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Sunday, February 21, 2010


Tooth Fairy
Music by George S. Clinton
Varese Sarabande 302 067 003 2 (US)
24 Tracks 49:03 mins

Dwayne ("The Rock") Johnson seems to be making quite a career for himself, often poking fun at his former tough guy image in lightweight comedy fare like the new fantasy-comedy Tooth Fairy.
Composer of the score is George S. Clinton, probably still best known for his work on the Austin Powers movies, but here reuniting with director Michael Lembeck, who he previously collaborated with on The Santa Clause 2 & 3.
In the film, which also stars Julie Andrews and Ashley Judd, Johnson plays an ice hockey player, given the nickname Tooth Fairy for all the opponents' teeth he has knocked out in his career; but a stint as a real tooth fairy, complete with wings, magic wand and tutu, helps him find redemption.
Of course the hilarious and fantastical situations that ensue give composer Clinton plenty of scope to provide an orchestral score that mixes action, fun, sentiment and more than a touch of magic along the way. Often the cues contain a mix of these elements and can turn on a dime from gentle whimsy to pure slapstick to tense and exciting action to heartwarming emotion. Occasionally, in the more magical and inspirational passages, Clinton brings in choir to bolster his orchestral forces. In fact, with his experience on the aforementioned Santa Clause movies, nobody is more suited for such a project, and he certainly pushes all the right buttons, providing a highly suitable, if sometimes cliched, accompaniment for such a tale.
My personal highlights of this entertaining score include the hoe-down like music in "Face Off" and the inspirational "It's Possible;" the big heroic opening statement of "My Way;" the bolero-like "Fairy Evolution;" the flowing, fast-paced "Training Montage;" "Steals the Puck," with its purposeful opening, almost spiritual middle and triumphant conclusion; and yet more soaring triumph in "My House."
The penultimate cue, "You Are The Real Tooth Fairy" is predominantly quite tender and understated, with acoustic guitar adding warmth, but has its magical moments along the way; with "Proposal" ending proceedings on a big orchestral/choral rush, with wailing electric guitar adding the final touch to this undemanding and likeable album.


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