Heaven and Earth OST (1993) - Kitaro

Review #20

ALBUM INFO

Artiste:  Kitaro

Year:  1993

Genre:  Soundtrack / New Age / World

Duration:  58min

Label:  Geffen Records

Format:  CD

TRACK LISTING

1. ‘Heaven and Earth (Land Theme)’ – 7:38
2. ‘Sau Dau Tree’ – 3:37
3. ‘Ahn & Lee Ly Love Theme’ – 4:55
4. ‘Saigon Reunion’ – 5:48
5. ‘Arvn’ – 3:41
6. ‘Sau Nightmare’ – 0:58
7. ‘V.C. Bonfire’ – 0:47
8. ‘Trong Com’ – 0:43
9. ‘Ahn’s House’ – 6:26
10. ‘Destiny’ – 1:13
11. ‘Last Phone Call’ – 1:40
12. ‘A Child Without a Father’ – 2:04
13. ‘Village Attack/The Arrest’ – 1:21
14. ‘Walk to the Village’ – 2:59
15. ‘Steve’s Ghosts’ – 1:31
16. ‘Return to Vietnam’ – 2:04
17. ‘Heaven and Earth (End Title)’ – 10:27

Listen on Spotify: https://open.spotify.com/album/6qYd79g9ItAzLAmWuSpXRQ

CAPSULE REVIEW

While regarded as one of the pioneers of the new age music genre, Kitaro is also no stranger to scoring for film and television.  His music for the ‘Silk Road’ series by NHK in the early 1980s yielded four astonishing albums.  A decade on, he would compose the music for Heaven and Earth (1993), the final picture of Oliver Stone’s unofficial ‘Vietnam War’ trilogy.  

Kitaro won the Golden Globe for Best Original Score, which came rather unexpectedly, especially in a year that saw John Williams produced what was arguably his finest score for Schindler’s List (1993).  His work for Heaven and Earth remains to be one of the most accomplished endeavours of his illustrious career.  

Building from the symphonic sound of his massively-popular 1990 album Kojiki, his music here shows both dynamism and sensitivity as the melodies and arrangements echo the style of a traditional film score, yet are uniquely elevated by his penchant for using Asian instruments—our ears bear witness to the exquisite if sad sounds of the huqin (a kind of Chinese violin) in several tracks, and the powerful Taiko drums in ‘Arvn’ and ‘Village Attack/The Arrest’.  

The synthesized sounds of what seem like the Japanese koto and flute are also brilliantly integrated with the orchestra, particularly in the stunning first track, ‘Heaven and Earth (Land Theme)’. 

Highlights:

‘Saigon Reunion’ - A very powerful orchestral piece that depicts the destruction and tragedy of war.  This is one of Kitaro’s most haunting pieces.

‘Arvn’ – Starts off as if an army of tanks is barraging towards you, and very much captures the uncompromising nature of war, this largely percussive piece features Taiko drumming by Kitaro and a sharp, piercing flute melody.

‘Ahn’s House’ – A sad if beautiful theme performed by the huqin gives way to voice work by Hiep Thi Le, before escalating into a bout of ominous drumming.  It returns to the theme again, this time played at a lower octave.  Superb arrangement.

‘Heaven and Earth (End Title)’ – The final track of the album is an epic one, bringing all the themes together in one last hurrah.  Masterfully arranged and performed, this is one of Kitaro’s finest moments.

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

Sound Quality: Excellent recording with dynamic sound

Rating: 

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:

1492 Conquest of Paradise OST (1992) - Vangelis

Review #18

ALBUM INFO

Artiste:  Vangelis

Year:  1992

Genre:  Soundtrack/New Age/Electronic

Duration:  55min

Label:  Warner Music

Format:  CD

TRACK LISTING

1. ‘Opening’ – 1:21
2. ‘Conquest of Paradise’ – 4:47
3. ‘Monastery of La Rabida’ – 3:39
4. ‘City of Isabel’ – 2:16
5. ‘Light and Shadow’ – 3:46
6. ‘Deliverance’ – 3:28
7. ‘West Across the Ocean Sea’ – 2:53
8. ‘Eternity’ – 1:59
9. ‘Hispanola’ – 4:56
10. ‘Moxica and the Horse’ – 7:06
11. ‘Twenty Eighth Parallel’ – 5:14
12. ‘Pinta, Nina, Santa Maria (Into Eternity)’ – 13:19

