CD REVIEW - LAID TO REST + YET MORE NEWS FROM TOP DOLLAR PR


Laid To Rest
Music by Deadbox
MovieScore Media MMD 0006
21 Tracks

American Indie horror Laid To Rest, starring Lena Headey of The Sarah Connor Chronicles fame, is directed by Robert Hall, who also happens to have hid own metal band Deadbox and so it was perhaps only natural that they should provide the avant garde music for the film.
I'm afraid this kind of scoring is just not my cup of tea, but will probably appeal to fans of the likes of Tangerine Dream, Goblin and such, who wrote similar experimental scores for a host of horror films some decades ago. It's all screaming, agonised electric guitars, menacing percussion, and electronic chaos and oppressiveness, with occasional plodding hopelessness, but just the odd touch of poignant solo piano, which briefly sparked my interest. There's one vocal of sorts, "Sexy Bitches," which at least has a beat that you can follow. If you like your music challenging, this may well be to your taste. It's certainly not to mine!
Go to http://moviescoremedia.com/laidtorest.html for further info, samples and to find out where you can download your copy of the album.



Fro Top Dollar PR:-


SUMTHING ELSE MUSIC WORKS ANNOUNCES RELEASE OF
MADWORLD OFFICIAL SOUNDTRACK
Original HipHop Songs Produced by Composer Naoto Tanaka feature Exclusive Performances
from OX, Doujah Raze, Sick-YG, Bandy Leggz, Wordsmith, S.O.U.L. Purpose, Optimus


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

New York - June 30th, 2009 -Sumthing Else Music Works, Inc., through its licensing
relationship with SEGA®, proudly presents MADWORLD(TM) Official Soundtrack featuring
20 original HipHop songs from the inventive third person action game developed by
PlatinumGames. MADWORLD Official Soundtrack is released today to retail outlets
through Sumthing Else Music Works www.sumthing.com, and will be available for digital
download on Sumthing Digital www.sumthingdigital.comand iTunes®.

MADWORLD Official Soundtrack includes all 20 original songs from the game produced
by PlatinumGames composer Naoto Tanaka in collaboration with HipHop and Rap artists
OX, Doujah Raze, Sick-YG, Bandy Leggz, Wordsmith, S.O.U.L. Purpose, and Optimus.
Featuring explicit lyrics, the provocative soundtrack reflects MADWORLD's highly
stylized graphics and visceral gameplay.

"There are a total of 20 tracks on the MADWORLD soundtrack and they are all original
songs that we produced especially for the game," said composer and soundtrack producer
Naoto Tanaka. "I would make the backing tracks (or the beats) and then we would
hand them off to these talented artists to get their performances. It was a pretty
big challenge, especially as it was my first time with this kind of collaboration,
but I think luck was on my side and it turned out to be extremely successful."
Driven into quarantine and chaos in Varrigan City, you take on the character role
of Jack in MADWORLD's challenging storyline, as you experience over-the-top action
combined with fast and instinctive arcade-style gameplay and a multitude of outrageous
moves. With its irreverent humor and survival of the fittest gameplay in a graphic
novel world, MADWORLD delivers a unique gaming experience on the Wii. For more information
on the game, please visit www.madworldgame.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.

SEGA, the SEGA logo and Empire: Total War and Viking: Battle For Asgard are registered
trademarks or trademarks of SEGA Corporation. The Creative Assembly is a trademark
of The Creative Assembly Limited. All rights reserved.

About SEGA® Corporation

SEGA® Corporation is a worldwide leader in interactive entertainment both inside
and outside the home, encompassing consumer business, amusement machine sales and
amusement center operations. The company develops, publishes and distributes interactive
entertainment software products for a variety of hardware platforms including PC,
wireless devices, and those manufactured by Nintendo, Microsoft and Sony Computer
Entertainment Inc. SEGA® Corporation's Web site is located at http://sega.jp.

About Sumthing Else Music Works, Inc.

Since its creation in the late 1990's by the world-renowned song writer, musician
and record producer, Nile Rodgers, Sumthing Else Music Works has become the acknowledged
industry leader in licensing and distributing video game soundtracks. Possessing
full in-house services worldwide, from retail marketing and sales through physical
and digital distribution, Sumthing is partnered with the world's leading video game
developers and publishers including BioWare, Bungie Studios, Capcom, Crytek, Eidos
Interactive, Epic Games, Gearbox Software, Microsoft, Mistwalker, Rare, SEGA, Silicon
Knights, Sony Computer Entertainment and Ubisoft. Their catalogue of titles includes
the best selling video game soundtrack of all time, Halo 2: Volume One, as well
as award-winning titles including: Resident Evil 5, Street Fighter IV, Halo Wars,
Halo Trilogy, Gears of War 2, Fable II, Too Human, Brothers In Arms, Crysis, Advent
Rising, Fable, Gears of War, Halo: Combat Evolved, Halo 2 Volume Two, Halo 3, Hitman:
Blood Money, Hitman: Contracts, Jade Empire, Kameo: Elements of Power, Mass Effect,
Red Steel, Unreal Tournament 3 and many others.

Sumthing Else Music Works and Sumthing Distribution logos are copyright of their
respective companies. All other names of products mentioned herein may be the trademarks
of their respective owners.

NEWS! NEWS! AND YET MORE NEWS!

First an opportunity from CineMedia:


Bear McCreary is running a cool contest ....

The BSG Orchestra needs a site that can provide media from previous concerts, information on upcoming shows, updates on potential international performances in 2010, a forum for fans, and details on the possible LIVE CONCERT DVD AND ALBUM in the works for release later this year. Designers will be given a collection of approved images and a basic site-map concept, but I’m looking for a creative and attractive layout.

The deadline for submitting your designs is 11:59pm PT, Wednesday July 1st. A winner and two runners-up will be announced by Friday July 3.

Full details are available at http://www.bearmccreary.com/blog/?p=2257

Thanks!

From Costa Communications:

ACADEMY AWARD NOMINATED COMPOSER

JOHN DEBNEY

SCORES “THE STONING OF SORAYA M.”

Composer reunites with “The Passion of the Christ” producer and actor

Special Screening Followed by a Q & A with the Film’s Director and Composer on July 1

Score Album Available on Varese Sarabande and iTunes

Los Angeles, CA- Academy Award nominated composer John Debney provides a gripping score for “The Stoning of Soraya M,” based on the New York Times Best Selling book by Freidoune Sahebjam, which tells the true story of an Iranian woman named Soraya, whose arranged marriage leads to a tragic ending. The film reunites Debney with “The Passion of the Christ”’s producer Stephen McEveety and actor James Caviezel. “The Stoning of Soraya M.,” written and directed by Cyrus Nowrasteh won the audience award at the Toronto International Film Festival. “The Stoning of Soraya M.” opens in select theatres on June 26. The score album is available on Varese Sarabande and through iTunes. An e-petition is being generated that will be sent to the United Nations’ general secretary and the U.S. secretary of state, in an effort to compel countries such as Iran to abolish their penal code that supports stoning. To sign the petition and for more information visit http://www.thestoning.com and click on “get involved.”

