Please Release Me (let me go) - Part 6

Apologies for the lack of updates over the last week; lack of internet, but here's part 6 (possibly the final part as I'm running out of things I feel are desperately lacking...) of my summary of scores that could do with being re-released or released for the first time.


I feel kinda bad that I'm not desperately trying to get some obscure Alex North or Bernard Herrmann score released, but rather music written for films about submarines, bugs in space and psychotic toys. Having said that:

North by Northwest - Bernard Herrmann

Here's a puzzle for your little mind to dwell on, dear reader (the patronisometer is set to max, baby), how come the otherwise superb release of North by Northwest by Rhino is only let down by having variably crappy sound. Ok, it's a score from the 50's and there plenty enough scores from the 70's and 80's which haven't aged well (there's even debate, I recently learned, over the quality of the tapes on Elfman's Batman score, which is 1989. Worrying. It sounds fine to me, but maybe my ears are tin) but then there are plenty from the 60's which sound just great. However, in the specific case of North by Northwest, there is a DVD with the score isolated which sounds absolutely remarkable. Maybe there is some kind of mixing skulduggery at work here and they have somehow reduced the hiss by muddying the sound. I must confess my copy of the DVD is stuck across the seas in Guernsey but from recollection, it was neither muddy or hiss and certainly vastly improved on the Rhino release; in particular there are sections of the Rhino release where there was tape damage, but no such damage is obvious on the DVD. Presumably both were taken from different sources, but it would be rather jolly for a label to revisit those sources and perhaps give the tapes from the isolated score a spruce up for CD release. If anyone has any info on why there is such an obvious disparity in quality, I'd love to know. There is, of course, the fine re-recording conducted by Joel McNeely, but it's always good to have Herrmann conduct Herrmann.

Harry Potter and the Prisoner of Azkaban - John Williams

OK, back to the magical, non-serious stuff again. While Williams' first two Potter scores provided the series with a core of famous thematic material, it was only with a change of director and tone on Azkaban that Williams could actually write something that didn't drench the film like treacle. There's an incisiveness to the music that simply isn't present in the first two scores which have a denseness that makes them quite tiring to listen to. I'm sure plenty of collectors would like expanded releases of all three of Williams' Potter efforts, but I'm not sure I could face 2 plus hours of the first two, but Azkaban has the scope to be of interest in a longer format. It's a rather unlikely prospect unless Warner Brothers decide they want to do an epic Potter music boxed set, not to mention the existing album is quite generously proportioned.


Sky High - Michael Giacchino
A rare, unreleased, but pretty mainstream effort from Giacchino for a good and somewhat underrated movie about a superhero school. It should be awful, but is surprisingly entertaining. Giacchino's score is a distant cousin to his wonderful effort for The Incredibles. Not quite as retro - indeed some of it is very modern - but his ability to tap into a bit of a John Barry vibe is still in evidence. Perhaps a bit of a lightweight effort compared to some of the other scores that have yet to see the light of day, but fun none the less.


Beauty and the Beast 2: The Enchanted Christmas (Rachel Portman)
Following up on Alan Menken's Oscar winning music for the now classic Beauty and the Beast was never going to be easy, but Rachel Portman's music for the straight to video (as was) midquel (i.e. the events are meant to take place during the original film) is a delight. The handful of songs don't quite hit Be Our Guest or Belle in their brilliance, but Stories and the title track, As Long As There's Christmas are both most charming. The latter is particularly interesting since the film version is a bouncing ensemble number (the film's Be Our Guest, I suppose) whereas it becomes a ballad for the end credits. I do (of course) prefer the film version. Only a better lyricist might have improved things. Unfortunately, the underscore gets possibly the shortest shrift in the history of soundtracks with a paltry 2 minutes and 19 seconds. Over 2 tracks, at that. Again, as another effort for Disney, the chances of more of Portman's charming score seeing the light of day are small, but we can but hope.

