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2018: Top Anticipated Scores

December 18, 2017, 10:57 am
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2018 has quite a pile of film scores to really look forward to.  To no one's surprise, there are tons of anticipated sequels and adaptations.  Of course there are always surprises along the way, so we'll see what happens!  Here's the list:   

Music Behind the Screen's 
Top Anticipated Scores of 2018. 

1. Incredibles 2 (Michael Giacchino)
Finally the arguably most requested Pixar sequel arrives.  Michael Giacchino's Bond-inspired jazz sound and Gordon Goodwin's big band arrangement made the first film's score a hit.  It's also the film that brought Giacchino to forefront of Pixar and blockbuster films, and I hope this makes a big splash as well.    

2. Solo: A Star Wars Story (John Powell)
These standalone Star Wars films have had their share of composer drama.  With a directorial switch to Ron Howard, John Powell was chosen to score the film.  Powell is a name I wouldn't have assumed would join this franchise, but it did get me giddy with possibilities.   

3. Avengers: Infinity War (Alan Silvestri)
Of the MCU's apparent score continuity issues, one composer's work keeps popping back in.  Silvestri's Avengers theme will probably be prominent but as so many superheroes team up, it's unknown if their various themes (by a half dozen composers) will be incorporated.  Also, Silvestri scoring large scale action scenes is enough to get me excited.    
   
4. Isle Of Dogs (Alexandre Desplat)
There is something about Desplat's scores for Wes Anderson films that work so well.  The quirky side of both creators are on display, and this upcoming film is stop-motion animated like their previous Fantastic Mr. Fox.  (Their last collaboration, Grand Budapest Hotel in 2014 got Desplat an Academy Award) 

5. Ready Player One (Alan Silvestri)
Stepping in for John Williams on this sci-fi action adaptation, Silvestri could bring enough interesting sounds to help create the universe and OASIS world.  Given the 1980's references and Easter eggs, it's not surprising to see Silvestri attached.   

6. Fantastic Beasts: The Crimes of Grindlewald (James Newton Howard)
Making a big splash with his score into the new Wizarding World franchise, Howard thankfully gets to continue and add more thematic continuity.  He seems very adept to go fom the darker moments to the most magical.  His first score was a delight and he has already been using its suites in his live concert tours.      

OTHER SCORES TO HEAR IN 2018
Annihilation (Geoff Barrow/Ben Salisbury)
Ant-Man and the Wasp (Christophe Beck)
Black Panther (Ludwig Goransson)
Early Man (Harry Gregson-Williams)
First Man (Justin Hurwitz)
Holmes and Watson (Christophe Beck)
How the Grinch Stole Christmas (Danny Elfman)
Jurassic World: Fallen Kingdom (Michael Giacchino)
Mary Poppins Returns (Marc Shaiman/Lin-Manuel Miranda)
Mission: Impossible 6 (Joe Kraemer)
The Nutcracker and the Four Realms (James Newton Howard)
Rampage (Andrew Lockington)
Red Sparrow (James Newton Howard)
The Women of Marwen (Alan Silvestri)
A Wrinkle in Time (Ramin Djawadi)

Anything you're patiently (or impatiently) waiting for in 2018?
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Quick Review: Star Wars: The Last Jedi

January 1, 2018, 2:04 pm
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Star Wars: The Last Jedi
Music composed by John Williams
Music conducted by John Williams
Additional conducting by William Ross
Music recorded at Sony Scoring Stage
Album running time: 77 minutes
Available on Walt Disney Records

The much anticipated sequel to The Force Awakens arrived with a new Star Wars score by John Williams.  It's hard to believe that this is his 8th film in the series going from 1977 to 2017.

Themes!  We got themes!  A foundation of the series are the various leitmotifs - some used quite frequently through the films.  For this film, Williams marries the original trilogy thematic material with his Force Awakens material (which he expands and varies).  New themes to this film aren't as prominent compared to the previous entry and a lot of the emotional impact of the score is used with previous material.  

This will be a track-by track look at the soundtrack - so this is your spoiler warning.  You probably wouldn't be reading this if you hadn't seen the film anyhow....

Main Title and Escape begins with the standard main title cue underscoring the opening crawl.  The Escape part is some of the best action writing, reminiscent of the flashy opening to Revenge of the Sith or the Hoth battle in Empire Strikes Back.  Several flashes of themes make appearances amidst the action: Kylo Ren, variations of the Resistance March, brassy Rebel fanfare for heroic moments and an allusion to Poe Dameron's theme.  As the track gears towards the end, dramatic writing takes over, fitting the dire situations on screen.

Ahch-To Island returns us to the meeting of Rey and Luke Skywalker and Williams uses his Jedi Steps theme (last heard as Rey reached the island at the end of The Force Awakens).  The darker tone of Rey and Luke's training are explored alongside the stunning vistas of Luke's island locale.  The Force theme rightfully appears as well as a sweeping reprise of Rey's Theme.  Introduced is a new (what I'll call) Jedi Master theme - a very ominous and dramatic pattern that appears later in the film.  

Revisiting Snoke gives us more of the dark Snoke material - with low strings, low woodwinds among the men's chorus.  Reprises of Kylo Ren's theme and Darth Vader's theme add to the dark side's suspenseful atmosphere.  The Supremacy shows off Williams' techniques of leitmotif.  Throughout the action cue, Kylo Ren's dark theme is matched against the Resistance March and strong string writing.  Leia's theme is given a ghostly rendition on piano with sustained strings along with the Force theme before the strings take off with Leia's theme in her heroic space journey.  Rey's theme returns at the close of the track quietly on harp.

Fun With Finn and Rose gives us Rose's theme, a charming and optimistic new piece which is sprinkled throughout the rest of the film and the focus of The Last Jedi's new concert suite.  The woodwinds continue into a more whimsical Resistance March, with Leia's theme appearing yet again.  

Back with Luke and Rey in Old Friends, we get a handful of lovely magical variations on the Force theme, Luke's theme and Leia's theme.  Things get darker as the story turns to Rey with some dissonant writing and a statement of the Jedi Master theme.  The Rebellion is Reborn is a concert suite of new themes for the film - a rollicking Rose theme intermixed with the Jedi Master theme.  Continuing with Rey's training, Lesson One has a calm rendition of Rey and the Force's themes, letting them flow into each other.  As the tension builds towards her darker side, the orchestra reaches a climax near the end of the cue.  

Following the grandiose location setting music, we hear the background music of the casino on Canto Bight.  Harkening back to A New Hope, the bluesy jazz style and orchestration fit alongside Cantina Band.  Some listeners may hear similarities to Harry Potter's Knight Bus as well.  Snuck into the casino scenes are bits of Aquarela Do Brasil and even a nod to the title tune from The Long Goodbye (not used on album).    

Who Are You? follows the more ominous and brooding underscore of Rey's training and darker side connections she has made.  The Fathiers is one of the stronger action cues of the new film, with galloping rhythms, the large orchestra whipping around and several large statements of Rose's theme.  The Cave begins with an impressionistic, almost blurry sound.  The dissonances are meant to put you on edge, with some more interesting orchestral techniques being used.  Rey's theme is given a forlorn treatment near the end.  The Sacred Jedi Texts continues the interplay of themes - the Force theme both in small and regal statements and a newly reprised Yoda's theme.  It's a tender moment for the two Jedi and the music relates that as well.

In A New Alliance, Rey and Kylo Ren meet with Snoke.  The ominous low voices appear and provide some more dark underscore.  As the scene turns to action, the brass give several blasts of the Force theme with strings and percussion adding a Stravinsky-like pounding.  Rey's theme is added onto these pounding textures with a few heroic fanfares.  Chrome Dome features more fierce percussion and usual trumpet triplets to underscore another major fight.  The Rebel fanfare makes an appearance, as does a Resistance danger theme, but Williams doesn't include Finn's very rhythmic theme.  

The Battle of Crait shows off Williams' incorporation of themes within a large action sequence.  Within the propulsive action writing is the Force theme, Resistance March, Rose's theme, Rey's theme, Kylo's theme and the Rebel fanfare.  One of the more surprising returns are quotes of TIE Fighter Attack (Here They Come) from A New Hope as the Millenium Falcon arrives on the scene.  The action is relentless until the end with a wordless choir for Finn's emotional mission.  The Spark underscores the emotional reunion of Luke and Leia.  The Force theme leads into a cello-led Luke and Leia's theme (last heard in Return of the Jedi) before quoting Han Solo and the Princess.  As Luke goes to confront his former student, the musical buildup sounds like a mix of Imperial March and Jedi Master theme - one of the great moments of the score.

The Last Jedi is the showdown itself - a mix of quiet moments with large choral and orchestral moments.  Kylo Ren's theme with choir and the Force theme statements are highlights of the cue.  Peace and Purpose recalls the large orchestral statement of the Force theme from A New Hope's Binary Sunset before turning to a militaristic Kylo Ren's theme.  Poe's theme makes an album appearance (it is featured slightly more in the film) alongside statements of Rey's theme intermixed into the Force theme which then leads into the optimistic Rebel fanfare.  Finale begins with a magical rendition of the main title/Luke's theme as a possible Force user finds his powers while another broad Force theme leads to the end credits.  The credits begin the way they always do and then feature a medley of themes: Rose's theme, Princess Leia's theme, Jedi Master, Resistance March, Rey's theme, Yoda's theme, Resistance danger theme and TIE Fighter Attack.  It ends with Rey's theme and a light celeste solo similar to the last film.  It's a bit of a grab bag, and not as cohesive as past end credit suites.  And of course, the abrupt piano version of Leia's theme matches the onscreen dedication to actress Carrie Fisher.  

It's amazing what John Williams has maintained in his Star Wars scores.  The expansion and inclusion of themes from 1977-now is spectacular but his scores don't rely on those themes to make it sound "like Star Wars".  He is also an expert of adding those themes into an action or dramatic sequence as seen in several moments of the film.  For new material, Rose's theme is certainly the standout (a printed score of Rebellion is Reborn is due in the near future, so expect to hear that at a variety of concerts).  

In every scene from action to pure drama, Williams' score buoys it to another level.  The soundtrack album is a great representation of the score and carries so many film highlights without discussing all the microedits and missing material possibly heard in an expanded release.  It's hard to compare this score to the others in the series, as this score is still so fresh and I'm discovering new aspects with each listen.  Even if you disliked the film, the flaws don't seem to rest on Williams and the masterful work laid out in the score.
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Top 10 Scores Turning 30 in 2018

March 12, 2018, 11:15 am
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Back to our musical score time machine!  For this edition, we're looking at 1988!  Here's a look back at the scores of 1988 with my list of the 10 Best Scores Turning 30!

Let's start the ranking!

10. Big (Howard Shore)
Shore nicely handled the comedy and drama of this now classic film. The score relies on a few lyrical themes typically on piano and strings.  He portrays the world of the characters with a wide-eyed innocence that makes this music a sentimental favorite.  This isn't the type of film or music Shore is typically attached to, but here it works so well.  His incorporation of Heart and Soul to his main theme is a great touch.