While composing the score, Debney wanted the music to reflect the culture in the film as well as the dichotomy it illustrates. He accomplished this task by incorporating ethnic instruments such as the Persian violin and cello, the Oud (a string instrument) and several world woodwinds. An 80-piece orchestra and vocal soloists including Tehran-born Sussan Deyhim complete the beautifully moving score.

John Debney’s solid reputation as a composer spans films in virtually all genres. His credits include “The Passion of the Christ,” for which he received an Oscar nomination; “The Mummy: Tomb of the Dragon Emperor,” “Idlewild,” a Prohibition-era musical starring Outkast and featuring famed trumpeter Arturo Sandoval; animated films “Barnyard” and “Chicken Little,” comic-book inspired “Sin City,” and comedies “Elf” and “Liar, Liar.” The composer has further demonstrated his diversity with this year’s films’ “Hannah Montana” and upcoming releases, “Old Dogs,” “A Thousand Words” and “Aliens in The Attic.” Next year, Debney will travel to Saint Peter’s Square (The Vatican) for a performance of his symphony “The Passion Oratorio.”

In addition to his Oscar nomination, Debney has received three Emmy awards, a Dove award for “The Passion of the Christ,” A CUE award for the videogame score for “Lair,” and was the youngest recipient of the ASCAP Henry Mancini Award for Career Achievement. Debney has conducted concerts of his music with orchestras throughout the United States and Europe. John Debney’s ability to deliver the perfect score for a variety of films continues to make him one of the most sought after composers in Hollywood.

From Top Dollar PR:


SUMTHING ELSE MUSIC WORKS ANNOUNCES RELEASE OF
BANJO-KAZOOIE: NUTS & BOLTS ORIGINAL SOUNDTRACK
Original Music by Robin Beanland, Grant Kirkhope and David Clynick

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

New York - June 29th, 2009 -Sumthing Else Music Works, Inc., through its licensing
relationship with Microsoft Game Studios, proudly presents Banjo-Kazooie(TM): Nuts
& Bolts Original Soundtrack featuring the original music score from the third
installment of the Banjo-Kazooie series developed by Rare Ltd. The soundtrack album
be released on June 30th to retail outlets through Sumthing Else Music Works www.sumthing.com,
and will be available for digital download on Sumthing Digital www.sumthingdigital.com and
iTunes®.

Famed game developer Rare Ltd. has revived one of its most beloved and successful
franchises exclusively on Xbox 360. Banjo-Kazooie: Nuts & Bolts embraces new
and old fans alike, as the famous bear and bird duo return in stunning high definition
for a unique adventure of epic proportions.

The Banjo-Kazooie: Nuts & Bolts Original Soundtrack features original musical
compositions by Robin Beanland (Killer Instinct, Conker's Bad Fur Day), Grant Kirkhope
(Banjo-Kazooie, Banjo-Tooie) and David Clynick (Perfect Dark, Perfect Dark Zero).
Banjo-Kazooie: Nuts & Bolts brings an entirely new experience to the console
and takes the franchise to a whole new innovative level of enjoyment. High-definition
graphics, user-created content and online gameplay are just three of the many advances
people of all ages and skill levels will discover as they embark on their adventure.
For more information on the game please visit www.banjo-kazooie.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.

About Rare

Founded in 1985 and based in the United Kingdom, Rare Ltd. is one of the world's
leading video game developers and has masterminded some of the most popular video
games in history, including multimillion-dollar sellers "GoldenEye," "Perfect Dark,"
"Banjo-Kazooie" and the "Donkey Kong Country" series. From 2005 to 2006, Rare released
"Perfect Dark Zero," "Kameo: Elements of Power" and "Viva Piñata" for Xbox 360.
Rare continues to entertain the world with the releases of "Banjo-Kazooie: Nuts
& Bolts" and "Viva Piñata: Trouble in Paradise". For further information visit
www.rare.co.uk.

About Sumthing Else Music Works, Inc.

Since its creation in the late 1990's by the world-renowned song writer, musician
and record producer, Nile Rodgers, Sumthing Else Music Works has become the acknowledged
industry leader in licensing and distributing video game soundtracks. Possessing
full in-house services worldwide, from retail marketing and sales through physical
and digital distribution, Sumthing is partnered with the world's leading video game
developers and publishers including BioWare, Bungie Studios, Capcom, Crytek, Eidos
Interactive, Epic Games, Gearbox Software, Microsoft, Mistwalker, Rare, SEGA, Silicon
Knights, Sony Computer Entertainment and Ubisoft. Their catalogue of titles includes
the best selling video game soundtrack of all time, Halo 2: Volume One, as well
as award-winning titles including: Resident Evil 5, Street Fighter IV, Halo Wars,
Halo Trilogy, Gears of War 2, Fable II, Too Human, Brothers In Arms, Crysis, Advent
Rising, Fable, Gears of War, Halo: Combat Evolved, Halo 2 Volume Two, Halo 3, Hitman:
Blood Money, Hitman: Contracts, Jade Empire, Kameo: Elements of Power, Mass Effect,
Red Steel, Unreal Tournament 3 and many others.

Sumthing Else Music Works and Sumthing Distribution logos are copyright of their
respective companies. All other names of products mentioned herein may be the trademarks
of their respective owners.

CD REVIEW - THE INCREDIBLE HULK: THE FIRST - PARTS 1 AND 2


The Incredible Hulk: The First - Parts 1 and 2
Music by Joe Harnell
Joe Harnell. Com JHCD 27 (US)
23 Tracks 49:37 mins

Joe Harnell is probably most fondly remembered for his music for The Incredible Hulk and this latest release of his music for the show features his scores for the two part episode The First, from the Fourth Season. The story pits David Banner/The Hulk against another victim of gamma radiation, one however that, unlike our hero, has no compunction against the taking of human life.
The familiar thematic material Harnell wrote for the show is of course present throughout his music for these episodes, the propulsive "Main Title" music commencing the disc and then giving way to eerie sounds for "Opening Credits" and "Haunted House." The piano-lead opening of "Haunted House #2" has a real Gothic feel about it, before eerie strings lead us towards a melancholy, meandering little theme, which builds to a savage crescendo for "Death at the Lab," with Harnell's "Lonely Man Theme" ending the cue on a poignant note. More Gothica follows with the violin intro to "Meeting Elizabeth at the Park," before the "Lonely Man Theme" takes over in initially romantic mode, but of course it can't possibly end well. The suspenseful "David Goes to the Lab" follows, with the meandering theme returning in threatening mode at the end. More suspense for "Down the Well" leads to variations on the composer's savage Hulk theme for "Hulk Emerges," with a little of the Gothic piano thrown in for good measure. More action follows in "Kids Hunt the Hulk" and then a strange, moaning little musical effect, possibly produced by unorthodox use of a violin, is introduced at the start of "Frye's Secret/The Missing Notes" and continuing in "Opening the Panels/Angry Kids," and the lengthy, action-packed "Gamma Treatment/The First Reborn," where the all the principal themes get to do battle.
The second part of the story commences very much as the first part ended, with yet more savage action writing for "The First's Rampage." The suspenseful and slightly unhinged "Frye at the Bar" follows, intensifying for "Act Out." More suspense follows in "McGee and The Sherriff/Del Exits" and continues into "Del's Building Rage," before bursting forth savagely yet again in "The First's Wrath."
There's a threatening feel to "McGee Confronts Frye," before the music takes off like an out of control express train in "Frye Drugged." The lengthy conclusion to the score follows in "The First Returns/The Hulk Vs. The First/Frye's Death" and there are again plenty of fireworks to be heard, with the main themes all doing battle one last time - great stuff!
"David Departs" finishes the show, as always, with the poignant piano rendition of "The Lonely Man Theme."
Four bonus cues at the end of the disc feature three effects tracks and some "Radio Source" music.
The accompanying booklet features Mike Joffe's notes on the episodes and a bio of the composer.
You can find further details of this release, listen to samples and ultimately order your copy by going to http://yhst-76230688982511.stores.yahoo.net/inhuepcovol3.html. While you're there, why not check out other releases from JoeHarnell.com.

CD REVIEW - MY SISTER'S KEEPER


My Sister's Keeper
Music by Various Artists
Decca 271 0651 (EU)
12 Tracks 45:48 mins

Regular readers of this blog will no doubt be more interested in the film's score, by Aaron Zigman, which thankfully is to be released by Varese Sarabande. In the meantime, Decca Records are releasing a song album, on Monday, featuring mostly pretty unremarkable numbers by a whole bunch of artists, most of whom I confess I have never heard of. I am sure however they will be well placed and perfectly suited to this much hyped drama, starring Cameron Diaz in her first on-screen mother character.
My Sister's Keeper is based on the best seller by Jodi Picoult about a family who have a genetically engineered child purposely to use for spare parts, if you will, in order to keep her elder sister, a leukaemia sufferer, alive.
I must confess that I am greatly looking forward to shedding a few tears over this film (big softy that I am!) and am particularly looking forward to the performances of Sofia Vassilieva (always charming and watchable in the hit TV show Medium) and Little Miss Sunshine's Abigail Breslin, as the two sisters.
I haven't heard the score yet, but I see that composer Zigman had a hand in a couple of the songs on this release, co-writing "With You" with the number's performer Jonah Johnson and Robert Hart; and also arranging the old hit "Life is Just a Bowl of Cherries" for E.G. Daily.
There are a couple more songs I am familiar with, namely "Feels Like Home" by Edwina Hayes (though where I've heard it before, I couldn't say) and a rather subdued rendition of "Girls Just Want to Have Fun" by Greg Laswell.
Other artists on the CD include Pete Yorn, Regina Spektor, Vega 4, James Blunt, Jeff Buckley, Priscilla Ahn and Jimmy Scott, with the final track given over to Pipe Major Jim Drury and Julia McGuirk's performance of "Amazing Grace" - a poignant way to finish.

CD REVIEW - FIFTY DEAD MEN WALKING + NEWS FROM TOP DOLLAR PR


Fifty Dead Men Walking
Music by Ben Mink
MovieScore Media MMD 0004
21 Tracks 46:38 mins

Director Kari Skogland's Fifty Dead Men Walking boasts some big names in the cast, including Sir Ben Kingsley and Charmed's Rose McGowan, but stars Kim Sturgess in this true story of Martin McGartland, a street hustler from Belfast who was recruited by the British Police to infiltrate the IRA during the '80s.
The score is provided by another new name to me, American Ben Mink, whose music for the film won him a Leo Award for Best Musical Score in a Feature Length Drama. It appears to be another score which combines electronics with live instruments, principally electric guitars and drums, getting under way with the brief percussive action of "Gunshot," before continuing with the beat-driven, rhythmic mover "Street Fighting." "Dark" continues in the same rhythmic manner, though tense and threatening. "Blue" has more of a disco vibe to it; then its back to the action with the intense, thumping "Mickey & Marty." "In the Car" is a bluesy little guitar track, and is followed by the nervous "Heart Racing," with its surprising religious choral both concluding this track and leading into the following "Scary" which is suitably dark and, well, scary.
"Road Block" gets off to a beat-driven start, but quickly turns suspenseful, before ending on a distinctly Irish note, with electric fiddle playing something of a celebratory jig. "Dead Graves" is a suitably mournful affair, and is followed by the purposeful "Danger." The solemn "Swear In" features what sounds like electric cello, or maybe just violin in another Irish flavoured track. "Libyans" predictably has an Eastern percussive vibe; whilst the most pleasant track thus far follows, "Last Sweet," with its tender acoustic guitar work.
Oh no, I thought, when I read the next track title, "Scotland," but it's actually quite an easy-going piece with piano lead, the composer thankfully not resorting to the pipes! After this, it's back to the action with the tense, rhythmic, "He's a Toit." More Irish flavour follows with "Violin Pie," the cue starting atmospherically, before racing to a rhythmic conclusion. "Martin Jumps" continues in the same vein, before taking a darker, menacing turn.
Eclectic Violin briefly returns at the start of "Pregnant Again," before more tense, rhythmic material takes over. The purposeful, yet somewhat jarring "Ambulance" follows, with electric violin returning to introduce the closing folk song "We Will Have Won," by unknown (at this time) male vocalist.
Available to download only, go to http://www.moviescoremedia.com/fiftydeadmenwalking.html
for samples and details of how to secure your copy of the score.


From Top Dollar PR:-


SUMTHING ELSE MUSIC WORKS ANNOUNCES RELEASE OF
EMPIRE: TOTAL WAR - THE SOUNDTRACK
Epic Original Score Performed by the Slovak National Symphony Orchestra


New York - June 26th, 2009 -Sumthing Else Music Works, Inc., through its licensing
relationship with SEGA®, proudly presents Empire: Total War(TM) - The Soundtrack
featuring the musical score from the latest installment of The Creative Assembly's
multi award winning Total War(TM) PC gaming franchise. Empire: Total War - The Soundtrack
will be released on June 30th to retail outlets through Sumthing Else Music Works
www.sumthing.com, and will be available for digital download on Sumthing Digital
www.sumthingdigital.com and iTunes®.

Empire: Total War - The Soundtrack features the epic orchestral score composed by
Richard Beddow (Viking: Battle For Asgard), Richard Birdsall, Walter Nair, Simon
Ravn and performed by The Slovak National Symphony Orchestra at the Slovak Radio
Concert Hall in Bratislava. The score was orchestrated and conducted by Nic Raine
(Viking: Battle For Asgard) and the soundtrack was produced by lead composer Richard
Beddow.

"Undertaking the challenge of the music production for Empire: Total War was no
simple task," said composer Richard Beddow. "The game needed music to convey its
size and breadth, covering the various countries at war, delicately accompanying
campaign gameplay and underpinning the various cinematics and events in the game."
Empire: Total War is set in the 18th century, a turbulent era that is the most requested
by Total War's loyal fan base and a period alive with global conflict, revolutionary
fervor and technological advances. With themes such as the Industrial Revolution,
America's struggle for independence, the race to control Eastern trade routes and
the globalization of war on land and sea, Empire: Total War delivers one of the
richest and most dynamic PC RTS game experiences of all time. For more information
on the game, please visit www.totalwar.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.

SEGA, the SEGA logo and Empire: Total War and Viking: Battle For Asgard are registered
trademarks or trademarks of SEGA Corporation. The Creative Assembly is a trademark
of The Creative Assembly Limited. All rights reserved.

