Month: April 2021

Categories
CD's Music & Radio Shows Soundtracks (CD's)

THE UNTOUCHABLES (by Ennio Morricone) [Movie Soundtrack]

SUMMARY:                                 RUNNING TIME: 39 Min.

Released by A&M Records in 1987, this orchestral score was composed and conducted by Ennio Morricone.  The orchestra isn’t identified.  In 1988, the album won a Grammy for Best Album of Original Instrumental Background Score Written for a Motion Picture or Television.

            Title:                                              Time:

  1. The Untouchables (End Title)                      3:12
  2. Al Capone                                                  2:56
  3. Waiting at the Border                                   3:45
  4. Death Theme                                               2:43
  5. On the Rooftops                                           2:35
  6. Victorious                                                   2:10
  7. The Man With the Matches                          2:47
  8. The Strength of the Righteous (Main Title)    2:26
  9. Ness and His Family                                    2:45
  10. False Alarm                                                 1:10
  11. The Untouchables                                         3:04
  12. Four Friends                                                2:51
  13. Machine Gun Lullaby                                  7:01

REVIEW:

If there wasn’t before such a genre as ‘epic noir,’ then Ennio Morricone effectively creates it with The Untouchables.  The polar opposites of timeless heroism and ruthless evil are a pendulum coming to life through the magic of Morricone’s baton. 

Balancing idealistic motifs for Eliot Ness and his squad doggedly pursuing their crusade against Chicago’s shadowy underworld, Morricone delivers with operatic precision and a drastic sense of contrast.  Case in point: his score masterfully narrates the film’s most indelible sequence – i.e. the “Machine Gun Lullaby” train depot shoot-out. 

However, in an unforced gaffe, these thirteen tracks come in haphazard order.  Regardless of the album producers’ reasoning (thematic variety, perhaps), the film’s dramatic intensity is off-kilter hearing these music cues so far out of sequence.  Still, Morricone’s ultra-stylish score is worth exploring, as it’s an enticing advertisement for watching the movie.

PACKAGING:

The tracks and their running times are listed on the case’s back cover.  The tracks are also listed on the disc. The insert is the bare minimum: some miniature film stills and the primary film credits.     

BRIAN’S ODD MOON RATING:                             8 Stars

Categories
Individual Tracks (CD's) Music & Radio Shows Rock, R&B, Pop, Soul, & Metal/Symphonic

SHOOT TO THRILL (by AC/DC: Back in Black)

SUMMARY:                                        RUNNING TIME: 5:17 Min.

Off AC/DC’s seminal 1980 album, Back in Black, “Shoot to Thrill” experienced a resurgence in popularity from its presence on 2010’s Iron Man 2 movie soundtrack.

REVIEW:

“Shoot to Thrill” is stellar AC/DC.  This loudly energetic track is well worth adding to any number of metal & rock playlists — most definitely for workouts.  Highly recommended!  

BRIAN’S ODD MOON RATING:                               9 Stars

Categories
Classical, Electronica, & New Age Individual Tracks (CD's) Music & Radio Shows

MARBLE HALLS (by Enya: Shepherd Moons)

SUMMARY:                                 RUNNING TIME: 3:54 Min.

It’s the tenth track off Enya’s 1992 Shepherd Moons album. 

REVIEW:

Enya’s vocal elegance mingling with an ethereal melody and choral support makes “Marble Halls” a welcome experience in serenity.  For any relaxation-themed or meditative playlists, this tune is a classy download option either for at home or the salon.    

BRIAN’S ODD MOON RATING:                           8 Stars

Categories
Individual Tracks (CD's) Music & Radio Shows Soundtracks (CD's)

GOODBYE, OLD FRIEND (by Paul Gemignani: Mary Poppins Returns movie soundtrack)

SUMMARY:                                    RUNNING TIME: 2:32 Min.

From the 2018 movie soundtrack, composer-conductor Paul Gemignani delivers this instrumental tune.  Portions of it can be heard in one of the Mary Poppins Returns trailers. 

REVIEW:

From its solo piano opening on, composer-conductor Paul Gemignani wistfully revisits undercurrents of the movie’s score.  Despite its short running time, this slow medley of sorts is a nice orchestral treat. 

BRIAN’S ODD MOON RATING:                               7 Stars

Categories
Individual Tracks (CD's) Music & Radio Shows Soundtracks (CD's)

MAGIC CITY {Cover: from 1976’s The Next Man} (by The Seattle Symphony Orchestra: Michael Kamen’s Opus)

SUMMARY:                                      RUNNING TIME: 2:58 Min.

Composer-conductor Michael Kamen devised this instrumental theme for a 1976 Sean Connery drama entitled The Next Man.  Twenty-two years later, the Seattle Symphony Orchestra performed the track for the 1998 Michael Kamen’s Opus retrospective album.      

REVIEW:

According to Kamen’s liner notes, the track helps visualize a wondrous helicopter flight that Sean Connery’s Next Man character takes seeing New York City after dark.  Yet, this slightly ominous track could also easily be construed as a part of some medieval adventure.  Although “Magic City” is indistinctive, its moody instrumental sound is worth considering as a download for instrumental and/or classical-themed playlists. 

BRIAN’S ODD MOON RATING:                      7 Stars

Categories
Comic Books & Graphic Novels Marvel Comics

THE PULSE # 4 (2004 MARVEL Comics)

Written by Brian Michael Bendis

Art by Mark Bagley; Scott Hanna; Pete Pantazis; & Virtual Calligraphy’s Cory Petit

Cover Art by Mike Mayhew & Avalon’s Andy Troy

SUMMARY:

Entitled “Thin Air, Part 4,” Marvel Comics released this issue for September 2004.  Emotionally drained, Daily Bugle investigative journalist Ben Urich summons an incredulous Spider-Man to compare notes re: Norman Osborn.  Suffice to say, Spider-Man is mighty peeved that former colleague, Urich, has deduced his secret identity.  The worst comes out when Urich confides that Osborn is now killing his own employees (and a fellow Bugle journalist). 

Having settled the journalist’s long-held suspicions re: the Green Goblin’s identity, Spider-Man realizes that it’s time for a decisive showdown with Osborn.  Meanwhile, on the Bugle’s payroll as an investigative consultant, a pregnant Jessica Jones shares an uneasy phone call with her boyfriend, Luke Cage. 

Having cajoled J. Jonah Jameson to again risk exposing Osborn’s evil, Urich goes to the police.  Accompanying the police’s search warrant for Oscorp’s HQ, Jessica & Urich horrifically find out how unhinged Osborn is.  This initial storyline concludes in Issue # 5.

REVIEW:

Excellent read!  Brian Michael Bendis is on his game, as he deftly involves Spider-Man, Jessica Jones, Luke Cage, Ben Urich, Robbie Robertson, and J. Jonah Jameson in an engrossing crime thriller.  The same applies to Norman Osborn/Green Goblin, as he oozes plenty of vile menace off-screen — the cover image, however, is spot-on. 

The underrated MVP is a low-key Jessica Jones, who imbues The Pulse series with a likable, down-to-earth presence.  Her rebooted persona is an intriguing step forward in her character’s evolution moving past her dark Alias solo series, which was cancelled the year before.   

The art squad’s visuals are above-average.  To their credit, their imagery sticks to the script’s plausibly dramatic aspects.  In that sense, Mark Bagley’s creative style is an ideal fit for The Pulse.  Considering how underrated The Pulse series was (it ran only 14 official issues), Issue # 4 is definitely worth re-discovery.  If anything, it’s a welcome dose of depth-building that precedes Bendis’ 2005 New Avengers launch, with Spider-Man, Luke Cage, and Jessica Jones in the cast.

ADDITIONAL CONTENT:

The first page includes credits and a “Thin Air” storyline-to-date summary.

BRIAN’S ODD MOON RATING:                                 8 Stars

Categories
CD's Jazz & Blues Music & Radio Shows Soundtracks (CD's)

WHEN HARRY MET SALLY (by Harry Connick, Jr.) [Movie Soundtrack]

SUMMARY:                              RUNNING TIME: 38 Min.

Released by CBS Records in 1989, this album made Harry Connick Jr. a star, as he covers eleven jazz standards. The tracks are:

            Title:                                                Time:

  1. It Had to Be You [big band & vocals]                  2:41
  2. Love is Here to Say                                            4:13
  3. Stompin’ at the Savoy [no vocals]                       4:17
  4. But Not For Me                                               4:34
  5. Winter Wonderland [no vocals]                           3:04
  6. Don’t Get Around Much Anymore                     4:24
  7. Autumn in New York [no vocals]                       2:50
  8. I Could Write a Book                                        2:30
  9. Let’s Call the Whole Thing Off                           4:13
  10. It Had to Be You [instrumental trio]                   1:44
  11. Where or When                                                3:52

REVIEW:

Exuding an ideal blend of class and style, Harry Connick, Jr. brings the When Harry Met Sally soundtrack to life.  After the effervescent sound of Track 1 (it’s a gem!), the album’s increasingly mellowness is prevalent.  In some instances (i.e. Tracks 2 & 11), Connick Jr.’s low-key vocals are so subtle that it’s hard to even make out the song lyrics. 

