CD Reviews: Martian Chronicles and Secretary
Ray Bradbury's The Martian Chronicles *** 1/2
STANLEY MYERS
Airstrip One AOD 003
36 tracks - 69:11
This NBC miniseries was required viewing when it aired in 1980. As a
Ray Bradbury fan, I could not wait to see how his classic novel would be
adapted to small screen. I remember some general anticipation around the
time (they hoped for big ratings) but there were numerous problems, among
which was the author's own comment that the film was "boring." Incidentally,
Bradbury's quote is included both in the detailed notes, and in an amusing
afterthought, "The film was so boring I don't really remember the music.
Was it any good?" Well, yes. For the many who did watch this tele-series
and for those enamored of music for such events, Stanley Myers' score for
The Martian Chronicles is good enough to stand as an album on its own merits.
The opening "Prologue" is an engaging piece. At times lyrical, at other
times avant-garde, it moves comfortably between musical realms before reaching
a brief coda of stock television melodramatic music. The "Space March"
moves us into Buck Rogers territory with its semi-modern, almost
kitschy rock beat. Definitely a cool sound for the late '70s, but now it
comes off a bit dated. There are actually quite a few popular music-influenced
pieces that incorporate the traditional background television action music
popular in the 1970s (with its electric guitars and rhythm set driving
things). Of additional interest is the variety of electronic ideas thrown
into the mix -- they're reminiscent of those amazing Tomita space albums.
There's also a delicious tango for "Ben and Genevieve" from the final section
of the film. Plus the great disco-tinged "End Titles" are a great reminder
of the period. Be sure to let that track play out for an extra surprise.
While most cues are by necessity limited to one or two minutes in length,
Myers manages to develop many satisfying sections. Better yet, each of
the three parts of the drama ("The Expedition," "The Settlers" and "The
Martians") has a unique quality that helps musically separate it while
still seeming part of a greater whole. If you're a fan of great sci-fi
music, this disc is surely worth seeking out. -- Steven A. Kennedy
Secretary *** 1/2
ANGELO BADALAMENTI
Lions Gate LGI 0006
12 tracks - 40:41
A soundtrack bookended by the sardonic world-weary vocals of Leonard
Cohen's classic "I'm Your Man" and Lizzie West's raspy "Chariot's Rise"
is clearly not making concessions to the pop crowd, but immediately piques
the interest of purveyors of cool. Let's not forget that Angelo Badalamenti
isn't adverse to working alongside off beat tracks in his soundtracks,
with Wild at Heart, Blue Velvet and Mulholland Drive being
the obvious cuplrits. However, what does distinguish this disc from Angelo's
legion of Lynchian nightmares is a nice sense of humor and hope. Lynch's
movies are not without a sense of the absurd, and have included hilarious
sequences, but with Secretary the veil has been lifted further, allowing
the composer's playful side to emerge.
Steven Shainberg's movie follows the titular secretary (Maggie Gyllenhaal)
as she joins a law firm after spending time in a mental institution. However
it's not long before she develops an S&M relationship with boss James
Spader and things really start to go off the rails. "Main Title" is a progressive
fusion of maracas and other percussion with guitar riffs and synth effects,
which evolves at the midway point into a driving melody and reveals the
central piano motif. "Feelin' Free" is a particularly uplifting cue that
establishes the humanity of the piece, while "Snow Dome Dreams" shifts
between tinkling wonderment, New Age choruses and a driving progressive
theme. Imagine the bastard child of Newman's American Beauty and
Duane Eddy, and while that might sound like the basis of a David Lynch
movie, it sums up the eclectic nature of this piece.
Leonard Cohen's "I'm Your Man" is a classic of its genre, being the
title track of his 1988 album. Indeed, if it weren't so well known you
might expect to find Badalamenti's name on the song credits -- it sounds
more like his style than some of his own songs do. While we won't accuse
the composer of lifting Cohen's style (he composed Blue Velvet two
years before Cohen's song) the track must have influenced him in some way.
The other vocal cut on the album is Lizzie West's "Chariots Rise." The
beatnik/ country/ rock artiste is receiving some prominence at the moment
following the April 2003 release of her first full album Holy Road:
Freedom Song. And most intriguingly, and gender-defyingly, Cohen's
"I'm Your Man" was covered by Lizzie West on her eponymous self-titled
EP CD last year.
The song "Me and My Baby Brother" doesn't make it to the album, but
you still get 30 minutes of score and two perfectly suited songs. With
Badalamenti continuing to expand his range on sci fi opus Lathe of Heaven,
horror movie Cabin Fever and crime drama The Adversary, I
continue to be surprised by this versatile performer. -- Nick Joy
MailBag@filmscoremonthly.com
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