About SEGA® Corporation

SEGA® Corporation is a worldwide leader in interactive entertainment both inside
and outside the home, encompassing consumer business, amusement machine sales and
amusement center operations. The company develops, publishes and distributes interactive
entertainment software products for a variety of hardware platforms including PC,
wireless devices, and those manufactured by Nintendo, Microsoft and Sony Computer
Entertainment Inc. SEGA® Corporation's Web site is located at http://sega.jp.

About Sumthing Else Music Works, Inc.

Since its creation in the late 1990's by the world-renowned song writer, musician
and record producer, Nile Rodgers, Sumthing Else Music Works has become the acknowledged
industry leader in licensing and distributing video game soundtracks. Possessing
full in-house services worldwide, from retail marketing and sales through physical
and digital distribution, Sumthing is partnered with the world's leading video game
developers and publishers including BioWare, Bungie Studios, Capcom, Crytek, Eidos
Interactive, Epic Games, Gearbox Software, Microsoft, Mistwalker, Rare, SEGA, Silicon
Knights, Sony Computer Entertainment and Ubisoft. Their catalogue of titles includes
the best selling video game soundtrack of all time, Halo 2: Volume One, as well
as award-winning titles including: Resident Evil 5, Street Fighter IV, Halo Wars,
Halo Trilogy, Gears of War 2, Fable II, Too Human, Brothers In Arms, Crysis, Advent
Rising, Fable, Gears of War, Halo: Combat Evolved, Halo 2 Volume Two, Halo 3, Hitman:
Blood Money, Hitman: Contracts, Jade Empire, Kameo: Elements of Power, Mass Effect,
Red Steel, Unreal Tournament 3 and many others.

Sumthing Else Music Works and Sumthing Distribution logos are copyright of their
respective companies. All other names of products mentioned herein may be the trademarks
of their respective owners.

DANIEL LICHT SCORES MANEATER


Composer Daniel Licht's publicists, Costa Communications, have informed me that he recently scored Lifetime Television's four-hour miniseries Maneater, which is "based on Gigi Levangie Grazer's book about a thirty something socialite in a panic because she's still single. She sets her sights on a Hollywood producer." The author is in reality married Oscar-winning producer Brian Grazer.
Licht of course regularly provides the excellent music to hit Showtime Original series Dexter and Costa Communications kindly sent me a copy of the soundtrack album (on Milan M2-36301 in the States), which appears to have been re-packaged in a more friendly manner (the original release I received was in a lurid red case). You can still read my review of the disc by going to the archive for September 2007 and scrolling down to my entry of the 15th.

CD REVIEW - NO-DO (THE BECKONING) + NEWS FROM SILVA SCREEN RECORDS


No-Do (The Beckoning)
Music by Alfons Conde
MovieScore Media MMS 09015
24 Tracks 64:30 mins

MovieScore Media favourite Alfons Conde's latest score is for director Elio Quiroga's haunted house thriller No-Do, which will be marketed under the title The Beckoning for its US release.
Performed by the Bulgarian Symphony Orchestra, enhanced by choir Kup Taldea.
Solo female voice provides a mysterious opening, with somewhat of a religious feel, in the "Main Titles." "Bianca Meets Miguel" continues in the same vein, with strings to the fore. "The New House" opens with a Capella choir, before orchestra joins in, with strings and harp providing a tranquil, yet inquisitive feel, with flute and piano adding an innocent quality. Things turn darker and more dramatic with "Whores Don't Make Miracles," and the mysterious "A Long Dream."
"First Night in the House" is largely optimistic, with delicate piano and strings; but things change around a minute from the end of the cue, with the hint of sinister things to come. The brief, disturbing "The Three Girls" follows; the mood continuing in the eerie "Ex-votos" and suspenseful "I Have Strange Dreams."
"The Baby Visited" effectively mixes innocence with threat, and is followed by "Nightmare," which ends disturbingly. "Black Smoke" soon leaves its vaguely religious feel for a menacing conclusion, with some frightening string and brass work leading into the mournful strings and piano of "The Baby's Gone." The mood continues into "Who's Knocking on the Door? though soon turns to more menacing fare, with some more dissonant writing for strings and brass, enhanced by choir.
The opening of "Francesca Meets Miguel" has a real religious feel to it, with choir and organ, before turning more mysterious. This is followed by "Lecture at the Seminary" which, after a low-key opening, gains an increasingly liturgical feel. The building suspense of "Footprints on the Wall" gives way to the emotional strings and later celeste of "Because I'm Telling You," which is in turn followed by the mysterious ""Recording the Prayers" and more urgent "Leave My Wife Alone."
"Good and Bad Miracles" has an airy quality to it, with delicate passages for piano, but the mood soon changes again with the onset of the slightly anguished "Miguel's Hesitance," though its choir-lead conclusion is quite peaceful. Delicate piano introduces the penultimate track, "The Secret Room," which gains more urgency and something of a sense of wonder as it continues, before taking an ever darker and somewhat tragic turn.
The concluding track, "The Martyrs and the Third Postulate," is a lengthy piece at 13:16 mins and, despite one striking moment for male voice early on, takes a good 10 minutes or so to really warm up, with things coming to a powerful crescendo, before a peaceful resolution.
Comparable to any number of haunted house scores that have gone before, the music to No-Do is effectively atmospheric, without really having anything memorable to take away from it.
Available in CD form and to download, go to http://www.moviescoremedia.com/nodo.html for samples and all the info you need to secure your copy.


SILVA SCREEN RECORDS has announced the forthcoming release of Ben Foster's music for the third incarnation of Doctor Who spin-off series Torchwood. Sadly, we are not treated to a third series this time. Instead, Torchwood - Children of Earth is an epic story to be told over five nights on BBC 1. The album release date is 27th July, and I am hoping to review it here for you in due course.

CD REVIEW - JAKE SPEED


Jake Speed
Music by Mark Snow
BSX Records BSXCD 8851 (US)
14 Tracks 31:53 mins

Much of Mark Snow's early career in Hollywood was spent providing scores for TV series and stand alone features, and rarely did a feature like 1986's Jake Speed, a low-budget action/adventure/comedy from New World Pictures, come his way. The film starred the now forgotten Wayne Crawford, with John Hurt as the baddie, and was in fact the first project Snow worked on since putting together his new home studio, performing the score solely on the Synclavier, an early synthesizer and sampler. The result is that the music sounds very dated, rooted firmly in the '80s, which if you are nostalgic for those years, you should certainly enjoy.
Snow's main theme is catchy enough when it surfaces, as it quite often does, with a pan pipe like sound carrying it. The choice of this sound grew out of the popularity at the time of the pan pipe, made so by the work of Gheorghe Zamfir. However, Snow of course used it in an entirely different way in what is largely a very rhythmic score, kind of bass guitar and drums-driven. To reflect the exotic settings of the film, the composer also made much use of a range of percussive samples. What the score does have in spades is energy and, on revisiting it, I couldn't help being swept away by it at times, despite my initial misgivings. But it's not all action by any means, and Snow also provides a haunting love theme, again featuring the pan pipe sound, but in a much lower register.
The accompanying booklet features Randall D. Larson's notes on both the film and its score, with contributions from the composer.
Go to www.buysoundtrax.stores.yahoo.net/jasporsobyma.html for further information, samples, and to order your copy of this limited edition release of just 1000 units.

