Hats off for the most surprising concept album in ages. This is a true soundtrack
collector's gem find. I wish I had a penny for every time I've been asked
or seen it asked as to what music was used for a film trailer. On two discs
you get 69 answers. Half of each answer is the name John Beal, who has recorded
over 500 in the last 14 years. It must have been quite a job determining
which cues to go with, but 7.5% is still a worthy result.
In approximately 2 minutes, Beal has the tall order of selling a picture
as the must see event of your life. Most of the time he also has to do it
within the style of a pre-selected temp score. It is therefore fully appreciated
that the composer should include this dedication: "To the composers whose
work I am hired to emulate, I am awed by what you create, and am blessed
to have the opportunity to study your work. I hope you always feel I have
treated your inspiration with respect and dignity." In fact, the CD's booklet
is brimming with thanks and acknowledgements.
"The Cutthroat" thanks Joseph LoDuca for Army of Darkness in the Cutthroat
Island trailer. Robert Folk gets a nod for the re-working of Toy Soldiers
into "Schooltie" (for School Ties). The cue for Heathers thanks the composer
of Beetle Juice in a slightly more amusing fashion, by calling the cue "Three
Blind Elfmen".
Humour is really the key to 'getting' this album. Everything about it maintains
that it is put together with a fun outcome in mind. So many of the cue titles
raise a smile: "Beal's Con Theory" (Conspiracy Theory), "Lyle / Ennio / I'm
Not Hoffa" (Quiz Show), "Unmarried White Woman" (Single White Female), "Beal's
Volcanic" (Volcano), "Ocean Song" (Titanic). With that last cue, an interesting
part of the album is raised. Inside the booklet the actual 'Used For' credit
reads "Demo for a film trailer about a shipboard romance". On the CD's back
cover, 52 of the features are listed alphabetically. Some of them are alluded
to in the same way as Titanic is inside, but why is unclear. It all adds
to an enjoyable game of determining the origins of many of the cues, and
because there are so many, I have decided to present something a little
different. What follows is a list of the stand-out elaborations. (I would
welcome being contacted with additions.)
DISC ONE:
1 BLACK BEAUTY - GETTYSBURG / CLIFFHANGER
5 BLACK RAIN - THE ABYSS
8 CHAPLIN - THE ROCKETEER
9 CONSPIRACY THEORY - SE7EN (Nine Inch Nails)
12 CUTTHROAT ISLAND - ARMY OF DARKNESS
14 DEADLY BLESSING - THE OMEN / NEEDFUL THINGS
20 HAM'S PROLOGUE & EPILOGUE - BORN ON THE 4TH OF JULY
21 HEATHERS - BEETLE JUICE
22 HUNT FOR RED OCTOBER - ROBOCOP
32 LAST OF THE DOGMEN - DANCES WITH WOLVES / HUNT FOR RED OCTOBER
DISC TWO:
5 MIRACLE ON 34TH STREET - EDWARD SCISSORHANDS
10 I'LL ALWAYS FALL IN LOVE WITH LOVE (Haven't worked out title !) - ENYA
(Caribbean Blue)
11 PAGEMASTER - THE ROCKETEER / FAR AND AWAY
13 POLICE ACADEMY - THE GREAT ESCAPE
14 QUIZ SHOW - THE UNTOUCHABLES
16 SCHOOL TIES - TOY SOLDIERS
17 SINGLE WHITE FEMALE - COMMANDO
22 SPECIES II - CLOSE ENCOUNTERS OF THE THIRD KIND
27 THE MASK - PEE-WEE'S BIG ADVENTURE
30 TITANIC - ENYA (Book of Days used in FAR & AWAY)
32 UNDER SIEGE II - THE USUAL SUSPECTS / HUNT FOR RED OCTOBER
33 V I WARSHAWSKI - BEVERLY HILLS COP
34 VOLCANO - ALIENS
35 WHITE WATER SUMMER - STREETHAWK (TV)
Not wishing this review to merely function as a re-worked credits list, I
must mention what I assume to be Beal's own material -a quite beautiful
orchestral piece called "Karen's Love Theme" which graces the second disc.
One assumes this to be the same lady Beal dedicates the album to, and who
sadly passed on earlier this year. There is also a funky disco groove to
be found in "Skatetown USA Trailer / End Title", which apparently had glitter
balls spinning with Carolyn Dennis' vocals.
Pretty much every conceivable musical genre is covered by the original and
re-worked pieces. In all the scales must swing more toward synths having
been used to save on time and money. Yet many of the temps used stem from
electronic scores anyway. What a task it must be to find the appropriate
samples. Although presumable for the re-recordings of Goldsmith's Judge Dredd
trailer music and the Basic Instinct theme Beal would have had access to
the scores.
There are some interesting conclusions to be drawn about the art of trailer
making from what is on evidence. For example, the cue used for Ghost does
not sound anything like a love story. It shows how a film can be pitched
as one thing, only to be perceived as something else.
Another observation is how action trailers in the last few years have followed
a format of pausing for the credits at the end then coming back for an explosion
or shock visual (think of Twister and the flying truck). Several of Beal's
cues here seem to have finished, then come back for a tail-end 'sting'. It
is as predictable for those types of film now as either of the Mr Voice-over's
dulcet tones
Since there is something of a randomness to the sequencing, it is conceivable
that the constant shifting of styles may put some listeners off. The two
options are either to re-programme, or select to played randomly. That would
certainly add to the fun of the guessing game.
Reviewer
Paul Tonks
However Rob Barnett was not so impressed
This must surely be the equivalent of a vanity production. I would have never
have thought that a 2 CD set of music written/adapted especially for movie
trailers would have been issued. Next thing you know we will be getting boxed
sets of music written especially for supermarkets, lifts and Sony Playstations
(whoops too late - they are here already!). There can be little doubting
the skills of John Beal which, if the blurb is anything to go by, are in
great demand in the industry. The skill is in delivering many moods without
noticeably disruptive gear changes all in the compass of two or three minutes
or a lot shorter for TV promotions. The music, which I confess only to have
sampled, comes at you thick and fast. Beal’s command of styles is impressive.
As to the music I am afraid I was not moved. At best this is for the avid
(and I mean avid) collector or film memorabilia. That, I am afraid, is about
it.
Reviewer
Robert Barnett
This review has given rise to some controversy. Our response may be read
on the Bulletin
Board
CD1 [62:04], 34 tracks;
CD2 35 tracks [67:03] SONIC IMAGES SID2 8815
