The Iron Lady: Music from the Motion Picture (a J!-ENT World Groove Album Review)

“The Iron Lady: Music from the Motion Picture” is soundtrack that is well-composed and consistent for the most part of the soundtrack.  I loved the use of strings, brass and percussion throughout the entire soundtrack, although “Community Charge” and the sound of electric guitar churning, seemed a bit out of place.  But the addition of “Shall We Dance?”, “Casta Diva” and “Prelude No. 1 in C major, BWV 846″ was a great addition to the soundtrack.  A good soundtrack overall.

TITLE: The Iron Lady: Music from the Motion Picture

LABEL: Sony Classical

DURATION: 54:42

RELEASE DATE: December 27, 2011

1. Soldiers of the Queen
2. MT
3. Grover’s Daughter
4. Grand Hotel
5. Swing Parliament
6. Eyelash
7. Shall We Dance? (from “The King & I”) – By Deborah Kerr, Marni Nixon and Yul Bryner
8. Denis
9. The Great in Great Britain
10. Airey Neave
11. Discord and Harmony
12. The Twins
13. Nation of Shopkeepers
14. Fiscal Responsibility
15. Crisis of Confidence
16. Community Charge
17. Casta Diva [From "Norma"] by Maria Callas; Orchestra Del Teatro Alla Scala; Tullio Serafin
18. The Difficult Decisions
19. Exclusion Zone
20. Statecraft
21. Steady the Buffs
22. Prelude No. 1 in C major, BWV 846

Margaret Thatcher, prime minister of the United Kingdom from 1979 to1990 is best known for her strict conservative policies and her hard line against the trade unions which have earned her the nickname “The Iron Lady”.

While many who grew up during that time were familiar with her impact in politics and society, there are those who recognized her efforts of smashing the barriers for women.  A complex woman who is known for her virtue but a woman who also is know for making decisions that have angered some of her countrymen.

In 2011, the film “The Iron Lady” directed by Phyllida Lloyd (“Macbeath”, “Mamma Mia!”, “Gloriana”) and a screenplay written by Abi Morgan (“Shame”, “Tsunami: The Aftermath”, “Sex Traffic”) and starring Meryl Streep (“Kramer vs Kramer”, “Julie & Julia”, “The Devil Wears Prada”) and Jim Broadbent (“Gangs of New York”, “Moulin Rouge!”, “Harry Potter and the Half-Blood Prince”).

The film has received positive reviews, including recognition for Meryl Streep’s performance as Margaret Thatcher.  “The Iron Lady” focuses on Margaret Thatcher’s life from the past and the 17 days leading up to the Falklands War in 1982.  An intimate portrait of the first and only female Prime Minister of the United Kingdom and one of the most famous and influential women of the 20th Century.The film focuses about power and the price that is paid for power.

To capture the general mood of Thatcher’s life and leadership as prime minister, the composer selected to create the music for the film is Thomas Newman (“Wall-E”, “The Shawshank Redemption”, “American Beauty”).

First let’s discuss the music not by Thomas Newman.  Included are “The Iron Lady: Music from the Motion Picture” begins with “Soldiers of the Queen Regimental March” performed by the Military Band of the Queen’s Regiment.  A short and live performance.  Also included are “Shall We Dance?”, the classic song from the film “The King & I” performed by Deborah Kerr, Marni Nixon and Yul Brynner.  The opera track “Casta Diva” from “Norma” which is performed by Maria Callas, Orchestra Del Teatro Alla Scala and Tullio Serafin.  The soundtrack concludes with a beautiful piano melody by Olli Mustonen titled “Prelude No. 1 in C Major, BWV 846).

As for the music by Thomas Newman, you have a range of orchestral and synth created music.  Many start out towards the short duration under a minute long but then you get beautiful and powerful music such as the strings-driven track “Swing Parliament”, the lively “The Great in Great Britain” and the brass-driven track of “Discord and Harmony”.

And of course, you get into tracks that show the more darker side of Thatcher’s life from “Crisis in Confidence” featuring the percussion and brass heavy track, the rock n’ roll “Community Charge” (which seemed a bit out of place in the entire soundtrack), the looming slow to mid-tempo synth and percussion track “Exclusion Zone” and return to strings with “Statecraft” and “Steady the Buffs”.

The CD soundtrack booklet comes with images from the film, production credits and track listing.

“The Iron Lady: Music from the Motion Picture” is soundtrack that is well-composed and consistent for the most part of the soundtrack.  I loved the use of strings, brass and percussion throughout the entire soundtrack, although “Community Charge” and the sound of electric guitar churning, seemed a bit out of place.  But the addition of “Shall We Dance?”, “Casta Diva” and “Prelude No. 1 in C major, BWV 846″ was a great addition to the soundtrack and the songs that I listened to the most.

A good soundtrack overall.

 

SHAME: Original Motion Picture Soundtrack (a J!-ENT World Groove Album Review)

SHAME: Original Motion Picture Soundtrack captures the elegance of New York City but also the fragility of the mindset of the film’s protagonist.  Featuring a good number of tracks from Glenn Gould and also classics from John Coltrane, Chet Baker and Howlin’ Wolf, the film also incorporates a few early ’80s music as well.

TITLE: SHAME: Original Motion Picture Soundtrack

LABEL: Fox Music

DURATION: 1:20:37

RELEASE DATE: December 13, 2011

1. Brandon (Harry Escott)
2. “Aria” – Goldberg Variations – Glenn Gould
3. Genius of Love  – Tom Tom Club
4. I Want Your Love – Chic
5. My Favorite Things – John Coltrane
6. New York, New York “Theme” – Carey Mulligan
7. Let’s Get Lost – Chet Baker
8. Prelude & Fugue No. 10 in E Minor – Glenn Gould
9. “Variation 15 a 1 Clav. Canone alla Quinta” – Goldberg variations – Glenn Gould
10. Unravelling – Harry Escott
11. You Can’t Be Beat – Howlin’ Wall
12. The Problem – Mark Loque
13. Prelude & Fugue No. 16 in G Minor – Glenn Gould
14. End Credits (Harry Escott)

From award winning director Steve McQueen (“Hunger”, “Fela”) comes a new daring and audacious film titled “Shame”.