CD REVIEW - BODYGUARD: A NEW BEGINNING


Bodyguard: A New Beginning
Music by Stuart Hancock
MovieScore Media MMS-09014
17 Tracks 54:42 mins

Following my enthusiastic review of the music for MovieScore Media's previous Stuart Hancock release Underground comes his score for the same director, Chee Keong Cheung's latest film Bodyguard: A New Beginning. The plot concerns a Hong Kong bodyguard who is sent to the UK to protect a woman whose identity is known only to his boss.
As with Underground, the composer combines orchestra and electronics for his score and,
whilst its trumpet-lead main theme is good enough, it isn't as memorable as his previous assignment. But it's still pretty good, though not as ever-present as the Underground theme; emerging first after a dark and propulsive start to the "Opening Titles." The following "Yuen's Betrayal" again starts darkly, before the main theme again emerges briefly and leads to a a pacy ending. "The Brothers" features some particularly powerful percussive writing; whilst the keyboards and strings of "Chloe" offers some momentary light relief, before the violent opening and sad aftermath of "Violation." "Chase" opens tensely, before bursting into percussive action, with variations on the main theme. The brief "Intimacy" is a tentative affair, and is followed by the suspenseful "Petty Thieves," which gains motion as it goes along.
"Guardian Leung" presents a nice, upbeat take on the "Chloe" theme, before we are plunged into despair with "Rejection Part I." The lengthy "Rejection Part II" continues the mood, initially subdued, but ever more anguished as it proceeds; finally giving way to a burst of percussive action, before ending with a somewhat desolate female vocal.
Things are more upbeat at the start of "Return to Hong Kong," with both the main theme and "Chloe" vying for attention, but the wordless female soon returns and its pretty subdued thereafter. More tension follows at the start of "Cat and Mouse," but things pick up to take on a flowing Oriental feel, before things get more menacing. "Rooftop Fight" presents more powerful percussive writing, with a brief chorus of sampled female voices marking its fateful conclusion.
"Redemption" presents a mournful variation on the "Chloe" theme, followed by a big, vengeful statement of the main theme. "The Final Conflict" starts pretty much where the previous track left off, leading to a powerful, percussive showdown and dissonant conclusion.
After a subdued opening to the "End Titles," the composer gets plenty of time to develop his propulsive "Opening Titles" music, before injecting an ethereal note with the return of the airy female vocalist, before the final powerful conclusive variation on the main theme.
Another worthy effort from Stuart Hancock then, a composer I'm hoping to hear more of in the future.
Bodyguard: A New Beginning is available on CD and to download, so get along to www.moviescoremedia.com/bodyguard.html for samples, ordering info, and even a trailer for the film.

CD REVIEW - TRANSYLVANIA 6-5000/KORGOTH OF BARBARIA


Transylvania 6-5000/Korgoth of Barbaria
Music by Lee Holdridge
BSX Records BSXCD 8850 (US)
20 Tracks 42:04 mins

Over the years composer Lee Holdridge has written numerous scores for film and TV, much of which sadly remains unavailable on CD, though some of his best work has thankfully been released on commercial and promotional recordings. This new limited release of just 1000 units from BSX dips into both his big and little screen work, presenting premiere recordings of his scores for the 1985 spoof comedy Transylvania 6-5000, which starred Jeff Goldblum, Ed Begley Jr. and Geena Davis as a rather fetching vampire; and Korgoth of Barbaria, the 2006 pilot for a proposed animated series in the Conan vein, though comical, which sadly never got picked up.
Performed by the Zagreb Symphony Orchestra, Holdridge's approach to the music for Transylvania 6-5000 was largely to play it straight, in the finest Bernstein traditions, though there are comical moments to be found, particularly in the composer's use of the Glenn Miller hit "Pennsylvania 6-5000," the title of the film of course being a take on the song.
The album gets underway with the "Main Title," which, after a propulsive opening, gives way to a breezy first take on the Miller hit. Next up is the initially mysterious, then increasingly dramatic "Following the Wolfman," which builds to a powerful crescendo. "Trapping a Monster" continues with the same power, reprising the propulsive main theme. "Draculette" opens mysteriously, a seductive little cue, largely electronic, with sampled female voices, before the orchestra returns for a menacing climax. "Madame Morovia" delivers a cliched, but nevertheless dramatic and enjoyable gypsy violin solo, courtesy of Tonko Ninic. More driving action music features in "Fight and Escape at the Lab;" whilst "The Wine Festival" again includes the Miller hit, electronically this time, surrounded by more flowing action music, which gives way to more diabolical dramatics. This is followed by a straightforward playing of the Miller song, with the title lyric of course changed to that of the film, performed by Randy Waldman on synths and Frank Kapp on drums. After this swinging track, it's back to the business at hand and the dramatics continue in "The Forest," with its hugely dark opening. The disturbing "Old Paintings" and "Transylvania Chapel sandwich the brief, powerful action of "Jack Meets the Wolfman," whilst the lovely "Lupi's Daydream," with its singing violin solo, provides a moment of romance.
"Sneaking Around" follows, a mixture of comedy, suspense and tragedy, with violin returning, along with flute and woodwinds to give a satisfying feeling of resolve to "Radu's Speech."
The final track is yet another take on the Miller hit, which is basically a reprise of the Waldman/Kapp performance earlier on the disc. A very enjoyable effort all told.
The remaining four tracks on the album are devoted to the composer's music for Korgoth of Barbaria, which was studio realised, but which features heavy metal elements, including thrashing electric guitars in the "Main Title." These metal elements keep cropping up throughout subsequent tracks, mostly in light-hearted manner, often with an easy-going beat; though there are some more promising pseudo-orchestral moments, like the Conan-like drums of "Tell Me Do You Know of the Wizard Specules?" "Specules Floating Castle" starts off quite exotically, and there's some interesting sampled vocal work as the track proceeds, with a burst of heroics at its close. These heroics continue into the final track "I've Dated Girls Uglier Than You For Breakfast," before proceedings take a darker turn. However, those Conan-like drums return to close out the "Finale." An interesting curio then, but not one of the composer's finest hours.
Go to http://buysoundtrax.stores.yahoo.net/tr6koofbaors.html for further details, samples and to order your copy. And while you're there, you might like to check out the label's other recent Holdridge release, Lee Holdridge Conducts the Music of John Denver, at http://buysoundtrax.stores.yahoo.net/leehocomuofj.html. Lee enjoyed a long collaboration with the late singer/songwriter, as arranger on his albums, and this CD release of the 1975 LP has been much requested over the years. And there's more: the label has just announced a further Holdridge release, this time of his music for the 2009 documentary Brothers at War, which is described as "an intimate acoustic score, augmented by strings, guitar and piano, including a song written and performed by John Ondrasik, based on the main theme. Go to http://buysoundtrax.stores.yahoo.net/bratwororsob.html for further details and samples of this July 2nd release of 1500 units.

