Passion (1989) - Peter Gabriel

Review #19

ALBUM INFO

Artiste:  Peter Gabriel

Year:  1989

Genre:  Soundtrack / World / New Age

Duration:  67min

Label:  Real World Music

Format:  CD

TRACK LISTING

1. ‘The Feeling Begins’ – 4:00
2. ‘Gethsemane’ – 1:26
3. ‘Of These, Hope’ – 3:55
4. ‘Lazarus Raised’ – 1:26
5. ‘Of These, Hope – Reprise’ – 2:44
6. ‘In Doubt’ – 1:33
7. ‘A Different Drum’ – 4:40
8. ‘Zaar’ – 4:53
9. ‘Troubled’ – 2:55
10. ‘Open’ – 3:27
11. ‘Before Night Falls’ – 2:18
12. ‘With This Love’ – 3:40
13. ‘Sandstorm’ – 3:02
14. ‘Stigmata’ – 2:28
15. ‘Passion’ – 7:39
16. ‘With This Love (Choir)’ – 3:20
17. ‘Wall of Breath’ – 2:29
18. ‘The Promise of Shadows’ – 2:13
19. ‘Disturbed’ – 3:35
20. ‘It Is Accomplished’ – 2:55
21. ‘Bread and Wine’ – 2:21

CAPSULE REVIEW

When Martin Scorsese made the controversial The Last Temptation of Christ (1988), few would have thought that Peter Gabriel, a rock musician by trade, would compose the music for the picture.  The result is a sensational, transcendent score that should be considered a masterwork. 

Winning the Grammy for Best New Age album, Gabriel’s Passion is more world music-esque in treatment, particularly his use of ethnic instruments (a look at the album booklet reveals a fascinating collection of more than twenty instruments used) such as the Armenian Doudouk, Kurdish Tenbur, Turkish Ney Flute, performed by world-class ethnic instrumentalists. 

The album features music from Scorsese’s film, but there is also additional music that completes the experience.  I personally think that one needs to take into consideration that Gabriel’s work here is one of those rare moments in the history of cinema when an unlikely alliance yielded a perfect artistic endeavour. 

Scorsese was bold to tell Christ’s story (adapted from Nikos Kazantzakis’ novel) like never before, humanizing rather than deify him.  The music, earthly and organic yet invigorating and inspiring, stems from the same school of thought.  All 21 tracks in the album are top-notch and reward repeat listenings.  I doubt there will be music created in this way for cinema ever again.

Highlights:

‘Of These, Hope’ – A track that starts with a cacophony of trumpet-like sounds that give way to a strong, rhythmic bass line.  The ambient melody is simple but discernible, performed by synthesizers.  This piece transports us across a vast land in search of hope, and perhaps, faith.

‘A Different Drum’ – My favourite track.  There’s a heavy use of percussion and ethnic vocalization that drives the music.  But what gives me the chills is around the 1:30 mark, when the music soars to the skies with uplifting voice-work by Peter Gabriel.  Stunning, to say the least. 

‘Troubled’ – This piece features some of the finest drumming and percussion work of the whole album.

‘It is Accomplished’ – Accompanying the final scene of the film into the end credits, this enlightening piece is full of rejoice and hope.  With a repeating melody, the track brings us a sense of victory over sin, and of unwavering faith and commitment to the cause.  One of the most inspiring pieces of the album.

Reviewed on Luxman Stereo Integrated Amplifier A-383, Marantz Compact Disc Player CD-63SE, and a pair of 1973 New Advent Loudspeakers.

Sound Quality: Astounding recording with dynamic sound

Rating:

Oldboy OST (2003) - Jo Yeong-wook

Review #14

ALBUM INFO

Artiste:  Jo Yeong-wook

Year:  2003

Genre:  Soundtrack

Duration:  57min

Label:  Milan Records

Format:  CD

TRACK LISTING

1. ‘Look Who’s Talking’ – 1:38
2. ‘Somewhere in the Night’ – 1:27
3. ‘The Count of Monte Cristo’ – 2:33
4. ‘Jailhouse Rock’ – 1:55
5. ‘In a Lonely Place’ – 3:28
6. ‘It’s Alive!’ – 2:35
7. ‘The Searchers’ – 3:28
8. ‘Look Back in Anger’ – 2:09
9. ‘Room at the Top’ – 1:34
10. ‘Cries and Whispers’ 3:30
11. ‘Out of Sight’ – 0:59
12. ‘For Whom the Bell Tolls’ – 2:44
13. ‘Out of the Past’ – 1:28
14. ‘Breathless’ – 4:20
15. ‘The Old Boy’ – 3:43
16. ‘Dressed to Kill’ – 1:59
17. ‘Frantic’ – 3:27
18. ‘Cul-De-Sac’ – 1:31
19. ‘Kiss Me Deadly’ – 3:55
20. ‘Point Blank’ – 0:27
21. ‘Farewell, My Lovely’ – 2:45
22. ‘The Big Sleep’ – 1:31
23. ‘The Last Waltz’ – 3:21

 *If you noticed, most of the track names are movie titles, or a play on a movie title.

CAPSULE REVIEW

Park Chan-wook’s Oldboy (2003) is one of the most popular and iconic of Korean films of the 2000s.  A sensational and provocative piece of Asian extreme cinema, the film also has a superb score by Jo Yeong-wook, a regular composer for a number of Park’s works. 

Jo’s original score is rather eclectic in style – a mix of classical waltzes and modern electronica if I may reduce it to that.  Several tracks such as ‘Out of the Past’, ‘Dressed to Kill’, and ‘Frantic’ are inspired by the minimalist music of Philip Glass. 

There’s an unsettling quality to the music, particularly when it is haunted by the listener’s memory of the picture.  Those who haven’t seen the film are likely to appreciate most of the tracks on offer here – the album is highly listenable and any fan of movie scores will dig this. 

Several tracks have short spoken lines from the film at the start, but while they can be distracting to those who desire a less intrusive sonic experience, it largely works well for the album. 

Highlights:

‘In a Lonely Place’ – A mournful solo trumpet performs the melody, accompanied by a synth drum beat and synth strings.  This feels like a modern interpretation of Ennio Morricone’s use of the trumpet in some of his cues for Westerns like A Fistful of Dollars (1964) and For a Few Dollars More (1965).  The track suggests a long, melancholic journey one must partake in order to find the truth.

‘The Searchers’ – A waltzy piece with a powerful solo violin carrying the bulk of the track.  A companion piece and thematic prelude to ‘Cries and Whispers’. 

‘Cries and Whispers’ – The main waltz for the film.  Captures the essence of the movie with an elegant melody played by strings that is circular in nature, reflecting Oldboy’s what-goes-around-comes-around revenge theme.  The track also evokes feelings of regret, guilt and torment, yet it is also a very beautiful piece, much like Park’s film.  The waltz is also repeated in ‘Breathless’ with a piano and violin duet, and in ‘Farewell, My Lovely’.

‘The Last Waltz’ – The waltz for the last scene of the film.  It is a reimagining of ‘The Searchers’ and ‘Cries and Whispers’ with a new, if somewhat stylistically similar, melody that captures the picture’s bittersweet closure in all of its irony and pain. 

Reviewed on Luxman Stereo Integrated Amplifier A-383, Marantz Compact Disc Player CD-63SE, and a pair of 1973 New Advent Loudspeakers.

Sound Quality:

Good recording

Rating:

The Fountain OST (2006) - Clint Mansell

Review #11

ALBUM INFO

Artiste:  Clint Mansell

Year:  2006

Genre:  OST

Duration:  46min

Label:  Nonesuch

Format:  CD

TRACK LISTING

1. ‘The Last Man’ – 6:08
2. ‘Holy Dread!’ – 3:52
3. ‘Tree of Life’ – 3:45
4. ‘Stay with Me’ – 3:36
5. ‘Death is a Disease’ – 2:34
6. ‘Xibalba’ – 5:23
7. ‘First Snow’ – 3:09
8. ‘Finish It’ – 4:25
9. ‘Death is the Road to Awe’ – 8:26
10. ‘Together We Will Live Forever’ – 5:00

CAPSULE REVIEW

I think this is to date Clint Mansell’s most accomplished work.  While the jury is still out on Darren Aronofsky’s sci-fi existential work, Mansell’s music remains universally praised, receiving a Golden Globe nomination for Best Original Score (how it bypassed the Oscars remains bizarre), which was eventually won by Alexandre Desplat for The Painted Veil.  That, however, doesn’t take away the sheer beauty of Mansell’s music.

Performed by the Kronos Quartet (on violins, viola and cello) and Mogwai (on guitars, bass, pianos and drums), the score takes you on a journey of melancholia with tracks like ‘The Last Man’ and ‘Together We Will Live Forever’, putting you in a somber if contemplative mood.  There are interesting sounds and arrangements explored in tracks like ‘Holy Dread!’ and ‘Death is a Disease’, the former evoking a sense of ominousness, while the latter is a textured, atmospheric piece.

Ever since Mansell’s debut with Pi (also Aronofsky’s feature debut) in 1998, his collaborations with the director have yielded outstanding music.  The Fountain is his masterpiece of film music.  There is no weak track and the entire score is uniformly excellent.  It is also difficult to pick the best tracks, but here are my favourites…

Highlights:

‘Tree of Life’ – Built up from the preceding track ‘Holy Dread!’, this track excites with the entrance of the soaring main leitmotif, a simple three-note melody that (if you let it) elevates your soul into the realm of aural magic.  The leitmotif also recurs beautifully in ‘Finish It’ and ‘Death is the Road to Awe’, in different arrangements.