CAPSULE REVIEW

When first released, Vangelis’ score for 1492: Conquest of Paradise did badly in sales.  It didn’t help that Ridley Scott’s work was also a disaster.  It was only in 1995 that the title track rose in prominence after a German boxer used it as introduction music before his boxing bouts.  More than two decades on, and on hindsight, this album is a masterpiece, one of Vangelis’ very finest.  If his score for Blade Runner (1982) is his magnum opus, this comes as a close second. 

Alternating between dynamic pieces like the title track and ‘Light and Shadow’ and quieter but evocative tracks like ‘Monastery of La Rabida’ and ‘West Across the Ocean Sea’, the score provides a sumptuous musical journey that culminates in the epic ‘Pinta, Nina, Santa Maria (Into Eternity)’. 

There’s enough ethnic flavour to suggest that Vangelis is in sync with the movie from a cultural standpoint.  Some of the organic instruments used e.g. Spanish guitar and mandolin in tracks like ‘City of Isabel’, ‘Deliverance’ and ‘Hispanola’, not to mention choral work from the superb English Chamber Choir, give the album such a musical richness that you will be clamouring for more when it ends.

Highlights:

‘Conquest of Paradise’ – One of Vangelis’ most famous movie themes, possibly only second in popularity to the main theme for Chariots of Fire (1981).  This is a triumphant and powerful piece, full of grandeur and high adventure, performed with Vangelis’ synthesizers and the English Chamber Choir.

‘Hispanola’ – Also performed by the English Chamber Choir with ethnic vocalization, this is a strong, rhythmic piece with an unconventional beat.  It builds up into something very spectacular midway with synths, before reprising its choral chorus.  The music ends on a calming note, as if the fury of battle has given way to a thoughtful aftermath. 

‘Pinta, Nina, Santa Maria (Into Eternity)’ – One of Vangelis’ most astonishing tracks in his entire discography, this 13-minute epic of electronic music needs to be experienced.  The melody repeats itself again and again, but there’s never a dull moment.  Its seeming endlessness is breathtaking to behold.

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

Sound Quality: Pristine recording with superb hi-fidelity sounds

Rating:  

Peace on Earth (1996) - Kitaro

Review #17

ALBUM INFO

Artiste:  Kitaro

Year:  1996

Genre:  Christmas/New Age

Duration:  55min

Label:  Domo Records

Format:  CD

TRACK LISTING

1. ‘Jesu Joy of Man’s Desiring’ – 4:46
2. ‘Silent Night’ – 4:23
3. ‘Angels We Have Heard On High’ – 5:39
4. ‘Joy to the World / The First Noel’ – 4:36
5. ‘Little Drummer Boy’ – 5:57
6. ‘Jingle Bells’ – 3:39
7. ‘Rosa Mystica’ – 2:57
8. ‘It Came Upon a Midnight Clear’ – 4:00
9. ‘God Rest Ye Merry Gentlemen’ – 3:50
10. ‘A La Nanita Nana’ – 5:14
11. ‘O Holy Night’ – 4:56
12. ‘The Great Spirit’ – 5:20

CAPSULE REVIEW

Peace on Earth sees Kitaro take a breather from his usual new age music, especially coming after the success of his studio album Mandala (1994), one of his very, very best recordings, and his An Enchanted Evening (1995) world tour, which promoted the music in Mandala, as well as some of his earlier classics.  Regardless of genre, many major artistes around the world have done Christmas albums, though it must be said that Kitaro producing a Christmas album does sound a tad unexpected. 

In Peace on Earth, Kitaro employs his trademark synthesizers, and musicians on violins, cello, harp, flute and guitar to perform a range of iconic songs from around the world.  The album is largely instrumental, so don’t expect any vocals to accompany the songs.  However, the International Peace Choir (comprising of children and youths) is used to great effect in tracks such as ‘Angels We Have Heard on High’ and 'Joy to the World / The First Noel'.  