9. Scrooged (Danny Elfman)
Elfman lets his full identity show - this time with a Christmas twist that would appear several times later in his career.  This score elevates this Christmas film as it shifts around various tones and proved that Elfman could handle larger films.  It took until 2011 for a score release.       


8. The Accidental Tourist (John Williams)
The score is one of the most intimate of Williams and less known among his biggest admirers.  He primarily uses a single lyrical theme to follow the character, which he manipulates through orchestration to change the mood.  The often piano-led theme is primarily melancholic with a sweet romantic side.  


7. Rain Man (Hans Zimmer)
Taking a chance on a relatively new solo composer, director Barry Levinson allowed Zimmer to create a score that is a character just as much as the actors.  His mix of electronic keyboard effects and pan pipes melody is clearly the foundation of many future scores.  The impact of the score is still felt, with Zimmer performing the main theme at his live shows in 2016.   

6. The Adventures of Baron Munchausen (Michael Kamen)
Matching the grand absurd fantasy of Terry Gilliam's film, Michael Kamen brought wild action and Baroque instrument styles.  The orchestral writing is complex, comedic and melodic, showing some more sides to Kamen's versatility.  The album is currently out of print and the film is somewhat forgotten, but it's a delight.


5. Die Hard (Michel Kamen) 
Even as he's known for big action blockbusters, Kamen's score isn't as completely memorable as the film itself.  There are some nice character motifs among the action, and also maintain a portion of the film's suspense.  Most of the standouts of the score showcase Kamen's arrangements of holiday tunes and Beethoven's Ninth Symphony.  A score album was never released (took until 2002!), but these expanded releases give you a sense of the score as originally intended, before editing and incorporation of other film music.  


4. Who Framed Roger Rabbit (Alan Silvestri)
Continuing their strong collaboration, Silvestri and Zemeckis combined the detective noir with the animated world.  The score matches the film's nature perfectly, and so well that the music almost doesn't work as well without the film.  Silvestri incorporated a Carl Stalling-esque approach to the animated world and a jazzy noir approach for our live-action hero - it works well considering the juxtaposition.  The recently expanded release soundtrack lets more of his original vision shine.   

3. The Land Before Time (James Horner)
Horner continued his foray into animation (after An American Tail a few years prior).  With this score, it's of the most mature for an animated film.  Horner dug deep into classical masterpieces for inspiration (and perhaps more depending on who you ask) and created symphonic-like sections for the film.  The sentimental theme moments with choir is a particular standout of the finale.  This continues onto the very rare album, with long but fulfilling tracks.    


2. Willow (James Horner)
One of his most melodically rich scores, it also is an exciting fantasy and adventure score.  Staying atop lists of favorite Horner scores, it still has a few detractions with the borrowed action theme, overuse of both the shakuhachi and danger motif.  Even within the expertly scored swashbuckling action, Horner was able to find some emotional magic for our main characters.  It's a score I find myself returning to over and over again.


1. Beetlejuice (Danny Elfman)
It is impossible to detach Elfman's score from the film.  This is a perfect example of composer and director being exactly in sync.  His zany stylistic choices still give work even with the film switching from offbeat horror to comedy.  The instrumentation and thematic material are still identified with Elfman today.  This score demonstrates that Elfman can summarize the style of the film within the first minute, making his main titles some of the most enjoyable around.    

Honorable Mentions:
Dangerous Liaisons (George Fenton), Grave of the Fireflies (Michio Mamiya), Gorillas in the Mist (Maurice Jarre), The Last Temptation of Christ (Peter Gabriel), Midnight Run (Danny Elfman), Rambo III (Jerry Goldsmith)

Any personal favorites of yours from 1988 that I didn't include? 
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Top 10 Scores Turning 20 in 2018

May 16, 2018, 11:46 am
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Welcome back to a trip on the Musical Time Machine!  For this edition, we're looking just 20 years back...to the year 1998.  Here's a look back at the scores of 1998 with my list of the 10 Best Scores Turning 20!

Let's start the ranking!


10. Deep Impact (James Horner)
Just as he did with Titanic, Horner brought much of the humanity into this disaster film.  Rather than focusing on large action cues, the simple piano theme carries most of the dramatic arc of the characters.  Many cues sound like unused material from Titanic and Apollo 13 (among other bits of Hornerisms).  Some cues like The Wedding and the choral finale are high points.


9. The Horse Whisperer (Thomas Newman)
Newman uses a lot of sweeping orchestral material in addition to the softer flowing moments and swirling minimalist textures.  The more exotic instrumentation lends nicely to the film's setting (dulcimers, fiddles, and all types of guitars), while piano gets featured nicely.  Several short underscore cues don't add up to much, but the longer cues give Newman time to explore.  The great moments in Montana and Rhythm of the Horse stand out.  


8. Saving Private Ryan (John Williams)
Spielberg wanted more musical restraint than John Williams normally provides a film.  Keeping the rawness of the film, there isn't much sentimental or heroic writing in the score. Sometimes the most powerful sound is no music in a film, and it probably has the least amount of score for Williams.  There are some beautifully evocative trumpet solos, and some reflective string writing.  The standout elegy Hymn to the Fallen, with wordless choir, is perfectly served for the end credits.  Its power is still shown when performed in concert or used in a tribute.


7. The Prince of Egypt (Hans Zimmer)
To accompany DreamWorks' first foray into animation, they turned to Stephen Schwartz and Hans Zimmer.  With Schwartz writing songs, Zimmer created a score that accentuated the epic biblical story that added themes and arrangements of song melodies.  The credits read like a early who's-who of Zimmer's Media Ventures.  Lengthy tracks of score are dispersed among the original soundtrack (and collector's edition).    


6. Pleasantville (Randy Newman)
Newman brought a lot of charm to this delightful film.  He gets to show a more sentimental and nostalgic side, aspects that have also been touched on in some of his animated Pixar scores.  There are some lovely piano-led themes, and the score gives some of the magical touches to the film.  A great pairing of film director vision and composer.   


5. Les Miserables (Basil Poledouris) 
Poledouris adapted his composing style to the melodramatic and sweeping epic by focusing on strings and woodwinds.  The score tends to stay in the brooding, low registers.  Character themes appear and change as the story unfolds - grand, militaristic and somber, for example.  Interestingly, the soundtrack is divided into four suites (tracks) with long running times but with subsections within.  


4. Godzilla (David Arnold)
Independence Day and Tomorrow Never Dies showed off Arnold's large scale scores, but Godzilla seems even bigger.  Nothing is subtle - the monster motif (with choir), a large miltary theme, and over-the-top love theme. Of course, that's what makes this score so endearing.  At the unenthusastic box office reception, a score album was never released.  It took until 2007's La La Land Records release for it to finally shine.  It's bold, and tons of fun.  Shame action films aren't scored like this more often.


3. Meet Joe Black (Thomas Newman)
Meet Joe Black isn't a great film but it does have great visuals and a stunning score by Thomas Newman.  This score features some of Newman's most romantic themes and untypical long-phrased string melodies.  It still has some typical Newman trappings, but the highlight is the 10-minute long That Next Place.  [Bonus points if you only saw this movie to watch the Phantom Menace trailer.]


2. Mulan (Jerry Goldsmith)
Much of the epic scope and drama of Mulan comes from Jerry Goldsmith's score.  The rich textures, both Chinese and electronic, add greatly to the film.  Thematic material is strong (and are highlighted nicely in the Mulan Suite).  The songs and score really don't intermingle, with the soundtrack only using a handful of Goldsmith cues.  Would love to hear more of this score expanded and released in the future.




1. The Mask of Zorro (James Horner)
Zorro brought out Horner's most swashbuckling action score in years.  The album features several of the long, grand orchestral set pieces.  Horner deftly juggles all the action, sweeping romance, great themes and melodrama you expect with all the typical Horner panache.  Utilizing some of his old tricks in addition to the Mexican aspects keeps this score fresh and quite the ride to listen to. 



Honorable Mentions:
Antz (Harry Gregson-Williams/John Powell), The Avengers (Joel McNeely), A Bug's Life (Randy Newman) Lost in Space (Bruce Broughton), Shakespeare in Love (Stephen Warbeck), Small Soldiers (Jerry Goldsmith), Star Trek: Insurrection (Jerry Goldsmith), The Thin Red Line (Hans Zimmer), What Dreams May Come (Michael Kamen)

Any personal favorites of yours from 1998 that I didn't include? 
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Quick Review: Solo: A Star Wars Story

June 3, 2018, 7:20 pm
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Solo: A Star Wars Story
Music composed and adapted by John Powell
Music conducted by Gavin Greenaway
Additional music and arrangements by Batu Sener, Anthony Willis, Paul Mounsey
Music orchestrated by John Ashton Thomas, Geoff Lawson, Tommy Laurence, Andrew Kinney, Randy Kerber, Rick Giovinazzo, Gavin Greenaway
Music recorded at Abbey Road Studios

Han Solo Theme and original Star Wars music by John Williams
Adventures of Han conducted by John Williams
Adventures of Han recorded at Newman Scoring Stage
Album running time: 77 minutes
Available on Walt Disney Records

A mere few months since the last episode, Star Wars: The Last Jedi, we return to the Star Wars universe with this Han Solo prequel adventure.  Just like 2016's Rogue One, this has the A Star Wars Story anthology moniker.

A new theme for young Han Solo was composed by John Williams.  Several ideas by Williams became the track The Adventures of Han, which Powell incorporated heavily into his score once he was hired.  Powell also came up with a shortlist of new themes to use: a love theme for Han and Qi'ra, theme for Chewbacca, the gang theme, Enfys Nest's theme, and a theme for Lando's L3 droid.  Powell also incorporates several bits of past Star Wars material, mainly the Rebel fanfare and main title theme.     

The Adventures of Han is a combination of two ideas by Williams (Powell has referred to them as hero and searching themes for Han).  Stylistically and melodically it is similar to his work on The Force Awakens (I can't help adding the rest of Poe's theme onto this new one).  This arrangement has charging strings, and brilliant brass and woodwind flourishes.  I'm glad Han finally gets a semi-swashbuckling theme by Williams.  As the movie itself premiered, Williams conducted the cue live in Boston, and most likely live concerts in the future.  I can understand if people only want to hear the new theme by Williams, but those that continue listening to Powell's work will be rewarded.

As much of the opening of the film is introducing us to young Han, Williams' themes play a large part.  Meet Han incorporates the searching theme in an action setting over percussion and brass fanfares.  Corellia Chase fits the hero and searching theme into this big action cue.  This is a really fun swashbuckling cue - a type that Powell has been able to conjure for his previous films.  A flash of the Star Wars main title at the end reminds us what universe we're in.  Powell tends to use it as a "things to come/destiny" motif.  

Spaceport builds more upon the Williams material, with a little more suspense and menace as Han and Qi'ra aim for the exit.  In the most dramatic moment near the end of the cue, we're introduced to their love theme - interesting that it's first in such an arrangement.  Flying With Chewie underscores the beginning of Han's new life with Beckett's gang, whose theme appears in some quick trumpet bursts.  Han's theme takes off with some fantastic orchestration with the next section underscoring the forming of friendship between Chewie and Han.

