the film, their having been rearranged for the album, as was often the custom at the time - if indeed an album was issued at all- all accompanied by original colour and black & white pictures and artwork.
Limited to just 1200 units, you'd best get along to www.lalalandrecords.com/HellsBelles.html, where you can hear samples and order your copy of this breezy little album.

2010-09-26T08:16:00.000-07:00

MY 100 GREATEST WESTERN THEMES

So, after reviewing the recent Silva Screen box set, I got to thinking "what would my 100 Greatest Western Themes be." It is actually tougher than one might think to narrow it down to just 100 pieces, not all of them main themes I might add, and if I were to do the list again I would quite possibly change it, though not substantially. Like Silva, I have included Mexican-set films, but have not considered war films like The Alamo and Civil War stories. Anyway, this is my list, in no particular order, except that I have started it with the films represented in the box set, though with subtle changes:-

The Big Country - theme The Big Country - The Welcoming Big Jake - theme
Bonanza - theme Cahilll - theme The Comancheros - theme The Cowboys - overture
Dances with Wolves - John Dunbar A Fistful of Dollars - Titoli A Fistful of Dollars - theme
A Fistful of Dynamite - theme For a Few Dollars More - theme For a Few Dollars More - 60 Seconds to What? The Good, the Bad & the Ugly - theme The Good, the Bad & the Ugly - Ecstasy of Gold The Good, the Bad & the Ugly - The Trio Gunfight at the OK Corral - song
Guns for San Sebastian - love theme Hallelujah Trail - song High Chaparral - theme
High Noon - song How the West Was Won - song How the West Was Won - instrumental
Lonesome Dove - theme Lonesome Dove - Night Mares The Magnificent Seven - theme
The Magnificent Seven - After the Brawl Monte Walsh - The Good Times are Comin'
My Name is Nobody - The Wild Bunch My Name is Nobody - Jack Beauregard Nevada Smith - theme Night Passage - Follow the River Once Upon a Time in the West - Man with the Harmonica Once Upon a Time in the West - Jill's Theme The Professionals - Rigging the Pass Rawhide - song Red River - River Crossing The Scalphunters - theme Shane - theme She Wore a Yellow Ribbon - song Silverado - end titles Sons of Katie Elder - theme True Grit - Rooster & Le Boeuf/Warm Wrap-up True Grit - song Villa Rides - theme Wagon Train - theme Wild Rovers - song Wild Rovers - Bronco Bustin' How the West Was Won (TV series) - theme Rooster Cogburn - theme Joe Kidd - theme The Master Gunfighter - end titles 100 Rifles - theme Eagle's Wing - theme Mystic Warrior - theme Return of a Man Called Horse - theme Shalako - song Django - song Johnny Yuma - song Rio Conchos - theme Rio Lobo - theme Take a Hard Ride - theme Bandolero - theme Hour of the Gun - theme They Call Me Trinity - Lazy Cowboy (song) Navajo Joe - theme Navajo Joe - Demise of Barbara & Return of Joe A Pistol for Ringo - song A Professional Gun - theme The Big Gundown - song A Skyful of Stars for a Roof - theme The Hills Run Red - theme Custer of the West - theme Centennial - theme Ride the High Country - theme The Train Robbers - theme Chisum - song The Bravados - theme Run of the Arrow - The Purple Hills 3:10 To Yuma - song The Glory Guys - song El Dorado - song The Undefeated - theme Breakheart Pass - theme Tombstone - end titles Butch & Sundance: the Early Days - theme The Life & Times of Judge Roy Bean - theme Arizona Colt - theme A Man, a Horse & a Gun - theme Seven Winchesters for a Massacre - song Indio Black - theme Vado L'Amazzo e Torno - theme Ammazzal Tutti e Torna Solo - theme Seven Dollars on the Red - theme Seven Dollars on the Red - A Man Must Fight One Silver Dollar - song Il Pistolero Dell'-Ava Maria - theme Sabata - song The Genius - Cavalcade for Elise F-Troop song

What do you think?

2010-09-25T15:51:00.001-07:00

CD/DIGITAL DOWNLOAD REVIEW - WAITING FOR SUPERMAN

Waiting for Superman
Music by Christophe Beck
Lakeshore Records
21 Tracks 38:19 mins

Davis Guggenheim's An Inconvenient Truth won him an Oscar, and now his latest documentary, Waiting For Superman, which has already won the Audience Award, U.S. Documentary, at the Sundance Film Festival, is on release in selected US theatres. The film is described as "a deeply personal exploration of the current state of public education in the U.S. and how it affects our children."
The music for the film is written by Christophe Beck, who is known largely for his work on the Buffy The Vampire TV series and a host of comedies. Although his has written scores in most genres, I cannot recall a documentary among his recent assignments, so I was curious to hear this one.
Utilising largely live players, but obviously composed on a smaller scale than in features, Beck opens with "Juice, Shoes, Backpack," which lightly propels us into the film. Written in whimsical fashion, the, strings-driven, fast-moving "Presidential Address" follows, and then "The A thru G" ticks along reprising the opening theme on piano as it proceeds.
After a brief, downbeat pause for "Schools v Neighborhoods, "Anthony" again ticks along nicely, with "3 2 1 Tenure!" offering plucked-stringed sneakiness. A touch of sentiment follows in "Teacher of the Year," largely for solo piano; then the urgent "Firing Range," the urban "Jeffrey Canada," and "Rheebellion," with snare drum offering a slight martial feel to Beck's urban sound.
"Redwood City" has an expectant, somewhat ethereal quality, whilst "All About Options" returns us to the composer's urban keyboards from before. The propulsive "Human Assembly Line" follows, with electric guitar over a Latin-styled backing; with things slowing down for the guitar and piano-lead sentiment of "KIPP."
It's back to the urban feel with the increasingly propulsive "Educational Pipeline," before "Seed," which opens with solo acoustic guitar, before taking on a more hopeful, piano-lead feel, and acoustic guitar continues to lead in the more American-styled "Sound Barrier."
Most of the aforementioned tracks are quite brief, but there follow two lengthier offerings; firstly, "Roll Out," which starts quite sparely on piano, before strings enter, with acoustic guitar taking over from piano; then all of a sudden, an uptempo riff takes over. The second 4-minute-plus track is "The Lottery," which moves along somewhat nervously.
The penultimate track, "Aftermath" offers piano-lead sentiment, before the opening theme returns to close out the score as the title theme.
Mostly light and melodic, though with a moody urban feel at times, some might find it a little too fragmented, but this is often the nature of a documentary score, and this is a competent effort from Christophe Beck, and makes for an interesting side-step from his predominantly comedic output, though the score is not without its whimsical moments, as previously noted.
Already available as a digital download, the album will be released on CD from October 19th.

2010-09-24T05:24:00.001-07:00

CD REVIEW - THE HORDE

The Horde
Music by Christopher Lennertz
MovieScore Media MMS10016
24 Tracks 58:47 mins

The new zombie movie in town is different in that it is a French production. The score however is provided by an American, the dependable Christopher Lennertz (with additional music and co-production by Philip White). Used more to working with orchestra of late, Lennertz here resorts largely to synths and samples, but the sampling is of such quality as to sound pretty orchestral at times, with ethnic elements like duduk, zorna and Tuvan throat singing, as well as more conventional sounds and a good deal of percussion.
The album gets underway in largely menacing fashion with "Prologue," but a solitary airy female voice soon enters and wafts over the raminder of the track. The first action of the score follows in the electric guitars-propelled "The Beating," but is not sustained.
There is more action however, often savage, with eerie, sinewy strings, wailing electric guitars, choir, brass and driving percussion, in tracks like "First Attack and Escape," "Jo's Fight," "Headbanging," "C'est Finis," and "Mouthful of Grenade; as well as a good deal of mystery and suspense in cues like "Inside the Apartment," "Held Hostage," "Sound Behind the Doors," "In the Darkness," "Meeting Rene," and "Bola Rebels;" whilst "Rooftop Realization" offers choral weightiness;" "Badass Alliance," a cool groove; and "Guns," a subdued martial feel.
There are precious few moments of sentiment, but "The Mirror" offers a little, with delicate piano featured, as does "Oessem and Aurore," before turning ominous; and there's a mournful moment, with duduk, at the start of "Mutiny;" the sound also featuring, along with choir at the fateful climax of the initially heroic "Facing the Horde."
Got to www.moviescoremedia.com/horde.html for samples, a trailer, and for details as to how to order your copy of the soundtrack on CD, or as a digital download.

2010-09-24T05:19:00.000-07:00

NEWS FROM VISIONS IN SOUND

From Visions in Sound via Edwin Wendler:-

VISIONS IN SOUND celebrating 10 amazing years on the air (2000-2010) is a unique and award winning radio program featuring the soundtracks from movies, television and video games.

The Music Of Edwin Wendler

This week I feature scores of composer Edwin Wendler. Featured this week will be music from Christmas With A Capitol C, The Interior, Cheshire Adventures, Wrong Hollywood Number, Home The Horror Story and Azureus Rising. Included is a special interview with Edwin.

Join me at CKWR 98.5 - FM this Saturday, September 25th from 2:00-4:00 a.m (EASTERN TIME) 11:00pm(Friday)-1:00am(Saturday) (PACIFIC TIME) 6:00-8:00am (UTC/GMT)

Not in the CKWR listening area but still want to hear Visions In Sound (Saturday's at 2-4am)? Just visit www.ckwr.com CLICK "LISTEN LIVE"

Follow me on Facebook or The Visions In Sound Fan Page

You can also visit these sites to hear past shows

Composer Richard Band has the show I did with him on his website. http://www.richardbandmusic.com/interviews.html

Composer Austin Wintory has the 10th Anniversary show "10 Scores That Changed The Industry" he co-hosted with me on his website. Check out http://www.austinwintory.com/samples/VIS_10-yr-special.zip

Also check out the medley of the 10 scores he arranged for the show available on its own: http://www.austinwintory.com/samples/ViS-10scores_medley.mp3

Composer Benoit Grey has the show I did with him up on his website at http://www.benoitgrey.com/music select "Benoit in the News"

Composer Frederik Wiedman has the show I did with him up on his website. http://frederikwiedmann.com/VISNS.html

Composer Austin Wintory has the show I did with him on his website. If you want to hear just the interview click http://www.austinwintory.com/samples/VIS-edit.mp3
or the full show: http://www.austinwintory.com/samples/VIS-445.mp3

ALSO the roundtable discussion from my 9th anniversary show is also up on Austin's website http://www.austinwintory.com/samples/ViS_457-roundtable.zip

Composer Paul Cristo has the interview I did with him on his website at www.paulcristo.com

Composer Justin R. Durban has the composer feature I did on his website at www.justindurban.com/visionsinsound.html

Composer Mark Isham is featuring the show I did on him on his website at www.isham.com check the press section.

Composer Scott Glasgow is featuring the show I did with him about his score to Robotech: The Shadow Chronicles on his website click www.scottglasgowmusic.com/interviews/Glasgow-Interview_CKMS_VIS341.mp3 to hear the show.

Composers Wendy Melvoin and Lisa Coleman (Heroes, Bionic Woman) have the interview I did with them on their Myspace site. www.myspace.com/gbnmusic

Would you like to see the soundtrack to "The Crow-Wicked Prayer" get an official release? Please sign the online petition at www.petitiononline.com/OCC/petition.html

Want to sample another show? Composer Bill Brown has my interview with him on his web site at billbrownmusic.com/press.htm#Visions In addition to the interview, Bill's music from Any Given Sunday, Ali, Trapped, Scorcher, Return To Castle Wolfenstein and Tom Clancy's Rainbow Six - Rogue Spear were featured in the program including a couple of tracks that are not on Bill's site.

Composer Jeff Beal has my interview with him about his score to Nightmares and Dreamscapes available on his web site at www.jeffbeal.com

Attention Sci-Fi fans: My show celebrating the 20th Anniversary of Blade Runner is also available at http://www.bladezone.com

Check out this interview with composer Bruce Broughton by Bear McCreary www.bearmccreary.com/blog/?p=484

Check out my 350th show with interviews with composers Michael McCuistion, Lolita Ritmanis and Kristopher Carter at http://www.worldsfinestonline.com/WF/sections/backstage/visions/

Join me regularly at Visions In Sound every Saturday morning from 2:00a.m. until 4:00 a.m. (ET) for the pure listening enjoyment of the sounds of film and television music.

Robert Daniels, Host/Producer

Visions In Sound

2010-09-23T01:54:00.000-07:00

GEOFFREY BURGON DIES

The sad news has reached me that British composer Geoffrey Burgon has died after a short illness at the age of 69. Burgon will be best remembered for his extensive work in British TV, composing scores for the likes of the Ivor Novello Award winning Brideshead Revisited; Doctor Who; Tinker, Tailor, Soldier, Spy; The Chronicles of Narnia; Longitude; Cider with Rosie; Silent Witness; Martin Chuzzlewit; and the remake of The Forsyte Saga. He big screen assignments, though rare, include Monty Python's Life of Brian, Robin Hood, and The Dogs of War.
Away from the screen he composed works for full orchestra and soloists, ballet and even an opera.
He is survived by second wife Jacqueline and his three children.

2010-09-23T01:53:00.000-07:00

NEWS FROM COSTA COMMUNICATIONS

From Costa Communications:-

ELECTRONIC ARTS RECRUITS AWARD WINNING COMPOSER RAMIN DJAWADI TO SCORE MEDAL OF HONOR

Composer Behind Iron Man, Flash Forward and Clash of the Titans

Creates Modern Tier-1 Auditory Experience for Franchise Reboot

Soundtrack available Tuesday September 28^th, 2010

REDWOOD CITY, Calif. – September 22, 2010 – Electronic Arts Inc. (NASDAQ:ERTS) has recruited award-winning composer Ramin Djawadi to create a deep and meaningful audio experience for the modern combat first-person shooter, Medal of Honor™. Known for his recent work on the Iron Man movie, the “Prison Break” television series and the remake of Clash of the Titans, Ramin Djawadi is developing a score to match the intense soldier’s story and Tier 1 experience told throughout Medal of Honor, which takes place in the current war in Afghanistan. Medal of Honor score album will be available on iTunes Tuesday, September 28, 2010.

"The new version of a landmark game always requires a next-level soundtrack," said Steve Schnur, Worldwide Executive of Music and Marketing. "But this 'reinvention' of Medal Of Honor demanded a composer who could create an epic score that brings the game into a whole new era. The intuition and skill that makes Ramin Djawadi one of Hollywood's top young talents in film scoring is exemplified in MoH. This is an incredibly intense score, and we're tremendously proud to have him in the EA family."

For the first time in its 11-year history, Medal of Honor leaves the World War II theatre and enters the modern day setting of war-torn Afghanistan told through the lens of a small band of fictional characters. Medal of Honor introduces players to the Tier 1 Operator, an elite warrior and relatively unknown instrument of the U.S. Military that operates under the National Command Authority, taking on missions no one else can handle. Composer Ramin Djawadi explains “The fact that it is modern day with various locations asked for a completely different approach both stylistically and thematically. The score is very wide spread from emotional orchestral to edgy modern action. Western and ethnic instruments are used to represent the different cultures.”

“Designing a score that defines both the scalpel-like quiet professionals that are the Tier 1 Operators and the bold execution of the sledge hammer big military, has been truly unlike any project I’ve had the opportunity to work on,” said Djawadi. “Between the fast paced action and the precise battle sequences, players will be kept on the edge of their seats the entire game.”

“Ramin Djawadi has brought an incredible amount of creativity and emotion to his score for Medal of Honor,” said Paul Lackey, audio director for Medal of Honor. “His take on traditional middle eastern music with the incorporation of modern twists including sequences of heavy electric guitar and bass have helped create a unique and engaging composition that will help set the tone for the reboot of Medal of Honor.”

Medal of Honor launches on October 12, 2010 in North America and October 15 in Europe for the PlayStation®3 computer entertainment system, Xbox 360® videogame and entertainment system and PC. Follow the game on twitter at: http://www.twitter.com/medalofhonor or become a fan on Facebook at http://www.facebook.com/medalofhonor.

About Electronic Arts

Electronic Arts Inc. (EA), headquartered in Redwood City, California, is a leading global interactive entertainment software company. Founded in 1982, the Company develops, publishes, and distributes interactive software worldwide for video game systems, personal computers, wireless devices and the Internet. Electronic Arts markets its products under four brand names: EA^TM, EA SPORTS^TM, EA Mobile ^TM and POGO^TM. In fiscal 2009, EA posted GAAP net revenue of $4.2 billion and had 31 titles that sold more than one million copies. EA's homepage and online game site is www.ea.com. More information about EA's products and full text of press releases can be found on the Internet at http://info.ea.com.

EA, EA SPORTS, EA Mobile, POGO and Medal of Honor are trademarks or registered trademarks of Electronic Arts Inc. in the U.S. and/or other countries.

2010-09-22T06:16:00.000-07:00

CD REVIEW - THE TOWN

The Town
Music by Harry Gregson-Williams & David Buckley
Silva Screen Records Cat. No.: 738572134327
16 Tracks 41 :59 mins

Already the buzz is pretty positive for Ben Affleck's new thriller, The Town, which opens in UK cinemas on Friday.
For the music, Harry Gregson-Williams reunites with David Buckley, with whom he has collaborated on a number of projects in recent years. Buckley's recent solo credits include The Forbidden Kingdom and From Paris With Love, whilst Gregson-Williams, who needs no introduction, worked on Affleck's directorial debut, the Oscar-nominated Gone Baby Gone.
Written in contemporary urban fashion, the composers mix electronics with the live players, opening the score with the lonely, atmospheric "Charlestown," which only really gets going right at the end. "Bank Attack" follows and mixes suspense with moments of rhythmic action, before strings enter to propel the getaway. "Doug Reflects" is well, reflective, with effective electric guitar solo. "FBI Show & Tell" has an oppressive pulse to it, a feeling that continues into "Oxycontin," before strings enter in sorrowful fashion, only picking up at the end. The reflective theme from before opens "Healing and Stealing," this time voiced by piano, but things quickly pick up and move rhythmically to a close. "Nuns with Guns" follows and returns us to the style of "Bank Attack." After the action, the music pauses for reflection again with the piano-lead sentiment of "The Necklace;" whilst the oppressive pulse returns vengefully in "The Wreath."
Largely rhythmic and suspenseful, "Cathedral of Boston," only comes to life at the very end, and the music ticks along in similar fashion throughout "Fenway" and "Who Called 911?" before becoming more purposeful. "Making the Switch" builds to a crescendo, before a burst of action leads to yet another purposeful build. "Sunny Days" again gives pause, with more solo piano and even offers a glimmer of hope at its close, with strings returning to propel "Leaving" towards the promise of better things, a promise that seems to be realised in the closing track "The Letter" where the reflective theme returns once more on piano and is then taken up by electric violin and orchestra to bring the score to a peaceful close.
Go to www.silvascreenmusic.com for samples and to order your copy on CD, or as a digital download.

2010-09-21T15:08:00.000-07:00

CD REVIEW - MONSTER HUNTER 3 (Tri)

Monster Hunter 3 (Tri)
Music by Yukko Miyama & Tadayo Shimakin
Sumthing Else SE-2083-2 (US)
Disc 1 - 29 Tracks 67:43 mins
Disc 2 - 23 Tracks 68:46 mins

Through their licensing agreement with Capcom, Sumthing Else Music has released the score for the latest in the popular Japanese fantasy adventure game series. There's a huge amount of music on this double-disc set for a score that is basically made up of two very distinct elements. Firstly, there is the dramatic orchestral underscore, recorded with the full and conventional forces of the FILMharmonic Orchestra in Prague, and secondly, the more intimate ethnic, often dance-styled music, realised by a variety of ethnic instruments and percussion . To be honest, the two styles do not sit comfortably together and I have to admit to preferring the former, with the happy, uptempo dance stuff becoming irritating after a while - especially the more comedic efforts.
So, I will concentrate here on the dramatic stuff, with the best of the orchestral writing on disc one, starting with the title theme, which opens disc one, an initially noble affair that quickly transforms into exciting action, before ending in sweeping heroism. "The Door to the Hunter Life" expands upon the heroic main theme, as it boldly rides forth. A number of the symphonic tracks that follow are too brief to comment on, but "Tremble of the Sea and Land/Lagiacrus" reprises the action section of the title track, whilst "Success!!!" is suitably triumphant, with a return to the noble heroism of the main theme. "Earth Sand and Firey Winds/Barroth" presents more propulsive action, incorporating electronic and ethnic elements within its fury. These elements continue in "Trao of the Muddy Stream/Gobul," which has a very percussive and somewhat menacing feel to it, and there's more to follow in "The Subzero White Knight/Barioth" and "Sound of the Great Mountain/Agnaktor."
By contrast, "The Lunar Abyss" has an impressive, grand scale to it, with bold brassy moments, whilst still incorporating ethnic elements. The following "Moonquake/Ceadeus" mixes an ethnic choral sound (courtesy of Kuko) with heavy percussion, somewhat in the style of Kenji Kawai, the choir continuing, with much lighter percussion, into "Everlasting Words." Disc one concludes with a grand reprise of the main theme in all its glory.
Disc two, which is largely given over to the ethnic style, but does include some nice, airy scenic tracks, opens with an electronic/percussive reprise of the main theme in "The Great Desert Post, Loc Lac," which gets a very ethnic treatment in "Hunter of the Violent Sands. The first orchestral appearance comes with track 6, "Inseparable Bond/Arena," but this is over almost as soon as it begins. However, "Give Your Back/Arena" quickly follows, and though synths largely substitute for orchestra, the furious percussion drives it nicely along.
The next orchestral track is the desperate struggle of "The Voracious Devil/Deviljho," which incorporates elements of the main theme as it strives for victory. We have to wait until track 20 until the next orchestral cue, the heroic determination of "Jhen that Rides the Sea of Sand," which again has to toil hard for victory. Immediately after, "Intercepting the Great Gong" continues the action in powerful, heroic style, again utilising the main theme. Closing Disc two is "Testament of a Hero/3(Tri) Version," which reprises the main theme in one last heroic arrangement.
In conclusion, there's a very nice single disc struggling to break out of this double-disc set, but that's just looking at it from an orchestra lover's standpoint. You may prefer the other style on display here and there's no denying there's some catchy, easy-going stuff to be heard if that's you bag.
The set comes with liner notes by Capcom's principal composers on the project, Yukko Miyama and Tadayo Shimakin, director Kaname Fujioka, and producer Ryozo Tujimoto, as well as thumbnail bios of all.
The Monster Hunter 3 (Tri) soundtrack is available from retailers, both on CD and as a digital download from sumthingdigital.com, Amazon, or iTunes.

2010-09-20T08:02:00.000-07:00

NEWS FROM SILVA SCREEN RECORDS

From Silva Screen Records:-

Doctor Who: Series 4 - The Specials with two bonus tracks and digital booklet is now available to pre-order exclusively from iTunes.

http://itunes.apple.com/gb/preorder/doctor-who-series-4-the-specials/id393014842