Having been nominated for a good number of awards since it’s premiere, McQueen’s film stars actor Michael Fassbender (“Inglorious Basterds”, “X-Men: First Class”, “300″) and actress Carey Mulligan (“Never Let Me Go”, “Drive”, “An Education”, “Pride and Prejudice”).

The film revolves around Brandon (Fassbender), a lonely 30-year-old New Yorker who is addicted to sex.

Whenever he is alone, he is consumed by a world of pornography, sex and masturbation and his whole world is turned upside down when his sister Sissy (Mulligan) comes out of nowhere and barges into his home to live temporarily.

And from that moment on, his life becomes to spiral out of control as he worries that she may find out about his sexual addictions and also he grows impatient as he wants to participate in sexual acts in his condo but wants to hide his dark sexual secrets from his sister.

As for its music, Brandon is a man who prefers to listen to his music via vinyl and because director Steve McQueen is quite fond with the musician Glenn Gould, Gould’s fantastic music is fully featured in the soundtrack.

The “Shame” soundtrack also features a few ’80s hits such as Blondie’s “Rapture”, Chic’s “I Want Your Love”, Tom Tom Club’s “Genius of Love” and also classics such as John Coltrane’s “My Favorite Things”, you get Chet Baker’s jazzy “Let’s Get Lost” (Album Version), the electric blues of Howlin Wolf’s “You Can’t Be Beat”, plus Mulligan’s solo rendition of “New York, New York”.  As well as the electronic synth track “The Problem” by Mark Loque.

Also featured are three tracks by composer Harry Escott (“A Mighty Heart”, “Hard Candy”, “The Road to Guantanamo”For Escott’s music, featuring a 50-piece orchestra and recording the music at Abbey Road, the music by Escott is a bit more somber and dangerous as can be heard with the opening track “Brandon”, “Unravelling” and the ending credits.

While the ’80s music featured in the soundtrack is great for those who are nostalgic of the music, from the jazzy tracks which I enjoyed, it worked well on this soundtrack especially with the enigmatic music poet, Glenn Gould’s piano music featured throughout the soundtrack.

I can listen to “Goldberg Variations; BWV 988: Aria”, “Prelude & Fugue No. 10 in E minor, BWV 855: Prelude”, “Goldberg Variations, BWV 988: Variation 15 a 1 Clav. Canone alla Quinta. Andante [1981 Version]” and “Prelude & Fugue No. 16 in G minor, BWV 885: Praeludium” over and over again!

But the soundtrack for “SHAME” is one of those soundtracks that people either like the inconsistency of the tracks or they like only certain songs.  While Gould’s music, Coltrane, Baker, Howlin’ Wolf and Mulligan’s “New York, New York” theme works quite well for the overall soundtrack, as well as the inclusion of Harry Escott’s compositions, the ’80s pop tracks and Mark Loque’s electronic track, do stick out.

But it works, especially for the context of the movie.   To capture the feeling of New York, its elegance but also to capture his fragility and his deviant mindset.

So, “SHAME: Original Motion Picture Soundtrack” is one of those mixed-track compilations of music that I found myself listening to quite a bit for Gould, Baker and Coltrane and also Mulligan’s rendition of “New York, New York”.

The soundtrack comes with production credits and a single-pager of filmmaker Steve McQueen discussing the music of the film.

Overall, if you enjoyed the music from “SHAME”, the soundtrack does provide quite a bit of easy listening and enjoyable music.  As well as some classic ’80s hits.  While, it would have been nice to have more compositions by Harry Escott and even more Gould, for a soundtrack featuring diverse styles of music, it’s a good soundtrack, a bit inconsistent, but it works!

 

The Adventures of Tintin: The Secret of the Unicorn – Music from the Motion Picture (a J!-ENT World Groove Album Review)

John Williams managed to capture an uplifting, adventurous Odyssey in his music for “The Adventures of Tintin: The Secret of the Unicorn – Music from the Motion Picture” with great efficacy.  If you love the film or enjoyed the comic series, you will definitely love this magnificent, adventurous soundtrack from the great American composer, John Williams.

TITLE: The Adventures of Tintin: The Secret of the Unicorn – Music from the Motion Picture

LABEL: Sony Classical

DURATION: 1:05:32

RELEASE DATE: December 13, 2011

1. The Adventures of Tintin
2. Snowy’s theme
3. The Secret o the Scrolls
4. Introducing the Thompsons and Snowy’s Chase
5. Marlinspike Hall
6. Escape from the Karaboudjan
7. Sir Francis and the Unicorn
8. Captain Haddock Takes the Oars
9. Red Rackham’s Curse and the Treasure
10. Capturing Mr. Silk
11. The Flight to Bagghar
12. The Milanese Nightinggale
13. Presenting Bianca Castafiore/Renee Fleming
14. The Pursuit of the Falcon
15. The Captains Counsel
16. The Clash of the Cranes
17. The Return to Marlinspike Hall and Finale
18. The Adventure Continues

Back in 1929, Belgian artist Georges Remi aka “Hergé”, would create a comic book series titled “Les Adventures de Tintin” (The Adventures of Tintin) which was first published in the Belgian Newspaper “Le XXe Siecle”.

The comic book series would prove to be successful that it was made into several books, led to a Tintin magazine and also received adaptations for film, radio, television and theater.

In fact, the comic book series was so popular that it appeared in many countries worldwide in more than 80 languages and over 350 million copies of the books were sold worldwide.

While an animated television series was shown in the U.S. back in the early 90′s, Steven Spielberg who was a fan of the comic series acquired the rights to “The Adventures of Tintin” following Herge’s death in 1983 and re-optioned in 2002.  Filming began in 2008 and together with producer Peter Jackson (“The Lord of the Rings” trilogy), will be releasing the first film titled “The Adventures of Tintin: The Secret of the Unicorn” in Dec. 2011.

The film is an American performance captured 3D film that is based on the three original comic books: “The Crab with the Golden Claws”, “The Secret of the Unicorn” and “Red Rackham’s Treasure”.

Interesting is the fact that Spielberg has two films coming out in December in the U.S., “The Adventures of Tintin: The Secret of the Unicorn” and “War Horse” and keeping up with tradition, collaborating with composer John Williams (known for composing the “Star Wars”, “Indiana Jones”, “Harry Potter” films) and who has worked with Spielberg for 40-years.

The film is Spielberg’s first animated film that he had directed and the first one John Williams had scored.  And for Williams, the goal was to go for a more traditional sound.

“The Adventures of Tintin” features an adventurous Belgian reporter named Tintin who goes on adventures with his white fox terrier named Snowy.    The cases he takes on are typically dangerous and is often seen saving the day.  Joining Tintin is his best friend Captain Archibald Haddock, a respectable character who does things without thinking at times.

And then there are the two bumbling detectives named Thomson and Thomson who are the comical relief of the series that are often after Tintin (as he is always in the middle of a crime scene in some way or form) or the criminals.

For the composition, John Williams went for a more jazzy score which actually fits the style of “The Adventures of Tintin”.  I have read the comic books and have watched and also reviewed the animated series.  Because the film takes place in Europe (note: the movie has not come out in America at this time but the comic and animated series had Tintin also going to Asia, so I’m not sure if that is featured in the film) and because the storyline is rather adventurous, almost in a “Young Indiana Jones” type of way and felt that Williams was able to capture adventure and free spirit through his music for this film.

Aside from the main theme of “The Adventures of Tintin” and “Snowy’s Theme” which were very appropriate, the theme that I enjoyed is “Introducing the Thompsons and Snowy’s Chase”.  Because these two investigators are somewhat bumbling misfits at times, the music features that bubbliness.  But also manages to capture a more darker theme with “Snowy’s Chase”.

Tracks such as “Marlinspike Hall” manages to have this thrilling adventurous side with the strings and transitions to another adventurous track with “Escape from the Karaboudjan” which elevates with its action theme as it utilizes the brass to emphasize risk in the adventure.

And while the majority of the tracks showcase adventure, my favorite track would have to be “The Milanese Nightingale” which is more elegant, Parisian-style and romantic.  And then you have the operatic track “Presenting Bianca Castafiore/Renee Fleming”.

When it comes to the adventure side of the music, Steven Spielberg said, “John’s stirring theme for our title character Tintin is perfectly suited to a young reporter who somehow always becomes the story.  The second most important character in the Herge series is the oftentimes drunken sea captain Archibald Haddock, and for him, John created a theme that sounds like it’s from the bottom of a bottle – until Haddock’s redemption, that is – when his theme sobers into one that is lovely and noble.”

The CD insert comes with production credits, a word from Steven Spielberg and images from the film.

Overall, “The Adventures of Tintin: The Secret of the Unicorn – Music from the Motion Picture” features a sound that seems to connect with my images of the characters from the comic series.  I can imagine these adventures and the music being played in my head, despite the film not having been shown in America yet.  But one thing that I noticed with John Williams is his uncanny ability to adapt through images, through scenery and because the storyline of “Tintin” has a strong history and familiarity worldwide, it was important to capture that adventure, to capture the journey that Tintin, Snow and Captain Haddock take part in because there is plenty of action in this storyline and for this young reporter, he is often at the scene of criminal activity and is often in trouble or often trying to elude from authorities (mainly Thompson and Thompson) while trying to find the true criminal.

I wondered how the approach to the music would be and for the most part, John Williams managed to capture an uplifting, adventurous Odyssey that these characters must take in order to solve these mysteries.  Once again, I can see how these images play in my mind and seeing how the music played out.  May it be images in my mind of Tintin sneaking inside a ship, him, Haddock and little Snowy walking the desert and then transitioning to the search for treasure after Tintin purchases an old model ship that others want to get their hands on.  And just listening to the music, it’s that sense of adventure that Williams captures with great efficacy.

Overall, “The Adventures of Tintin: The Secret of the Unicorn – Music from the Motion Picture” is an adventurous soundtrack that compliments the overall theme of “The Adventures of Tintin” and once again, John Williams and orchestra manage to do a magnificent job in their performance of the music.

Recommended!

 

War Horse: Original Motion Picture Soundtrack (a J!-ENT World Groove Album Review)

John Williams and Steven Spielberg collaborate once again for a wonderfully crafted score by John Williams.  A beautiful soundtrack that manages to capture the British landscape but moreso, creating a wonderful music experience for its viewers and listeners.  Definitely recommended!

TITLE: War Horse

LABEL: Sony Classical

DURATION: 1:05:28

RELEASE DATE: November 21, 2011

1. Dartmoor, 1912
2. The Auction
3. Bringing Joey Home, and Bonding
4. Learning the Call
5. Seeding, And Horse vs. Car
6. Plowing
7. Ruined Crop, and Going to War
8. The Charge and Capture
9. The Desertion
10. Joey’s New Friends
11. Pulling the Cannon
12. The Death of Topthorn
13. No Man’s Land
14. The Reunion
15. Remembering Emilie, and Finale
16. The Homecoming

In 1982, Michael Morpurgo wrote the children’s fiction novel “War Horse”, a story set during the outbreak of World War I.

The book will receive its film adaptation courtesy of Steven Spielberg and is set for release in theaters on Dec. 25th.  The film reunites Spielberg with composer John Williams known for creating the soundtracks for the “Star Wars” films and “Harry Potter” films.  But Spielberg and Williams have worked together since 1975 with the film “Jaws”, “Schindler’s List”, “E.T. the Extra Terrestrial”, “Jurassic Park” and the “Indiana Jones” films and the two have had a unique relationship as Williams music is known to set the mood for a scene and has the most recognizable film scores in the history of motion pictures.

So, it’s no surprise that Spielberg has reunited with John Williams for two of his films: “War Horse” and “The Adventures of Tin Tin” (both to be released in Dec. 2011) and continues on with their 40-year collaboration.

“War Horse” is story about Joey, the horse that is loved by young Albert but with World War I, the horse is sold to the cavalry and shipped to France.