‘Stay with Me’ – A stirring, ambient piece that makes you yearn for lost moments of connection and warmth with someone you love dearly.  Possibly the score’s most moving track, but so are ‘Xibalba’, ‘The Last Man’ and ‘Together We Will Live Forever’.  It’s impossible to pick one.

‘Death is the Road to Awe’ – An epic track lasting nearly nine minutes… this is loud and glorious.  Mansell slowly builds up the layers, alternating between quieter moments with a rising, sonic whirlwind of strings, guitars and drums, which at tail’s end finally explodes in orgasmic fashion.  If death is the road to awe, this piece sure fits the bill. 

Reviewed on Luxman Stereo Integrated Amplifier A-383, Marantz Compact Disc Player CD-63SE, and a pair of 1973 New Advent Loudspeakers.

Sound Quality:

The layering is mixed in a way that is sometimes indiscernible, but I believe this is intentional to create an atmospheric effect.  The ending of Track 9 is mixed louder than normal.  Overall, good recording.

Rating:

The Godfather Part II OST (1974) - Nino Rota

Review #4

ALBUM INFO

Artiste:  Nino Rota

Year:  1974 

Genre:  Soundtrack / Orchestra

Duration:  38min

Label:  MCA Records

Format:  CD

TRACK LISTING

1.  ‘Main Title / The Immigrant’ – 3:25

2.  ‘A New Carpet’ – 1:58

3.  ‘Kay’ – 2:58

4.  ‘Ev’ry Time I Look in Your Eyes / After the Party’ – 2:33

5.  ‘Vito and Abbandando’ – 2:36

6.  ‘Senza Mama / Ciuri-Ciuri / Napule ve Salute’ – 2:34

7.  ‘The Godfathers at Home’ – 2:33

8.  ‘Remember Vito Andolini’ – 2:59

9.  ‘Michael Comes Home’ – 2:18

10.  ‘Marcia Stilo Italiano’ – 2:00

11.  ‘Ninna Nanna a Michele’ – 2:18

12.  ‘The Brothers Mourn’ – 3:18

13.  ‘Murder of Don Fanucci’ – 2:48

14.  ‘End Title’ – 3:51

CAPSULE REVIEW

Out of the three ‘Godfather’ soundtracks, the sandwiched one remains to be the most captivating.  Composed by the legendary Nino Rota, who finally won an Oscar for his work for the second film, after his music for the first film was withdrawn and rendered ineligible for a nomination because he re-used an existing melody from his much earlier score for Fortunella (1958).  I think that was a farce, but it is a debate for another time. 

His recurring main theme from the first film and the iconic ‘Speak Softly Love’ theme make their way into the score for Part II.  But what adds another layer of nostalgia and emotion is the new theme ‘The Immigrant’, a sweeping melody with strong overtones of sadness.  It is repeated through various instruments to great effect in a number of tracks.  There are a few tracks composed by Carmine Coppola, the father of the trilogy’s director Francis Ford Coppola.  These tracks retain the rich flavour of traditional Italian music, even more so than Rota’s work.

At a short duration of 38 minutes, the score warrants endless repeated listening.  Perhaps unfairly, Rota continues to be best known for his score to the ‘Godfather’ films, despite being one of Italian cinema’s most gifted composers – his cumulative work for the pictures of Federico Fellini is no doubt his crowning achievement.  But his standalone score to The Godfather Part II (1974) is almost as brilliant, and one for the collection.

Highlights:

“Main Title / The Immigrant” – Starting with the famous mournful trumpet solo playing the main theme from the first ‘Godfather’ film, which sets the mood for the new, more affecting theme from the second film, bringing us deeper into the series’ mythology. 

“Vito and Abbandando” – A melancholic rendition of ‘The Immigrant’ theme in what could possibly be the most emotional track of the entire album, with a suspenseful interlude, before ending off with a repeat of the same theme, authentically performed with a type of traditional Italian guitar. 

“Murder of Don Fanucci” – Composed by Carmine Coppola, this fiesta-like sounding piece effectively accompanies the famous sequence of the religious procession in all of its ceremonial quality, and true spirit of Roman Catholicism. 

Reviewed on Luxman Stereo Integrated Amplifier A-383, Marantz Compact Disc Player CD-63SE, and a pair of 1973 New Advent Loudspeakers.

Sound Quality:

The CD is due a remaster because it contains material transferred directly from analog tape, hence there is some tape hiss.  Even if the recording sounds less refined compared to the CDs of today, it is still a blast to listen to at a (slightly) lower listening level.

Rating: