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Posted: |
Oct 15, 2018 - 7:33 PM
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By: |
Wedge
(Member)
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Cross-posted from Roger's Intrada forum announcement:
ANOTHER STAKEOUT
Music Composed and Conducted by ARTHUR B. RUBINSTEIN
INTRADA ISC 407
In honor of composer Arthur B. Rubinstein who passed away earlier this year, Intrada is proud to present his colorful, spirited score to the 1993 sequel, Another Stakeout starring Richard Dreyfuss, Emilio Estevez and Rosie O'Donnell. In the first film, Stakeout, Chris Lecce (Dreyfuss) and Bill Reimers (Estevez) pair as comically quarrelsome Seattle detectives who stake out the ex-girlfriend of an escaped con, only for Lecce to fall head-over-heels in love with the woman they are surveilling. Six years later, Another Stakeout heats up with a literal bang as hit man Tony Castellano (Miguel Ferrer) attempts to blow up Lu Delano (Cathy Moriarty), the star witness against a Mafia boss. When Delano subsequently vanishes, zealous A.D.A. Gina Garrett (O’Donnell) recruits Lecce and Reimers to stake out the lake district where Delano is believed to be hiding.
Rubinstein’s score for Another Stakeout is distinguished from its predecessor in several ways, one of which is scope. As a budget eighties actioner, the original movie had a synth-heavy score with a pronounced pop vibe. The sequel also employs synth and pop elements, but with a nearly ninety-member orchestra at the composer’s disposal. The difference is immediately apparent in the main title, with its spellbinding arpeggios and sumptuous dark strings. The film relies on its own catalog of motifs. First is the suspenseful theme introduced in the main title. Second is a muscular action theme, related to the motif for the actual stakeout. Finally, there is a heartstring-tugging theme for Lecce and Maria that spotlights the colors of guitar and flute. Though not heard frequently—it appears about as often as Maria herself—this is one of Rubinstein’s loveliest melodies.
Rubinstein scored the opening portion in a serious vein, then fashioned his score to match the amiable dynamics of the two principal stars. The soundtrack for Another Stakeout plays as two distinct scores. Common thematic ideas and harmonic devices are shared in both styles of writing and the result is an unusually strong cohesiveness within a widely diverse hour of music. Intrada prepared this premiere release from the 2? 24-track masters recorded over four days in late June 1993 by veteran John Richards at Todd-AO Studios with the composer conducting.
INTRADA ISC 407
Barcode: 7 20258 54073 7
Retail Price: $19.99
SHIPPING NOW
For track listing and sound samples, please visit:
http://store.intrada.com/s.nl/it.A/id.11535/.f
Product page info:
01. Main Title (5:05)
02. You Dump We Pump (2:22)
03. Aftermath (0:46)
04. Arrest Him (3:18)
05. Garbage Fight (0:50)
06. Dead Mackerel (0:28)
07. Father And Son (1:01)
08. Talk Like That (1:54)
09. I’m Leaving (0:58)
10. Delano’s Not Dead (0:42)
11. Paper, Rocks, Scissors (2:48)
12. Drive To Isle (1:27)
13. Stickley!! (0:52)
14. Kitty Pie (1:59)
15. You Forgot My Name (0:40)
16. Dos Cero Seis!! (1:25)
17. Dinner Interruption (1:11)
18. Staying Awake (0:59)
19. Stakeout (1:36)
20. Jogging (1:51)
21. Dangerous Ball (0:51)
22. Putting In A Bug Pt. 1 (3:10)
23. Putting In A Bug Pt. 2 (1:39)
24. Night Knock Out (0:52)
25. Tied, Taped And Hooded (1:01)
26. Night Sprinklers (0:53)
27. Not On The Phone!! (1:15)
28. Knocked Down Stairs (0:38)
29. Dock Threat/Water Fight (5:03)
30. Get The Car!!* (0:52)
31. Hello Tony (1:00)
32. Tony Arrives On Isle (1:40)
33. Cops Shooting Cops (3:32)
34. Tony Gets Gina (3:01)
35. Marry Me (1:51)
Total Time: 60:25
*Not Featured in Film
Exciting 1993 Arthur B. Rubinstein soundtrack CD premiere! From Touchstone Pictures comes John Badham’s sequel to his hit 1987 action comedy Stakeout. As with the original, Badham offers profuse action and thrills with his comic touches in another tale of buddy cops Richard Dreyfuss and Emilio Estevez on the trail of bad guys, this time being no less than a local Mob boss and his deadly hitman (Miguel Ferrer) chasing after star witness Cathy Moriarty. Featured is Rosie O’Donnell as the zealous Assistant District Attorney who engages our two cops in staking out the lakeside residence where Moriarty is believed to be hiding out. Composer Arthur B. Rubinstein again scores albeit this time enlarging the scope of his music significantly with an 80-piece orchestra. The scale is bigger, the comic episodes more involved and the action is much bigger. At times its intense. This is Rubinstein doing what he does best, working with the director he is most famed for. Listeners are the beneficiaries! The shape of Rubinstein’s