CD Reviews Gods and Generals and The Recruit
Gods and Generals ***
JOHN FRIZZELL AND RANDY EDELMAN
Sony SK 87891
18 tracks - 54:22
In 1993, Ron Maxwell adapted Jeff Shaara's novel Gettysburg for
the screen. In doing so, he crafted what is arguably the best film depiction
of the War Between the States. Ten years later, Maxwell returns with the
entire cast and most of the crew to try and catch lightening in a bottle
a second time. Gods and Generals, also based on a Shaara book, is
the prequel to Gettysburg, outlining the early days of the war,
from 1861 to the eve of the Gettysburg battle.
Also returning to the scene is Randy Edelman. But this time he has a
little help from his friends, including John Frizzell, who composed much
of the score; Mary Fahl, who sings the opening number, "Going Home"; and
Bob Dylan, who contributes a new song, "Cross the Green Mountain." Add
to the mix a DVD containing a Dylan music video (included with the score
album) and you have what appears to be a must-have release. With all this
going for it, what could be better?
Well, this release is like the old circus trick of dazzling the eyes
so the deficiencies in other areas won't seem as glaring. The orchestration
of the underscore, obviously trying to mimic authentic sounds from the
period, has less of the heavy synth beefing found in Gettysburg,
but it's still a bit flat. Likewise, the little touches that are supposed
to conjure down-home wartime America come off as a pastiche of Braveheart
via The Patriot. Uilleann pipes and fiddle aren't quite the
definitive sound to represent men fighting for the American cause. Edelman
and Frizzell do present three discernible themes, but they undergo little
development. This is not an inherent problem, but even the most repetitive
of ideas usually undergo colorful orchestration changes at some point in
a score.
Still, there are bright spots. Most notable is "VMI Will Be Heard From
Today," which sets up an effective low-end ostinato with the violins striking
on top. The tension of the cue mounts as the tempo slowly increases, while
dissonant brass chords and polyphonic trumpet lines weave in a out of the
texture. The finishing touch is the choir, which enters in triple meter,
firmly against the headlong rush of 4/4. The resulting cacophony marvelously
illustrates the din of battle.
The two songs, while pleasant, feel tacked on and contribute little
to the album. So, if you are a Dylan fan and are interested in his every
move, by all means purchase this CD. Otherwise, you'll be best off sticking
with the original Gettysburg. -- Andrew Granade
The Recruit ** 1/2
KLAUS BADELT
Varèse Sarabande 302 066 433 2
14 tracks - 49:38
Roger Donaldson's The Recruit is the latest film in the unique
Al Pacino-mentoring-a-naive-kid genre (remember The Devil's Advocate,
Donnie Brosco, City Hall and Scent of a Woman?). This time around
Pacino plays a CIA instructor who spends about an hour teaching his newest
"recruit," Colin Farrell, everything James Bond usually learns in 5 minutes.
German composer Klaus Badelt likely wasn't asked to do anything more
than keep the action pumping, and while the result is not a "bad" score,
it's also the least memorable of the above-mentioned Pacino flicks (Thomas
Newman's Scent being the best). Badelt is emerging as the composer
du jour, interesting in the context of this album review because he himself
has been "mentored" by the Pacino-esque Hans Zimmer. Looking at Badelt's
scores for Invincible, The Time Machine and the overwhelming K-19:
The Widowmaker, one always finds some kind of musicality. But Badelt
usually goes the extra mile. Even in The Recruit, Badelt occasionally
throws in a juicy cue filled with unexpected twists. Parts of these tracks
make a lasting impression, notably the piano finale of "Hijacked" and the
nice love theme showcased in "Layla." Badelt also favors the piano as an
effective, calming contrast to the action music (a la Randy Edelman and
Christopher Young).
Still, there is an overwhelmingly generic feel to The Recruit,
making this near-50 minute CD a monotonous listen. His inspiration here
seems to be the work of Harold Faltermeyer, a 1980s drum machine and synth-driven
style I would prefer not to see resuscitated. At its best, The Recruit
rises to the hypnotic quality of Tangerine Dream. -- Cary Wong
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