CD REVIEW - THE POKER CLUB


The Poker Club
Music by Evan Evans
MovieScore media MMMS-09011
18 Tracks 39:12 mins

I have been aware of composer Evan Evans for some time, but this is the first opportunity I have had to hear what he has to offer. His dark, noirish score for this thriller that was released on DVD in the US this past April, combines orchestra with electronics as seems increasingly to be the norm these days.
The album gets off to a very dark start with the "Main Titles;" the surging opening to the following "The Warehouse," giving way to some pretty savage and nightmarish action. Next up, the title track at least offers some lighter fare, but even this is low-key, and it's back to the darkness for "The Burglar Caught," with some more nightmarish moments. The fateful "The Plan" follows.
"Family" offers a touch of sentiment, and then it's back to the dark, atmospheric stuff for "The Note;" "Need for Protection;" and "Trudy." "Death and Remorse" follows, with its big, dramatic opening; the dramatics continuing in "Hot Pursuit."
The penultimate track, "Bases Loaded" is a tense and fateful affair, with "One More Hand" closing out the album, initially in somewhat redemptive fashion, before it too ends in a fateful manner.
Available on CD from the usual outlets, as well as for download, go to http://www.moviescoremedia.com/pokerclub.html for further details and to listen to samples.

CD REVIEW - CONUNDRUM


Conundrum
Music by Mark Snow
BSX Records BSXCD 8853 (US)
13 Tracks 53:42 mins

Mark Snow has been a prolific composer in his time, predominantly in TV, whether it be for episodic television, like The X-Files, Millennium, Ghost Whisperer and Smallville, or for numerous stand-alone TV movies. 1996's Conundrum is one of the latter, a thriller, starring Michael Biehn (Terminator) and Marg Helgenberger (CSI). At the time of his scoring the film, Snow was of course still working on the X-Files and just beginning Millennium, so it is not surprising that some of the trademark synth layers are present in the more suspenseful moments of Conundrum, but there is much more on offer here, not least a love theme for piano, first presented in quite a poppy arrangement in the opening track, "Rose's Theme" but which, though romantic, turns out to be at the same time somewhat melancholy and joyless. Snow also makes use of airy, wordless female vocals (supplied by Cassandra Crossland), first heard in the "Main Title," and again associated with the Helgenberger character; and contrasting somewhat with the darker and more action-oriented moments of the score, which include flowing percussive elements, like the "recurring light percussion rapping heard beneath a lot of the textured synth figures and piano arpeggios" that Randall D. Larson in the detailed accompanying booklet notes is able to describe much better than I. Sampled flute sounds also add an exotic, Oriental quality to the score.
Many of the tracks are quite lengthy, which is quite unusual for TV, and give plenty of room for development.
The album ends on a satisfying note in "Rose's New Path/End Credits," with the love theme, returning in laid-back style, combining effectively with Ms Crossland's vocals.
This limited release, of just 1000 copies, can be ordered from www.buysoundtrax.com. and the label has also just released Snow's score for the 1986 feature Jake Speed, which I shall be reviewing for you in the next few days. With so much unavailable music by Mark Snow, both these releases are most welcome and deserve your support, in the hope that BSX can be persuaded to put out even more of the composer's work.

CD REVIEW - THE MOLE


The Mole
Music by David Michael Frank
BSX Records BSXCD 8854 (US)
37 Tracks 76:55 mins

I don't know about you, but I am personally fed-up with all the reality shows that plague our TVs these days. I get enough reality in my daily life and look to my TV to take me out of that reality and to entertain. I therefore find I watch very little TV now, which of course allows me more time to listen to music, which can't be a bad thing, but sometimes it's nice just to chill out in front of the goggle box, and I find there's much less chance of doing so these days.
Anyway, moaning over, a popular US reality show, first aired in 2000, which ran for four seasons of ABC before being cancelled, was The Mole. Composer David Michael Frank was the lucky man to get the gig, lucky because the original Belgian version of the show raided the scores of John Williams, Bernard Herrmann and the like to provide a top-class musical backdrop, and when obtaining the rights to this music domestically proved prohibitive, Frank was asked to create original music of similar scope. Needless to say, with such a great opportunity, the results were memorable to say the least, the music being performed by a Prague orchestra, augmented with synths, electronic percussion and guitars. A fine soundtrack album to the show was issued by Varese Sarabande in 2001.
To Frank's great surprise, he received a telephone call from producer Scott Stone in January 2008, telling him that the show was to be revived and asking him to create a new orchestral score. This time the composer went to Moscow to record a score that has something of a Spanish influence, due to the show being shot in South America.
This limited edition soundtrack of just 1000 units features a very generous helping of music from the revived show, commencing of course with Frank's propulsive and adventurous main theme, which also makes a few welcome appearances here and there in subsequent tracks, as well of course as rounding off the album in the "End Credits." There's plenty more action-oriented music, as well as a good dose of tension and intrigue, to be found in the likes of "Burn Journal Burn;" "Ticket to Ride;" "Tick Tock Boom;" "Hypothermia;" "Cell Out;" "Close Call;" "Over the Falls;" "How's the View;" "Grapes of Cache;" "Race to the Summit;" "Midas Rush;" "Against the Clock;" and "Swing Out;" as well as the dramatic countdowns of "Enter the Execution" and "Eliminated;" whilst tracks like the melancholy "Arrival at Salto Del Laja;" the light comedy of "When Pigs Fly;" "Sneaky Subterfuge;" "Travelers;" the catchy "Santiago Shuffle" and "Strange bedfellows;" and the Latin-styled scherzo "Crusoe;" the lovely sentiment of "Farewell;" "Reunion;" "Family Ties;" and "Leaving;" the catchy, Latin-rhythmed "Dress Code;" the waltz-like "Go Figure;" the tangos "Who Said That"and " 3 to Tango;" the pastoral beauty of "Daybreak;" and the laid-back, expansive variation of the main theme in "Ten Questions" provide contrast.
All-in-all then, another great album, well worth its place in your collection alongside the soundtrack to the original series. If you still need convincing, go to http://buysoundtrax.stores.yahoo.net/moorsofrsefi.html, where you can hear samples, before you order your copy.

CD REVIEW - THE DUNWICH HORROR


The Dunwich Horror
Music by Les Baxter
La-La Land Records LLLCD 1094 (US)
15 Tracks 52:53 mins

The veteran collectors among you will probably have this score already, as the music has been fairly readily available over the years, but this limited edition of 1200 units takes the opportunity to expand the playing time by more than 20 minutes by including Les Baxter's original unused music for the film, a result of the film's producer's opting to concentrate on the composer's more melodic, pop-flavoured main theme. Tracks 1-11 therefore recreate the original album, with tracks 12-15 presenting the previously unreleased material.
For those of you not familiar with the original album, Baxter's infectious main theme is present pretty much throughout, commencing with the "Main Title" track, which opens quite wildly with synths and percussion, before the theme proper emerges in rock-pop style, carried orchestrally, by bells, and again by synth, finally taking on an almost religious quality before an ominous ending. The theme is also present in "Black Mass," with its rhythmic opening and powerful conclusion; given a theremin-like moog treatment in the eerie "Sensual Hallucinations "and the ritualistic "Reincarnation;" a melancholy piano and keyboards treatment in "Strange Sleep," which is further developed, with the addition of synths and jungle percussion in "Strange Sleep 2;" heard on flute in the exotic "Cult Party;" as a keyboards-lead dirge in "Necromicon;" and on brass in the jungle-styled "Devil Cult;" whilst the surprisingly easy-going flute-lead "Sacrifice of the Virgin" and the punchy brass of "Devil's Witchcraft" offer some variety.
Commencing the bonus material, track 12 opens with an unused AIP logo theme Baxter wrote for synths, brass and percussion. After that, the previously unreleased score music, whilst retaining the main theme, is largely more experimental, with some pretty wild writing, including further use of wailing electronics; much of which Jeff Bond, in his excellent booklet notes, likens more to Baxter's several other scores in the horror genre, including the exciting complete version of "Devil Cult," and more jungle percussion. The composer is much more restrained however in the romantic "The Promise;" whilst "Liz and Armitage" reaches passionate heights. The final track is devoted to various loops and stingers written for the film, together with an alternate variation on the AIP logo theme.
So, whether you have the original album or not, it's certainly worth checking out this expanded version, as it has plenty more to offer. Go to www.lalalandrecords.com to hear samples and to order your copy.