score is worthy of note: Intense drama and action open, then light comic material enters, soon followed by melodic development, all leading to powerhouse action segments and a rousing final shootout. When all is said and done, Rubinstein wraps with a brief unassuming coda. There are numerous highlights but the action sequences deservedly get the spotlight: After a lengthy “Main Title” set-up, “You Dump We Pump” illuminates the frightening initial bombing attack with crisp low brass punctuation over rolling left hand piano and snare. Staccato trumpets add to the terror. “Arrest Him” launches with witty harmonica and guitar but quickly dissolves into more crisp low brass and dynamic rhythmic activity as the chase gets underway. When Rubinstein zeroes in on the climactic chase and shootout sequences, all vestiges of comic play drop as the film heats up: “Dock Threat/Water Fight” gets things going with dark, intense material based on the composer’s signature harmonic vernacular of shifting minor chords in strings leading to jagged outbursts from a trio of trumpets. The grim mood remains throughout several cues, culminating in two back-to-back deadly serious action sequences: “Cops Shooting Cops” followed by “Tony Gets Gina”. Together they offer some of Rubinstein’s most ferocious action writing of his terrific career. Powerhouse! Entire CD mixed and mastered from the original 2” 24-track session masers vaulted in pristine condition by Walt Disney Pictures. Informative liner notes by John Takis, colorful “flipper-style” booklet design by Kay Marshall. Sad footnote: As this CD went into production, it was to become the last soundtrack album Mr. Rubinstein was personally involved with before his death in April 2018 of complications resulting from cancer. This important release is understandably presented in loving memory of him. John Richards mixes, Brad Warner orchestrates, Arthur B. Rubinstein composes, conducts. Intrada Special Collection CD available while quantities and interest remain!
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Calling all whittlers!
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Posted: |
Oct 16, 2018 - 5:04 AM
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By: |
spielboy
(Member)
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Tech Talk From The Producer…
Arthur B. Rubinstein gave his score for Another Stakeout an interesting architectural shape. Roughly speaking, he composed it using an A-B-A-B structure: he scored the opening portion in a serious vein, then fashioned his score to match the amiable dynamics of the two principal stars (Richard Dreyfuss and Emilio Estevez).
He next proceeded to score in a deadly serious mode—among Rubinstein’s most dark and aggressive writing—and finally wrapped everything with a brief coda utilizing elements from his amiable material for a quiet finish. The soundtrack for Another Stakeout plays as two distinct scores. Common thematic ideas and harmonic devices are shared in both styles of writing and the result is an unusually strong cohesiveness within a widely diverse hour of music.
This premiere release of Rubinstein’s score was prepared directly from the original 2” 24-track session masters recorded over four days in late June 1993 by veteran John Richards at Todd-AO Studios with the composer conducting. All eleven rolls of Dolby A-encoded tape survived in pristine condition and the new digital album mixes made in 24bit 96kHz at Intrada are crisp and vibrant.
The score is presented in the sequence Rubinstein intended for the film.
Two very brief synth-based cues that were assembled in postproduction are not included. “Father And Son” and “Kitty Chase” were each tracked into the film twice and appear just once on this CD as the composer originally planned. There were also several brief editorial changes to the music during the climactic action sequences, particularly the shootout with cops firing at each other in front of the witness protection safe-house. In those postproduction edits, several bars from the cues as re corded by Rubinstein were dialed out and bars from earlier cues were used instead. In these instances, this CD presents the cues as Rubinstein originally composed them.
Finally, one dramatic cue, “Get The Car!!” (track 30), with three unison trumpets playing one of the score’s important motifs in a piercing upper register, was recorded but subsequently dropped from the film. It appears on this CD in the sequence where the composer had intended.
—Douglass Fake
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Delighted to have Another Rubinstein in my collection!
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I imagine they figured folks would widely prefer to have the orchestral score, between the two.
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