ELIA CMIRAL SCORES FORGET ME NOT + VIC MIZZY DIES


Elia Cmiral Scores Forget Me Not

Czechoslovakian born composer Elia Cmiral has become somewhat typecast in the horror/thriller genre, his latest score being for Tyler Oliver's teen horror Forget Me Not, so much so that I suspect he could turn this stuff out in his sleep. It's good that he's finding steady work, but I wonder if Cmiral would like the chance to turn his hand to films of a lighter nature, films for which he might show his more melodic side. For now, however, though not totally devoid of melody, much of his music for this Screamfest Horror Film Festival 2009 is still not really my "cup of tea." It's described as "much lighter than what is usually assumed for a horror film," but you could have fooled me, judging from some of the extracts Cmiral's publicists, Costa Communications, kindly sent me.
There's only around 20 minutes of music on the disc, and I imagine there's more music in the film, but it kicks off with a pulsing piece of uptempo electronica-rock, which is far from light, and there's plenty more of the same throughout subsequent tracks, some of which are pretty savage. However, that's not to say the score doesn't have its lighter moments, like the poignant piano of "Forget Me Not," "Best Friends Forever," and "Sandy's Story;" and there is indeed a light and airy innocence to "Flashback #1" and the early part of "Flashback #4.
Of course, the nature of the film dictates the composer's approach to the music, and I'm sure it works perfectly well on screen, and that's all that counts really at the end of the day.
No news as yet of a CD release for you Cmiral fans, I'm afraid.


Vic Mizzy (1916 - 2009)

In case it has escaped your notice, composer of the Addams Family Theme, Vic Mizzy passed away on 17th October 2009 at the grand old age of 93. Mizzy will always be remembered for his quirky theme for the original Addams Family series, as well as the popular theme for Green Acres from the same era but, in addition to his TV work, he also wrote scores for film, where he is fondly remembered for his work on a series of Don Knotts comedies, including The Ghost and Mr. Chicken, The Reluctant Astronaut and The Shakiest Gun in the West. Fortunately, Percepto Records has in recent years made this music available to us, and these recordings serve as a fitting tribute to a composer, known mainly for his catchy, pop-styled music, and even his work on more serious films like The Night Walker still boasted a memorable theme.

CD REVIEW - KNIFE EDGE


Knife Edge
Music by Guy Farley
MovieScore Media MMS-09022
23 Tracks 39:19 mins

This is the second recent score release for Guy Farley. His first, for Clive Barker's Book of Blood (on La-La Land Records) was something of a disappointment, and now his music for the Anthony Hickox thriller Knife Edge, whilst enjoyable, is very derivative, being either an affectionate hommage, as described on the label's website, to greats like Bernard Herrmann and Jerry Goldsmith, or another case of the "curse of the temp track."
Straight away we are plunged into Psycho territory with the propulsive "Title Theme, giving way to more Herrmann in his expansive-stringed romantic territory, ala Vertigo, among others, with the more mysterious side of the late, great composer featuring in "The House."
There are some thunderous crescendos in "Raven Attack," and an overall feeling of eeriness. Jerry Goldsmith makes his first appearance in the rhythmic "Collapsed," and then "A Kiss" presents a John Barryish love theme, whilst "Sisters" is more of a Goldsmith-inspired piece of sunniness. "Business Problems" expands upon the "Title Theme," with "Emma and Pollock" briefly recalling the theme intro from The Omen (the original of course). There's more eeriness and savage outbursts in "Drug Nightmare," leading to the poignant "It's Turning." It's back to Goldsmith for the menacing opening of "The Hidden Room," contrasting with the lightly drifting "Old Photos." It's back to mysterious territory for "The Nursery," with Barry Gray-like strings, followed by more savagery at the opening of "The Knife, followed by John Williams (Dracula)-like strings.
The percussive quirkiness of "Chase" shows a little originality, but then Herrmannesque strings return for "The Syringe," "Going Mad" and "Roof Chase," the latter metamorphosing into something of a Herrmann/Goldsmith stringed ostinato, before ending with a Psycho-like string attack. After all this, "Together" offers a brief moment of solace, before the ostinato returns to end the cue with a bang.
The penultimate cue, "Lovers" returns us to romantic territory, with a reprise of the Barry-like theme, before the main theme, properly titled "Knife Edge Theme," to close the score.
To sum it all up, it's an entertaining listen, and kind of fun trying to guess the references throughout this score, but at the end of the day one spends little time talking about the score's composer, Guy Farley, and more about the other composers whose work it is so blatantly based on - and surely that can't be a good thing.
Available on CD and to download, go to www.moviescoremedia.com/knifeedge.html for samples and ordering details.

CD REVIEW - AN EDUCATION


An Education
Music by Paul Englishby & various artists
DECCA 270 8224 (EU)
20 Tracks 54:42 mins

The Nick Hornby-scripted An Education won both the Audience Choice and Cinematography awards at the 2009 Sundance Film Festival and upon its release in the UK is already gaining much critical acclaim here as well. The film, sets in 1960s England, stars relative newcomer Carey Mulligan as as 17-year-old girl, in love with all things French, whose romance with an older man (Peter Sarsgaard) opens her eyes to a whole world outside the path to education she was taking.
The soundtrack includes much music of the time, both homegrown and international in flavour, this album reflecting the diversity with the inclusion of original numbers by the likes of Floyd Cramer, Mel Torme, Ray Charles, Brenda Lee and Percy Faith, as well as French-language songs by Juliette Greco. There's even a place for the beloved Percy Faith recording of Max Steiner's "Theme from A Summer Place." Alongside these, there are also covers and originals by Beth Rowley, Melody Gardot, Duffy and Madeleine Peyroux.
As for the film's orchestral score, this is provided by Paul Englishby, who is given just five tracks on the album, totalling a little under 11 minutes. His first contribution is the delicate, clarinet-lead romance of "David and Jenny," followed by "Waltz in the Street," which is pretty self-explanatory, if a little more subdued than one might expect. The sunny opening to the title track quickly gives way to tender, subdued piano, before blossoming forth again and moving excitedly to a close. This is followed by "The Letters," which, after another subdued piano opening, proceeds in very downbeat fashion. Englishby's final track, "Jenny's Theme," for solo piano, speaks of innocence, beauty and optimism. All in all, these few brief offerings, while more than welcome, just leave one wanting more, and wondering again why many record labels can't see that score fans don't want songs and those wanting the songs seldom want score, so that, in the end, this kind of release pleases no one.
The accompanying booklet includes notes on the music by Hornby and the film's director Lone Scherfig, together with music credits and plenty of stills.