CD REVIEW - DRACULA A.D.1972


Dracula A.D. 1972
Music by Mike Vickers
BSX Records BSXCD 8855 (US)
15 Tracks 53:44 mins

Mike Vickers, a former member of '60s pop group Manfred Mann had a brief film composing career in the '70s, commencing with this the first of two attempts by Hammer to bring Count Dracula into the modern world, the second being The Satanic Rites of Dracula. He went on to provide creditable scores for 1976's At the Earth's Core and 1978's Warlords of the Deep, before his opportunities sadly fizzled out. It's long been my hope that his music would eventually surface on CD and at last BSX Records has taken the first step to realise my wish.
Of course Vickers' contemporary approach to his score for Dracula A.D. 1972 didn't sit well with some critics, not indeed did the modernisation of the Dracula saga but, taken on its own merits, Vickers provided a fine contemporary score, which compares favourably especially with much of what was being written for film & TV thrillers and crime shows of the period. But the album in fact opens with a brief snatch of James Bernard's Dracula theme before plunging into the score proper with Vickers' propulsive horns and drums driven "Prologue" theme, which gives way to menacing rolls on the drums and crashing cymbals. The "Prologue" theme is then given a catchy modern pop setting, with sax lead for the title track.
"Baptism By Blood" is trippy, dissonant piece, featuring disjointed sax; whilst "Dracula Rising/The Blood Ritual/Laura Screams" commences with a nod towards Bernard, providing his own ominous theme for the Count, with includes the same kind of warped brass that is now perhaps more associated with the Terminator universe, before giving way to a flowing, pop-styled piece of action music. The same theme also features in the subsequent "Dracula Returns/Dracula Bites Laura," the latter building to a big climax as the Count gets his girl. Somehow, "Alucard=Dracula/Not the One!/Give Me the Power" reminds me a little of some of John Barry's music from Diamonds Are Forever, which of course was released a year earlier. Whether the likeness is sub-conscious or no, I know not, but it is nevertheless largely an effectively suspenseful cue; whereas the electric guitar-driven "Dumping the Body/Van Helsing Prepares/Jessica Walks into the Trap" reminds more something to be found in the likes of Isaac Hayes' Shaft.
The main theme returns in full flow for "Van Helsing Heads to the Club," leading to a mix of suspense and jazzy sax-lead action music in ""Van Helsing Confronts Johnny/Johnny's Ignoble Death Scene." The 11-minute+ track 13, which represents the whole final sequence of the film, goes through quite a journey before reaching its conclusion, quoting as it does from much of the material laid down earlier, including more Barry/Bond-like suspense, ominous rumblings from Vickers' Dracula music, and of course fast and slow variations on the main theme, which closes out the score in fine style, after a brief redemptive moment for organ.
Track 5, "Devil's Circle Music," on the CD is the one piece in the body of the score not written by Vickers. A wild ritualistic piece, with screaming voices and much electronic mayhem, is taken from "White Noise: The Black Mass: An Electronic Storm in Hell," and is the work of Delia Derbyshire, Georgiana Duncan, Brian Hodgson, Paul Lytton and David Vorhaus.
Two bonus tracks are included at the end of the disc, both numbers by American band Stoneground, that are heard in the party scenes following the film's Main Titles.
Accompanying the CD, which is presented under licence from GDI Records, who issued a whole series of Hammer scores a few years back, before sadly ceasing operations, is a splendid booklet, with detailed notes on the film and score by Randall D. Larson, with contributions from the composer, and a personal reminiscence by one of the film's female stars Caroline Munro. Hurry along to www.buysoundtrax.com to secure your copy of this limited edition run of just 1500 units.
My personal thanks go to BSX Records for rescuing this score, along with my hope that it might be possible for them to release Vickers' other aforementioned scores.

CD REVIEW - CAPRICA


Caprica
Music by Bear McCreary
La-La Land Records LLLCD 1098 (US)
18 Tracks 54:04 mins


Having produced so much wonderful music for the recently concluded Battlestar Galactica series, it's good to see Bear McCreary getting the opportunity to continue his work on the pilot for a prequel show, entitled Caprica, which is now available on DVD in the States. Caprica concerns the origins of the Cylons, with the Eric Stoltz character seeking to re-create his dead daughter in synthetic form, using a remarkably life-like avatar she had created before her untimely demise. A necessarily talky affair, in which we are also introduced to a very young William Adama, it nevertheless should make for an intriguing series, even if we do know where the story is heading.
The soundtrack to the pilot, which is released by La-La Land Records on June 16th (go to www.lalalandrecords.com for ordering info and samples), finds McCreary in more conventional mode than his Battlestar music, though, just to let you know there is a connection, the taiko drums and ethnic instruments still crop up here and there, particularly in relation to the character of Adama's father and his Tauron origins, and are especially powerful in "Terrorism on the Lev," "Cybernetic Life Form Node" and "Zoe Awakens." We even get a snatch of the familiar Adama's theme at the conclusion of "The Adama Name."
The remainder of the score rather represents the inner turmoil of the main characters following their tragic losses (Adama Sr also lost his wife and daughter in the same atrocity), with much bittersweet and quite elegant writing, predominantly for woodwinds, harp, piano and strings. At its heart is he main theme, first heard in "The Graystone Family," has a sinewy quality that somehow reminds me a little of Jerry Goldsmith's Basic Instinct theme. It is heard particularly effectively in "Grieving;""Zoe's Avatar;" "Amanda Graystone;" "Monotheism at the Athena Academy;"the dark and ominous "Delivering the Message;" and the melancholy "Joseph and Daniel," with its expressive cello solo; whilst the emotions are allowed to flow on the strings of "A Tauron Sacrifice" and the rollercoaster ride that is "Irrecoverable Error."
The "End Credits" commence with variations on the main theme, before urgent strings bring the track to an ominous conclusion.
In the colourful accompanying booklet, can be found notes from director Jeffrey Reiner and the composer, together with performance and production credits.
This is yet another superior work from McCreary, the equal of anything currently being written for both large and small screens, and is well worth adding to your collection. And don't forget to check out his Los Angeles concert on June 13th or, failing that, his appearance at The House of Blues in San Diego during Comic Con in July.