Train Heist begins with a subdued opening before several roaring repetitions of the gang's theme, with some fun nods to the Imperial motif from A New Hope, and some heroic statements of Han's theme.  Marauders Arrive gives Powell a chance to branch out from typical Star Wars sound.  The exotic-sounding choir lends itself to Enfys Nest's group of Marauders as we follow them through the story.  Bits of Han's theme and the gang's theme jump into the action scoring, some of which is purposely frantic.

Chicken in the Pot is the sole source music as we're introduced to the luxurous rooms of the gangsters.  The song is a bit alluring and mixes music styles nicely.  Is This Seat Taken? changes styles to more light and exotic with really interesting instrumentation.  It includes some subdued flute renditions of Han's theme, Chewie's theme and Rebel fanfare, underscoring Han and Lando's sabacc card game.  L3 & Millennium Falcon introduces Lando's droid L3 with her own bouncy march theme.  Here Powell really stretches the score's textures.  As Han boards the Falcon, the chorus enters with bits of the Rebel fanfare and Star Wars main title.  Enfys Nest's theme appears again at the end.  

Lando's Closet gives the biggest statement of the love theme, and it's written like an old Hollywood romance theme.  Mine Mission contains a steady military march with a fugue-like feature.  Think a cross between 'March of the Resistance' and Chicken Run.  Various character leitmotifs fly in and out, but L3's theme plays a prominent role in this cue.  Break Out continues the same style with a few more allusions to Han's theme, an ultra heroic Chewie's theme and later the main title fanfare and Rebel fanfare combined with Han's themes.  The track ends with a sorrowful rendition of L3's theme.

The Good Guy expands on the love theme, but certainly less romantic than before and also includes some strong Enfys Nest choir.  Reminiscence Therapy is perhaps the standout track with Powell throwing themes from across the Star Wars films into the large action sequence.  All the original Williams themes are interestingly patched into Powell's writing - we hear the Death Star motif, main title, Rebel fanfare, 'Here They Come' and 'The Asteroid Field'.  Those themes intermingled with Powell's themes (and the new Han theme) fuel the large action cue.  Into the Maw continues the action with the roaring brass and percussion giving motion to the cue.  We hear a return of L3's theme, and the gang's theme among the orchestral gymnastics.  We build to the Star Wars main title as it mixes with the Rebel fanfare and Han's theme as our heroes escape in the Falcon.

Savareen Stand-Off adds some more interesting percussion and electronic textures to Enfys Nest's material.  Throat singing accompany the theme on flute as it underscores the Maurader leader's true intentions.  Good Thing You Were Listening incorporates dramatic renditions of the gang theme.  Dissonance returns in Testing Allegiance, and as our main characters clash we hear bits of themes in various arrangements.  We hear a nice moment of Han's theme with the percussion from the Mauraders.  The love theme appears one last time with a full piano solo.  The cue ends with a statement of the Crimson Dawn motif (the 3 notes that often accompany Dryden Vos).  The exotic sound of Dice and Roll signifies Han and Lando rematching their sabacc game.  One last large statement of the Rebel fanfare and Han's theme ends the album.  (Note: the end credits aren't on the album so it may seem a bit abrupt).

As you can tell from the album or my semi-breakdown, Powell naturally continued the leitmotif process that has become a Star Wars staple.  Compared to Rogue One with music by Michael Giacchino, Powell has the advantage of utilizing a new theme by Williams.  Perhaps that would be a challenge, but Powell has succeed in that manner.  The usage of older themes seem fresh in their arrangements and instrumentation.  The spotting of heroic moments are great, both for new fans or the die-hards.  FYI: Two little references to Williams themes don't appear on the album.  The layers of full orchestral material is thrilling as well as the new thematic material.  The orchestra styles are also expanding the landscape - from throat singing, tropical vibes to the percussion that Powell loves to use. 

There seems to be a bunch of missing music from the album, but it's a great example of what was made for the film.  It seemed pretty quiet in the film mix, so the album really is a good representation.  Whether you find the film divisive, this score really shines.  Bringing his all to a non-animated film, John Powell proved himself with this score to Solo.  I can only hope this brings him some more work in the franchise.  
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Top 10 Scores Turning 10 in 2018

July 6, 2018, 2:44 pm
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Welcome back to a trip on the Musical Time Machine! What feels like just a few years ago is now 10 years old. Here's a look back at the scores of 2008 with my list of the 10 Best Scores Turning 10!

Let's start the ranking!


10. The Dark Knight (Hans Zimmer/James Newton Howard)
This sequel score is unique. Delving deeper into the sonic world created for Batman Begins, Zimmer and Howard split their work and focus on Joker and Harvey Dent, respectively. Utilizing more electronic elements combined with the orchestra gives the feeling of sound design more than traditional film score. The Joker material pushes boundaries in the genre, while some other aspects appear in past and future Zimmer outings. The sense of anxiety is persistent through the score - fitting the tone of the film, but making it a tough album for some to make through.


9. Speed Racer (Michael Giacchino)
Just like the main character, the score races through dizzying loops and turns. The retro styling brings it back to the old Speed Racer cartoons, and Giacchino faithfully incorporates the theme song throughout the score. Giacchino's styles jump from energetic action to quirky comedy to some subdued family moments. Like the film, it's a bit too much on the senses, but enjoyable in the end.


8. Hancock (John Powell)
In this modern twist of the superhero film, Powell mixes a jazzy swagger with modern action music. He also adds to the comedy with some light writing and interesting instrument combinations. The big rush comes at the finale where all the separate parts and thematic material start working together. The last two album tracks end the score with a bang.


7. Defiance (James Newton Howard)
Music conveys much of the dark tone in this World War II-set film. It's a quieter and more subtle score with beautifully written string moments and propulsive percussion and brass underscoring the action. The heart of the score is carried by the violin solo performed by Joshua Bell, which Howard uses to great effect. There are some standout cues on the album, which is worth a few listens to truly appreciate.


6. The Chronicles of Narnia: Prince Caspian (Harry Gregson-Williams)
Building on the musical world from the previous film, the score by Gregson-Williams feels more epic with its great use of orchestra and choir. The lengthy action cues match the more action-heavy film, but give time for Gregson-Williams to develop some original themes and incorporated new material. The music really supports and accentuates the dramatic parts of the film, and really help bring the adventure and heroics to Narnia.


5. Kung Fu Panda (Hans Zimmer/John Powell)
Zimmer and Powell really show off in this fun animated score. This score involves large themes supplemented with a rock feel, and enough cliche Chinese-esque melodies and instruments to fit the film. While they aren't separately credited, it certainly sounds like you could pick out each composers' contributions. The spiritual theme for Master Oogway is a standout and featured heavily in the following sequels.


4. Quantum of Solace (David Arnold)
Arnold continues his streak of Bond scores, following Casino Royale with more audacious action scoring. The traditional aspects of a Bond score are all present, with Arnold showing off the globetrotting with some exotic instrumentation. Some of the quiet moments stand out, as well as haunting reprises of Vesper's theme.


3. The Curious Case of Benjamin Button (Alexandre Desplat)
Desplat's carefully crafted score emphasizes the more magical aspects on top of the love story. The main theme waltz runs through the score along with several other dream-like themes. As always with Desplat, the gentle orchestration featuring harp, piano and woodwinds are heavily featured. To the turnoff of some, the score is rather quiet, intimate and seemingly mesmerizing.


2. Wall-E (Thomas Newman)
The opening of the film sets so much of the world, and Newman's music acts like a silent film score. The orchestral/electronic mixed with the vibrant instrumentation gives it a sci-fi feel when needed. The score carries the big moments of the Axiom's action in the second half to the most tender love story.


1. Indiana Jones and the Kingdom of the Crystal Skull (John Williams)
While the weakest film in the Indiana Jones series, Williams returned to form by incorporating new material and old themes. Overall, the score works better in the film than on album, with the jungle chase as the highlight. His swashbuckling Adventures of Mutt is still a mainstay at his concerts. It doesn't always recapture the magic of the original trilogy, but it's a great score.


Honorable Mentions:
City of Ember (Andrew Lockington), Frost/Nixon (Hans Zimmer), The Happening (James Newton Howard), Hellboy II: The Golden Army (Danny Elfman), Horton Hears a Who (John Powell), Journey to the Center of the Earth (Andrew Lockington), Milk (Danny Elfman), Nim's Island (Patrick Doyle), Rambo (Brian Tyler), Slumdog Millionaire (A.R. Rahman), The Spiderwick Chronicles (James Horner)

Extra Honorable Mention: Cloverfield (Michael Giacchino)

Any personal favorites of yours from 2008 that I didn't include?

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Spotlight On....Mission: Impossible

July 19, 2018, 5:00 pm
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The newest Spotlight On is all about the Mission: Impossiblefilm franchise.
In honor of the newest release, we're looking back score by score in the series.  Even with several composers over the years, each film incorporates the classic Lalo Schifrin television theme.  Read on...this message will self-destruct in five seconds.

Mission: Impossible (1996)
Music by Danny Elfman
Elfman entered scoring this blockbuster late into the game.  Elfman generally keeps the spy atmosphere with some fantastically quiet and suspenseful underscore.  It feels a bit out of Elfman's comfort zone, and doesn't immediately hook you in.  The Shifrin quotes are kept to a minimum and don't interfere with most of the score.   The final action track is the best in the score.  (Just listen to: Looking for "Job", Betrayal, The Heist, Zoom B) 

Mission: Impossible 2 (2000)
Music by Hans Zimmer
Both the film and score go bolder in this sequel.  Electric guitars and drum set bring the rock feel to the forefront, while Spanish-style guitar and vocal solos are also added in.  The bigger action scenes are underscored with some distorted guitar and techno-lite music.  Easily the weakest film in the series, the score doesn't offer much to standout from Zimmer's other 2000 works.  (Just listen to: Nyah, Injection, Bare Island, Mission: Accomplished)

Mission: Impossible III (2006)
Music by Michael Giacchino
After crafting the spy antics on television's Alias, Giacchino joined director JJ Abrams to the next big screen followup.  Giacchino shows off the orchestra in neverending action cues and creates tension with driving ostinatos.  New motifs and themes are added, as well as more Schifrin references.  The quieter moments for his love theme are also delightful.  (Just listen to: Helluvacopter Chase, Humpty Dumpty Sat on a Wall, Reparations)

Mission: Impossible - Ghost Protocol (2011)
Music by Michael Giacchino
Continuing where he left off, Giacchino continues more variations on Schifrin's original tunes and style.  The score incorporates the various globe trotting with heavy Russian and Indian sections.  Giacchino returns to motifs from the previous film, but the newer material doesn't leave a big impact.  The suspenseful underscore works great in the hair-raising Dubai climb sequence.  (Just listen to: Light the Fuse, Kremlin with Anticipation, A Man, A Plan, A Code, Dubai, Love the Glove, Putting the Miss in Mission)

Mission: Impossible - Rogue Nation (2015)
Music by Joe Kraemer
Making his splash into the franchise, Kraemer goes back to the Schifrin roots and creates most of the score by breaking apart and reconstructing familiar aspects.  Going back to the spy sound, the score is present without being too in-your-face.  Everything seems fresh - a modern action score without sounding like a modern action score.  Kraemer writes great material for the orchestra with new themes being some of the highlights.  (Just listen to: The A400, The Plan, Morocco Pursuit, Meet the IMF)

Mission: Impossible - Fallout (2018)
Music by Lorne Balfe
To be continued.