While the straight-up instrumental tracks are consistently wonderful, this soundtrack’s best moments (i.e. Tracks 1 & 8) are when Connick Jr.’s vocals step up to match the timeless big band sound.  The downside, unfortunately, is the album’s running time flies by too fast.  Still, picking up this vintage Connick Jr. effort makes an elegant contribution to any CD collection or download list.

PACKAGING:

The track titles and composers are credited, but the running times aren’t included. The insert includes a film still montage from the film, credits, and a note from director Rob Reiner.     

BRIAN’S ODD MOON RATING:                          8 Stars

Categories
Classical, Electronica, & New Age Individual Tracks (CD's) Music & Radio Shows Soundtracks (CD's)

MY NAME IS ELSPETH (by Michael Kamen: The Winter Guest movie soundtrack)

SUMMARY:                                           RUNNING TIME: 4:16 Min.

Composer-conductor Michael Kamen devised this low-key theme for a 1997 Emma Thompson drama, The Winter Guest, that Alan Rickman directed. 

REVIEW:

For an instrumental, it’s exquisite.  The serenity imbued by Michael Kamen’s piano-driven melody is gorgeous.  Without any prior context, “My Name is Elspeth” poignantly conveys whatever meaning the listener wishes it to be.  This gentle track is absolutely recommended for relaxation, instrumental and/or classical playlists. 

BRIAN’S ODD MOON RATING:                             9 Stars

Note: Featuring Liz Fraser’s serene vocals, track # 11 of this album (“Take Me with You”) is also highly recommended.

Categories
Individual Tracks (CD's) Music & Radio Shows Rock, R&B, Pop, Soul, & Metal/Symphonic Soundtracks (CD's)

WATERLOO {Cover} (by Lily James & Hugh Skinner: Mamma Mia! Here We Go Again movie soundtrack)

SUMMARY:                                    RUNNING TIME: 2:48 Min.

For the 2018 film sequel, Mamma Mia! Here We Go Again, co-stars Lily James (as a young ‘Donna’) and Hugh Skinner (as a young ‘Harry’) duet on this cover of the vintage ABBA hit.

REVIEW:

Though the spur-of-the-moment sequence in which this song appears makes too little sense, Lily James & Hugh Skinner compensate with a playful, almost goofy duet.  The upbeat track’s appeal is also attributable to the melody’s catchiness.  Though Skinner isn’t nearly as polished as James, their vocal chemistry offers a fun ‘show tunes’ listening experience. 

BRIAN’S ODD MOON RATING:                      6 Stars

Categories
Individual Tracks (CD's) Music & Radio Shows Rock, R&B, Pop, Soul, & Metal/Symphonic Soundtracks (CD's)

THE DAY BEFORE YOU CAME {Cover} (by Meryl Streep: Mamma Mia! Here We Go Again movie soundtrack

SUMMARY:                        RUNNING TIME: 5:29 Min.

For the 2018 film sequel, Mamma Mia! Here We Go Again, actress Meryl Streep goes solo on the album’s concluding track. 

REVIEW:

Frankly, what artistic performing talent doesn’t Meryl Streep possess?  Streep’s vocals are in fine form, but the tune itself leaves something to be desired.  While the song’s tone is reminiscent of Carly Simon’s moody 1997 album, Film Noir,  the lyrics are just odd without some prior context.

Case in point: the song’s rainy day-in-the-life storytelling seems intentionally ambiguous. Is Streep’s ghostly Donna Sheridan perhaps reflecting on the day before her imminent demise (or maybe a terminal diagnosis)?  The narrative’s repetitive uncertainty of details (i.e. as if she is in a fog remembering a specific day’s events) might make one wonder.  Or is the song meant more as a metaphor about a contented life and even taking for granted one’s familiar daily routines?  In that sense, pondering this tune’s meaning becomes almost a needless distraction.   

Still, Streep imbues this downbeat tune with the right touch of elegance – she, however, can’t overcome how the murky context of “The Day Before You Came” supposedly ties into the film.  If anything, this enigmatic track is too bleak a contrast to the album’s bubbly vibe.

Note: There’s also an anachronism that suggests the lyrics were possibly touched up for the film. Streep’s Donna refers to not missing a single episode of House of Cards — yet, this TV series wouldn’t have existed at the time of the film’s setting. 

BRIAN’S ODD MOON RATING:                  6½ Stars