CD REVIEW - UNDERGROUND


Underground
Music by Stuart Hancock
MovieScore Media MMS08012
14 Tracks 43:32 mins

The first of two releases on the MovieScore media label by another new composer to me, Stuart Hancock, is his largely orchestral score for Chee Keong Cheung's Underground, which enjoyed a UK DVD release last month. The film concerns 12 fighters from different backgrounds competing in an underground tournament for the £500,000 prize. Hancock's score for Cheung's most recent offering, Bodyguard: A New Beginning, is released tomorrow and I hope to bring you my review shortly.
In the meantime, what of the composer's score for Underground, well, simply put, it's fabulous, largely because of its powerful, driving main theme, which dominates the score. It's so rare to find a really memorable main theme in films these days, so when you find one like this, it's precious indeed. The theme first bursts on to the scene in the "Opening Titles," flowing nicely to an underlying electronic pulse. It re-enters dramatically in "Mark v Leon," as a prelude to the rhythmic fight music that follows, and is given an intimate piano treatment in the following "Intermezzo," poignant at first, but then rhapsodic, before giving way to a feeling of menace.
The obligatory "Training Montage" follows, giving the theme another impressive workout. The poignant strings of "Tragedy" precede the percussive action of "Weapons Fight," with yet another variation on the main theme closing the cue dramatically.
"Bo v Liang" builds to a thumping crescendo, before giving way to another poignant reprise of the theme on piano. The heroic "The Finalists" follows, complete with sampled choir, and gives way to more action in the grimly determined "The Cage Fight," with the choir again featuring; the main theme emerging triumphantly, before a subdued ending. A slower, decisive variation on the main theme dominates "Last Man Standing;" giving way to the slow building "Epilogue," which ends with yet another poignant brass variation on the main theme, before the "End Titles" provide an inspiring set of variations on the theme to close the score in style.
Available on CD, or to download, visit http://www.moviescoremedia.com/underground.html to listen to samples and for all you need to know to secure your copy of this fine score.

CD REVIEW - RESIDENT EVIL 5


Resident Evil 5
Music by Kota Suzuki, Hideki Okugawa, Akihiko Narita, Seiko Kobuchi
Sumthing Else SE-2051-2
Disc 1 - 33 Tracks 49:25 mins Disc 2 - 26 Tracks 54:02 mins
Disc 3 - 27 Tracks 62:21 mins

And so it's here - the first title to be released from the recently announced Sumthing Else/Capcom relationship, the soundtrack to the latest in the Resident Evil series. Now, I'm not familiar with the previous games or scores, so I can only judge this on its merits. It's largely a studio-realised score, though there are orchestral elements, and perhaps where the sound differs from previous entries in the series is in that the game is this time set in Africa and so therefore the composers have added tribal percussion very effectively, which really comes into its own in some of the action cues, of which there are of course plenty in this lengthy 3-disc presentation. Vocalist Oulimata Niang also features over the "Opening," providing native colouring, and then returning for the uplifting "Theme Song" later in the disc.
Balancing exciting action cues, with or without the tribal percussion, like the many tracks representing the "Majini;" "Executioner;" "The Crisis - Reinforcements Arrive;" "Pursuer and the Pursued;" "Burning with Anger;" "Shadows of the Past," with its purposeful opening; "Get Out!" "Evil Mutation;" "Gigantic Attack;" "Haze of Horror;" "Two on Two;" the determined "Sad but True;" "Shot or Death;" and "Fragment of Fears;" are plenty of suspenseful and viciously menacing cues, and of course a few ambient offerings, as is a long-established format in game scores, sometimes strangely quite cold (for the game's setting), at others speaking of the harsh, sun-baked climate.
Few moments of light permeate the score, though "Result" is quite soothing, and "Homeward Bound!" provides a rhythmic, easy-going feel; whilst emotionally powerful and poignant offerings like "Excelia and Wesker;" "The Enigma;" "The Mask;" "Old Friends, New Enemies;" "Trust;" and "Message;" are also present.
A handful of "digital versions" are included within the body of the three discs, which are basically largely electronic cues, but nevertheless the likes of the driving action of "An Emergency;" "A Big Despair;" "Wind of Madness;" and "Deep Ambition" are very effective.
Fans of the Resident Evil series and its music can be well pleased with the size and scope of this release, and we can only hope for many more excellent presentations of game music from this exciting collaboration.
As well as being available in CD form, this release can of course be downloaded at www.sumthingdigital.com, as well as iTunes if you prefer.

REGARDING MY POPE JOAN REVIEW


For those of you who read my recent review of Harkit's release of the music from Pope Joan, I would suggest you look again as I have amended it slightly, as somehow it escaped me that the film is being re-released in an extended version as She Who Would Be Pope, which includes previously unseen footage, which makes big changes to the film that I saw. In this version, Liv Ullman not only plays the title character, but also a modern-day woman who claims to be the reincarnation of Joan. The bonus tracks which I stated were "totally inappropriate for the film" in fact come from this new version and feature in the contemporary scenes, which obviously makes much more sense. In any case, good music is good music and, as I also stated, they are indeed "catchy enough" to be enjoyed on their own merits. With apologies to the producers of the film and I hope to be able to catch up with the extended version sometime in order to properly check out the score as it now stands.

CD REVIEW - AIRPLANE!


Airplane!
Music by Elmer Bernstein
La-La Land Records LLLCD 1093 (US)
37 Tracks 52:38 mins

Airplane! is arguably the granddaddy of all the spoofs, undoubtedly one of the funniest movies ever made with so many laughs that you have to watch it many times to catch the gags you missed when you were busy laughing at the one before. It's always been a personal favourite and my late mother loved it to. When she had a spare evening it was often a toss-up between Airplane!, Pretty Woman or Dirty Dancing (she was a big Swayze fan, with Roadhouse another favourite).
But back to Airplane! Directed by David and Jerry Zucker, along with their friend Jim Abraham, the trio responsible for the creation of comedy troupe Kentucky Fried Theatre, and fresh from the success of their film Kentucky Fried Movie, the film is a perfect blend of great writing, direction, acting and yes, scoring too, with Elmer Bernstein, fresh from Animal House, the first of a succession of great comedy scores written by the composer in the 70s and 80s, playing things largely straight, with an adventurous main theme, fine dramatic writing and a great love theme. But it's not all straight, with Bernstein giving a comic spin to John Williams' Jaws theme before the titles, and great use of the Notre Dame Victory March in a finale, in which the aforementioned love theme, often enhanced by angelic female choir finds said choir hilariously struggling to hit the high notes.
All these years fans of the film and its composer have been dreaming about a proper soundtrack album (an LP was released back when the film came out, but it was disappointing for score fans in that Bernstein's music had to compete with dialogue and sound effects). Finally, La-La Land Records has done us all a huge favour by releasing the score proper, albeit in a limited edition of just 3000 copies, with numerous alternate takes featured as bonus tracks at the end of the disc, making this a really comprehensive package Although I would direct you to the label's website at www.lalalandrecords.com/Airplane.html where, if you are at all unfamiliar with the score, you can listen to samples, unfortunately they are already sold out, so you may have to scout around for a copy; but do persevere.
As with all the label's releases, a quality booklet accompanies the disc, with Dan Goldwasser's detailed notes on both film and score, with contributions from the filmmakers and orchestrator David Spear and mixer Dan Wallin reminiscing about the recording of the score.
Yet another title to cross off my wish list - film score collectors have never had it so good!