Check out the others in the SPOTLIGHT ON.... series!
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Composer Cameos #6

August 26, 2018, 2:32 pm
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Composer Cameos are back!  Here are a bunch of new cameos and roles by some familiar composer faces!  I have featured many other composers on the past posts, which are linked posts here: #1, #2, #3, #4, #5.


JON BRION
Brion jams with Adam Sandler in Funny People (2009)

BRUCE BROUGHTON
Broughton plays piano in the A Quiet Day in Dodge episode of Gunsmoke (1973)
T-BONE BURNETT
Burnett (r) in Heaven's Gate (1980)
CARTER BURWELL
Burwell plays piano in Scorchers (1991)
FRANK CHURCHILL
Churchill plays piano behind the scenes in The Reluctant Dragon (1941)
GEORGE S. CLINTON
Clinton (l) as reporter Joe Pittman in The Apple (1980)
FRANK DE VOL
Frank De Vol as Mr. Eaglewood in The Parent Trap (1961)
RAMIN DJAWADI
Djawadi as a guitarist in The Riddle of the Sphinx episode of Westworld (2018)
PATRICK DOYLE
Doyle as the minister in Effie Gray (2014)
GEORGE FENTON
Fenton as the conductor in flashbacks in The Lady in the Van (2015) 
MICHAEL GIACCHINO
Giacchino (r) plays trooper FN-3181 in Star Wars: The Force Awakens (2015)


The conductor in Coco's final concert based on Giacchino's looks (2017)
HOWARD GOODALL
Goodall is a church organist in the pilot episode of Mr. Bean (1990)
LUDWIG GORANSSON
Goransson plays piano in the band in Creed (2015)
JONNY GREENWOOD
Greenwood (r) plays guitar at the Yule Ball in Harry Potter and the Goblet of Fire (2005)
RICHARD HAGEMAN
Hageman is the saloon pianist in 3 Godfathers (1948)
MICHEL LEGRAND
Legrand plays Bob the pianist in Cleo from 5 to 7 (1962)
JOHN OTTMAN
Ottman portrays Confused Tech in X-Men: Apocalypse (2016)
ERIC SERRA
Eric Serra portrays The Bassist in Subway (1985)
THEODORE SHAPIRO
Shapiro (in hat) appears with the band in a deleted scene from Ghostbusters (2016)
MAX STEINER
Steiner appears conducting the orchestra in the titles of Girl Crazy (1932)
MORTON STEVENS
Stevens dies from a drug overdose and his case file in Trouble in Mind episode of Hawaii Five-O (1970)

HERBERT STOTHART/BRONISLAW KAPER
Stothart (l) and Kaper (r) appear in the backstage MGM short We Must Have Music (1941)

OLIVER WALLACE

Wallace appears in the Disneyland episode, The Story of the Animated Drawing (1955)

Wallace conducts in the Disneyland episode, Cavalcade of Song (1955)

Wallace conducts the circus band in Toby Tyler or Ten Weeks with a Circus (1960)
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Music Behind the Ride: Haunted Mansion

October 28, 2018, 10:30 am
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The Haunted Mansion is one of the most beloved rides at Disney properties around the world.  In this new feature Music Behind the Ride, I wanted to explore a classic attraction with some connections with film composers.  With Halloween approaching, I wanted to take a specific look at the 999 happy haunts and the music that accompanies them.

The most important names in the creation of the attraction's music are composer Buddy Baker and Imagineer/lyricist X Atencio. Baker might be a familiar name to Disney fans with his music appearing all over the parks (he was WED's music director) and his various live action and animated film scores.  Atencio was instrumental in the creation of the Mansion's script and lyrics to Grim Grinning Ghosts.  Atencio also wrote the lyrics to the other Disney park classic song, Yo Ho (A Pirate's Life for Me).



The song Grim Grinning Ghosts ties the whole ride together.  While the song with lyrics isn't fully used until the last scenes, the song's melody is placed throughout the ride.  Baker arranged these variations on the melody for each scene of mainly different tempos and instrumentation as to not let the tune get too repetitive.  The foyer features the melody played slowly on a funeral-style organ while the ride loading area features the melody on flute and tubular bells.  There are several parts of the rides that the music was purposely performed backwards and played forwards, giving it a slightly otherworldly feel.  The ballroom scene is more orchestral and melody is modified into a grand waltz.  I love the music as the ride enters the graveyard jamboree.  Around 40 different tracks were recorded for this portion, and the graveyard jamboree scene itself included a jazz ensemble, instrumental soloists, vocalists including the singing busts and the soprano opera singer.  All this happening from the line queue to the exit is a testament to Baker and the Imagineering team's attention to detail.  The ride opened at Disneyland in 1969 with Walt Disney World's version in Magic Kingdom opened soon after in 1971.  Tokyo Disneyland opened their ride in 1983.

In 2001 the Disneyland Haunted Mansion received a holiday season overlay called Haunted Mansion Holiday, based on The Nightmare Before Christmas (1993).  In addition to the Jack Skellington decorations, the ride's soundtrack was also changed.  Originally it featured new music by Gordon Goodwin, but the score was replaced in 2002 with film themes by Danny Elfman adapted by John Debney.  I believe some of Goodwin's score still appears in the ride.

Meanwhile, across the world the Haunted Mansion has some alternate incarnations and some fantastic music to go along with it.    

In 1992, Phantom Manor opened in Disneyland Paris.  The ride contains a darker theme and an entirely new orchestral score composed by John Debney.  Debney was no stranger to Disney, having been mentored by Buddy Baker and arranged several other park ride music in the 1980s.  Recorded by the London Chamber Orchestra at Abbey Road Studios, Debney's gothic score fits more of the new romantic storyline.  Naturally, elements of Grim Grinning Ghosts are naturally included in the score.

In 2013, Hong Kong Disneyland opened its own dark ride called Mystic Manor.  More inspired than based on the Haunted Mansion due to cultural sensitivities, we follow Lord Henry Mystic and his pet monkey, Albert.  The lighthearted trackless ride travels through the mansion's collection rooms with Albert unleashing many mystical artifacts.  The ride's score was composed by Danny Elfman (it's no surprise he was a fan of the original Haunted Mansion).  The magical score features choir, pipe organ and Elfman providing vocals as suits of armor.  The score changes instrumentation through the various rooms - from the Egyptian and Tiki rooms to the Chinese room.  Because of the basically new story and ride, references to Grim Grinning Ghosts don't appear.  
Elfman's portrait appears in Mystic Manor's queue area. 
As far as recordings, the song Grim Grinning Ghosts has appeared on several Disney compilations, but ride sound effects, background music and separate musical tracks have appeared on the limited edition 30th anniversary disc and 2009 The Haunted Mansion album currently sold in the Disney parks.  A 12-minute Phantom Manor suite is also included on the album.  The Haunted Mansion Holiday received an album in 2003, featuring handfuls of spooky Christmas carols, and music by Goodwin, Elfman and Debney.  As of this writing, Elfman's 5 minute Mystic Manor music hasn't been released - and I hope it makes it out!  It can be heard on various fanmade ride videos and his main theme is used in a collectible music box sold in Hong Kong Disneyland.

Happy Halloween!  Hope the music gets stuck in your head!  Oh, and beware of hitchhiking ghosts!            
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Quick Review: First Man

November 5, 2018, 7:50 pm
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First Man
Music composed by Justin Hurwitz
Music orchestrated and conducted by Justin Hurwitz
Soundtrack running time: 67 minutes
Available on Back Lot Records

After their Oscar winning success on La La Land (2016), Justin Hurwitz and director Damien Chazelle continue their collaboration with First Man. Based on the book of the same name, the film explores the life of Neil Armstrong - his family life, training and eventual moon landing in 1969.

Rather than the jazz influences in La La Land and Whiplash (2014), Chazelle and Hurwitz wanted to score it differently than anything they worked on before. Working with storyboards and the script, Hurwitz composed some main themes and sketched out some of the major sequences prior to the main scoring process. The instrumentation of the score is unique - Hurwitz employs the use of interesting retro electronics both as a melodic and rhythmic texture. He also liberally uses solo harp and theremin (performed by Hurwitz himself). The music often keeps the score from a personal point of view – Armstrong's family, and the loneliness that goes with space travel. The longest cues served as jumping off points for the rest of the score - the Apollo 11 launch and the landing sequence.

Two main themes support the film - Neil's theme and family theme. Both appear all through the score separately with a few tracks where they intertwine. A work theme as he prepares with NASA appears in handful of tracks.

I've decided to make a handy guide for the album as divided by main theme: Neil's theme, family theme, work theme and electronic tension.

Neil’s theme is highlighted in Armstrong Cabin, Houston, Sextant, The Armstrongs, Neil Packs, Apollo 11 Launch, The Landing, Quarantine.
Family theme is highlighted in Karen, It'll Be an Adventure, Baby Mark, Squawk Box, Docking Waltz, I Oughta Be Getting Home/Plugs Out, Contingency Statement, The Landing, Crater, Quarantine.
Work theme is featured in Another Egghead, Multi-Axis Trainer, First to Dock, Dad's Fine, End Credits.
Electronic tension is found in X-15, Good Engineer, Elliot, Searching for the Aegena, Spin, Naha Rescue 1, News Report, Translunar, Moon, Tunnel, Moon Walk.

The family theme seems to be the framework for Pat and Janet, Neil Packs and Home; while the melody in Apollo 11 Launch is derived from Neil's theme. While supporting the film, the electronic tension cues are easily the most skippable during an album listen. You might enjoy the vintage synth work he's crafted, but it's not my cup of tea. It's really The Landing and Quarantine that sum up Hurwitz's score. Neil's theme intertwined with the family theme bring all parts of the story of Neil Armstrong together.

The score is bold in its choices, and I'll give it to Hurwitz for that. The film and score don't have the overt heroics of Apollo 13 or The Right Stuff (and nor does it need to). The film and score go for a personal look at Armstrong rather than "Moon Landing: The Motion Picture". The use of theremin is a neat idea and used well in context and the moments with solo harp are simple and effective. Even with the musically fine themes, I found the album a bit of a slog. Of course film music's main goal is to support the film (which it does), so you can't rate the score on album alone. Overall, what you get is a collection of short cues that feel like thematic statements rather than letting them evolve throughout the score.
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Honorary Oscars

November 22, 2018, 1:17 pm
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The Academy Honorary Award is awarded by the Board of Governors of the Academy of Motion Picture Arts and Sciences. Given as a Special Award since the 1920s, only a few composers have won for their lifetime work in the industry. At the time of their respective awards, none have received a competitive award - perhaps this could be seen as an Academy Award correction. With Lalo Schifrin's Honorary Award ceremony in November, 2018, let's look back at the previous winners and their past Oscar history.

