SOUNDTRACKS
 | |  | |  | |  | |  | |  | |  | |  |
Soundtracks are a lot more than movie music...
...or so I'm ready to argue as a 30 year devotee of this sorely under appreciated genre. So, in an effort to do my part, each
week I'll be making recommendations of soundtracks current and vintage, make a fuss over long awaited soundtrack scores
finally getting a well deserved release, and in general, make some noise about this often overlooked category. Beyond my
long experience as a listener and as a pianist and songwriter, both of which I've put to use in writing a quarterly soundtrack
column for the Chicago Tribune, I can only offer my recommendations. You'll discern my taste soon enough and upfront I'd
like to make it clear that I'll focus most heavily on SCORE soundtracks. In the end, all criticism is subjective but if I can
point a listener toward a little heard soundtrack or strongly advise you to either ORDER IMMEDIATELY or SKIP ALTOGETHER,
all the better.
...or so I'm ready to argue as a 30 year devotee of this sorely under appreciated genre. So, in an effort to do my part, each
week I'll be making recommendations of soundtracks current and vintage, make a fuss over long awaited soundtrack scores
finally getting a well deserved release, and in general, make some noise about this often overlooked category. Beyond my
long experience as a listener and as a pianist and songwriter, both of which I've put to use in writing a quarterly soundtrack
column for the Chicago Tribune, I can only offer my recommendations. You'll discern my taste soon enough and upfront I'd
like to make it clear that I'll focus most heavily on SCORE soundtracks. In the end, all criticism is subjective but if I can
point a listener toward a little heard soundtrack or strongly advise you to either ORDER IMMEDIATELY or SKIP ALTOGETHER,
all the better.
How could Warner Bros. try to resurrect Superman without also resurrecting his
signature theme, the declarative, triumphant brass based theme by, of course, John
Williams? The answer, as the new Superman Returns soundtrack quickly proves,
is that they wisely decided not to. The new score by composer John Ottman has the
unfortunate challenge of trying to utilize not only that all too familiar music, but
Williams’ equally beautiful “Can You Read My Mind?” love theme as well. Both of
these cues are prominent in the “Main Titles,” the first track on the new disc and this
cue really sounds like nothing more than a new recording of the original 1978
version. It’s not until the following cue, “Memories,” that Ottman’s work begins to
come into focus.
Employing the seemingly required large scale orchestra and accompanying chorus,
Ottman’s melodic gifts quickly come to the fore. Unlike other composers of film
music for blockbusters, Ottman has no trouble matching the action on the screen
and supplying a satisfying music-only listening experience. As the score progresses,
the cues range from the typical percussive, brass based to sweeping strings. I
especially liked “How Could You Leave Us?” in which Ottman expertly interweaves
variations on Williams’ love theme with his own. Much of the rest of the soundtrack
features typical action film cues that will please those looking to have their
heartbeats accelerated. I was happy that Ottman’s sensual melodies wended their
way throughout.
Overall, there is a distinct déjà vu effect that accompanies both the movie and the
music for Superman Returns but considering the pedigree of the original (musically,
anyway), that’s a rare compliment. I rather liked Ottman’s score for the noir
flavored Kiss Kiss Bang Bang and am now two for two with his music for the man in
the red cape.
++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
Don't forget to check out previous soundtrack recommendations by visiting the
ARCHIVES
Next Week: TBD
signature theme, the declarative, triumphant brass based theme by, of course, John
Williams? The answer, as the new Superman Returns soundtrack quickly proves,
is that they wisely decided not to. The new score by composer John Ottman has the
unfortunate challenge of trying to utilize not only that all too familiar music, but
Williams’ equally beautiful “Can You Read My Mind?” love theme as well. Both of
these cues are prominent in the “Main Titles,” the first track on the new disc and this
cue really sounds like nothing more than a new recording of the original 1978
version. It’s not until the following cue, “Memories,” that Ottman’s work begins to
come into focus.
Employing the seemingly required large scale orchestra and accompanying chorus,
Ottman’s melodic gifts quickly come to the fore. Unlike other composers of film
music for blockbusters, Ottman has no trouble matching the action on the screen
and supplying a satisfying music-only listening experience. As the score progresses,
the cues range from the typical percussive, brass based to sweeping strings. I
especially liked “How Could You Leave Us?” in which Ottman expertly interweaves
variations on Williams’ love theme with his own. Much of the rest of the soundtrack
features typical action film cues that will please those looking to have their
heartbeats accelerated. I was happy that Ottman’s sensual melodies wended their
way throughout.
Overall, there is a distinct déjà vu effect that accompanies both the movie and the
music for Superman Returns but considering the pedigree of the original (musically,
anyway), that’s a rare compliment. I rather liked Ottman’s score for the noir
flavored Kiss Kiss Bang Bang and am now two for two with his music for the man in
the red cape.
++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
Don't forget to check out previous soundtrack recommendations by visiting the
ARCHIVES
Next Week: TBD
The soundtrack cover to Superman
Returns and a shot of the film's music
composer, John Ottman, who wisely
decided to pay homage to John
Williams, composer of the superhero's
ubiquitous theme when writing his
score.
Returns and a shot of the film's music
composer, John Ottman, who wisely
decided to pay homage to John
Williams, composer of the superhero's
ubiquitous theme when writing his
score.