The album ends with the final track ‘The Great Spirit’, which is composed by Kitaro, and accompanied by a rather haunting recitation of a self-written poem (interestingly, the words could be found in the accompanying booklet for Mandala) meditating on nature and time. 

Overall, Peace on Earth doesn’t really break new ground for Christmas music or for Kitaro himself.  The pacing can be quite leisurely, with tracks like ‘Silent Night’ and ‘Little Drummer Boy’ performed with a slower tempo than usual.  It is music to relax you with a glass of wine by your side, rather than played to a large crowd to feed on its energy. 

Highlights:

‘Jesu Joy of Man’s Desiring’ – A beautiful and blissful rendition on violin and cello, with Kitaro’s accompanying keyboards.  Well-paced, unlike some of the slower tracks.  Towards the end, it bursts into jubilation and joy.  The best track of the album.  

‘Joy to the World / The First Noel’ – Two songs in one in this excellent track that builds up slowly with Tibetan horns.  The main melody of ‘Joy to the World’ is played by violins and later on with Kitaro’s synths.  The transition to the choir-sung ‘The First Noel’ is breathtaking, not to mention the transitions are reprised with the two themes alternating with each other.  A superb track showcasing Kitaro’s musical arrangements at his finest.  

‘A La Nanita Nana’ – My favourite track.  Starts off with a virtuoso classical guitar solo, before the main melody comes into play with Kitaro’s pan-flute synth.  The moment when the melody is repeated with the violins is possibly the most beautiful part of the music.  The track completes with a guitar solo, bringing the music to a beautiful close. 

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:  

Crouching Tiger, Hidden Dragon OST (2000) - Tan Dun

Review #16

ALBUM INFO

Artiste:  Tan Dun

Year:  2000

Genre:  Soundtrack/Orchestral/World

Duration:  49min

Label:  Sony Classical

Format:  CD

TRACK LISTING

1. ‘Crouching Tiger, Hidden Dragon’ – 3:24
2. ‘The Eternal Vow’ – 2:58
3. ‘A Wedding Interrupted’ – 2:13
4. ‘Night Fight’ – 3:06
5. ‘Silk Road’ – 3:06
6. ‘To the South’ – 2:20
7. ‘Through the Bamboo Forest’ – 4:20
8. ‘The Encounter’ – 2:36
9. ‘Desert Capriccio’ – 4:30
10. ‘In the Old Temple’ – 3:42
11. ‘Yearning of the Sword’ – 3:29
12. ‘Sorrow’ – 4:00
13. ‘Farewell’ – 2:25
14. ‘A Love Before Time’ – 3:39
15. ‘A Love Before Time (Mandarin)’ – 3:39

CAPSULE REVIEW

Tan Dun, already a respected contemporary classical composer of symphonic concertos, chamber pieces and opera music in the East, finally got the biggest break of his career with his Oscar-winning score to Lee Ang’s Crouching Tiger, Hidden Dragon (2000), giving him more mainstream exposure internationally, particularly in the States.   

To come out tops (deservingly, if I may add) in a category with veterans such as Ennio Morricone (Malena), John Williams (The Patriot) and Hans Zimmer (Gladiator) competing that year, Tan’s accomplishment is no small matter – he brings traditional Chinese ethnic music to the fore, arranges it with symphonic appeal, and employs the cello (by Yo-Yo Ma no less) to astonishing effect. 

In his score to Crouching Tiger, Hidden Dragon, Tan brings an otherworldly Oriental mysticism through his use of instruments like the er-hu (a two-stringed Chinese violin) and Chinese drums, and percussion styles heavily influenced by the music of the northwest ‘Xinjiang’ region (home to many ethnic minorities) etc., transporting us to a world of another time.  The film is the first and most successful modern update of the Chinese ‘wuxia’ movie, and its accompanying music is surely one of the finest scores to come out at the turn of the century.

Highlights:

‘Night Fight’ – A percussion-laden track with some of the most stunning drumming in film music.  Accompanying the night fight-chase between Zhang Ziyi’s and Michelle Yeoh’s characters, the rhythmic drumming gives the sequence tremendous energy, while also creating tension when the drumming slows and pauses.