NEWS FROM TOP DOLLAR PR


From Top Dollar PR:


LICENSE TO THRILL MUSIC SIGNS AWARD-WINNING "MYST" COMPOSER TIM LARKIN
Independent Music Publishing Company Partners with Acclaimed Composer of "MYST V,"
"URU: Ages Beyond MYST," and Steven Spielberg's "MUNICH" TV Trailer
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Las Vegas, NV - October 27th, 2009 - License To Thrill Music LLC (www.licensetothrillmusic.com, an independent music publisher providing one-stop music synchronization and licensing for advertising, films, television, radio, movie trailers, video games and new media, today announced a music publishing partnership with Academy Award winner Tim Larkin. License To Thrill Music will represent original music by Tim Larkin available for
use in advertising, film, TV and other media productions.

Tim Larkin's scores have garnered numerous awards, been performed with the Los Angeles
Philharmonic at The Hollywood Bowl, and featured in trailers for films such as Steven
Spielberg's Academy Award winning MUNICH. No stranger to the Academy, Tim was also
the sound designer for the OSCAR winning animated short film THE CHUBBCHUBBS created
by Sony Imageworks. Revered as composer for the ground-breaking MYST franchise,
his ethnic and mystical music accompanies the beautiful virtual worlds of URU:
AGES BEYOND MYST, MYST V and MYST ONLINE.

"We've been long-time admirers of Tim's innovative soundtracks," said Valerie Vickers,
A&R/Licensing Manager for License To Thrill Music. "He brings a dynamic and diverse
musical portfolio which complements our growing roster of award-winning musical
talent."

License To Thrill Music offers a boutique roster of commercially-driven and imaginative-thinking music and artists that enables a company, brand or medium to enhance, inspire
and transcend their messaging. The team behind License To Thrill Music has worked on
platinum selling records, films, #1 hit singles and critically acclaimed album releases by
some of the biggest names in music, spanning a period of over 25 years in the music business with innovative artists such as Bjork, The Cure, Kraftwerk and Happy Mondays, and a decade
of interactive entertainment marketing for global markets promoting soundtracks from the world's top video game companies including Microsoft, Sony and Ubisoft. For more information please visit www.licensetothrillmusic.com.

All names of companies and products mentioned herein are the trademarks of their
respective owners.

CD REVIEW - PAJAMA GLADIATOR and other Award-Winning Shorts


Pajama Gladiator and other Award-Winning Shorts
Music by Alan Williams
Silverscreen Music SMCD 026 (US)
6 Tracks 41:16 mins

Latest release from Alan Williams' Silverscreen Music features suites from six short films Alan has worked on, commencing with his score for this year's Student Academy Award winner Pajama Gladiator, which runs for just over 5 minutes and includes some exciting, drum-driven action music, and an heroic, synths-lead theme, which gets a couple of good workouts. All good stuff!
Student Emmy Award winner The Lion and the Mouse follows, and opens with forceful tribal percussion and voices, giving way to an easy-going, flute and xylophone (or similar)-lead theme; and then free-flowing action music, ending in soaring triumph; the easy-going theme returning to see out the track.
2004's The Adventures of Space Baby and Mental Man is the longest piece on the album at getting on for 9 minutes, and commences in sunny, keyboard and woodwinds-lead fashion; giving way to a more wondrous feel, with subtle sampled voices, and a solo soprano to end the suite. Overall, the composer has created a lovely mix of warm, pastoral and awe-filled music, quite different from the two scores that precede it.
By complete contrast, the Loch commences with some thunderous action music, with one soaring moment of heroism, taking a tragic turn, before building triumphantly to a powerful conclusion.
Next up we have The Juror, which is easily the least interesting music on the disc, starting on a mournful note and continuing in mainly gloomy fashion throughout.
Back to the entertainment, and another recent score, The Teller's Tale, which again largely features exciting and heroic action writing, with soaring voices and more of that furious drumming featured earlier on the disc.
If one can overlook the largely synthetic nature of the music, which the composer does his best to disguise, this is a wonderfully entertaining disc, particularly if you like plenty of exciting action writing; though The Adventures of Space Baby and Mental Man serves as a beautiful oasis in between. First and foremost, the music of Alan Williams is, as always, strong on melody and so, for me, he can do little wrong.
Check out the samples at www.alanwilliams.com/SoundtrackPages/PJGladiator.html, and follow the links there to order your copy.

NEWS FROM COSTA COMMUNICATIONS

A couple of items just in. One is retrospective, but I'm sure you'll agree is of interest.

Hollywood Composers to Invade Louisiana

Film Scoring Workforce Project scores with 70 musicians

Monday, Oct 19 in New Orleans

(Hollywood, CA) Award-winning composers from Los Angeles will record orchestral music in New Orleans for the Film Scoring Workforce Project to showcase Louisiana musician’s ability to compete in the TV and film music industry. The scoring session is Monday, October 19, from 10:00am to 5:00pm, at Loyola University in Roussel Hall (6363 St. Charles Ave., New Orleans). A 70-piece orchestra, made up of members of the Louisiana Philharmonic, will perform and record original music written by leading Los Angeles composers, (who will be present), including John Swihart (How I Met Your Mother/Greek), Christophe Beck (Under The Tuscan Sun/The Hangover), Marcelo Zarvos (The Good Shepherd/The Door in the Floor) and Christopher Lennertz (Alvin and the Chipmunks/Supernatural). Los Angeles recording engineer, Jeff Vaughan will be present to record the orchestra and train Louisiana engineers.

The performance will be conducted by composer and partner of Carondelet Music Group Jay Weigel, whose company is producing the Film Scoring Workforce Project, funded by Louisiana Economic Development’s Entertainment Workforce Grant. Weigel will also record his original film music at the session. The Los Angeles composers are visiting the state to experience firsthand the talent and facilities available in Louisiana. They will also gain more knowledge about the incentives offered by the state for film productions utilizing local talent and businesses. Each composer will be given 60 minutes to record with the orchestra, and from the recordings a demo will be made to show what Louisiana has to offer to the TV and film music industry. Carondelet Music is on the forefront of coordinating the rebate to production companies traveling to Louisiana.

Los Angeles based Music Supervisor Joel C. High teamed up with New Orleans based Composer Jay Weigel to form Carondelet Music Group. High and Weigel established Carondelet Music Group to work with the State of Louisiana’s musicians and recording studios to create an industry based on music for film and TV projects. In 2006, the pair first collaborated to work on the score for Tyler Perry’s comedy “Madea’s Family Reunion.” Carondelet Music Group aims to bring Hollywood movie music to Louisiana through scoring and song recording projects for film, TV and video games. Carondelet services include creating original music, orchestrating, music supervision, contracting musicians, arranging travel, booking recording studios, creating and producing music catalogs, offering concierge services and organizing the 25 percent Sound Recording Investor Tax Credit given by the state.

Louisiana Entertainment’s mission is to develop and grow an indigenous entertainment industry in the state of Louisiana. The state's incentives are designed to fuel investment that capitalizes on Louisiana's native creative culture. Louisiana Entertainment uses a holistic approach to business development by offering tax credits, workforce training, and other economic development programs. Since 2002, when the first tax credit was introduced, the incentives have generated over $3 billion in new investments.

AFTER SCHOOL SESSIONS: MUSIC CREATORS JOIN FORCES WITH ASCAP AND AMERICA SCORES TO TEACH KIDS THE ART AND CRAFT OF SONGWRITING, FILMMAKING AND FILM SCORING

ASCAP Songwriter Residency @ America SCORES Visits Schools

in Atlanta, Los Angeles and St. Louis

New York, NY, October 23, 2009: ASCAP (the American Society of Composers, Authors and Publishers) and America SCORES have teamed up for a fourth year to present its national songwriting mentorship program, ASCAP Songwriter Residency @ America SCORES. The program was established in 2006 to create a collaboration between songwriters and students utilizing songwriting and music as another engaging and inspiring way for kids to express themselves. This year's program will feature a diverse group of music creators and an animation filmmaker who will visit schools in three cities across the country: Atlanta, Los Angeles and St. Louis.

As part of the program, ASCAP selects its talented members from a variety of musical genres to teach songwriting workshops during America SCORES after-school poetry classes. By the end of three sessions, the ASCAP member will have co-written and recorded a song with the SCORES kids. The kids also learn about the importance of labeling their own creative work with the copyright symbol, year and their name just as they would see on any published, professional creative work. The ASCAP Foundation, a public charity dedicated to supporting music education and talent development programs, funds the program.

To further support this unique program, ASCAP produces a special compilation CD of the songs created, which is distributed to each of the schools involved, as well as to music industry decision makers.

The details for this year's program are:

St. Louis, MO:

Who: Grammy Award-winning producer Alonzo "Zo" Lee, Jr.

When: October 26 & 28 and November 2, 2009

Where: Nance Elementary School, 8959 Riverview Blvd., St Louis, MO 63147 and Shock City Studios, 2200 Gravois Avenue, St. Louis, MO 63104.

Alonzo (Ludacris - Release Therapy, Usher - Confessions, Chingy - Jackpot) will collaborate with a group of 15 boys and girls, ages 8-11. The classroom sessions will take place at Nance Elementary School on October 26 and 28, followed by a recording session at Shock City Studios on November 2, 2009.

Los Angeles, CA:

Who: Composer Shawn K. Clement and animation filmmaker Roger Blonder

When: October 26 & 28 and November 2, 2009

Where: Palms Middle School, 10860 Woodbine St., Los Angeles, CA 90034

As an interesting departure from the regular ASCAP Songwriter Residency @ America SCORES program, animation filmmaker Roger Blonder and composer Shawn Clement will work with a group of 20 students, ages 11-13, from Palms Middle School to create a short experimental film based on their own original poem. The students will work with the educators from America SCORES to write a group poem which captures the essence of their personal life experience. Blonder will then work with the students to envision, animate and record the digital imagery that will be assembled into a poetry-based experimental film. Clement will work with the team to develop sound designs and will create three different film scores for the film to illustrate to the kids how different music brings out the different emotions of the final film.

Atlanta, GA:

Who: Grammy Award-winning songwriter and recording artist Johntá Austin

When: November 5, 10 & 12, 2009

Where: Carter G. Woodson Elementary School, 605 Donald Lee Hollowell Parkway, Atlanta, GA 30318 and PatchWerk Recording Studios, 1094 Hemphill Ave NW, Atlanta, GA 30318.

Johntá (Mary J. Blige's "Be Without You," Mariah Carey's "We Belong Together") will collaborate with a group of 16 boys, ages 8-11. The classroom sessions will take place on November 5 and 10 at Carter G. Woodson Elementary School, followed by a recording session at PatchWerk Recording Studios on November 12, 2009.

Atlanta, GA:

Who: Chart-topping songwriter Cri$tyle "The Ink" Johnson

When: November 12, 17 & 19, 2009

Where: Carter G. Woodson Elementary School, 605 Donald Lee Hollowell Parkway, Atlanta, GA 30318 and Icon Studios, 710 Berkeley Ave NW, Atlanta, GA 30318.

Cri$tyle (Mariah Carey's "Touch My Body," Natasha Bedingfield's "Angel") will collaborate with a group of 16 girls, ages 8-11. The classroom sessions will take place on November 12 & 17 at Carter G. Woodson Elementary School, followed by a recording session at Icon Studios on November 19, 2009.

Special thanks to Shock City Studios in St. Louis and PatchWerk Recording Studios and Icon Studios in Atlanta for generously supporting the program by donating free studio time, and to Blue Microphones for providing four of its award-winning microphones for the Los Angeles sessions.

During the first three years of the program, songwriting workshops have taken place at schools in Atlanta, Boston, Chicago, Dallas, Los Angeles, New York, Oakland, San Francisco and Washington, DC, featuring a diverse group of music creators, including: Grammy Award-winning songwriter/producer Adonis Shropshire (Mariah Carey, Usher, Ciara); indie rock band Birdmonster; singer-songwriter Algebra Blesset; hip-hop group Da Internz; Grammy-winning children’s songwriters Cathy Fink and Marcy Marxer; Americana/rock songwriter John Francis; songwriter/producer Chris Keup (Jason Mraz, OAR); Americana roots-rock artist Johnny Lloyd Rollins; songwriter/producer Dan Mackenzie (Joss Stone); songwriter/producer Michael Pruitt; songwriter Dwayne Simmons; Latin music songwriter Roberto Poveda; hip-hop artist Psalm One; songwriter/film-TV composer David Rice; rock/alternative/indie songwriter Vince Scheuermen (from the band Army Of Me); hip-hop songwriter Lysette Titi; and rapper, actor and spoken word artist Saul Williams.

About America SCORES: America SCORES is a national nonprofit organization whose mission is to use soccer and poetry to inspire among urban youth a lasting dedication to health, literacy, and community service. America SCORES operates soccer teams in urban public schools in economically disadvantaged neighborhoods across the country. Teamwork developed on the field is translated to the classroom and the community. The program operates five days per week after-school and has recently been recognized by Charity Navigator as one of the most administratively efficient nonprofits in the country. For more information, visit www.AmericaSCORES.org.

About The ASCAP Foundation: Founded in 1975, The ASCAP Foundation is a charitable organization dedicated to supporting American music creators and encouraging their development through music education and talent development programs. Included in these are songwriting workshops, grants, scholarships, awards, recognition and community outreach programs, and public service projects for senior composers and lyricists. The ASCAP Foundation is supported by contributions from ASCAP members and from music lovers throughout the United States. www.ascapfoundation.org

About ASCAP: Established in 1914, ASCAP is the first and leading U.S. Performing Rights Organization (PRO) representing the world's largest repertory totaling over 8.5 million copyrighted musical works of every style and genre from more than 360,000 songwriter, composer and music publisher members. ASCAP has representation arrangements with similar foreign organizations so that the ASCAP repertory is represented in nearly every country around the world where copyright law exists. ASCAP protects the rights of its members and foreign affiliates by licensing the public performances of their copyrighted works and distributing royalties based upon surveyed performances. ASCAP is the only American PRO owned and governed by its writer and publisher members. www.ascap.com

CD REVIEW - GHOSTS OF GIRLFRIENDS PAST


Ghosts of Girfriends Past
Music by Rolfe Kent
Silva Screen Records SILCD1295
24 Tracks 43:44 mins


The second recent score from Rolfe Kent, due out from Silva Screen on 9th November, is for the romantic comedy-drama Ghosts of Girlfriends Past, with its winning cast of Alias' Jennifer Garner, and roguish Matthew McConaughay.
Kent says of the assignment: "For me Ghosts of Girlfriends Past was an opportunity to do some big dramatic symphonic things; the story has some real drama to it, and lots of motion. I loved working on it." Things get off to a breezy start with the brief "Opening Title." "Kaiko Shoots Arrow is" is also a brief, mystical cue, followed by another short piece, the light and rhythmic "Jenny & Connor Meet and Spar."
"Uncle Wayne's Room" is dominated by easy-going jazz, an approach that continues into "Uncle Wayne's Apparition," with the addition of a suitably ghostly Theremin or similar, taking on a more mysterious quality as the cue continues. "Jenny & Connor; Wedding Sex" expands upon their "sparring" theme from before; whilst "Ghost of Girlfriend Past" is largely mysterious, leading into more breeziness in "The Swings/Young Jenny," which takes a more romantic turn as it proceeds. "Why Woo When We Can Do" continues the romance in a more mature, easy-going manner, before ending in sadness in "Leaving Before Dawn."
"Ghost of Girlfriend Present" proceeds kind of nervously, with the Theremin returning to give it that supernatural quality; contrasting with the following piano and strings warmth of "Pauly's Theme."
"Conjuring the Ghost of Future" gives Kent the chance to pull out all the supernatural stops, and he also provides a thunderous climax to "Graveside Epithany;" with "Connor Believes, But Too Late" expanding upon his material from "Conjuring." He provides very different, uplifting music for the climax of "Pain Beats Regret; following up with the warmth of "Best Man Speech," and the concluding "Jenny & Connor in the Snow."
Keep an eye on www.silvascreenmusic.com/ishop/299/Ghosts.aspx for ordering details.

LAW ABIDING CITIZEN SOUNDTRACK RELEASED

LAW ABIDING CITIZEN:

ORIGINAL MOTION PICTURE SOUNDTRACK

FEATURES MORE THAN 50 MINUTES OF MUSIC FROM CELEBRATED COMPOSER BRIAN TYLER

From director F. Gary Gray comes The Film Department / Overture Pictures October 16th release Law Abiding Citizen starring Academy Award® winner Jamie Foxx and Gerard Butler. The film features original music by award winning composer Brian Tyler and was made available on Downtown Soundtracks, a division of Downtown Music, on October 13th.

Law Abiding Citizen is the story of Clyde Shelton (Butler), a top-notch former spy who learns that one of the criminals who killed his wife and daughter would be released on account of his cooperation with the district attorney’s office. Shelton seeks revenge, not just against the criminals, but the entire justice system. He is quickly captured, but Nick Rice (Foxx), a corrupt D.A., quickly realizes that prison isn't enough to keep Shelton from killing those who kept the criminals from getting the sentence they deserved.

Recorded at the legendary Sony Pictures Scoring Stage in Los Angeles, California, Tyler’s score features a 52-piece ensemble of the Hollywood Studio Symphony. With eighteen original titles, the dueling nature of Foxx and Butler can be heard in every note. "Brian not only met all our meticulous demands, he exceeded them... He created a CLASSIC score, and I'm extremely proud of it!" said director F. Gary Gray of the music.

Tyler’s prior credits include the score for such films as Fast and Furious, Eagle Eye, Constantine, The Hunted, The Final Destination, and Rambo.

Law Abiding Citizen stars Academy Award® winner Jamie Foxx (Ray), Gerard Butler (300), Bruce McGill (Obsessed), Colm Meaney (The Commitments), Leslie Bibb (Iron Man), Michael Irby (“The Unit”), Regina Hall (Scary Movie) and Viola Davis (Doubt). The film is directed by F. Gary Gray (The Italian Job, Be Cool) from a screenplay by Kurt Wimmer (Street Kings) and produced by Lucas Foster (Mr. & Mrs. Smith), Gerard Butler, Alan Siegel, Mark Gill (The Rebound), Kurt Wimmer and Robert Katz (The Rebound).

CD REVIEW - GREEN LANTERN: FIRST FLIGHT


Green Lantern: First Flight
Music by Robert J. Kral
La-La Land Records LLLCD 1106 (US)
20 Tracks 61:22 mins

I'm not all that familiar with the DC Comics character The Green Lantern, but seems he's some kind of intergalactic peacekeeper. The recent DC Universe animated feature presented his origin and first assignment which, whilst short on character development, certainly came up trumps in the action stakes.
Australian composer Robert J. Kral, most famous for his music to Buffy spin-off Angel, has, with Christopher Drake (check out his fabulous score for Superman/Batman Public Enemies on digital download from Amazon), become DC's composer of choice, having previously provided the music for Superman/Doomsday and also worked on Batman: Gotham Knight. Of the two, I must admit to preferring Drake's music, which he at least does his best to give an orchestral sound to, unlike Kral whose synth scores work well enough on this film, but less so on CD. Still, Green Lantern's outer space setting allows Kral to get away with his more synthetic sound than on earlier DC efforts. In fact, certain shadings remind me of the kind of thing composers were doing for sci-fi shows of the '80s; of Vangelis' Blade Runner, and even, bringing things right up to date, Zimmer and Howard's Batman scores.
Kral's score for Green Lantern features a suitably propulsive and heroic main theme, which gets the album under way in the "Main Title" and which often surfaces in variations throughout the score, along with the sinister and menacing power of Sinestro's theme; being of course particularly effective within Kral's action writing, of which there is plenty, in cues like "Going After Cuch;" "Bugs in the Baggage;" "Teleport Pursuit;" the sinister power of "Brutal Attack;" "The Corps Fights Sinestro;" "The Corps Falls;" "Asteroid Battle;" and "Ring Against Ring."
In addition to all the action material, Kral gives "Labella's Club" beat-driven source music; "The Way I heard It,"for the most part, a gently meandering feel; suitable sadness for "Relinquishing the Ring, and the latter stages of "The Corps Falls."
Peace is restored with the penultimate track, "The Green Lantern Pledge," with the main theme soaring triumphantly at its conclusion and leading into the "Closing Credits," where Kral reprises elements of his score, before bringing matters to a suitably heroic conclusion.
Regular visitors to the blog will know that I'm not a great lover of synthesized scores, but the composer has obviously given his all in the service of the film, and it's fair to say that it's certainly one of the more entertaining of its kind.
The CD comes with a colourful accompanying booklet, featuring stills from the film, a brief synopsis of the plot, and a note from composer Kral.
Go to www.lalalandrecords.com/GreenLantern.html for samples, and to order your copy of the album, but hurry as this is a limited edition of just 1500 units.

NEWS FROM COSTA COMMUNICATIONS & CINEMEDIA


From Costa Communications:

JUNO COMPOSER MATEO MESSINA’S

HEALTHCARE PLAN WILL NOT TAX AMERICANS

AND BENEFITS CHILDREN

Mateo Messina Presents a “Symphony of the Superhero”

Proceeds Benefit Seattle Children’s Hospital

Friday, November 6 at 7:00pm in Benroya Hall, Downtown Seattle

(Seattle, WA) – Grammy Award-winning composer, and founder/chair of The Symphony Guild, Mateo Messina, along with DJ Cut Chemist, violinist Lili Haydn, NW Symphony Orchestra, NW Chorale, Bells of the Sound, NW Boychoir, Batucada Brazilian Collective, John Curley and more join together to create “Symphony of the Superhero.” The benefit concert will be held on Friday, November 6 at Benaroya Hall in downtown Seattle (200 University St). Cocktails and a silent auction will take place at 7:00pm, followed by the concert beginning at 8:00pm. Tickets are available at: http://www.thesymphonyguild.org or by phone at: 1.800.838.3006. Proceeds from this concert benefit uncompensated care of Seattle Children’s Hospital.

Although he has not attained the mythical proportions of a Greek or Roman god, and is not “faster than a speeding bullet,” “Juno” composer (and Seattle native) Mateo Messina, is, in his own way, a superhero. He would be embarrassed to be labeled in such a way, but to the children whose lives he has changed through music at Seattle Children’s Hospital, he has a power greater than that of most mortals. For more than a decade, Messina has written a new symphony every year, which he performs at Benaroya Hall to raise money for families with children in the hospital.

Messina’s connection with the hospital began when the daughter of a friend passed away from a brain tumor. Not long after, in 1997, he started playing the piano in the hospital’s playroom. While there, several children joined in on piano duets and sang along. Messina returned the next week. And the next. And the week after that. He began writing checks from the proceeds of his concerts to help raise money for the hospital. He formalized his contributions five years later, creating The Symphony Guild. The Symphony Guild has since raised money for Uncompensated Care at Seattle Children’s Hospital. It allows families in need of assistance to get care for their hospitalized children, whether they are insured or not. Last year, his concert raised nearly $200,000. The funds raised each year places the Symphony Guild on the “Top 25 Fundraising Guilds” list at the hospital. Although Messina's music career has taken him to Hollywood California, he continues to play for the children during his monthly visits to his hometown of Seattle.

Seattle Children’s Hospital is ranked as one of the best children's hospitals in the country by U.S. News & World Report magazine, Children’s serves as the pediatric referral center for Washington, Alaska, Montana and Idaho. Children’s is a private nonprofit providing excellent patient care with compassion and respect, and conducting cutting-edge pediatric research. Since they opened their doors in 1907, they have maintained their founding promise: to provide needed medical care to all children in their four-state region – regardless of a family's ability to pay. The need for such uncompensated care has risen dramatically in recent years. In 2001, they provided $24.9 million in uncompensated care. In 2008, the sum topped $86 million, and they expect to provide more than $100 million in uncompensated care in 2009 to families in need and to cover Medicaid payment shortfalls. For more info on Seattle Children’s Hospital please visit www.seattlechildrens.org.

From CineMedia:

HEROES AND VILLAINS WILL BE SINGING A NEW TUNE IN GOTHAM CITY!

Guest Star and Emmy® Nominee Neil Patrick Harris Lends his Voice and Singing Talents to a Special Musical Episode of Batman: The Brave & The Bold Airing October 23 at 7:30 PM ET/PT on the Cartoon Network

New Line Records to Digitally Release Batman: The Brave & The Bold: Mayhem of the Music Meister! – Soundtrack from the Animated Television Show on October 24

BURBANK, CA (October 6, 2009) – The Caped Crusader faces a new villain in the upcoming Batman: The Brave & The Bold episode, “Mayhem of the Music Meister!” The episode, from Warner Bros Animation, features the voice of Neil Patrick Harris (How I Met Your Mother, Dr. Horrible’s Sing-Along Blog) as the Music Meister, a menacing villain who is able to exert powerful mind-control through song. Producers and cast members received a standing ovation following a sneak-preview at Comic-Con this past July and, after much anticipation, the episode will finally air Friday, October 23 at 7:30 p.m. ET/PT on Cartoon Network.

On Saturday, October 24, New Line Records will release Batman: The Brave & The Bold: Mayhem of the Music Meister! – Soundtrack from the Animated Television Show digitally on iTunes and other digital music outlets. Amazon.com will offer fans the exclusive option of purchasing either a hard or digital copy of the soundtrack. The soundtrack will feature all original songs from the episode as well as the highly sought Batman: The Brave & The Bold theme.

"Being approached by the producers to do a 'Batman Musical' was a complete surprise and total thrill," said composers Michael McCuistion, Lolita Ritmanis and Kristopher Carter. The phenomenal cast and musicians brought each song to life and we are so happy New Line Records has agreed to release a soundtrack so that this music can be enjoyed by Batman fans worldwide."

About Batman: The Brave & The Bold
Extremely popular on Cartoon Network with its combination of fast-paced action and humor, Batman: The Brave and the Bold is executive produced by Sam Register, with James Tucker and Linda M. Steiner as producers. The voice cast includes Diedrich Bader as Batman, James Arnold Taylor as Green Arrow, Will Friedle as Blue Beetle, Tom Kenny as Plastic Man, John DiMaggio as Aquaman and Corey Burton as Red Tornado.

About Warner Bros. Animation:
Warner Bros. Animation has been producing award-winning original animation since 1930, when it released its first cartoon, “Sinkin' in the Bathtub.” Since then, Warner Bros. Animation’s characters have set the standard for innovative, quality animation. Producing for network and cable television, online, home entertainment and feature films both domestically and internationally, Warner Bros. Animation is highly respected for its creative and technical excellence, as well as maintaining the studio’s rich cartoon heritage. Warner Bros. Animation also oversees the creative use of, and production of animated programming based on classic animated characters from the Hanna-Barbera and DC Comics libraries. Warner Bros. Animation is one of the most honored animation studios in history, garnering a grand total of six Academy Awards®, 35 Emmy® Awards, the George Foster Peabody Award, an Environmental Media Award, a Parents’ Choice Award, a Humanitas Award, two Prism Awards and 20 Annie Awards (honoring excellence in animation).