Alex North (1910-1991)
Nominations for:
A Streetcar Named Desire (1951)
Death of a Salesman (1951)
Viva Zapata! (1952)
The Rose Tattoo (1955)
Best Original Song: "Unchained Melody" from Unchained (1955) [lyrics by Hy Zaret]
The Rainmaker (1956)
Spartacus (1960)
Cleopatra (1963)
The Agony and the Ecstasy (1965)
Who's Afraid of Virginia Woolf? (1966)
The Shoes of the Fisherman (1968)
Shanks (1974)
Bite the Bullet (1975)
Dragonslayer (1981)
Under the Volcano (1984)
Honorary Academy Award 1985"in recognition of his brilliant artistry in the creation of memorable music for a host of distinguished motion pictures."

North was the first composer to receive this Honorary Award after his 15 nominations (and losses) to composers Franz Waxman, Dimitri Tiomkin, Alfred Newman, Victor Young, Ernest Gold, John Addison, Maurice Jarre, John Barry, John Williams and Vangelis.

Ennio Morricone (1928- )
Nominations for:
Days of Heaven (1978)
The Mission (1986)
The Untouchables (1987)
Bugsy (1991)
Malena (2000)
Honorary Academy Award 2006"in recognition of his magnificent and multifaceted contributions to the art of film music."

In 2016, Morricone won the Oscar for Best Original Score for The Hateful Eight (2015). Fun fact: this win made Morricone the oldest Oscar winner at 87, until 89 year old James Ivory won for the screenplay of Call Me By Your Name (2017).

Lalo Schifrin (1932- )
Nominations for:
Cool Hand Luke (1967)
The Fox (1967)
Voyage of the Damned (1976)
The Amityville Horror (1979)
Best Original Song: "People Alone" from The Competition (1980) [lyrics by Will Jennings]
Best Original Song Score/Adaptation: The Sting II (1983)
Honorary Academy Award 2018 "in recognition of his unique musical style, compositional integrity and influential contributions to the art of film scoring."
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Music Behind the Ride: Soarin'

November 28, 2018, 1:30 pm
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When Disney California Aventure opened in 2001, one of the opening attractions was Soarin' Over California.  In this edition of Music Behind the Ride, I'll explore the music used and the versions around the world. 

With Soarin' Over California, the extremely popular flying simulator incorporated the feeling of hang gliding over various California sights, including the Golden Gate Bridge, Napa Valley, Yosemite, Downtown Los Angeles and even returning to Disneyland.  Scents and the swinging ride vehicles are also used through the ride to match the locations.  The innovative ride system with the stunningly large Omnimax screen made the ride an instant hit.  

The queue for the ride led visitors past displays of aviation history and significant figures in its history.  Cues from a wide variety of film scores and composers are played through the queue hallways.  It's one of the few Disney park rides that plays such a mix of non-Disney film music.  Some of those films include:
Explorers (Jerry Goldsmith) 
The Right Stuff (Bill Conti)
Air Force One (Jerry Goldsmith)
Contact (Alan Silvestri)
The Rescuers Down Under (Bruce Broughton)
Apollo 13 (James Horner)
Dave (James Newton Howard)
Always (John Williams)
Hook (John Williams)
The Musketeer (David Arnold)
The Last Starfighter (Craig Safan)
Field of Dreams (James Horner)
Far and Away (John Williams)
The Rocketeer (James Horner)
Medicine Man (Jerry Goldsmith)

Not all are flight related, but have the inspirational orchestral sound Disney was looking for.  Once the seats have risen up, the ride video and the stirring Jerry Goldsmith score take over.  The 4 minute orchestral and synth score alternate between the opening fanfare and sweeping main melody.  The majestic brass and cymbal crashes are synched with the film, ending with the twinkling magic of returning home.  Story goes that Goldsmith left the ride in tears and was happy to compose the ride score.  Expanding into Walt Disney World's Epcot in 2005, it was renamed to Soarin'. The show building used an airport theme, taking you on Flight 5505 to California.  The queue music and ride video were identical to California Adventure.  Soarin' quickly became one of Epcot's most popular rides, with wait times easily up to two hours.

The biggest change was the closure, refurbishment and reopening in 2016.  Both versions of the ride were renamed to Soarin' Around the World.  Straying far from California, this new video travels past the Alps, over ice fjords, the Sydney Harbor Opera House, Neuschwanstein Castle, a herd of African elephants, the Great Wall of China, the Great Pyramid, Taj Mahal, the Eiffel Tower at night before arriving at the Disney park of your departure.  Shanghai Disneyland's Soaring Over the Horizon is the same 2016 music and video but ends with the glowing skyline of downtown Shanghai.


With the ride video changing, Bruce Broughton arranged new music for the ride.  Thankfully, the main themes from Goldsmith's score are still present.  Broughton added more orchestra embellishments into the arrangement and also allowed the orchestration to change with the various locales.  The London Studio Orchestra recorded this new version at Abbey Road, and you can hear all the international flavor added, like the African drums and the Indian sitar, among the others.  The ride will expand again in summer 2019, with Soaring: Fantastic Flight at Tokyo DisneySea.


As far as recordings, Goldsmith's original ride score first appeared on the Music from California Adventure album in 2001.  It has since appeared on several Walt Disney World and Disneyland compilation albums.  Broughton's newer arrangement hasn't been released yet, so you'll have to go experience it yourself!
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Quick Review: Fantastic Beasts: The Crimes of Grindelwald

December 11, 2018, 1:00 pm
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Fantastic Beasts: The Crimes of Grindelwald
Music composed by James Newton Howard
Conducted by Pete Anthony
Orchestrated by Pete Anthony, Jeff Atmajian, Jon Kull, Philip Klein, John Ashton Thomas, Peter Boyer
Choir performed by London Voices, Trinity Boys' Choir
Recorded at Abbey Road Studios, London
Soundtrack running time: 77 minutes
Available on WaterTower Records

The Wizarding World takes a darker turn with The Crimes of Grindelwald. And in the US, it also took a darker turn with critics and at the box office. Returning to provide some musical continuity is James Newton Howard. He continues musical ideas from Fantastic Beasts and Where to Find Them (2016) to highlight big moments, but are used sparingly. For this film, he introduces themes for Leta, Dumbledore, Nagini and the big bad, Grindelwald.

Darker material mixes with the large action opening of The Thestral Chase. In this track, we hear the obligatory Hedwig's theme, a choral memory motif, and first statements of Grindelwald's theme before ending with the Fantastic Beasts fanfare. Newt and Leta is a playful and tender cue, while Dumbledore features some magical signatures and also introduces Dumbledore's flighty theme.

More of the magical sounds are present in The Kelpie, which lets Howard's majestic writing shine. Newt and Jacob Pack for Paris is a lighthearted cue, featuring choir, Parisian flavor and a return of Jacob's theme and the Fantastic Beasts theme. Nagini introduces her mysterious theme which stays in the lower end of the orchestra. The friendship theme returns along with a twisting circus reprise of the Fantastic Beasts theme.

We get more magical creature underscore at the beginning of Newt Tracks Tina before it changes moods to a full statement of the friendship theme. Queenie Searches for Jacob underscores Queenie's emotional scene complimented nicely with choir. Irma and the Obscurus starts with a longing string section before it crashes into a booming section for chanting choir and orchestral dissonance. Blood Pact combines aspects of both Grindelwald and Dumbledore's theme and the memory motif.

Newt's heroic theme finally appears in Capturing the Zouwu, with another reference to the friendship theme. The Fantastic Beasts theme is arranged in the magical Williams style of swirling strings and celeste in Traveling to Hogwarts. If I recall correctly, this moment in the film is replaced with a tracked version of Hedwig's theme. Leta's theme gets a proper expansion in Leta's Flashback, heavily featuring harp and chorus and an extended emotional piano solo. Salamander Eyes features the friendship theme with strings and piano solo, one of the score's stronger cues. Matagots is a really fun action track, with swashbuckling brass shining through as Newt's heroic theme bursts through the dissonance.

Your Story is Our Story is mostly ominously quiet underscore, with Grindelwald's theme lurking in the low strings. Leta's Confession carries much of the dramatic weight of the scene, using a slower reprise of the Fantastic Beasts theme, while Leta's theme naturally carries much of the track. Vision of War features a dark and string section, dissonant choir and otherworldly sounding orchestral and percussion techniques. 

Spread the Word builds through most of the dramatic cue with choir and a string ostinato as we follow the decisions of several main characters. Wands into the Earth starts with the memory motif and eventually builds to some great brass interplay, large choir and a grand statement of the Fantastic Beasts theme. Restoring Your Name returns to the more somber underscoring which uses several past themes. We hear Dumbledore's theme and Fantastic Beasts theme before turning to darker side with Obscurus and Grindelwald while building to an explosive orchestral ending. 

Fantastic Beasts: The Crimes of Grindelwald is the lively beginning of the end credits, featuring much of the music from the trip to Paris and a bold statement of Newt's heroic theme. The album also includes three piano solo arrangements of major themes: Dumbledore's Theme, Fantastic Beasts Theme and Leta's Theme. These aren't included in the film, but a nice way to appreciate the material written for the film.

In general, I find this score (and film) lacking something. Much of the magical atmosphere from the first film has been dropped in favor of Grindelwald's ominous takeover. Much of the film's problems seem to come from the writing and direction, in my opinion. While not always displaying a magical sparkle, James Newton Howard's score carries much of the emotional weight. The lack of dialogue in the extended flashbacks and finale give plenty of times to highlight the score.

The use of past themes seem more like cameos than integrated into the film itself. I'm glad the Fantastic Beasts theme is used, but with Newt, Tina and Jacob basically sidelined through the film, much of their respective material isn't touched. In addition, the newer themes are fine even if they don't make much impact outside their scenes. Grindelwald and Dumbledore's themes didn't make much of an impression in the film (or much in the album), but Howard can expand on that in the future films. The score is still worth a listen. Howard matched the darker tone of the film, but without the fantastical elements, the score just doesn't pop like the last.
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2018 Original Score Awards Roundup

December 19, 2018, 12:09 pm
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Here's the annual 2018 Roundup of Original Score nominations and winners from various awards associations. Winners will be marked in red and updated regularly!