‘Desert Capriccio’ – Standout track for Yo-Yo Ma to flaunt his mastery of the cello, accompanied by hand drumming on ethnic percussion.  Possibly the best track of the album.

‘Farewell’ – The finale track reprises the mesmerizing if elegiac main theme performed on cello, with background drumming that grows more prominent.  Also accompanied by er-hu and strings.  In the last scene, we see Zhang Ziyi’s character jump off a bridge and soar into the clouds.  This is the music that captures the essence of the film – its beauty, melancholy and grace.  

‘A Love Before Time (Mandarin)’ – The Oscar-nominated song comes in both English and Mandarin lyrics, but the latter is the more authentic version.  Both are sung by Hong Kong-born American artiste CoCo Lee with aplomb, with background vocals providing dynamic accompaniment.

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

Sound Quality:

Superb recording

Rating:  

Alexander OST (2004) - Vangelis

Review #15

ALBUM INFO

Artiste:  Vangelis

Year:  2004

Genre:  Soundtrack/Orchestral

Duration:  57min

Label:  Sony Classical

Format:  CD

TRACK LISTING

1. ‘Introduction’ – 1:32
2. ‘Young Alexander’ – 1:36
3. ‘Titans’ – 3:59
4. ‘The Drums of Gaugamela’ – 5:20
5. ‘One Morning at Pella’ – 2:11
6. ‘Roxanne’s Dance’ – 3:25
7. ‘Eastern Path’ – 2:58
8. ‘Gardens of Delight’ – 5:24
9. ‘Roxanne’s Veil’ – 4:40
10. ‘Bagoas’ Dance’ – 2:29
11. ‘The Charge’ – 1:41
12. ‘Preparation’ – 1:42
13. ‘Across the Mountains’ – 4:12
14. ‘Chant’ – 1:38
15. ‘Immortality’ – 3:18
16. ‘Dream of Babylon’ – 2:41
17. ‘Eternal Alexander’ – 4:37
18. ‘Tender Memories’ – 2:59

CAPSULE REVIEW

Vangelis’ most high-profile film score since the 1992 Conquest of Paradise, Alexander is a reminder of the master’s ability to conjure up astonishing music.  It is also possibly the only positive note to come out of the disastrous movie, one of director Oliver Stone’s career nadirs.  Whether Vangelis’ music works in the movie or not is beside the point – this is brilliant music on its own, and after the debacle of the movie, I think it’s best to appreciate the music as a standalone album.

Featuring eighteen tracks from quieter pieces like ‘One Morning at Pella’ and ‘Tender Memories’ to middle-eastern influenced rhythmic music such as ‘Roxanne’s Dance’ and ‘Gardens of Delight’, the score also sees Vangelis attempting what could be his first full-fledged orchestral score, with accompanying electronic music.  The result is an album of grandeur and heroic if sometimes melancholic music.  It’s a pity this got passed by the Oscars.

Highlights:

‘Titans’ – The main theme starts off with some choral work, before brass instruments come into play.  It builds up into a full orchestra with choir and drums.  This is one of Vangelis’ most highly-charged works – full of vitality, and bursting with feelings of courage and heroism.

‘The Drums of Gaugamela’ – I think this is my favourite track.  Starts ominously as if a battle cry for war, it builds into a concoction of drums, percussion, and brass instruments.  It is a journey into war, the bloodshed, the sacrifices, and the glories.  Vangelis captures all of these so brilliantly in this action-packed track.

‘Roxanne’s Veil’ – Performed by the outstanding Vanessa Mae on violin, and accompanied by Vangelis’ electronical arrangements, this is a very beautiful track, almost an anomaly in the score because it feels so different from the tracks preceding and after it.

‘Across the Mountains’ – Together with ‘Eternal Alexander’, this track is arguably Vangelis at his most classical and purely orchestral.  The music suggests a conqueror’s long journey, across the mountains, and across the vast lands, in search of conquest in the hopes of achieving divinity. 

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

Sound Quality:

Great recording with hi-fidelity 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: