Thursday, June 13, 2024

Speed

 


Speed
(Original Motion Picture Score)

Music Composed by
Mark Mancina

To celebrate the 30th anniversary of Speed, Renovatio Records proudly presents a new album featuring Mark Mancina’s thrilling action score. Released in 1994, Speed is an action film and the directorial debut of Jan De Bont, renowned for his work as a cinematographer in films like Die Hard, The Hunt for Red October, and Basic Instinct. Starring Keanu Reeves, Sandra Bullock, Dennis Hopper, Joe Morton, and Jeff Daniels, the plot of Speed centers on a Los Angeles bus rigged by an extortionist bomber to explode if its speed drops below 50 miles per hour. Reeves plays the fearless LAPD Officer Jack Traven, while Bullock stars as Annie Porter, a bus passenger who must take the wheel. Together, they will do their best to save the day. The film was a critical and commercial success, becoming the fifth-highest-grossing film of 1994 and winning two Academy Awards for Best Sound Effects Editing and Best Sound. Since its release, Speed has been hailed as one of the best action films of the 1990s and helped solidify Reeves and Bullock as leading stars.

The film’s high-octane premise demanded a score that could match its relentless pace and impressive set pieces. Despite initial resistance from the studio, De Bont chose Mark Mancina for the job, a composer without major solo scoring credits at the time but with experience as an orchestrator and arranger for Hans Zimmer. Mancina’s approach for Speed was to support the action sequences while maintaining a focus on the characters. He achieved this by creating a noble main theme consisting of a five-note figure in ascending progressions. This theme recurs throughout the film, evoking Jack’s struggle to be the hero without losing sight of the lives that are at stake. Mancina also employs a catchy six-note staccato action motif that is sharp in performance, perfectly complementing most of the film’s intense action sequences. Both of these thematic identities are introduced at the beginning of the score and film during the “Main Titles” cue. For Howard Payne, the antagonistic bomber played by Dennis Hopper, Mancina uses electronic textures, depriving the villain of a humanizing melody. Examples of this approach can be found in the opening of the “Main Titles,” during “Pop Quiz,” and at the beginning of “Helen Dies.”

One of the most compelling aspects of the Speed score is Mancina’s innovative use of electronic elements. While it can be argued that the integration of synthesizers with traditional orchestral arrangements was still evolving at the time of the film, it cannot be denied that Mancina's work on Speed showcases some of the early experimentations that would come to define the music for action blockbusters in subsequent years.The score's rhythmic loops and electronic textures add a modern edge, heightening the tension and urgency of the on-screen action. Cues like “Rush Hour,” “Jack Jumps Onto Bus,” “City Streets,” “The Dolly,” “Fight on the Train,” and “Runaway Train” are relentless and will have listeners on the edge of their seats. However, the standout cues of the score are those that blend pulse-pounding action music with thematic development. “The Gap” and especially “The Rescue” are perfect examples of this, both featuring intricate layers of motifs and rhythmic elements that create thrilling sequences mirroring the escalating stakes faced by the bus passengers. Another notable aspect of the score is Mancina’s use of sound effects, including a recurring declining pitch resembling a passing bus horn, as well as synthesizer effects mimicking the sound of creaking and shaking cables, to accompany the opening action sequence involving an elevator filled with people that is about to plummet.

The original score-only album for Speed was released in 1994 by Fox Records as a companion to a song compilation album. While it included many of Mancina’s highlights, the cues were rearranged out of film order, placing the best tracks at the beginning, a decision that disrupts the overall listening experience. An expanded release by La-La Land Records in 2012 features 25 additional minutes of music in chronological order, allowing listeners to appreciate the score's narrative progression. However, the length and inclusion of several short cues also made the listening experience of this release unbalanced. This new release by Renovatio Records includes all of Mancina’s highlights in an album presentation that follows the film's chronological order, combining short cues into longer ones, providing a fuller picture of Mancina's work that is easier to appreciate.

There is no better way to celebrate the film’s 30th anniversary than by sitting back and reliving Mancina’s adrenaline-pumping and timeless score.