Please Release Me (let me go) - Part 5

While browsing the net in unfocused fashion the other day, it occurred to me that there's one contemporary composer who has been pretty short changed when it comes to soundtrack releases. Quite a number have appeared as "official" promos - Galaxy Quest immediately springs to mind. I couldn't believe my luck when I was sent it to review (them were the days) and is probably the best Star Trek score the franchise never had. David Newman has always been the neglected Newman and that extends to CD releases; a lot of the time, he's reduced to a single cue on a song album and for whatever reason, the usual suspects (Varese being the prime candidate) haven't managed to get the rights to do a proper score release.

Thomas may not yet have an Oscar, the inevitability of him winning is cancelled out by the Oscar dramatic irony category by which at least half of each generation's finest composers will never get an Oscar despite being hugely talented, highly influential (American Beauty, in particular) and scoring otherwise Oscar winning films. Seriously, how did American Beauty not win? It's hugely popular and every other drama score since owes a debt. There's even a dance remix. If the endorsement of drugged out clubbers isn't one of the highest order, I don't know what is... Oh yes, Randy got his long overdue Oscar for one of his least memorable songs (especially frustrating given how good That'll Do from Babe 2 and When She Loved Me from Toy Story 2 were).


David seems to be the Jerry Goldsmith of the family, toiling away on often shoddy family films that are vastly beneath his talents. I'm almost shocked that he's not been tapped by Pixar. Even if the satisfaction of the entire raft of Newmans contributing weren't enough, any moron could tell that David would do some top notch work for them; surely the most consistently excellent studio going. In no way a dig at Pixar's choices, music for their films is always terrific, but Newman, D would join one of the most consistently excellent group of composers around. He did great work on the first Ice Age but got ditched for John Powell when it came to the sequels. Tough call though, Powell is marvellous.

So, instead of American Beauty or Toy Story on his CV, David has, erm, Galaxy Quest and Bill & Ted. In fairness, those are two of the better films he's scored. Serenity and the animated Anastasia also fine features and largely great scores, even if Serenity wasn't quite the unofficial sequel score to Galaxy Quest we all hoped for. Still, at least it got a soundtrack release. As Fox's answer to the Disney machine, Anastasia held its own next to Hercules (when they were still pretty much on game, 2D animation wise). Newman's scores perfectly compliments the songs of Stephen Flaherty and Lynn Ahrens. It's a grand, epic affair, with all the memorable melodies and drama one could hope for when composing for such a story. The score doesn't fair too badly on disc, but there's over an hour of score in the film, all worth hearing. He even got a rare Oscar nod, but lost to Anne bloody Dudley for her unimpressive work on The Full Monty. Dudley has written some great scores - from the Fry and Laurie version of Jeeves and Wooster to American History X to Bright Young Things - but The Full Monty ain't one of them. Anastasia is leagues ahead. No wonder she looked a bit embarrassed.

Ice Age has a paltry 30 minutes, with much else to commend from the film (although I can imagine it might become a little bitty over an hour). Even the aforementioned Galaxy Quest never got an official album. The 50 minute promo is just right and should surely get wider, legitimate exposure. The film did OK and sci-fi scores invariably sell well. 102 Dalmatians and Matilda were both fine, live action family films and got delightful scores, neither released. Composer promos float about, but nothing official. We must, of course, mention those films which weren't quite so good, but scores such as The Flintstones, DuckTales, even Scooby Doo would be welcome. All are filled with Newman's hummable melodies, his great way with the orchestra and and general fine craftsmanship. It seems probable that some of these will see the light of day eventually as Newman is one of those film music fan's film music composers whom the fans adore, but nobody else knows much about. Perhaps some well deserved releases will change that.

Please release me (let me go) - Part 4

This is fun! New things keep coming out of the woodwork, although it'd be nice to get some suggestions from one of my 9 loyal readers (assuming it's that many), so do e-mail them in to the usual address (whatever that is):


The Hunt for Red October - Basil Poledouris

Another Poledouris score that surely deserves more than the paltry 30 minutes afforded on the original album. Indeed, generally considered one of the composer's classic scores it seems oddly neglected. In fairness, it might help improve my view of the score as I never liked it as much as anyone else, but I wonder if the somewhat tinny sound on the original album doesn't help. With Robocop having had a couple of re-releases (seemingly adding one or two tracks at a time) and Conan being re-recorded, this and Starship Troopers definitely deserve the luxury, expanded treatment.

Killing Me Softly - Patrick Doyle

Despite sounding like a shoddy soft porn flick, Kiling Me Softly stars Joseph Fiennes and Heather Graham. It's not one of Patrick Doyle's best known entries, but it's a genuinely good score. The wise guys at FSM noted it for having some of the best sex music outside of Basic Instinct; indeed I've never quite got the hoopla over Basic Instinct (it is a great score, just not sure it's that great, sorry) and Killing Me Softly certainly has the same icy, erotic charge to it. On the flip side, it has an understatedly romantic main theme, which balances with the thriller elements. Doyle has a pretty good hit rate when it comes to getting his stuff on CD, but Killing Me Softly is definitely a gem that slipped through.

Spider-Man 3 - Christopher Young (with a little help from Danny Elfman)

For some reason, the producers of Spider-Man 2 decided to cause a shit storm when making the follow up to Sam Raimi's excellent first movie version (still surprising it took Spider-Man so long to get to the cinema) and pissed Danny Elfman off enough for him to walk, something he'd never done before and hasn't since. The replacement music by John Debney isn't bad, but it's obviously not Elfman. Mind you, John Debney's music often isn't obviously John Debney; there's two composers whose originality is separated by a vast gulf. As a result of this debacle, it was unlikely Elfman would return for part 3 so Christopher Young took over. Even if Young is a fine composer in his own right, it's surprisingly grating when his own material suddenly stumbles into the opening titles of Spider-Man 3 like a mad, old, drunk aunt at a wedding, before stumbling out again to leave Elfman's material finish the credits. The rest of Young's material is more expertly handled and his score is surprisingly entertaining, even if it's still not as iconic as Elfman's. Chances of a release are slim to zero given the contentious nature of the music to the series. Same goes for expanded versions of Elfman's first two efforts, but it would be rather jolly. With great music comes great responsibility. I'm pretty sure that's true.


Stuart Littles 1 and 2 - Alan Silvestri

Alan Silvestri is perhaps the greatest scorer of films starring mice alive today. OK, flippancy aside, he has done three mouse films; this, Stuart Little 2 and Mouse Hunt, all of which are delightful. Mouse Hunt could, perhaps, benefit from a little more than the 30 minute release it already has, but Stuart Little could do with a proper release. The original album has only a couple of cuts from Silvestri's score, a 30 minute promo has done the rounds and contains a perfectly proportioned sample from the score. Admittedly, the official album does contain the best cue, the Boat Race, a terrific piece of light hearted action/adventure scoring. Part 2 is more of the same, of course, but no less enjoyable, so even a single disc release of the best of both wouldn't go down badly. I mean, who doesn't love tuneful scores for a lovable mouse who has been adopted by Dr House? Who? I ask you.

Please Release Me (let me go) - Part 3

So, yes, why aren't these on CD, hmmm? Well?! A bit of a Goldsmith fest with a few of his finest and most enjoyable efforts that could do with releasing or expanding:

Star Trek: The Motion Picture - Jerry Goldsmith

The existing expanded edition is a very fine album, gratefully received after years of the original album only being available as an expensive and incomplete, import. However, it's a seminal Goldsmith score and one that is not only brilliant music, but kept the film it was written for afloat (in space?). Like its distant relatives by John Williams for George Lucas' space opera, the music tells the story on its own. You can sit and listen, imaging Kirk, Spock, McCoy et al staring at amazing, but slow moving visual effects for minutes on end. There are also some alternate takes on certain cues to be heard, most notably The Enterprise, which was written before the now famous main theme was written and originally sounded quite different (if equally grand and impressive) as the cue that now goes down as one of Goldsmith's finest ever. Some expansion of his more recent Trek scores would be nice, but The Motion Picture is where it's at, an epic that needs an epic treatment.

Gremlins - Jerry Goldsmith

Director Joe Dante and Jerry Goldsmith had a terrific working relationship and Gremlins still remains their most memorable collaboration. Gremlins 2 got a fine 40 minutes on disc, but to date the original has received short shrift in a handful of cues on the original album (and currently going for an eye watering $75 second hand on Amazon, perhaps there are people mistakenly thinking it's the full score). The fine 7 minute suite from one of the composer's early self conducted compilations features some of the best music, notably the eerie prologue, the witty Late for Work music and, of course, the Gremlin rag. However, there's plenty missing, notably the creepy interpolation of Jingle Bells as one of the lead characters describes how her father got trapped in the chimney dressing up as Santa. For a comedy score, it's surprisingly touching in places but one of his most memorable and off the wall efforts.


Small Soldiers - Jerry Goldsmith
Joe Dante never quite recaptured the success of Gremlins with his later films, despite their evident quality, but he still got the chance to make plenty of entertaining suburban, subversive fantasies. Small Soldiers didn't quite perform fully to expectations but was a great antidote to Toy Story as a tale of real toys coming to life through technology and going all Cylon by attacking their creators. Released during the dark days of the 30 minute soundtrack album, there's plenty of great material left off the official album which gives the whole thing a broader scope. Goldsmith's action always seems more enjoyable when there's some kind of hook, in this case, that it's a kids' movie. Plus he always went that extra mile for his friend Dante and it's no exception here.

Mulan - Jerry Goldsmith
I remember being quite disappointed when Mulan was released. I even remember the day I got it, I was moving out of my second year accommodation at university. Bloody hell I feel old. After all the hype of it being Goldsmith's first score for a big Disney animation, the album was quietly underwhelming. Then again, for the paltry five cues (the sixth is a suite largely made up of the song melodies, albeit arranged by Goldsmith) it's perhaps not that surprising that it wasn't a score to remember. However, for anyone who's been crafty enough to track down the Academy promo (nominated, but yet again, he didn't win - alas, alas) will know that is truly is an alternately gorgeous and barnstorming score. Goldsmith scores it as though it were a serious, epic drama and it's all the better for all that. All it needs now is an epic release, but again, it's Disney, so what are the chances? Bugger all probably. Alas, alas.

Please Release Me (let me go) - Part 2

A few more scores that could do with a little more of them legitimately available on disc:


Starship Troopers - Basil Poledouris

I'm sure Basil Poledouris would be thrilled to see the continued interest in his music since his untimely death a few years ago; the re-recording of Conan is a measure of the esteem in which his music is held. Great though the re-recording is, it's something of a shame the composer wasn't around to wield the baton himself. It's passed into film music folklore than the original release of Starship Troopers almost sent Varese Sarabande broke due to the enormous re-use fees on the score which was (I believe) recorded by two different LA orchestras. Of course, collectors still bitched. Typical. With the far more sane re-use fee arrangements of recent years an expanded disc seems a far more realistic prospect, plus sci-fi scores always do well. Here's hoping.


The Disney scores of Alan Menken & Hans Zimmer

It's never going to happen, Disney are far too precious about their properties to let some small minority group have their way when they can re-re-re-re-release their classic soundtrack albums with yet another shit pop arrangement of the spin off pop song. However, longer versions of Beauty and the Beast, Hunchback of Notre Dame and The Lion King would be rather splendid. The latter two, in particular, are missing considerable amounts from their official CD releases. Zimmer's music for The Lion King got him an Oscar (not that it really counts for much; looking at you Gustavo Santaolalla) but Zimmer only gets a miserly handful of cuts on disc. With any lucky we'll get a re-re-re-release with 46 new versions of the Elton John songs too. On second thoughts...