Joey is ridden by Captain Nicholls is killed and the horse faces war, death and disease.  Meanwhile, throughout the years, as young Albert has now grown up to become a young man that enlists in the British Army, Albert takes part in a dangerous mission to get his horse back and bring him home.

The film marks a new beginning for Steven Spielberg.  One, creating a film about a horse, as the main character and portraying him at various ages.  The film also marks Spielberg’s first time cutting the film digitally.  But with the music, it must be inspired by the film, primarily of its British landscapes and sure enough, “War Horse: Original Motion Picture Soundtrack” manages to capture that feel of adventure but also the horse as it goes through its adventures.  Williams approach was to utilize brass instruments.

Songs on the soundtrack that manage to capture that feeling of adventure in British land are tracks like “Plowing”, a more menacing sound with “The Charge and Capture”, the escape by Joey as he goes to look for his horse via “The Desertion” and once again with “No Man’s Land”.

The brass is the key to the music of “War Horse”, creating emotion and feeling of the horse trough the ages.  Steven Spielberg said in the booklet notes of William’s composition, “I feel that John has made a special gift to me of this music, which was inspired not only by my film but also by my many of the picturesque settings of the poet William Wordsworth, whose vivid descriptions of the British landscape inspired much of what you’re going to hear.  I’m not sure what I can give John in return, other than a promise of more films to come…for as many more years as we both can imagine!”.

The CD booklet features production credits, a note from Steven Spielberg plus images from the film.

Overall, “War Horse: Original Motion Picture Soundtrack” is a well-crafted score by John Williams, one of the great American composers who creates not only just music that matches what he is seen on screen but most of all, creating an enchanting listening experience that fans of his music have expected and have constantly received for many decades.

A beautiful soundtrack that is definitely recommended!

 

My week with Marilyn: Music from the Motion Picture (a J!-ENT World Groove Album Review)

“My week with Marilyn: Music from the Motion Picture” features a delightful soundtrack with songs wonderfully composed by Conrade Pope, beautifully sung by Michelle Williams and beautiful piano playing by Lang Lang. 

TITLE: My week with Marilyn: Music from the Motion Picture

LABEL: Sony Classical

DURATION: 58:40

RELEASE DATE: November 29, 2011

1. Marilyn’s theme – Conrad Pope
2. ‘When love goes wrong, Nothin’ Goes Right’ & ‘Heat Wave’ – Michelle Williams
3. Colin Runs off to the the Circus – Conrad Pope
4. Colin Joins the Circus/Mr Jacobs – Conrad Pope
5. Driving through Pinewood – Lang Lang
6. Paparazzi – Conrad Pope
7. Colin and Vivian – Conrad Pope
8. Memories Are Made Of This – Dean Martin
9. Rushes – Conrad Pope
10. Lucy – Conrad Pope
11. Uno, Dos, Tres – La Tropicana Orchestra
12. Arthur and Marilyn – Conrad Pope
13. Marilyn Alone – Conrad Pope
14. Arthur’s Notebook – Conrad Pope
15. Vivian Screens Marilyn – Conrad Pope
16. The Getaway – Conrad Pope
17. You Stepped Out Of A Dream – Nat King Cole
18. Eton Schoolyard Conrad Pope
19. Autumn Leaves – Nat King Cole
20. Overdose – Conrad Pope
21. Colin’s Heartbreak – Conrad Pope
22. Colin and Marilyn – Conrad Pope
23. It’s a Wrap, I found a Dream – Michelle Williams
24. Such Stuff That Dreams Are Made Of – Conrad Pope
25. Remembering Marilyn – Conrad Pope
26. That Old Black Magic – Michelle Williams

One highly anticipated film to come out this winter is the British drama “My Week with Marilyn”, an adaptation of Colin Clark’s two books “The prince, the showgirl and me: the Colin Clark Diaries” (1995) and “My week with Marilyn” (2000).

Colin Clark worked as an assistant director on Laurence Olivier’s film “The Prince and the Showgirl” (1957), which starred Olivier and actress Marilyn Monroe.  Clark would write about his experience working on the film via a diary featured in the book.  During the time, Marilyn Monroe was recently married to playwright Arthur Miller.  But while everything was quite detailed in that book, one week is missing.

That one week was then written in Clark’s “My week with Marilyn” in which Colin Clark alleges to have had a relationship with the actress.

In the film adaptation, the film is directed by Simon Curtis (“Five Days”, “David Copperfield”) with a screenplay by Adrian Hodges (“David Copperfield”, “Primeval”, “The Lost World”) and would star actress Michelle Williams (“Dawson’s Creek”, “Brokeback Mountain”, “Shutter Island”) as Marilyn Monroe and Eddie Redmayne (“The Good Shepherd”, “Powder Blue”) as Colin Clark.

The music for the film is composed and conducted by Conrad Pope (“Pirates of the Caribbean: The Curse of the Black Pearl”, “Harry Potter and the Sorcerer’s Stone”, “Star Wars: Episode I: The Phantom Menace), “Marilyn’s Theme” by Alexandre Desplat (“The King’s Speech”, “The Curious Case of Benjamin Button”, “Harry Potter and the Deathly Hallows: Part 1″) and would feature piano soloist Lang Lang and also music featuring the vocals of Michelle Williams.

To imagine the context of what Colin Clark is writing about, it’s important to note that Clark’s diary showed how much he disliked Monroe, how critical he was about her Hollywood look, her work ethic and then of course, the nine days missing from his first book.  A week that he alleges to have had an intimate relationship with an already ailing Marilyn Monroe in Sept. 1957, Monroe would die in an accidental overdoes in 1962.

While debate will always continue if whether or not Colin Clark’s memoir is indeed factual (Clark passed away in 2002), so far many people who have viewed the film has received positive reviews from critics.

As for the soundtrack, after repeated listening of the tracks, my opinion of the music is positive as I felt this is one classy, smooth and entertaining album.

First, Michelle Williams who did a fantastic job as playing Marilyn Monroe, also does a remarkable job performing the tracks such as “When Love Goest Wrong, Nothing Goe’s Right” and “Heat Wave”, another surprising track is Williams rendition of “It’s a Wrap” and “I Found a Dream”.  A beautiful song featuring Williams vocals and Lang Lang’s piano playing.  And a surprise for me was to see William’s cover of “That Old Black Magic”.  After listening to the Louis Prima and Keely Smith version for so many decades, it was interesting to hear a sultrier version by Williams.

Other vocal tracks on this album include Dean Martin’s “Memories are Made of This” and Nat Cole King Trio’s “You Stepped Out of a Dream” and “Autumn Leaves”.   And the instrumental “Uno, Dos, Tres” by Tropicana.  These songs help build upon the believability of the film taking place in the late ’50s.

But it’s Conrad Pope’s compositions that are easy listening.  From its upbeat, adventurous track of “Colin Runs Off to the Circus”, the big band jazzy “Collin Joins the Circus/Mr. Jacobs” and “Eton Schoolyard” to the adventurous string-dominated “Colin and Vivian” to the gentle “Vivian Screens Marilyn”, and of course the more sadder tracks with “Overdose” and “Colin and Marilyn”.  So, there are a good number of tracks that showcase a variety of emotions from Colin Clark’s earlier years, to when he first meets Marilyn, becomes closer to Marilyn and later to reminisce of Marilyn.

Alexandre Desplat has one track which he composed which is “Marilyn’s Theme” featuring beautiful piano playing by Lang Lang.  Lang Lang would be featured in five more tracks which include the beautifully scored “Paparazzi”, the sadder “Marilyn Alone”, working with Michelle Williams for “It’s a Wrap, I found a Dream” and for the closing track instrumental track “Remembering Marilyn”.

Overall, “My week with Marilyn: Music from the Motion Picture” is a soundtrack that provides great balance in songs showcasing the sultry Marilyn Monroe (via Michelle Williams who does a great job with her vocals), the Dean Martin and Nat King Cole tracks were also welcomed additions, and the inclusion of Desplat and Lang Lang were great additions.  But for the most part, Conrad Pope did a wonderful job composing and scoring this film.

“My week with Marilyn: Music from the Motion Picture” features a delightful soundtrack with songs wonderfully composed by Conrade Pope, beautifully sung by Michelle Williams and beautiful piano playing by Lang Lang.

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The Inbetweeners Movie (a J!-ENT World Groove Album Review)

The music soundtrack of “The Inbetweeners” features a balance offering of rock, pop and electronic tracks plus audio clips from the sexually-charged British film.  If you loved the film and loved the music, you’ll want the soundtrack!  

TITLE: The Inbetweeners Movie

LABEL: Sony Music

DURATION: 1:09:23

RELEASE DATE: November 29, 2011

1. Quicksand – Miles Kane
2. No Problemo – Mike Skinner
3. Mental Holiday (From the Inbetweeners Movie) – James Buckley as Jay
4. Gimme Love – The vines
5. Blow [Circut Remix] – Ke$ha
6. Introdce Yourself (From the Inbetweeners Movie) – James Buckley as Jay and Blake Harrison as Neil
7. We No Speak Americano (Radio Edit) – Yolanda Be Cool & DCUP
8. Nothing But Love (Readio Edit) – Axwell feat. Errol Reid
9. Fernando’s theme – Mike Skinner
10. You’re a Virgin (From the Inbetweeners Movie) – Simon Bird and Laura Haddock as Will and Allison
11. Twenty Euros – Mike Skinner
12. Waving Not Drowning – Mike Skinner
13. He Shoots He Scores (From the Inbetweeners Movie) – James Buckley as Jay
14. Clunge in a Barrel – Mike Skinner
15. Twenty Miles – Deer Tick
16. Feel So Close (Benny Benassi Remix) – Calvin Harris
17. Smack in the Balls (From the Inbetweeners Movie) – Joe Thomas as Simon
18. We are Go (feat. Laura Vane) – Mike Skinner, Laura Vane
19. MY,KZ, YR, BF (Grum Remix) – Everything Everything
20. Monatronic 5000 – Mike Skinner
21. Whatever it Takes – The D.O.T.
22. Two Man Job (From the Inbetweeners Movie) – Blake Harrison as Neil
23. Do It – Mike Skinner
24. Party All Night (Sleep All Day)(Album Version) – Sean Kingston
25. Gone Up in Flames – Morning Runner
26. Pussay Patrol – Mike Skinner
27. To the Pussay (From the Inbetweeners Movie) – The Inbetweeners

In the UK, the award-winning, British adult comedy television series “The Inbetweeners” was popular as it featured four Sixth form students (Will McKenzie, Simon Cooper, Jay Cartwright and Neil Sutherland)  as they prepare for their A-level examinations.

The main character Will relocates to a state school after attending private school because of financial problems and he is bullied.  But he manages to meet three new friends as they try to become sociable and talk about them wanting to have sexual exploits.

The three season series (6 episodes each, 2008-2010) ended with the guys finishing school and going their own separate ways.

With series creators Damon Beesley and Iain Morris wanting a fitting ending for the four young men, a movie was developed a film which was released in theaters in the UK in August 2011.

The film focuses on the four young misfits who have finished their A-levels and vacation in Malia, Crete (Greece) to get away from what troubles they are having currently in life.  And while on vacation, the four teens meet Alison, Lucy, Lisa and Jane.  Will these four misfits finally score?

With the release of the film, the soundtrack of “The Inbetweeners Movie” has been released.

The soundtrack features music from The Streets Mike Skinner who provides ten tracks to the soundtrack.  While many are familiar with the hip hop beats of the Streets, for Skinner’s contribution to the soundtrack, most are electronic dance club style of tracks, while the track “Waving not Drowning” uses a piano composition.

The notable tracks on the soundtrack for rock music are former The Rascals frontman Miles Kane with his upbeat rock track “Quicksand”, “The Vines” sexually enthused rock track “Gimme Love” and Deer Ticks “Twenty Miles”and Morning Runner’s “Gone Up in Flames”.

And as those comprise the rock tracks on the soundtrack, there is also pop tracks such as Ke$ha’s Circut Remix of her song “Blow”, the early 2011 popular charting hit “We No Speak Americano (Radio Edit)” from Yolanda Be Cool & DCUP and Sean Kingston’s “Party All Night (Sleep All Day) (Album Version)”.

And then there are the dance tracks such as Axwell feat. Errol Reid’s “Nothing But Love”, Calvin Harris’ “Feel So Close (Benny Benassi Remix)”, Mike Skinner and Laura Vane’s “We Are Go” and Everything Evertyhing’s “MY KZ, YR BF (Grum Remix)”.

Also, included in the soundtrack are seven short audio clips from the film as the guys discuss sex.

The CD insert features several pages of photos from the film and track listing/production credits.

“The Inbetweeners Movie” soundtrack will no doubt entertain fans of the film and it does try to balance rock, pop and electronic music.  But it’s quite subjective of what one wants to hear.  I found myself listening to the rock tracks quite a bit and “We No Speak no Americano (Radio Edit)” most of the time but this is one of those soundtracks that tries to please everyone with a balance of different musical genres.  But overall, a decent soundtrack.

 

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Puss In Boots: Music from the Motion Picture (a J!-ENT World Groove Album Review)

From composer Henry Jackman (“The Dark Knight Returns”, X-Men: First Class”) comes the vibrant, upbeat and energetic “Puss in Boots: Music from the Motion Picture” soundtrack.   Featuring Spanish-themed acoustic guitar music in combination with orchestral adventure-themed compositions, this soundtrack is definitely catch and addictive.  Also, featuring two tracks from the sensational duo Rodrigo Y Gabriela,  fans of the film and the awesome music of  ”Puss in Boots” will definitely want to check out “Puss in Boots: Music from the Motion Picture”!

TITLE: Puss In Boots: Music from the Motion Picture

LABEL: Sony Classical/Dreamworks

DURATION: 1:05:51

RELEASE DATE: November 15, 2011

1. A Bad Kitty
2. One Leche
3. Jack and Jill
4. Holy Frijoles
5. Chasing Tail
6. Diablo Rojo
7. Humpty Dumpty & Kitty Softpaws
8. The Orphanage
9. Honor and Justice
10. That Fateful Night
11. The Wagon Chase
12. Team Effort
13. Planting the Beans
14. The Magic Beanstalk
15. Castle in the Clouds
16. Golden Goose of Legend
17. Hanuman
18. Confronting the Past
19. I Was Always There
20. Kitty-Cat Break-Out
21. The Great Terror
22. Farewell to San Ricardo
23. The Puss Suite
24. The Giant’s Castle

“Puss in Boots” is a CG animated film from 2011 featuring the popular swashbuckling feline character that made his appearance in “Shrek 2″.   The storyline takes place before “Shrek 2″ and features Puss, along with sidekicks Humpty Dumpty and Kitty Softpaws taking on the outlaws,  Jack and Jill.

With the popularity of these Dreamworks animated films, the studio chose composer Henry Jackman (“The Dark Knight”, “X-Men: First Class”, “Monsters vs. Aliens”) to create the music soundtrack for the film.

Which leads us to “Puss In Boots: Music from the Motion Picture” featuring a total of 24 tracks, 22 of the tracks composed by Jackman, while “Diablo Rojo” and “Hanuman” was composed by the Mexican duo Rodrigo y Gabriela (Rodrigo Sanchez and Gabriela Quintero).

While listening to the soundtrack, I have to admit that the first thing that came to mind was “The Mask of Zorro” soundtrack composed by James Horner. Granted, the main character Puss has that similar action style, I’m not surprised that the film utilizes acoustic guitar ala flamenco style, whistling and just that upbeat style.

“A Bad Kitty”, “One Leche”, “Farewell to San Ricardo” are reminiscent to the music of Spaghetti Westerns of Sergio Leone films, you are also treated with the beautiful guitar playing of Rodrigo Y Gabriela.  ”Diablo Rojo”  and “Hanuman” are both fast and guitar playing and you wish there are more tracks by the duo!  While “Kitty-Cat Break-Out” tends to blend acoustic guitar with percussion and correlates quite well with what happens on the big screen.

While the Spanish-style of music playing is quite evident throughout the soundtrack, you are treated with instrumental/orchestral music with tracks such as the sneaky “Humpty Dumpty & Kitty Southpaws”, the adventurous track of “The Orphanage”, the darker-themed brass horn and strings infused track of “That Fateful Night” and the beautiful conclusion in “The Giant’s Castle”.

You also have hybrid orchestral/Spanish-themes adventure tracks such as “Honor and Justice”, “I Was Always There” and “The Wagon Chase”.  Definitely tracks that captivate you with strings, percussion and guitar that continue to build upon a darker theme to even hope.

As for the CD insert, you get images from the film and also production reedits.

Overall, the music featured in “Puss in Boots” compliments the overall theme of the film and its characters.  Henry Jackman has been one of the go to composers in Hollywood, known for composing action films with tremendous efficacy.  This time around, the overall theme is much different than what he has done in previous films by taking that Zorro/Spaghetti Western style and building upon the music and creating something new for “Puss in Boots”.

These soundtracks that utilize a more adventurous Spanish, flamenco/acoustic guitar theme comes along once in awhile in Hollywood.  And it is actually quite refreshing to have a soundtrack such as “Puss in Boots” which manages to incorporate that style of music but also including orchestral tracks that feature a more darker and adventurous mood but also to bring those styles together.

If you were a big fan of James Horner’s “The Mask of Zorro” or even Ennio Morricone’s music for the “Dollars” trilogy,  you’ll definitely love Henry Jackman’s music, especially Rodrigo Y Gabriela’s music for this soundtrack.

Definitely an upbeat, vibrant and delightful soundtrack worth recommending!

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A Dangerous Method: Original Motion Picture Soundtrack (a J!-ENT World Groove Album Review)

“A Dangerous Method: Original Motion Picture Soundtrack” features beautiful, emotional music composed by Howard Shore (composer of “The Lord of the Rings” trilogy) and the performance by Lang Lang for Richard Wagner’s “Siegfried Idyll” is just the icing on the cake for this delightful soundtrack.  Recommended!

TITLE: A Dangerous Method: Original Motion Picture Soundtrack

LABEL: Sony Classical/Howe Records

DURATION: 1:04:57

RELEASE DATE: November 21, 2011

1. Burghölzli
2. Miss Spielrein
3. Galvanometer
4. Carriage
5. He’s Very Persuasive
6. Sabina
7. Otto Gross
8. A Boat with Red Sails
9. Siegfried
10. Freedom
11. End of the Affair
12. Letters
13. Confession
14. Risk My Authority
15. Vienna
16. Only One god
17. Something Unforgiveable
18. Reflection
19. Siegfried Idyll

From filmmaker David Cronenberg  (“The Fly”, “Eastern Promises”, “A History of Violence”) comes his latest film “A Dangerous Method” based on the 1993 non-fiction book by John Kerr and a screenplay by Christopher Hampton, who wrote the original 2002 play “The Talking Cure” which was based on the book.

The film stars Viggo Mortensen, Michael Fassbender, Keira Knightley and Vincent Cassel.

“A Dangerous Method” takes place during World War I and features the turbulent relationship between psychiatrist Carl Jung (played by Michael Fassbender) and his mentor Sigmund Freud (played by Viggo Mortensen), as the two professionals had a theoretical divergence.  The film would also feature Sabina Spielrein (played by Keira Knightley), one of the first female psychoanalysts and a woman that was  admitted to the Burgholzli mental hospital where Carl Gustav Jung worked and he was also her medical dissertation advisor.  The two had sexual relationship which was a breach of professional ethics.

So to create music based on these relationships, composing the music for the film is award-winning Howard Shore (best known for composing all three “Lord of the Rings” films, the upcoming “The Hobbit” films and “The Aviator”).

While Shore is known for creating music for epic films, the music for “A Dangerous Method” continues to show that Shore still has the magic touch when it comes to creating music even when the film focuses on three individuals.

The track “Miss Spielrein” has a slow building ferocity to showcase the introduction of Sabina.  Forceful as the string orchestra compliments this score to full effect. And there are other beautiful tracks such as “Galvanometer”, “Sabina”, “Freedom” which the soundtrack tends to either focus more strings or more piano.

For the first 15 tracks, most of the songs are only 2 minutes long (or less).  It’s not until you reach track 16, where you get music that lasts longer than two minutes.  So, listening to the soundtrack, for Howard Shore’s music,  I found myself not listening to one song but listening to his compositions as a whole.

Shore’s final three tracks are his longest on the soundtrack.  “Only One God” has the sense of a composition that wants to be powerful but its power slowly descends, “Something Unforgivable” is a beautiful song which begins with piano and then is joined by the strings and becomes whimsical and sad which leads to another track that is just as sad, “Reflection” which is more of an emotional track that is reinforced by its low and high chord progressions.

And while Howard Shore’s music is a big part of the film, for this soundtrack, his songs are quite short.  The longest track on this album is Richard Wagner’s “Sigfried Idyll” performed by Lang Lang and arranged by Howard Shore.

As Howard Shore is well-known for his compositions for “Lord of the Rings”, Lang Lang, a Chinese concert pianist is amazingly popular for his music, performing with nearly ever major orchestra in the world and selling out venues, I would not be surprised if most people were attracted to this soundtrack because of Lang Lang’s performance of “Sigfried Idyll”.

“Sigfried Idyll” is a symphonic poem for chamber orchestra which was made public in 1876 which lasts about 20 minutes but for Lang Lang’s performance it is about 32 minutes long.  It’s a track that showcases Lang Lang’s technical marvel as a musician.  I found his version to be delightful.  Outstanding!

As for the CD insert, we get a few stills from the film and production credits.

Overall, the music of Howard Shore fits the film’s structure very well.  But as mentioned, these compositions are 1-2 minutes long and rather than listening to one song, to experience the album, you listen to it straight-through.  The addition of the 32-minute performance by Lang Lang is like icing on the cake.

“A Dangerous Method: Original Motion Picture Soundtrack”…A wonderful soundtrack featuring two talented men.  Recommended!

 

The Artist: Original Motion Picture Soundtrack (a J!-ENT World Groove Album Review)

A wonderful soundtrack that compliments Michel Hazanavicius’ “The Artist”.  Composer Ludovic Bource did a magnificent job in having a music that compliments the film but also an amazing step up for his music since his “OSS 117″ film years.   Also, includes wonderful tracks from Duke Ellington, Red Nichols & His Five Pennies and Rose Murphy.   If you loved the music for the film, you will enjoy this soundtrack! Recommended!

TITLE: The Artist: Original Motion Picture Soundtrack

LABEL: Sony Music

DURATION: 1:17:45

RELEASE DATE: November 21, 2011

1. The Artist Ouverture
2. 1927 a Russian Affair
3. George Valentin
4. Pretty Peppy
5. At the Kinograph Studios
6. Fantaisie D’Amour
7. Waltz for Peppy
8. Estancia OP. 8
9. Imagination
10. Silent Rumble
11. 1929
12. In the Stairs
13. Jubilee Stomp (Album Version)
14. Comme Une Rosée De Larmes
15. The Sound of Tears
16. Pennies from Heaven
17. 1931
18. Jungle Bar
19. L’Ombre Des Flammes
20. Happy Ending…
21. Charming Blackmail
22. Ghosts from the Past
23. My Suicide 03.29.1967
24. Peppy and George

In 2011, the French film “The Artist” directed by Michel Hazanavicius (“OSS 117: Cairo, Nest of Spies”, “OSS 117: Lost in Rio”) and starring Jean Dujardin (as George Valentin) and Bérénice Bejo (as Peppy Miller) have been catching a lot of buzz since the 2011 Cannes Film Festival (where Dujardin won the “Best Actor Award”).  And with buzz reaching out to other countries including the United States, there also has been talk about the music which was composed by Ludovic Bource, who worked with the director in both “OSS 117″ films.

While the film takes place in Hollywood between 1927 and 1932 and revolves around the end of silent cinema as it was replaced by talkies, the film is a silent film, so the music plays an important part of the film.

According to Ludovic Bource, the relationship that he and Hazanvicius have during the making of the film is not saying so much.  If anything, Bource watches the rushes to understand the feeling of the film and builds his music from there.  Prior to making the film, both he and Hazanvicius listened to Chaplin, Max Steiner and Franz Waxman to Bernard Hermann.  They analyzed and listened to the music from the past, including romantic composers from the 19th century.

Bource said in an interview, “We worked – a bit like Chaplin – along the lines of a light sophistication… What was great was being able to work in sequence blocks of 7, 8 or 9 minutes; to be able to reflect on the mood that could be connected to the plot or to a resonance which would be like the characters interior echo, even if there were different sequences within these blocks.”

Part of the challenge that Bource had in creating the music for a silent film was having to edit the music during editing.  Bource said, “we had to reduce certain pieces according to the editing, throw lots of them away, and write new ones, adapt them following each step of the film that was being made.  Michel and I didn’t stop fine-tuning, refining.”

For the soundtrack, Ludovic Bource worked with the Flanders Philharmonic Orchestra in Brussels for a week.  Featuring 80 musicians, 50 string players, four French horns, four trombones, five percussionists, a harpist, ten technicians, five orchestrators and three mixers.

My personal favorites from the soundtrack were “George Valentin”, which was a whimsical track that has a touch of elegance of piano and strings.  While a track such as “Pretty Peppy” and “Fantaisie D’Amour” had strings and horns and would transition from upbeat to elegant to upbeat.  “At the Kinograph Studios” is another song driven by its strings but such a beautiful song that brings out a feeling of romance and happiness.  Also, the carefree feeling of “Jungle Bar”.

But an interesting change as we see the decline of silent film and hearing the music starting to go for upbeat, to something much more melodramatic and with a hint of sadness.  Clearly evident on tracks such as “Comme Une Rosée De Larmes” and “The Sound Of Tears”.  The latter, Bource ha said was inspired by Brahms’ “Sapphic Ode” and a song that fits the film’s image of decline and loneliness of character George Valentin.

The soundtrack of the film gets darker and tracks such as “L’Ombre Des Flammes” is action-driven, “Ghosts From The Past” effectively uses the strings and horns to produce the sound of dread.

While Ludovic Bource created the majority of the music on this soundtrack, also featured are Brussels Philharmonic with “Estancia OP.8″, a surprise for me was seeing Red Nichols & His Five Pennies “Imagination”.  Red Nichols was a popular jazz band in the 1920′s and a wonderful inclusion to this soundtrack.  Also, included are Duke Ellington’s “Jubilee Stomp” (from 1928) and Rose Murphy’s “Pennies from Heaven” (a song that earned her the nickname “The Chee Chee Girl”).

And as appropriate to the soundtrack, one last upbeat swing track from Ludovic Bource titled “Peppy and George”.

The CD booklet features interviews with composer Ludovic Bource in English and French.

Overall, “The Artist: Original Motion Picture Soundtrack” was fantastic and amazing step for Ludovic Bource compared to his musical soundtrack for “OSS 117″.  Wonderful music that worked in conjunction with the silent film and its characters and situations.  If you loved the film, you will love the soundtrack.  Recommended!

 

Feist – Metals (a J!-ENT World Groove Album Review)

While some who are still hooked on “The Reminder”,  for those who value great music and to recognize Feist’s ability of capturing that fine balance of music and vocals, but to also have each track so varied and not banal, that’s what I love about “Metals”.  Each song is something different, something new and something brilliant.  This album is definitely recommended!

ARTIST: FEIST

ALBUM: Metals

LABEL: Cherrytree / Interscope

DURATION: 1:04:21

RELEASE DATE: October 4, 2011

1. The Bad in Each Other
2. Graveyard
3. Caught a Long Wind
4. How Come You Never Go There
5. A Commotion
6. The Circle Married the Line
7. Bittersweet Melodies
8. Anti-Pioneer
9. Undiscovered First
10. Cicadas and Gulls
11. Comfort Me
12. Get It Wrong, Get It Right

If there is one thing that can be said about Leslie Feist, after her activities in the band Broken Social Scene and moving on to her solo career, Feist is absolutely resilient.

With the magnificent release of Feist’s third solo album, “The Reminder” with the breakout hit “1234″ and being named in 2007 “Breakout Artist of the Year” by Spin and Blender, I’m sure with all the media attention and pressure, it wasn’t easy for the music artist.  Having taken a break in 2008 and rejoining Broken Social Scene in 2009, Feist has been keeping busy joining other bands and collaborating with other artists and many of her fans wondered if she would make another solo album.

Well, it’s 2011 and Feist’s fourth album, “Metals” is here.  Featuring collaborations with Valgeir Sigurosson (a producer/engineer known for working with Bjork), Canadian musician Chilly Gonzales, Somali-Canadian singer/producer Mocky, Vanessa Carlton and Marina & The Diamonds.

But if I had to describe this album in one word, I can easily say “beautiful”.

Let’s forget about “1234″, as many people keep asking me, “are there any songs like ’1234′?”.  Forget that song, let’s move forward and I can tell you that from the quality of music, the varied style of each song and the beautiful voice of Leslie Feist and the efficacy of “Metals” shines of brilliance.

From the melody of “Graveyard”, the tender drums in balance with her vocals on “Bittersweet Melodies”, the acoustic vibrance of “Cicadas and Gulls”, the bluesy guitars on “Anti-Pioneer”, her songs are wonderfully crafted lyrically and musically.

And the beauty of “Metals” is the fact that it’s easily accessible that anyone can listen to and enjoy.  Yes, youngsters, even mom and dad will dig it.

While some who are still hooked on “The Reminder”,  for those who value great music and to recognize Feist’s ability of capturing that fine balance of music and vocals, but to also have each track so varied and not banal, that’s what I love about “Metals”.  Each song is something different, something new and something brilliant.

Feist’s “Metals” is definitely recommended!

 

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