About New Line Records:
NEW LINE RECORDS a division of New Line Productions Inc., has been releasing recorded music since 2002. Distributed through Warner Music Group’s independent arm ADA, NLR has released over 60 titles, including the film soundtracks to Hairspray, Sex and the City, Elf, The Notebook, He’s Just Not That Into You, The Departed, Love and Basketball and Wedding Crashers, among others. Its 2009 schedule includes The Hangover, ROCK OF AGES Broadway Cast Recording, Harry Potter and the Half-Blood Prince and Sherlock Holmes.

CD REVIEW - TOXIC


Toxic
Music by Scott Glasgow
MovieScore Media MMS-09021
23 Tracks 46:42 mins

Alan Pao's action thriller Toxic, which numbers Susan Ward and Tom Sizemore amongst its cast has been scored by Scott Glasgow, whose scores for Chasing Ghosts and Hack! have both previously been released by MovieScore Media.
Largely synthetically scored, Glasgow does however also perform piano and guitar, and calls upon the services of live players Caroline Kung (flute), Kate Green (oboe), together with vocalist Melissa R. Kaplan.
The nervy electronics of "The Psychic" get the album underway, leading to the thunderous percussion of "Rooftop Chase," which was actually composed by MSM's own Mikael Carlsson. The plaintive sound of flute and oboe comes as a complete contrast at the start of "Ghost Story," before the cue descends into suitable eeriness. A techno beat introduces "Duality," but the cue quickly descends into cacophony, then ticks along quietly to its conclusion. "Lucille" has a mysterious eastern quality about it; "The Accident" continuing in the same vein. "Kitchen Fight" offers more powerful percussion, followed by the brief poignant piano of "Saving Sid's Job."
Piano features again at the start of "Nadia Talks to Angel;" the cue ending in a wailing ethnic vocal. "Haunted by a Young Girl" opens with supernatural eeriness, before piano closes out the track. "Van Sant's Phone Call" is another beat-driven cue, which leads to the brief piano and oboe sadness of "Crying." "Touching Shower" presents another intimate moment for piano and synths; the eastern influence returning for "Hooking," but giving way again to piano and synths for "Hiding Lucille."
"Angel's Death" offers much frightening dissonance, with the flute, piano and oboe of "Consolation" offering some relief. "Lucille Breaks Through" builds suspensefully to more frightening dissonance. The longest cue on the album, "A Crack in Reality" follows, becoming more and more eerie and dissonant as it goes on, turning briefly rocky, before threatening a powerful climax that in fact just fades away.
The first genuinely sunny music comes in "There Can Be Only One," with almost spiritual synth strings dominating, before piano breaks the mood and leads us to an unsettling conclusion. After the dissonant climax of "Transmogrification," a brief reprise of the "Ghost Story" opening concludes the score on a melodic note.
Available on CD, or as a download, go to www.moviescoremedia.com/toxic.html for samples and ordering details.

CD REVIEW - RED CLIFF


Red Cliff
Music by Taro Iwashiro
Silva Screen Records SILCD1296 (UK)
15 Tracks 64:29 mins

Though the album will not be released until 23rd November, I just couldn't wait to tell you about Silva Screen's recording of Taro Iwashiro's music for John Woo's epic historical adventure Red Cliff, the score that won the Best Original Film Score Award at the 2009 Hong Kong Film Awards.
If you are a regular visitor to my blog, you will know I have been enthusing about the quality of some video game scores in recent years, but I have been negligent in recognising the work of many fine Far Eastern film composers, who consistently produce great work, often fully symphonic and usually melodic, which is more than can be said of many Hollywood film scores these days.
Whilst composers like Tan Dun, Shigeru Umebayashi, Joe Hisaishi and Ryuichi Sakamoto are well known to western audiences, there are many more from Japan, China and Korea whose work deserves attention. One such composer is Taro Iwashiro, who has written a wonderful symphonic score for Red Cliff, performed by the Tokyo Metropolitan Symphony Orchestra.
The opening track on the album, though titled "The Battle of Red Cliff," actually features the main theme, a spirited, optimistic piece, which soars adventurously. It's not until the next track, "On the Battlefield," that we get down to the nitty gritty. Opening proudly, it soon erupts into flowing, drums-driven action scoring, which include variations on the aforementioned main theme. After all this, "Light of the Evanescence" comes as a peaceful departure, with its warm string writing. The following "Shadow of the Evanescence" is more of an elegiac piece, a really heartfelt piece of writing. "Shooooot!" is a drums-heavy variation on the main theme, leading into the weighty, trumpets heavy "Decision for Justice." The scherzo-like "Secret Strategem" follows, the tone becoming more serious in the relentless progress of "Closing in Upon the Enemy."
"Unseen Locus" opens with a fast-flowing variation on the main theme, but takes on something of an air of tragedy as it continues. The mood lightens considerably with "Precious One," with some delicate flute and woodwinds, and sweet string work. "Sound of Heartstrings" is the most identifiably eastern sounding track, initially quite alien to western ears, before a pounding conclusion. This is followed by "In Loneliness," which does a good job in capturing that emotion.
"Beyond the River" opens expectantly, before trumpets herald another flowing variation on the main theme.
"Red Cliff (End Roll Version)/Theme Song of Part I (Asia version)" features a Chinese-language ballad by J-Pop Star Alan (who is female, in case you didn't know, despite the misleading name), which is followed by another passionate instrumental version of the "Evanescence" theme in "Outdruction of Legend," with some lovely flute work; the album closing with Alan's more leisurely version of the main theme, entitled "River of No Return" (again in Chinese, of course).
I believe there is a volume two available as an import, and we can but hope that this album is successful enough for Silva Screen to go after that one too.
Keep an eye on www.silvascreenmusic.com for ordering instructions.

CD REVIEW - TRICK 'R TREAT


Trick 'r Treat
Music by Douglas Pipes
La-La Land Records LLLCD 1103 (US)
18 Tracks 59:18 mins

Back in 2006 Douglas Pipes received favourable reviews and award nominations for the animated Monster House, but then nothing seemed to happen - until now, that is. Pipes is back with his score for first-time director Michael Daugherty's Trick 'r Treat, a seasonal horror anthology in the finest Creepshow and Tales of the Crypt traditions, all four tales being set appropriately on Halloween night. The cast includes the much in demand Anna Paquin (True Blood, the X-Men films), who of course worked for Trick 'r Treat's producer Singer on the latter franchise.
If you're a regular visitor to this blog, you are probably aware by now that I am not easily impressed by contemporary horror scoring, but at least this score is orchestral, aided by both adult and children's' voices, and more in the old Hollywood traditions where scores could be scary whilst still maintaining strong thematic elements, here even utilising the familiar children's taunting chant "nah, nah, nah, nah, nah" (for want of a better description). The accompanying booklet features an extensive note from the director, who very much approved of Pipes' approach to the score, seeming to be almost as bored with today's horror scoring trends as I am.
The album opens with the propulsive "Main Titles," which immediately pays homage to the late, great Bernard Herrmann, with its Psychoesque strings, whilst also introducing variations on the aforementioned kids' chant. Of course, over the tracks that follow, there's still a good helping of the eerie and suspenseful, as one would expect, though outbreaks of menacing and quite frenzied action enliven things; but there's also a somewhat tongue-in-cheek element, particularly in the use of that kids' chant.
A touch of sentiment is added here and there, as in "Father and Son;" "Meet Rhonda," with its tinkling piano melody and Elfman-like vocals, more of which can be found in the opening of "The Halloween Schoolbus Massacre;" and the waltz-like "Laurie's First Time."
The "End Titles" brings the album to a close, with the composer expanding his "Main Titles" music, with some impressive variations on the children's chant, and more of the piano theme.
Go to www.lalalandrecords.com/TrickRTreat.html for samples and to order your copy.

you’re in for some of Jeremy Soule’s most intense work to date."

CD REVIEW - HEROES AND VILLAINS: ATTILA THE HUN


Heroes and Villains: Attila The Hun/Napoleon
Music by Daniel Pemberton
MovieScore Media MMS-09020
35 Tracks 60:43 mins

British composer Daniel Pemberton is perhaps best known for his work on the 2006 TV series Prehistoric Park, though he has contributed to many other TV productions, including series like Peep Show and The Great British Menu, and has also received good notices for his music for the Little Big Planet video game.
This album concentrates on his work for two episodes of BBC TV's Heroes and Villains (known as Warriors in the US), performed by the City of Prague Philharmonic, who are now regularly contributing to new scores, in addition to all the re-recordings they have worked steadily on over the years. A number of ethnic instruments are also utilised within the score, as is the voice of Nawroz, which features on a good many of the tracks.
The first 22 tracks feature Pemberton's music for Attila The Hun, which gets under way in mythic fashion, with the wailing voice of Nawroz, and cimablom, leading into strings and brass-driven action. After this "Opening," we have the desolate and eerie "Impalement Alley," with Nawroz again making a powerful contribution. The strident "Take Naissus" leads into the powerful and exciting set-piece "Naissus Battle," followed by more desolation in "Naissus Aftermath."
Other highlights include the brief, but propulsive "Heading East;" the initially brooding, but increasingly menacing "Leaving Constantinople/Aeitus Awakes/Orleans;" the grandiose opening of "Royal Tour/Bath;" the all-conquering "The Greatest Coalition;" the inspirational ending of "I Had a Dream;" the steely resolve of "I Have to face Him;" the other huge action sequence that is "The Battle for the Ridge," with its soaring strings of destiny, enhanced by Nawroz's vocals; and the suitably elegiac "Funeral Pyre/Immortality," with its very powerful conclusion.
Pemberton's approach for Napoleon is of course very different, though still powerful in its own way, as can be heard in the impressive "Opening." The score is very much influenced by Beethoven and has that recognisable classical sound. Other highlights include the expectant "Commander of Artillery;" the poignant solo piano of "Spotting the Brits;" the action and swagger of "Doppertt Attack;" the strident nobility of "Building the Battery;" the sadness of "Field Hospital;" the slowly building explosiveness of "Cannon Fire;" the six-minute "The Final Battle," which builds impressively, but suddenly gives way to a soaring vocal, before resuming its powerful course, ending with more piano poignancy, and leading into almost a lament for the defeated Napoleon in "Conclusion."
Available both on CD and as a digital download, go to www.moviescoremedia.com/attila.html for samples and details of how to order your copy.

CD REVIEW - 17 AGAIN


17 Again
Music by Rolfe Kent
Silva Screen Records SILCD1294 (UK)
23 Tracks 37:17 mins

Following in the traditions of Big and Vice Versa, the recent comedy 17 Again finds former Friend Matthew Perry rather incredibly reverting to his 17-year-old self again, in the shape of High School Musical's Zac Efron.
The film, which has come and gone in the cinemas, and has done very well thus far on DVD, was scored by Rolfe Kent, a Brit who has made a successful career for himself in Hollywood, but whose work has been for the most part neglected on CD thus far, save for scores such as the excellent About Schmidt and Sideways (also on Silva Screen) of course. There are however still many fine efforts that are deserving of release. Silva Screen Records are doing their best to re-dress the balance, releasing this and the composer's score for another recent comedy Ghosts of Girlfriends Past (review to follow).
The 17 Again album gets underway with the brief but pacy "Opening (Game Theme)," which is followed by a hint of romance in "Scarlett." The swirling "Mike Realises," with its wordless chorale obviously accompanies Perry's transformation, which ends triumphantly (well, wouldn't you be triumphant if you found yourself 17 again?!). "Mike is Wistful" is quite delightful and dance-like, variations on which continue into "Mike Sees the Janitor," with choir subtly returning, as the music becomes an understated waltz, before turning demonic. The action of "Mark and Ned Fight" starts lightly, but takes on more serious proportions; and is followed by "Tracking the Janitor/The Trail," which starts out with a touch of slapstick, before becoming appropriately sneaky.
"Mark Starts School" gathers pace and import as it continues; whilst "It's Not About Basketball is initially much more easy-going, before turning somewhat sneaky. "Sex Ed" offers lush wondrous strings, leading to the brash and boastful "Stan Beats Up Mark." "Scarlett's Garden" is nice and easy to begin with, before her theme enters romantically. "Alex Saves the Game" develops into pacy action, ending on a brief note of triumph. "Mark Cheers Maggie" reprises the wistful theme, before concluding comically. "Elfish at Dinner" takes a mystical, Celtic-styled turn, complete with female vocal.
"Punch/Deer and Lioness! begins dance-like, before playing musical hide and seek; and is followed by the romantic "Manchild Kiss," which quickly takes a comic turn, foreshadowing the "Race to the Courthouse," with its hoe-downish qualities. "I Lost My Way," the lengthiest track on the album, is deftly scored, with a lovely development of the wistful theme at its centre. The sentiment continues into "Mark Practices" and on to the final cue "Suddenly She Knows," with its huge moment of revelation, giving way to more intimate fare and a light touch to finish.
Another nice effort from Kent, who really can score this kind of light and entertaining fare in his sleep.
You'll have to wait until 9th November for the release of this and the other Kent album, but you can find further details at www.silvascreenmusic.com.

CD REVIEW - CLIVE BARKER'S BOOK OF BLOOD


Clive Barker's Book of Blood
Music by Guy Farley
La-La Land Records LLLCD 1105 (US)
17 Tracks 36:15 mins

I've been quite impressed by Guy Farley's recent work, but here, he seems very much constricted by the genre. Unlike some recent Hollywood offerings, Farley does use predominantly live instruments, but unusually no violins, just violas, cellos and basses. The much cliched Duduk is present, together with the old genre favourite, Cimbalon, and the Monochord. The orchestra is, as is more often the case these days, enhanced by electronics.
So what of the score, well, it's the usual mix of the eerie and mysterious, occasionally erupting in bursts of dissonance; with an overall melancholy feel, as demonstrated by the strings of "Lovers" and "All The Stories," as well as the delicate, tinkling piano of "The Story." There is however something of a feeling of redemption in "The Book." The closing track presents the "Book of Blood Suite," which might possibly be the "End Titles" and which brings together all the major thematic material of the score.
If you're a fan of this kind of stuff, you will no doubt want to add it to your collection, but Farley's music really brings nothing new to the genre.
Accompanying the disc is the usual high quality booklet, with colour stills,info on the film and notes from both the film's director, John Harrison, once a genre composer himself of course, and Farley.
If you want to add this limited edition of 1500 units to your collection, you'd best hurry along to www.lalalandrecords.com/BookOfBlood.html, where you can order your copy and hear samples beforehand.

SILVA SCREEN RECORDS RELEASE AFGHAN STAR


Silva Screen Records has released the original soundtrack recording of Afghan Star, a documentary about the TV show of the same name, which follows the trials and tribulations of a number of young people seeking to bring their music out from behind the doors that were closed to them for so many years under the Taliban, often at considerable personal risk. The album presents samples of their work, along with selections from Afghans living as refugees in other parts of the world and their efforts, whilst retaining something of a traditional Afghan musical identity, also reflect more western influences, now that the whole wide musical world is opening up to them. Aside from the one heavily rap influenced track, this is really quite an infectious little album, even if many of us won't be able to understand the lyrics.
To sample tracks from the album, and download or purchase a copy on CD, go to www.silvascreenmusic.com/ishop/299/Various/326223/Afghan-Star.aspx.

CD REVIEW - TAKING WOODSTOCK


Taking Woodstock
Music by Danny Elfman
La-La Land Records LLLCD 1104 (US)
20 Tracks 30:08 mins

Releasing Danny Elfman's score for Ang Lee's new film Taking Woodstock is quite a coup for this enterprising label, but don't expect your typical Elfman score. It's more like something W.G. "Snuffy" Walden might produce. The comedy relates the events leading up to the staging of the historic Woodstock Music and Arts Festival of 1969 and obviously the film is stuffed full of music of the times, and of course the other soundtrack album (on Rhino) presents a good selection of these songs. What's left is Elfman's underscore, which only runs for a little over half an hour, as one might reasonably expect.
The album starts where else, but with the "Taking Woodstock Titles" which, after a wailing electric guitar intro, settles into a vaguely Jewish theme, voiced by bass clarinet, but with folksy acoustic guitar accompaniment. The guitar continues, in livelier fashion, through "Elliot's Place." Some of the cues that follow are quite brief and don't really amount to much, predominantly featuring solo acoustic guitar, though there are a couple of clarinet and electric guitar moments; the longer ones include more of the clarinet and guitar from the "Titles," but with addition of violin, in "Get The Money; very late '60s grooves in "Groovy Thing" and "A Happening;" nice, homely acoustic guitar solos in "Groovy Thing (Guitar Solo)," "Hash Brownies," and "Perspective Extended;" and the increasingly spaced--out "The Acid Trip."
The final cues include a couple of "Woodstock Wildtracks," featuring both acoustic and electric guitars; the suitably "Happy Guitars" and the concluding "Guitar Improv" - both very light and listenable.
So, as previously stated, this is definitely not your typical Elfman score. In fact, it is unlike anything I have heard from him before. But, if you're a fan of the music of shows like The Wonder Years, you might well find this to be your cup of tea.
The accompanying booklet features an introduction to the film, as well as many colour stills therefrom. Go to www.lalalandrecords.com/TakingWoodstock.html for further info, samples and to order your copy.

TWO NEWS ITEMS FROM COSTA COMMUNICATIONS


From Costa Communications:

"Surrogates" Creates 4th Collaboration Between Composer & Director

Composer Richard Marvin reunites for the fourth time with Director Jonathan Mostow for the sci-fi thriller "Surrogates." Marvin incorporates over 120 musicians, along with electronic elements, to create an epic dramatic score. The film describes a near future where humans live in isolation and only interact through robotic bodies that serve as surrogates. When several humans are murdered after their surrogates are destroyed, a cop (Bruce Willis) investigates the crimes through his own surrogate. After a near fatal encounter, the cop's surrogate is destroyed and forces him to bring his human form out of isolation and unravel a conspiracy behind the crimes. In addition to scoring "Surrogates," Marvin worked closely with director Curtis Hanson to write the music for the new fall series "Three Rivers."

Film Composer Elia Cmiral Delivers Horrifying Score

For Psychological Thriller “Forget Me Not”

Premiering at Screamfest LA Film Festival Oct. 22 2009

(Los Angeles, CA)- Celebrated film composer, Elia Cmiral is scoring “Forget Me Not”, a mind-twisting horror movie, making a terrifying appearance at Screamfest Horror Film Festival 2009. Cmiral is well versed in the horror genre and has already won best musical score for the film “Splinter” at last year’s Screamfest. His new work, “Forget Me Not” focuses on a group of young and rowdy teenagers who have just graduated from high school; yet with celebration in the air, the vengeful spirit of a friend from their past decides to crash the party. Working with director Tyler Oliver, a musician himself, Cmiral brings emotion and feeling to this horrifying feature through his score, which tends to be much lighter than what is usually assumed for a horror film. Cmiral masterfully utilizes contemporary sounds, drum loops, guitar and bass into his works. The emotion of the movie shines through on the piano pieces which thematically reoccur throughout the film.

The teenage horror film does not take itself too seriously like many movies in this genre tend to do; instead it offers a highly entertaining and seriously scary experience with some unexpected twists. The original music has the typical horror flavors to get your heart racing yet also has a sweet, melancholic piano theme, and charming flashback cues which coolly contrast with distorted material for the atmospheric and chase scenes. With a young cast, a musical score that makes you shiver, and a plot that gets your heart racing, ‘Forget Me Not’ will leave every viewer looking over their shoulder as they exit the theater.

‘Forget Me Not’ is a new addition to the Screamfest Film Festival, the premier outlet for horror and sci-fi genres. This year Screamfest will be showcasing ‘Forget Me Not’ on October 22^nd at Grauman’s Chinese Theater in Hollywood, California. Screamfest began in 2001 by film producers Rachel Belofsky and Ross Martin in order to give horror and sci-fi filmmakers and writers a venue to have their work showcased within the industry. Many great films have come through this festival in the last 8 years, and ‘Forget Me Not’ is sure to be one of them.

No stranger to the world of horror and thriller movies, Elia Cmiral has scored films such as “Stigmata” and “Wrong Turn”. Born in Czechoslovakia, he attended the Prague Music Conservatory, where he studied composition and double bass. In 1989, he moved to America to attend USC's prestigious Scoring for Motion Pictures and Television program, which led to him scoring his first American feature, “Apartment Zero”. Over the next decade, Cmiral continued building a reputation for himself, which lead to his scoring the successful “Nash Bridges” television series. In the last 10 years, Elia has written over two-dozen scores for independent films, TV and major studios.