A Bug's Life - Randy Newman

An unlikely entry, I'm sure you're thinking, but some of the most delightful cues were missed off the official album. One reason (a hunch) is that they were dropped because of the choir (notably Building the Bird and the finale, All is Well which are both marvellous) and Disney didn't want to pay extra for those tracks. In any event, it stands as Newman's finest score for Pixar to date, a terrific, intricate, thematically rich, pseudo-western which deserves to be heard in its entirity.

The Nightmare Before Christmas - Danny Elfman

Another unlikely candidate. The obscenely expensive Elfman/Burton boxed set (which I should hopefully be getting in February 2011) contains extra tracks but is sold out and hardly a realistic prospect for the average fan. The existing release is beautifully presented, but a few more underscore tracks to give balance to the above average number of songs would be most welcome. Might be fun to have a bonus disc of orchestra-only versions of the songs too (same applies to the Menken scores too). Here's hoping.

Scrooged - Danny Elfman

OK, OK, I've never seen the film (but have it on my DVD rental list) but the suite on Music for a Darkened Theatre is a delight and it's probably the most high profile thing by Elfman never properly released. Indeed, it's quite possibly the only studio score he's done that's never had a proper release.

Please release me (let me go) - Part 1

2010 seems to have turned into a vintage year for re-releases, expanded versions, first time releases and the like but of course the serious collector always wants more, so here are my picks of the cream yet to be skimmed from the metaphorical milk of film music history. Hmmm. Here goes:

Hook - John Williams

It's John Williams, it's Steven Spielberg, of course it's going to be amazing (well, unless it's Always, I suppose). Hook may not quite have been the brilliant Peter Pan for the 90's Spielberg intended but it's still a solid family entertainment and is only deemed less successful by being less successful than his other films. It is, however, more financially successful than Schindler's List. Well, quite. Whatever one can say about the film, John Williams' music is a triumph; even by his standards, it's oozing with themes - about as many major melodies as the entire original Star Wars trilogy put together and that's pretty tuneful by all accounts. The original album is generously proportioned, but there is plenty which is more than worthy of appearing on disc, not least of all the marvellous end credits suite - remember them? They were good weren't they? End credits suites. Of all of Williams' otherwise released scores, this is the one that would surely benefit most from a complete release with some of the myriad alternate cues that are knocking around.

Sugarland Express - John Williams

It's John Williams, it's Steven Spielberg, of course it's going to be amaz... oh, wait, we've done that. Then again, when this one came out, nobody knew just quite how amazing. The theme from Sugarland Express has appeared on the odd compilation, but as the score that started the whole collaboration, it really out ought to be heard. Plus it has that nice Reivers vibe about it, which brings us onto...

The Reivers - John Williams

The original album is lovely and all, but it is missing the MOST EXCITING CUE. The horse race cue features on a charming 16 minute suite from one of Williams' more obscure self-conducted compilations (Music for Stage and Screen), but said suite also contains narration. I'm not totally against narration in itself and it's beautifully read by Burgess Meredith (who narrated the film) but it would be nice to hear it au nature. In fairness, I've not seen the film, but wouldn't be surprised if the horse race cue was expanded to more epic proportions for the suite, but it would still be nice to have the original cues out there.


Jaws 2 - John Williams
Is there much more score in Jaws 2 than the existing CD? Probably not a vast amount, but the follow up score to the classic original is pretty much every bit as good. I'm quite a fan of the film, it only really suffers in comparison and is plenty entertaining in its own right. You can bitch about the teenage cast all you like, but some of them do get eaten. So that's ok. The shark doesn't half look bad this time round either and the attacks are often every bit as scary and well crafted as in the original. Williams' music is a substantially different take on the material, with only the original shark theme remaining. The horror and action are deftly handled and somewhat more intense, but likewise the adventurous portions are brilliantly catchy with some especially fine music as the cast head out to see in sailing dinghies.

The Original Star Wars Trilogy - John Williams

Only joking. Although it would be nice if Empire and Jedi sounded a bit better. Compared to other scores from the same period, they are pretty hissy, muddy or simply a bit blah sounding at times. The best sounding, ironically, turns out to be the original. Blistering.


More idle proposals to come...