ACADEMY AWARD
BEST ORIGINAL SCORE
[nominations announced 1/22]

GOLDEN GLOBE
BEST ORIGINAL SCORE 
Black Panther (Ludwig Göransson)
First Man (Justin Hurwitz)
Isle of Dogs (Alexandre Desplat)
Mary Poppins Returns (Marc Shaiman)
A Quiet Place (Marco Beltrami)

BRITISH ACADEMY FILM AWARDS (BAFTA)
[nominations announced 1/9]

ANNIE AWARDS
OUTSTANDING ACHIEVEMENT IN AN ANIMATED FEATURE PRODUCTION
Early Man (Harry Gregson-Williams & Tom Howe)
The Grinch (Danny Elfman, Tyler the Creator)
Incredibles 2 (Michael Giacchino)
Ralph Breaks the Internet (Henry Jackman, Alan Menken, Dan Reynolds, Phil Johnston, Tom MacDougall)
Smallfoot (Heitor Pereira, Karey Kirkpatrick, Wayne Kirkpatrick)

SATELLITE AWARDS (INTERNATIONAL PRESS ACADEMY)
ORIGINAL SCORE
BlacKkKlansman (Terence Blanchard)
Colette (Thomas Ades)
First Man (Justin Hurwitz)
If Beale Street Could Talk (Nicholas Britell)
The Sisters Brothers (Alexandre Desplat)
Widows (Hans Zimmer)

LOS ANGELES FILM CRITICS ASSOCIATION
BEST MUSIC SCORE

LOS ANGELES ONLINE FILM CRITICS SOCIETY
BEST SCORE
BlackKklansman (Terence Blanchard)
Black Panther (Ludwig Göransson)
First Man (Justin Hurwitz)
If Beale Street Could Talk (Nicholas Britell)
Isle of Dogs (Alexandre Desplat)

SAN DIEGO FILM CRITICS SOCIETY
BEST USE OF MUSIC IN A FILM

SAN FRANCISCO FILM CRITICS CIRCLE
BEST ORIGINAL SCORE
BlackKklansman (Terence Blanchard)
Black Panther (Ludwig Göransson)
First Man (Justin Hurwitz)
If Beale Street Could Talk (Nicholas Britell)
Isle of Dogs (Alexandre Desplat)

SEATTLE FILM CRITICS SOCIETY
BEST ORIGINAL SCORE
*Mandy (Jóhann Jóhannsson)

WASHINGTON DC AREA FILM CRITICS ASSOCIATION
BEST ORIGINAL SCORE
*If Beale Street Could Talk (Nicholas Britell)

BOSTON SOCIETY OF FILM CRITICS
BEST USE OF MUSIC IN A FILM
*If Beale Street Could Talk (Nicholas Britell)

CHICAGO FILM CRITICS AWARDS
BEST ORIGINAL SCORE
First Man (Justin Hurwitz)
If Beale Street Could Talk (Nicholas Britell)
Mandy (Jóhann Jóhannsson)
Suspiria (Thom Yorke)
You Were Never Really Here (Jonny Greenwood)

DETROIT FILM CRITICS SOCIETY
BEST USE OF MUSIC
A Star Is Born
Bohemian Rhapsody
Green Book
Mandy
Mary Poppins Returns

ST. LOUIS FILM CRITICS ASSOCIATION
BEST MUSIC SCORE

AUSTIN FILM CRITICS ASSOCIATION
BEST SCORE

DALLAS-FORT WORTH FILM CRITICS ASSOCIATION
BEST MUSICAL SCORE

HOUSTON FILM CRITICS SOCIETY
BEST ORIGINAL SCORE

LAS VEGAS FILM CRITICS SOCIETY
BEST SCORE
*Suspiria (Thom Yorke)

FLORIDA FILM CRITICS CIRCLE
BEST SCORE

GEORGIA FILM CRITICS ASSOCIATION
BEST ORIGINAL SCORE
[winners announced 1/11]

LONDON CRITICS CIRCLE FILM AWARDS
TECHNICAL ACHIEVEMENT (FOR MUSIC)

CRITICS CHOICE AWARDS
BEST SCORE

SATURN AWARDS
BEST MUSIC

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2019: Top Anticipated Scores

January 3, 2019, 5:00 am
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2019 has quite a pile of film scores to really look forward to.  In a world of sequels of remakes, there are plenty listed that I'm thrilled to seek out.  I also can't wait to be surprised by scores not even on my radar yet.  Here's my list:   

Music Behind the Screen's 
Top Anticipated Scores of 2019

1. Star Wars Episode IX (John Williams)
I mean, do I need to say anything?  This is the end - supposedly the last Star Wars episode scored by Williams.  His work on the last films have exceeded every expectation.     

2. How To Train Your Dragon: The Hidden World (John Powell)
This Dragon franchise has really let Powell shine, and this last installment hopefully continues that trend.  The rousing scores match the often stunning visuals, and his choir sequences from the last film were highlights. 

3. The Lion King (Hans Zimmer)
Having scored the original (and won the Oscar for it), Zimmer returns with this CG remake.  His style has changed a lot since 1994, so it should be interesting to see what he does with it all.  Since some of the songs are returning, I'd expect to hear some now-classic melodies as well.     
   
4. Captain Marvel (Pinar Toprak)
A rising female voice in film scoring, Toprak gets to show off in this Marvel superhero flick.  She's worked on everything in film, television and video games, and I've enjoyed work of hers in the past.       

5. Spider-Man: Far From Home (Michael Giacchino)
I love a sequel score that builds on the good aspects of the first film.  Giacchino set up some nice material for 'Homecoming' which should make for another fun Spidey score.   

6. Artemis Fowl (Patrick Doyle)
I can't say no to a Patrick Doyle fantasy adventure score.  It's a Disney adaptation based on the popular YA book series, plus Doyle brings his A-game when working with director Kenneth Branagh.     

OTHER SCORES TO HEAR IN 2019
Ad Astra (Max Richter)
Aladdin (Alan Menken)
Avengers: Endgame (Alan Silvestri)
Call of the Wild [composer TBA]
Chaos Walking [composer TBA]
Dark Phoenix (Hans Zimmer)
Dumbo (Danny Elfman)
Farmageddon: A Shaun the Sheep Movie (Tom Howe)
Ford v. Ferrari [composer TBA]
Frozen 2 (Christophe Beck)
Godzilla King of Monsters (Bear McCreary)
Hellboy (Benjamin Wallfisch)
The Lego Movie 2: The Second Part (Mark Mothersbaugh)
Little Women [composer TBA]
Missing Link (Carter Burwell)
Once Upon a Time in Hollywood (Tarantino soundtrack)
Pet Sematary (Christopher Young)
The Secret Life of Pets 2 (Alexandre Desplat)
Shazam! (Benjamin Wallfisch)
Toy Story 4 (Randy Newman)
The Woman in the Window (Trent Reznor/Atticus Ross)

Anything you're patiently (or impatiently) waiting for in 2019?
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Quick Review: Mary Poppins Returns

January 7, 2019, 11:30 am
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Mary Poppins Returns
Music score composed by Marc Shaiman
Songs written by Marc Shaiman and Scott Wittman
Original Mary Poppins themes by Richard M. Sherman and Robert B. Sherman
Conducted and Supervised by Paul Gemignani
Dance and Additional Music Arrangements by David Krane
Orchestrated by Jeff Atmajian, Doug Besterman, Michael Starobin, Danny Troob, Brad Dechter, Larry Blank, Julian Kershaw, Jon Kull
Music score conducted by Gavin Greenaway
Music recorded at AIR Lyndhurst Studios, Abbey Road Studios
Soundtrack running time: 78 minutes
Available on Walt Disney Records

Mary Poppins Returns brings back the magic of the P.L. Travers characters and a sequel to the classic Disney film from 1964. Just as before, the songs and score are connected to the film itself. In 1964 there was the Sherman Brothers (Richard M. Sherman and Robert B. Sherman) writing the music and songs with Irwin Kostel adapting and conducting.

54 years later, new songs carry much of Mary Poppins Returns. This time, we get songs by Marc Shaiman and Scott Wittman. Score is also by Shaiman, a 5 time Oscar nominee and Tony Award winner. I love a new musical, and I also love a good song score. Melodies of the songs are woven into the score, and are sometimes introduced as semi-leitmotifs before the song proper. Since about half of the soundtrack album feature the songs (and deserve a review all to themselves), I want to just focus on the instrumental score.

The songs include:
Underneath the Lovely London Sky; A Conversation; Can You Imagine That?; The Royal Doulton Music Hall; A Cover is Not the Book; The Place Where Lost Things Go; Turning Turtle; Trip a Little Light Fantastic; Nowhere to Go But Up

As like most original Disney soundtracks, songs are featured in the first half of the album and you'll have to make your own playlist to put them in chronological order with the score.

After a brief introduction to Lin-Manuel Miranda's Jack, we get a full main title sequence with gorgeous painted backgrounds as we hear the Overture. Full of grand statements of themes - Can You Imagine That, Place Where Lost Things Go, Trip a Little Light Fantastic and Underneath the Lovely London Sky. The orchestra sounds fantastic through this Broadway-style medley, and there's a little hint of Spoonful of Sugar near the opening.

Theme from Mary Poppins Returns isn't in the film, but rather Shaiman's entry into his themes used both for the trailer and on set filming. It's used through the film as Mary's theme, which also becomes Can You Imagine That. Kite Takes Off uses the Lovely London Sky melody to represent Jack, as the orchestra whips up a bit of action and magic all while hinting at Mary's theme before a full sweeping thematic reveal.

Mary Poppins Arrives reveals a lighthearted version of Mary's theme full of orchestral frills and comedic beats. The Sherman Brothers melodies from Spoonful of Sugar and The Perfect Nanny also make short but sweet appearances. Magic Papers gives a little more motion to bits of Mary's theme among glissando harps and comedic styling. Older Michael is represented with a reprise of A Conversation on piano and later the brass present a snippet of Fidelity Fiduciary Bank. (Bet you forgot about that song!)

In the short cue Banks in the Bank, we hear more Fidelity Fiduciary Bank among sprightly woodwind writing. Into the Royal Doulton Bowl plays as we enter the animated world with the glitzy opening bits of Royal Doulton Music Hall mixed with Can You Imagine That. The melody on flute is jaunty, as it underscores their animated carriage taking them to the Music Hall.

After Mary and Jack's performance of A Cover is Not the Book, we get a serious action cue in Rescuing Georgie. Shaiman shows off his orchestral writing here, giving the strings plenty to do, with woodwind and harp flourishes aplenty mixed with heroic statements of the Royal Doulton Music Hall verse as their scary animated adventure comes to a close.

Off to Topsy's brightens back up as the group makes it to Topsy's upside down workshop. We hear a bouncier Mary's theme with a bit of The Perfect Nanny mixed in. A big band jazz sound first introduces the melody of Turning Turtle, before moving to the semi-Klezmer arrangement just like the song itself. Chase Through the Bank is a brief cue with a bit of suspense and action. Lost in a Fog is another shorter cue, setting the atmosphere with slow moving strings, choir and woodwinds.

Goodbye Old Friend brings back the Lovely London Sky on piano, Mary's theme on solo cello and oboe, both melodies with that tinge of sadness even when the whole orchestra joins in. Race to Big Ben is the big action segment of the film, with all leeries helping the group get to Big Ben. Melodies jump around the orchestra, sometimes appearing as fanfares - Can You Imagine That, Trip a Little Light Fantastic, Place Where Lost Things Go and even another spot of Spoonful of Sugar. The momentum rises and falls with choir and chimes, both adding to the texture. End Title Suite is another lovely reprise of themes, beginning with the cheerful Nowhere to Go But Up. As the arrangement grows, the choir joins in. Turning Turtle gets a big band-style arrangement, Trip a Little Light Fantastic gets a big reprise, becoming sweeter for The Place Where Lost Things Go, a grand statement of Can You Imagine That and blink of Supercalifragilisticexpialidocious.

I love how a song score can connect you to the material so much faster. For example, Mary Poppins' theme was written before filming was finished - and was even played on set. It was also used right away in the theatrical trailers, the opening of the film, becoming the very backbone of Can You Imagine That and various parts of underscore.

