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Back-tracking to episodes missed in Season 2:
"The Great Escape"
Nothing particularly stood out.
"Inside Out"
Stand out cues: the short synth cello and violins piece that opens a funeral ending after the openign credits have rolled. The slow small percussion cue after Joe pushes a suspect off the pier. The double bass plucks and uneasy piano notes as Joe is approached by a prisoner who recognizes him, followed by some quick dramatic timpani hits and an tense airy synth. The fast-paced small emsamble percussion piece with wordless male wailing as Harvey, Brim and backup approach and burst into a place to make arrests. The tense airy synth leading up to a short-lived action burst with timpani and percussion hits that reminded me of Goldsmith's "First Blood", as Harvey is taken prisoner in a prison. And the tense airy synth with sounds I can't define that lead to another burts and drums and percussion (different this time) and finally fast-paced percussion and Joe and Harvey escape from the prison and persue the escaping bad guys.
It's interesting, it's varied, and it's a little different than previous efforts. Over all, with all the cues I mentioned, I'd say this is a top tier effort from Jobson.
"The Counterfeiters"
Stand out cues: the opening cue that Jobson loosely blends out of the song "For The Love of Money" by The O'Jays as a fake group of S.E.I.U. take down some bad guys, using congas, what sounds like closed hi-hat cymbal taps, then picking up the pace for a chase sequence where an exotic sintrument comes in: what sounds like a high-pitched note from a cuíca, playing in quick succession with the congas. Another cue during hte end climax, with a steady congas beat and some other percussion sintruments, opened with a ethnic male vocal over it; even an avil comes in a two or three times for a hits (seriously, how often did you hear an anvil it a television series in the 1990's?); there' a lot of little things going on, changes in the congas patterns little layers of synth pads, more than the scene really deserved (but at least it helped detract from the lacklusterness of the scene); the congas patterns slow down and a wood block, shaker of some kind, triangle and lower octave piano take over as Nash gets the bad guy.
There are some nice bits here and there, including one part of a cue (not mentioend above) that sounds like something out of "Miami Vice".
"Deliverance" (season finale)
Nothing particularly stood out. There was an interesting minute or so in one cue with some sleigh bells that sounded like a weird "Miami Vice" / "Leon: The Professional" combo.
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I'm slowly going back and adding links and time stamps to old reviews. This was one of my earlier threads and I wasn't using links and just describing cues. Time to fix that.
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Continuing SEASON 4:
Back tracking to an episode that was not up when I started the thread. By the way, all those new links I posted while trying to fix old reviews, are blocked. This is the only episode that for some inexplicable reason, didn't get blocked.
"Pump Action"
https://www.youtube.com/watch?v=wJZlRAFjxHw
Highlights:
1:34 in.
6:17 in.
20:05 in.
31:18 in.
Joe: "Haha, what happened to your hair, man?"
Jake: "I shaved it off, Dominguez; what happened to yours?"
Joe: "Ah, I missed a couple payments."
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The revival pilot premieres next month on the 27th. Still no word on the composer. I looked around and couldn't find anything. Greg Beeman directed and looking over his director credits on IMDb, it doesn't appear he has a regular go-to composer. I hope for the best, but fear for the worst. If I even see the name Jeff Russo announced, I'm gonna throw up so hard it'll go through the internet and come out your speakers.
Looking over the complete cast, I see three people from the show returning.
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The revival pilot was scored by somebody named Scott Francisco. IMDb shows he's been a music editor on multiple TV series, especially for Joseph LoDuca.
His scoring credits on his IMDb page show this was a surprising break through for him. Before hand: one short film, one obscure movie and now this.
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Nash Bridges (A.K.A.: the revival pilot)
Composers: Fred Armisen and Scott Francisco
https://www.youtube.com/watch?v=763vn3E9Dng
Note: There are some bad micro jump edits in the last few minutes. I don't know if this was intentional by the user or if it's just a bad digital recording.
Highlight:
9:27 in.^
11:56 in.^
19:25 in.
36:08 in. Drumkit fight music.
43:31 in.^
48:09 in.
1:04:49 in.^(parts)
1:19:53 in.
(Note to Me: 54:57, 56:30, 1:09:47, 1:10:40, 1:16:59)
The score: Like a bizarre cross between Eddie Jobson and Velton Ray Bunch, but in generic serviceable form.
Comments: Right from the opening I had a good feeling. It opened with the fade in from black with that weird electric guitar-like drone the series used, so immediately they were trying to be faithful. Then the camera work and writing for Joe and Nash was spot on; it was like watching the old TV series all over again. Just when I though it couldn't get better … BOOM -- the opening credits is the Eddie Jobson song from the series! It's the original but edited down (a shame).
However, the opening credits was off. It looked like a film credit sequence, didn't have the flashy edgy design work and the font for the show name looked like somebody discovered an updated MSWord 3D text effect.
Some things are apparent: Cheech is running like an old man. He doesn't have the spry youth anymore. Johnson looks way more like his character's dead father and has some old-guy speech slur, but he can still pull off action fairly well. I can't say I recall the name of the firearm Nash used in the series, but it looks the same, however, in the series it had the distinctive pronounced loud firing that let you know Nash was there -- this sounds generic in the revival pilot. Joe apparently is divorced, as he refers to seeing a "Victoria" tonight (I assume continuation of the series will answer what happened and deal with his two kids). Cassidy is mentioned a few times, with a quick line in the end indicating a set up for a future plot that will undoubtedly have her in it.
Dislikes: Not happy about the new Coda. The new trans character isn't needed (what's worse: referring to the character being related to a character never seen on the original series; made up for this revival pilot).
Conclusion: This is a super rare example of a revival that doesn't bungle what the original was. This was like watching the original series in its prime. It had some good hard laughs, good lines, good little things you notice, and overall was well worth my time. Fans of the show should certainly check this out.
Joe: "I don't remember these bumps hurting my ass so much."
Nash: "Your ass is fine, bubba."
Nash: "Come on Greg, let's go; don't piss yourself. Now you're gonna have to ride in the trunk." (after using a stun gun on a bad guy)
Criminal: "If I confess, will you shut up?" (to the Lefty dolt running the S.I.U. talking about feelings and understanding him)
[n]Joe: "I wouldn't even pass the drug screen, man -- I'm high most of the time." (to Nash asking him to go back to the S.I.U.; Joe now run a weed business)
Nash: "Ahhh, is the Mayor a weekly customer?"
Joe: "Sometimes twice a week."
Joe: "So, when do I get to drive it?"
Nash: "Aaahhh, let me think … aaahhhuuum -- never."
Joe: "What? I'll give you free weed."
"What are you? In an '80's cop movie?"
Nash: "You know, you could learn a thing or two from '80's cop movies."
"Well, this is a first for me: Doing cop work at a weed shop."
Joe: "Where you been?"
Nash: "Shrink."
Joe: "Still crazy?"
Nash: "Apparently."
Nash: "He's got an excuse: he's an asshole."
Nash: "Harvey. I need a favor. No, NO -- it can't wait until after 'The Bachelor'…"
Nash: "If you're going with me, you better put a gun in your hand."
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