I can't think of a more joyful score from recent years. Tasked with following up to some of the most indelible music by the Sherman Brothers, Shaiman and Wittman came up with some delightful songs. Parallels can be drawn from the original songs by their place in the story and style, but they all work completely on their own. From there, Shaiman was able to utilize the orchestra in arranging the songs to weave throughout the score. Those bright brights and tender moments wouldn't be possible without the songwriting talents. The arrangements and orchestration team includes some Broadway veterans which give the orchestral pop that is just infectious to listen to. I like the use of some Sherman Brothers melodies - nothing too completely obvious, but just a wink for those that notice. The score tracks on the album are a great representation and really makes you want to hear it all.  Beyond animated films, scores like this don't come around very often. The score and delightful songs are filled to the brim with joy with a sound both fresh and nostalgic. Like Mary, this music is practically perfect, in every way.

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Music Behind the Ride: Universal Live Shows

January 23, 2019, 8:04 pm
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In this edition of Music Behind the Ride, I'm focusing on two different live shows with the music front and center at Universal Studios Hollywood. Besides the famous Studio Tour, live shows became the next addition in the 1960s with stunt shows following through the 70s and 80s. It wasn't until the 1990s when rides started appearing at the park.


After the run of the classic monster show Castle Dracula (1980-1983), Universal turned to Landmark Entertainment to create a live stunt show based on 1982's Conan the Barbarian. Opening in summer, 1993 The Adventures of Conan: A Sword and Sorcery Spectacular wowed audiences in the live stage production. Featuring state-of-the-art lasers and pyrotechnics, the 20 minute show also featured a 18-foot tall fire breathing dragon. Instead of following the film's plot, the show followed Conan and Red Sonja fighting an evil wizard and henchmen in a classic good-versus-evil story. As far as the music needed, Conan the Barbarian composer Basil Poledouris was brought in for the stage show. While it sounds like it fits in his Hyborean Age style, no themes from the film score were used. Like the film, the show is nearly scored wall-to-wall. Poledouris kept a lighthearted action/adventure tone, helping emphasize the sword and sorcery than the brutality of the film. Even in the short production, a new romance theme and new heroic Conan material were introduced. Usual collaborator Greig McRitchie orchestrated the score and was conducted by Poledouris with the London Studio Symphony Orchestra and choir. 

The Adventures of Conan continued at Universal Studios until 1994. The Castle Theatre continued live shows like Beetlejuice Graveyard Revue, Spider-Man Rocks! and most recently the Special Effects Stage show. In 2000, the recording of the Poledouris score was released on the Super Tracks label. The 24 minute album features a portion of the show complete with booming narration along with the music as recorded. The Sword and Sorcery Spectacular made it to disc yet again in 2011, this time paired along with the City of Prague Philharmonic Orchestra re-recording of Conan the Destroyer (1984).

Meanwhile, across the park, action stunt shows of The A-Team and Miami Vice ran through the 1980s and 90s. While filming was going on, the next stunt show became WaterWorld: A Live Sea War Spectacular. Opening in fall 1995 (after the summer film opening), the 16 minute show featured the gigantic pool, live stunts, large pyrotechnics, and jet-skis which soak the arena's front rows. The seaplane entrance is a highlight for sure. Taking place after the film, Helen returns after discovering Dryland and is pursued by Deacon and the evil Smokers until The Mariner shows up to save her. As soon as you walk into the 2,500 seat arena, the film's music is piped in. Instead of a newly composed score, tracks from the James Newton Howard soundtrack are used. 

During the preshow seating, you hear Deacons Speech looped. The Main Title is heard under the opening narration. The Atoll underscores Helen's entrance. With most of the large action set to Escaping the Smokers, it's easy to get that swashbuckling music stuck in your head as you leave.

The WaterWorld show at Universal Hollywood is still running, even if a majority of the audience hasn't seen the film it's based on. The attraction expanded to Universal Studios Japan in 2001 and Universal Studios Singapore in 2010.  The show was refined in 2014 and referbished in 2017 with slightly adjusted characters, plot and sound system.  As far as recordings, almost everything is looped from the original soundtrack, so no official show recording has been released.


Universal Hollywood and Universal Florida have some other strong film score connections. Let me know if there's ride or attraction you'd like featured in the next Music Behind the Ride!             
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Music Behind the Ride: The Sherman Brothers

February 13, 2019, 2:00 pm
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In the Disney theme parks around the world, you cannot get very far without hearing the music of the Sherman Brothers.  In this edition of Music Behind the Ride, I wanted to look at the songs written by the Sherman Brothers and the attractions they go with.

After catching the ear of Walt Disney, Robert B. Sherman and Richard M. Sherman became staff songwriters in 1960.  Loving their music, Walt would turn to the brothers for title songs and musical numbers for many films including: The Parent Trap (1961), The Sword in the Stone (1963), Mary Poppins (1964), The Monkey's Uncle (1965), That Darn Cat! (1965), and The Jungle Book (1967).  They would work on other projects after Walt Disney's death in 1966, like Chitty Chitty Bang Bang (1968), Adventures of Tom Sawyer (1973), Adventures of Huckleberry Finn (1974) and the Slipper and the Rose (1976).

They would resume a relationship with Disney with songs for The Aristocats (1970), Bedknobs and Broomsticks (1971), and the musical voice of Winnie the Pooh through the multiple shorts and theatrical Many Adventures of Winnie the Pooh (1977).  They returned to Disney feature films with new songs for The Tigger Movie (2000).

Chitty Chitty Bang Bang and Mary Poppins made the leap to the stage, with productions all over the world.  Even after Robert's death in 2012, Richard provided new lyrics to The Jungle Book (2016), wrote three new songs and cameoed in Christopher Robin (2018) and served as music supervisor for Mary Poppins Returns (2018).

Even with their impressive film resume, their music for the Disney parks are some of the most recognizable and revered.  Here's a sampling of what music of theirs you can hear in the park, both past and present.  [For easy reference, I'm going in chronological order by attraction opening.]

The Enchanted Tiki Room
This tropical indoor attraction opened at Disneyland in 1963.  The show features four macaw hosts along a whole menagerie of birds, tiki drummers, totem poles and flowers.  While there are other songs in the show, it's the title song by the Sherman Brothers that is the clear winner.  This was also the first song ever written for audio-animatronics.  Full of great lyrical puns, "The Tiki Tiki Tiki Room" is the main highlight and one of the catchiest songs in the Disney parks.  The show was copied at Magic Kingdom, opening as Tropical Serenade in 1971.  Walt Disney World's Magic Kingdom went through a phase as The Enchanted Tiki Room (Under New Management) from 1998-2011.  After a small fire in the show building, the much maligned show (which only featured a snippet of the main song), was replaced in 2011 with a re-instated but shorter version of the Disneyland original.   

It's a Small World
The original attraction was created for the 1964 New York World's Fair - located in the UNICEF pavilion intending to promote peace and unity through the children of the world.  After the fair, the ride was moved to Disneyland's Fantasyland and opened in 1966.  Several hundred children audio-animatronic dolls were designed by Mary Blair, and costumed in traditional dress by Alice Davis.  Instead of individual national anthems, the Sherman Brothers came up with "It's a Small World (After All)".  As the boats travel through the scenes, the song loops again as the voices sing in their native language while the musical arrangement matches the country as well.  Previously named Children of the World, the song gave the ride its final name.  Versions of the ride opened in Walt Disney World in 1971, Tokyo Disneyland in 1983, Disneyland Paris in 1992 and Hong Kong Disneyland in 2008.  In case you wonder why the iconic song is stuck in your head, the verse and chorus work in counterpoint together and the ride loops the song through the entire 12 minute ride.

Carousel of Progress
Originally part of the 1964 New York World's Fair, the Carousel of Progress made the move to Disneyland in 1967.  The auditorium rotates as audiences see four scenes from the 1900s to the 21st century.  Each scene begins the transition with the Sherman Brothers upbeat song "There's A Great Big Beautiful Tomorrow".  Even as one of Walt's favorite attractions, the Disneyland version closed in 1973 before moving to Florida in 1975.  To match some of the ride changes, the Sherman Brothers wrote "The Best Time Of Your Life".  Renamed Walt Disney's Carousel of Progress with the refurbishment in 1994, the original Sherman Brothers song was brought back.  Instrumental arrangements of "The Best Time Of Your Life" can be heard today in Tomorrowland at both parks. 

Adventure Thru Inner Space
Appearing in Disneyland's Tomorrowland in 1967, guests travel through the Mighty Microscope and see the world on an atomic level.  The first to use the Omnimover ride system, you travel past ice crystals, water molecules and even the nucleus of the atom.  At the end of the ride, you see displays of sponsor Monsanto.  In addition to the music score by Buddy Baker, the Shermans wrote "Miracles from Molecules".  The ride closed in 1985 to make way for Star Tours (which features a few tributes to the closed ride).  The song can still be heard today as part of the instrumental music loop throughout Tomorrowland.

America on Parade
As America celebrated its bicentennial in 1976, Disney went all out with America on Parade.  This larger than life parade in both California and Florida celebrated with huge People of America characters through scenes and stories of America over the years.  Among the patriotic tunes, the Sherman Brothers wrote "The Glorious Fourth", which was performed during the parade.  It ran until 1977, and naturally, the song hasn't been used since.

World Showcase March
At the grand opening ceremony of EPCOT Center in 1982, a large World Showcase Parade premiered with tons of musicians and dancers in fun costumes.  The parade was accompanied by the Sherman Brothers tune, "There's No Place Like World Showcase".  The song was performed a handful of times during the festivities and also in the Skyleidoscope lagoon show (1985-1987), but has since disappeared from the park.  

Magic Journeys
In 1982, Magic Journeys was one of opening attractions in EPCOT Center.  Located in the Journey Into Imagination pavilion, this 16-minute 3D film followed the imagination of a young child.  The preshow featured the Sherman Brothers song "Makin' Memories" while the short film used the titular song "Magic Journeys".  The slightly (okay, really) strange film was interesting enough to open in Disneyland's Tomorrowland in 1984, and Tokyo Disneyland in 1985.  All three would close to make way for another 3D film - Captain EO.  The ride did make a comeback in Magic Kingdom from 1987-1993 until Legend of the Lion King took over. 

Astuter Computer Revue
Opening with EPCOT Center in 1982 in the CommuniCore East building, there were interactive exhibits and shows about computers.  One of the shows featured was the Astuter Computer Revue - with guests standing in front of large glass windows overlooking the park's computer room.  'Transported' from the United Kingdom pavilion was host Earlie the Pearlie.  Performed by Broadway actor Ken Jennings (of Sweeney Todd fame), he was 'shrunken down' and able to dance among the computers.  He sang "The Computer Song", most related to the Mary Poppins Cockney-style tunes.  If you haven't heard of this show or song, the ride closed in 1984.  It was followed by Backstage Magic and later retooled into Innovations in 1994.

Journey into Imagination
This fan favorite from EPCOT opened in 1983 that used an Omnimover floating among the clouds and meeting the eccentric Dreamfinder.  He creates the dragon Figment and you ride through various imaginative ideas about literature, art and music.  The theme of the ride is best exemplified in the overly catchy Sherman Brothers song "One Little Spark".  Figment became a hit among Disney fans at Epcot, but with the ride's closure in 1998, the replacement Journey Into YOUR Imagination removed the Dreamfinder, the song and left Figment as a mere cameo.  The new ride and its Imagination Scanner was strongly disliked by fans and closed in 2001.  In 2002, Journey Into Imagination with Figment opened with a return of the song and Figment (sans Dreamfinder).  The current incarnation is still running in the park.     

Rocket Rods
Built on the track of the beloved PeopleMover in Disneyland's Tomorrowland in 1998. Technical problems surrounded the ride which closed for refurbishment in 2000 and never opened back. Due to the high speeds of the rocket cars, the PeopleMover track was permanently damaged. But the ride did have a theme song: "World of Creativity (Magic Highways of Tomorrow)". Arranged by Steve Bartek (a name familiar with Danny Elfman), the song is adapted from the Sherman Brothers song "Detroit" from The Happiest Millionaire (1967).

The Many Adventures of Winnie the Pooh
It's no surprise the numerous songs the Sherman Brothers wrote for the Winnie the Pooh films made it into the ride.  While none of the songs are original to the ride, the Sherman Brothers songs dot the entire soundtrack.  Originally opening in Florida in 1999, the ride made its way to Disneyland, Hong Kong Disneyland and Shanghai Disney.  Tokyo Disneyland's version, Pooh's Hunny Hunt, is unique to that park. Luckily, we hear the tunes of “Winnie the Pooh”, “A Rather Blustery Day”, “The Wonderful Thing About Tiggers”, “Heffalumps and Woozles”, “Hip Hip Pooh-Ray”, “The Rain, Rain, Rain, Came Down, Down, Down".

Disneyland Forever
As Disneyland celebrated its 60th Anniversary Diamond Celebration in 2015, the nighttime fireworks spectacular featured the new songs, "Live the Magic"and "A Kiss Goodnight" with music and lyrics by Richard Sherman. 

Almost everywhere you go in a Disney park, you hear the work of the Sherman Brothers.  It's no surprise they became Disney Legends in 1990.  Their work on Mary Poppins won them two Academy Awards in 1965 - for best score and best song (Chim-Chim-Cher-ee).  


In 2010, they were also honored with a window inscription in Disneyland's Main Street, U.S.A.  It reads:  
Two Brothers Tunemakers - Richard M. Sherman and Robert B. Sherman - “We’ll Write Your Tune For A Song!” 
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Top 10 Scores Turning 30 in 2019

February 22, 2019, 4:00 pm
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Back to our musical score time machine!  For this edition, we're looking at 1989!  Here's a look back at the scores of 1989 with my list of the 10 Best Scores Turning 30!

Let's start the ranking!
 
10. Star Trek V: The Final Frontier (Jerry Goldsmith)
Returning to Trek after The Motion Picture (1979), Goldsmith returned to his main title march and Klingon music while adding in lush new themes, strong action material and one for villain Sybok.  While it's not a highly rated film, it's an interesting stepping stone to the next three Trek films he'd later score.

9. Field of Dreams (James Horner)
Instead of a large score, Horner took a more reserved tone - full of ethereal moments, atmospheric synth work, Americana and lyrical melodies that culminate in the finale.  The themes are memorable but don't distract from the story.

8. Born on the Fourth of July (John Williams)
This score is extremely effective, mainly the powerful trumpet solo and the sorrowful main theme following Ron Kovic's story beyond the war.  The emotional range on this underrated score has some truly haunting string writing and also uplifting end credits music.

7. Farewell to the King (Basil Poledouris)
Poledouris uses sweeping themes full of heart while the instrumentation fits the exotic locales.  It's similar to some of John Barry's late 80s scores, and has some Conan the Barbarian-style writing.  Any fans of Poledouris should check this one out.
  
6. The Abyss (Alan Silvestri)
Silvestri evokes the mystery of the water with some atmospheric and electronic writing.  The choir's appearance along with the famous CGI creation is stunning, but the buildup to the finale with full choir and orchestra is some of Silvestri's most moving work.

5. Henry V (Patrick Doyle)
Doyle made his film score debut alongside Kenneth Branagh's directorial debut.  Much of the subdued underscore supports the Shakespeare dialogue and battle scenes.  There are moments where the orchestra emerges and shines: the St. Crispin's Day speech and the stirring Non Nobis, Domine (performed in film by Doyle himself).
   
4. The Little Mermaid (Alan Menken)
Even past the now classic songs, Menken crafted his first film score to keep musical continuity.  There's plenty of animated mickey-mouse style syncing, plenty of intimate instrumental moments and long, grand orchestral cues.  The orchestral reprises of his song material proved to be a worthy formula for future Disney films.  The first (of many) Oscar wins for Menken.
    
3. Indiana Jones and the Last Crusade (John Williams)
I love the musical set-pieces and themes - the circus train, Scherzo for Motorcycle and Orchestra and the tank chase.  After the darker Temple of Doom, Williams adds more musical levity among the usual suspense and action.  The music for the holy grail and the father & son relationship theme is a standout in the series.

2. Glory (James Horner)
Horner's use of choir through the score is one of its strongest elements.  Several elements of the score make their way into his other scores, like the sweeping themes that pack much of the punch for this forgotten Civil War story.  Building to the climactic battle at Fort Wagner and ending elegy are stunning on film and album.  

1. Batman (Danny Elfman)
For Elfman's first foray into large blockbuster scoring it is still one of his best and most memorable.  The now iconic minor-key Batman theme matches the tone of the Tim Burton-era Gotham City, while balancing the comedic tone for the Joker and the softer romantic side.  This score has had the lasting effect on Batman, from the animated series to Elfman even using it 28 years later for his Justice League score. 

Honorable Mentions:
Always (John Williams), Back to the Future Part II (Alan Silvestri), Driving Miss Daisy (Hans Zimmer), The Fabulous Baker Boys (Dave Grusin), Fat Man and Little Boy (Ennio Morricone), Honey, I Shrunk the Kids (James Horner), Lethal Weapon 2 (Kamen/Clapton/Sanborn), Leviathan (Jerry Goldsmith), Pet Sematary (Elliot Goldenthal), Steel Magnolias (Georges Delerue), The War of the Roses (David Newman)

Any personal favorites of yours from 1989 that I didn't include? 

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Quick Review: How to Train Your Dragon: The Hidden World

March 6, 2019, 11:15 am
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How to Train Your Dragon: The Hidden World

Music score composed by John Powell
Conducted by Gavin Greenaway
Choir conducted by Eric Whitacre
Additional Music and Arrangements by Batu Sener, Anthony Willis, Paul Mounsey
Orchestrated by John Ashton Thomas, Tommy Laurence, Geoff Lawson, Andrew Kinney, Randy Kerber, Jon Kull, 
Rick Giovinazzo
Music recorded at Abbey Road Studios
Soundtrack running time: 75 minutes
Available on Back Lot Records

The How to Train Your Dragon trilogy comes to a close. Besides the stunning visuals and terrific storytelling of the films, the music has been some of my favorite DreamWorks scores but also some of the finest by John Powell.

Powell adds a whole new batch of thematic material, and seamlessly incorporates material from the previous films. Tidbits of score from the second film make returns, but he saves the first film's themes for big moments and emotional beats in the finale.

The album begins with Raiders Return to Busy, Busy Berk, setting up a darker action rescue as we are reintroduced to the main heroes. Among the swashbuckling style, we get a full introduction to the new hero theme and a brief musical mention of the light fury motif. Among the swirling orchestra we hear a return of Berk's theme. Dinner Talk/Grimmel's Introduction begins a bit subdued with the village theme before Grimmel's theme is introduced with percussion and choir.

Legend Has It/Cliffside Playtime introduces a new lovely theme on flute, we hear several reprises of the village theme and a return of the Hiccup/Toothless friendship theme (from HTTYD 2) and Valka's theme on harp and strings. Solo flute gives the first introduction of the Hidden World theme, and love theme/Astrid's theme from (HTTYD 1). Toothless: Smitten hints more at the light fury motif and the first introductions of the furies love theme with plenty of flute, harp and celeste which will get expanded later in the score.

Worst Pep Talk Ever continues the village theme passed around various instruments with Grimmel's theme reprised in the lower cellos and bassoons. His theme is fleshed out in Night Fury Killer. His musical identity is never over the top, just lurking quietly but finally coming forward with strings and brass at the end of the cue. Exodus! is a great big cue, full of the village theme replete with bagpipes, the light fury motif and a grand orchestral statement of the furies love theme.

Third Date is a fantastic sequence with some light comedic writing while bringing out the Celtic instrumentation and ending with statements of the furies love theme. Because of the dialogue-less dragons, much of this writing gets brought out more in the film. New 'New Tail' brings the furies theme with the friendship theme, Berk theme and the main Dragons theme together. Furies in Love brings the furies love theme in the forefront for the cue - it's a dancing triple meter for choir, sweeping strings and punctuating brass as the furies dart around the skies before an ending statement of the Hidden World theme. Great highlight of the new score.

Killer Dragons is a mix of drama and action using Grimmel's theme, and the choir and brass really bring out some great moments. With Love Comes a Great Waterfall begins with a simple flute solo of the friendship theme with the Hidden World theme bursting in with orchestra and choir. The Hidden World sparkles with ringing percussion, cascading flute lines, choir and vocal solos by Jonsi. The ethereal textures are really brought out, and later naturally features the big statement of the Hidden World theme. This marks another moment in the film where Powell's score gets front and center.

Armada Battle is a massive cue, like the Bewilderbeast sequence from the previous film. Eventually action picks up as Powell incorporates themes from all three films. Even with the busy action music, Powell follows the action on screen and weaves themes throughout. If the thematic callbacks weren't enough in the last track, As Long As He's Safe has one secret weapon. After a bit of large action and choir, the flying theme makes its grand entrance - it's a great moment on screen. The emotional second half of the cue is built on the Hidden World theme and friendship theme.

Once There Were Dragons begins with the village theme - this time hymn-like as performed by harp and choir. The music expands and adds percussion, bagpipes and swirling strings. This finale section brings up even more emotion with a quick succession of thematic reprises. The addition of choir to these past themes is a complete joy, but the reprise of Test Drive (HTTYD 1) mixed with the furies love theme is the clear winner. A fantastic way to wrap up the trilogy, it's easily my favorite cue on the album.

As with all the films, the end credit song Together From Afar is performed/written by Jonsi. While it's not the strongest song from the films, it works as a nice wrap up and the lyrics are poignant in this case. On the digital release, you get The Hidden World Suite - a lovingly arranged suite of the new themes. Worth checking out even if you have the CD release.

Overall, John Powell caps off his Dragons trilogy with a marvelous score.  He mixes the new themes well into his musical universe, and they all sound like they belong together.  Their malleability in large action sequences to the more tender and quiet moments prove yet again that Powell is a master of musical storytelling.  Thankfully his music has been able to be a major part of the franchise.  This album and score rank nicely together with the others - this series is clearly something Powell enjoyed working on and is proud of.  This ended up being one of the best animated film series - and luckily it has some of the best animated film music. 
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