Track List:

1. Main Title (3:29)
2. Elevator Peril (4:09)
3. Payne Escapes (3:32)
4. Pop Quiz (2:07)
5. Rush Hour (5:45)
6. Jack Jumps onto Bus (2:15)
7. City Streets (2:16)
8. Helen Dies (3:20)
9. The Gap (2:48)
10. Entering Airport (1:00)
11. The Dolly (2:07)
12. The Rescue (4:04)
13. Pershing Square (3:19)
14. Fight on Train (1:52)
15. Runaway Train (1:51)
16. End Title (1:56)

Total Running Time: 45:50



Size: 271.9 MB
Files type: FLAC Audio File [.flac]
Channels: 2 (stereo)
Sample Rate: 44.1 KHz
Sample Size: 16 bit
Bit Rate: 1,411 kbps


Cover Artwork:






Credits:

Music Composed and Arranged by Mark Mancina

Conducted by Don Harper
Orchestrated by Bruce Fowler, Ladd McIntosh, Y.S. Moriarty, Don Harper and Mark Mancina
Sound Programming: Bob Daspit
Percussion: Mike Fisher
Guitar: Allan Holdsworth
Contractor: Sandy De Crescent
Additional Music: John Van Tongeren
Music Recorded and Mixed by Jay Rifkin and Alan Meyerson
Assistant Engineers: Steven Stern, Stephen Harrison, Bruno Roussel
Additional Recording: Doug Botnick
Assistant to Mark Mancina: Christopher Ward
Music Score Consultant: Curt Sobel
Score Recorded at Media Ventures and Sony Scoring Stage
Mastered by Stephen Marcussen at Precision Mastering

All compositions published by Fox Film Music Corporation (BMI)



Cue Assembly:

Track Title

Cue Title

1. Main Title

Main Title (Edited)

2. Elevator Peril

Move! (Edited)

Elevator Peril (Edited)

Elevator Stall (Edited)

Pop Quiz (Edited)

3. Payne Escapes

Freight Elevator (Edited)

Payne Explodes (Edited)

4. Pop Quiz

Payne Calls Jack

5. Rush Hour

Rush Hour (Edited)

6. Jack Jumps onto Bus

Jack Jumps Onto Bus (Edited)

Choppers (Edited)

7. City Streets

City Streets (Edited)

8. Helen Dies

We Have Trust

Helen Dies

9. The Gap

The Gap (Edited)

10. Entering Airport

Entering Airport

11. The Dolly

Jack on Dolly (Edited)

The Dolly (Edited)

12. The Rescue

The Rescue

13. Pershing Square

Pershing Square

14. Fight on Train

Annie’s Loaded

Getting on Train (Edited)

Fight on Train

15. Runaway Train

Runaway Train

Freight Elevator (Edited)

16. End Title

End Title


Motion picture artwork and photos © 1994 Twentieth Century Fox Film Corporation. This compilation and cover artwork © 2024 Renovatio Records. All rights reserved. Unauthorized duplication is a violation of applicable laws. For promotional use only.

Renovatio Records [0-01702-19062]

Wednesday, June 5, 2024

The Lost World: Jurassic Park

 

The Lost World:
Jurassic Park
(Original Motion Picture Score)

Music Composed and Conducted by
John Williams

For this year’s Jurassic June, Renovatio Records is thrilled to present a new album featuring John Williams’ riveting score for The Lost World: Jurassic Park. Released in 1997, this film is the second installment in the Jurassic Park franchise, serving as a direct sequel to the 1993 blockbuster Jurassic Park. Loosely based on Michael Crichton's 1995 novel The Lost World, the film was directed by Steven Spielberg and stars Jeff Goldblum and Richard Attenborough reprising their roles, alongside Julianne Moore, Pete Postlethwaite, Arliss Howard, Vince Vaughn, Vanessa Lee Chester, Richard Schiff, and Peter Stormare.

The plot revolves around John Hammond losing control of his company, InGen, to his nephew, Peter Ludlow. To avoid bankruptcy, Ludlow plans to send a group of hunters to capture the dinosaurs living in Isla Sorna, where InGen's dinosaurs were cloned, to build a new theme park in San Diego. In response, Hammond assembles a team led by mathematician Ian Malcolm and his girlfriend, paleontologist Sarah Harding, to document the dinosaurs and advocate for non-interference. However, a clash between the two groups leaves them stranded on the dangerous island, forcing them to work together to escape the primitive island.

The Lost World was one of the most anticipated sequels of all time. However, upon release, the films received mixed reviews from critics, who cited a lack of character development, familiar rainy nighttime settings, and a formula-driven horror survival narrative as points of criticism. Spielberg himself expressed his disappointment with the film, admitting that it is far inferior to its predecessor. Nevertheless, it was a worldwide hit. grossing over $600 million, it was praised for its action set pieces, excellent cinematography, and extensive use of CGI and life-sized animatronics to convincingly bring the dinosaurs back to life. Even to this day, The Lost World stands as the most accomplished sequel of the franchise in this regard.

When it comes to the music, John Williams' score for The Lost World marks a thrilling departure from the familiar soundscapes of the original film. While Jurassic Park was imbued with a sense of wonder and majesty, Williams masterfully emphasizes the darker, more primal elements of Isla Sorna in the sequel, creating a bold and adventurous yet menacing spirit. Williams' new thematic landscape for The Lost World is strikingly distinct, setting the tone with a primary theme that echoes the raw, untamed environment of the second island. Though less melodically complex than the main themes of its predecessor, this aggressive but catchy theme grows in power and impact, underpinning the film's intense and perilous setting. Spielberg liked it so much that he re-used this suite in several scenes throughout the film, replacing many cues that Williams had previously composed, such as “The Round Up” and “Ludlow’s Demise.” Nevertheless, Williams still provides interesting treatments of the main theme in “Malcolm’s Journey” and “Leaving the Island.”

Williams also introduces a mysterious four-note ascending motif, opposed to the descending “carnivore” motif of the first film. This motif opens the film in “Prologue” and appears throughout, most notably in “The Raptors Appear,” where it grows in form, suggesting that on this island, the dinosaurs have ascended as the dominant species.

The main themes from Jurassic Park make brief appearances, with the adventure theme being the most prominent of the two. It briefly appears during “Hammond’s Plan,” “Infiltrating Camp,” and “Trek to the Complex,” with a dark, brilliant rendition in “Visitor in San Diego.” Williams provides a full ensemble performance of the adventure theme in the End Credits suite, perfectly rounding out the sequel.

Williams also treats certain dinosaur species with unique approaches. “The Stegosaurus” offers a return to the awe and wonder of the original score, while “The Compys Dine” uses screeching woodwinds to create an abrasive birdlike sound effect that mirrors the swarm of diminutive carnivores overwhelming their victim. Williams avoids relying heavily on thematic elements, allowing the percussion section to dominate the score. Many of the score's standout moments are undoubtedly the sequences that utilize these relentless, primordial rhythms. Tracks like “The Round Up”, “Sarah on the Glass”, “Rescuing Sarah”, “Ripples”, “The Long Grass”, “The Raptors Appear”, and the finishing minutes of “Visitor in San Diego” pulsate with energy, creating an immersive listening experience that will have on the edge of your seat.

All in all, despite its darker tone and increased intensity, Williams' score for The Lost World is a testament to his versatility and ingenuity. Initially released in 1997 by MCA Records, the score received mixed reviews due to audio mix issues. The 2016 La-La Land Records expanded edition fixed these issues and added nearly 40 minutes of unreleased material, which, though welcomed by fans, some felt it dragged the overall listening experience. This new release by Renovatio Records presents all the highlights of the score in chronological order, aligning with the film’s narrative arc and showcasing Williams’ ingenuity. Fans of the franchise will still find much to admire and enjoy in this exhilarating and innovative score.


Track List:

1. The Lost World (3:32)
2. Prologue (3:32)
3. Hammond's Plan (4:28)
4. Malcolm's Journey (3:35)
5. The Stegosaurus (5:25)
6. The Round Up (3:31)
7. Infiltrating Camp (3:17)
8. Sarah on the Glass (3:34)
9. Rescuing Sarah (5:07)
10. Trek to the Complex (5:54)
11. The Compys Dine (4:14)
12. Ripples (3:51)
13. The Long Grass (2:25)
14. The Raptors Appear (3:40)
15. Leaving the Island (2:09)
16. The Port (2:51)
17. Visitor in San Diego (7:35)
18. Ludlow's Demise (2:48)
19. Finale and End Credits (4:52)

Total Running Time: 76:20



Size: 448 MB
Files type: FLAC Audio File [.flac]
Channels: 2 (stereo)
Sample Rate: 44.1 KHz
Sample Size: 16 bit
Bit Rate: 1,411 kbps


Cover Artwork:





Credits:

Music Composed and Conducted by John Williams

Produced by John Williams
Executive in Charge of Music for Universal Pictures: Harry Garfield

Recorded and Mixed by Shawn Murphy
Recorded and Mixed at Sony Pictures Scoring Stage, Culver City, California
Orchestrations: John Neufeld, Conrad Pope
Orchestra Contractor: Sandy De Crescent
Assistant Engineer: Sue McLean
Music Editor: Kenneth Wannberg
Assistant Music Editor: Kelly Mahan Jamarillo
Scoring Crew: Richard De Armas, Grant Schmitz, Greg Dennen, Patrick Weber, Mark Eshelman
Music Preparation: JoAnn Kane Music Service

Published by USI B Music Publishing (BMI) © 1997



Cue Assembly:

Track Title

Slate & Cue Title

1. The Lost World

The Lost World (End Credits)

2. Prologue

1m1 The Island’s Voice

3. Hammond’s Plan

2m2 Revealing the Plans

4m2 Corporate Choppers

4. Malcolm’s Journey

3m1 To the Island

5. The Stegosaurus

3m3 Finding the Baby

6. The Round Up

4m3/5m1 The Round Up

7. Infiltrating Camp

5m3/6m1 Spilling Petrol (Edited)

8. Sarah on the Glass

7m2/8m1 Pain of Glass (Edited)

9. Rescuing Sarah

8m2 Truck

10. Trek to the Complex

8M3 Reading The Map (Edited)

10M3/11M1 After The Fall

11. The Compys Dine

9M2 The Compys!

9M3/10MA The Compys Dine (Edited)

12. Ripples

10M1 Rialto Ripples (Edited)

10M1Alt Rialto Ripples Alternate (Edited)

13. The Long Grass

10M2 Steiner In The Grass

14. The Raptors Appear

11M2 The Raptors Appear

15. Leaving the Island

12M2 Heading North

16. The Port

12M3 Ludlow's Speech (Edited)

17. Visitor in San Diego

13M1 A Neighborhood Visitor

13M2 Streets Of San Diego

18. Ludlow’s Demise

13M3/14M1 Ludlow's End

19. Finale and End Credits

14M2 The Saving Dart

End Credits Intro


Motion picture artwork, trademarks, logos and photos © 1997 Universal City Studios, Inc. and Amblin Entertainment, Inc. This compilation and cover artwork © 2024 Renovatio Records. All rights reserved. Unauthorized duplication is a violation of applicable laws. For promotional use only.

Renovatio Records [0-01702-19066]

Monday, May 20, 2024

The Mummy

 

The Mummy
(Original Motion Picture Soundtrack)

Music Composed and Conducted by
Jerry Goldsmith

One of the most beloved action adventure films of the 1990s turned 25 this year, and here at Renovatio Records we want to celebrate its anniversary with a new album. We are thus proud to present Jerry Goldsmith's iconic score for The Mummy. Directed by Stephen Sommers and starring Brendan Fraser, Rachel Weisz, John Hannah Kevin J. O’Connor, Jonathan Hyde, and Arnold Vosloo in the title role, The Mummy is a loose remake of the 1932 film of the same name. Set in 1926 Egypt, the story follows adventurer Rick O'Connell, librarian Evelyn Carnahan, and her older brother Jonathan, as they travel to Hamunaptra, the City of the Dead, where they accidentally awaken Imhotep, an ancient Egyptian high priest who had been cursed and buried alive centuries ago.

Development of the film took several years, with the script being rewritten many times, as well as several directors, such as George A. Romero, Clive Barker and Joe Dante, being attached to helm the film. Eventually, Sommers’ pitch of a romantic action-adventure epic with a few horror elements earned the studio’s approval. At the time of release, The Mummy quickly became a huge hit for Universal Pictures, grossing $416 million worldwide against a budget of $80 million, with much praise given to its groundbreaking special visual effects (courtesy of Industrial Light & Magic), its tongue-in-cheek approach, and its outstanding musical score by Jerry Goldsmith.

Goldsmith and Sommers had previously collaborated on the action/horror film Deep Rising the year before, but The Mummy could not be any more different. For this epic adventure, Goldsmith wrote a large-scale symphonic score with heavy percussion, powerful brass performances, and several regional instruments such as the bouzouki, a Greek mandolin-like instrument, which is featured extensively throughout the score and lends an authentic Middle Eastern flavor to the music. 

At the heart of Goldsmith's score are four key thematic motifs. In his first cue (“Imhotep”), Goldsmith already introduces three of these, the first being an exotic theme for ancient Egypt, that makes a grand entrance with brass, choir and thundering percussion, underscoring an excellent shot where the camera pans over an Egyptian cityspace. This theme makes several other appearances in the form of action driven renditions in cues like “Tuareg Attack” and “My Favorite Plage”. During “The Caravan”, Goldsmith uses this theme as a basis to develop a majestic motif for a traveling montage, as the protagonists ride camels across the Sahara agains epic desert vistas; this track is one of the highlights of the entire score.

Complementing the ancient Egypt theme is a sinister motif associated with Imhotep and his curse. This theme is foreshadowed in “Imhotep” and “The Sarcophagus”, and remains dormant until Imhotep is resurrected and starts wreaking havoc in cues like “Locusts”, “My Favorite Plague”, “Sand Storm” and “Rebirth”. In these cues, the seven-note theme progresses from low and doom-laden performances to aggressive brass treatments and menacing choir, embodying the relentless brutality of the mummy's growing powers and actions.

The third theme, also introduced in the cue “Imhotep”, is a poignant love theme that Goldsmith dedicates to Imhotep and his illicit love, Anck Su Namun, the bride of Pharaoh Seti I. Later, Goldsmith uses this theme to underscore the romantic relationship between Rick and Evelyn. The love theme thus reappears in “Giza Port”, as the couple begin to like each other, and progresses into a sweeping treatment in “Camel Race”, a lush performance during the film’s climax during “The Sand Volcano”, and a full majestic statement with elegant choir accompaniment during the end credits cue “The Mummy”. Least to say, Goldsmith's love theme for The Mummy is one of Goldsmith’s career achievements and each of its performances steal the show.

The fourth and final theme is an swashbuckling heroic theme for Rick which makes its debut in “Tuareg Attack”, and is later given a powerful heroic performance during “Night Boarders”. Additional full-on action treatments of this theme reappear during “My Favorite Plague”, “Sand Storm”, and the tour de force “Rebirth”, which sees Rick’s theme struggling for dominance with Imothep’s theme as the cue progresses.

In addition to these thematic ideas, Goldsmith incorporates his signature motific approach and bombastic action material. Tracks like "The Crypt" and "Discoveries" exhibit the composer's mastery of suspenseful atmospheres, while cues like "Death Is Only the Beginning" deliver pulse-pounding excitement that will put your speakers to the test. In conclusion, Jerry Goldsmith's score for The Mummy is a tour de force of cinematic composition, showcasing the composer's unparalleled talent for storytelling through music.

Back in 1999, the score was released by Decca Records as an album that contained many of the work’s highlights, but it still omitted significant cues like the one for the sandstorm sequence. Several bootleg releases followed, most of them assembled with the music obtained from the DVD isolated score feature. In 2018, Intrada Records released a 2-CD limited edition that contained all the music that Goldsmith recorded for the film. While it provided excellent sound quality and a new mix by Bruce Botnick, as expected, much of the new music were filler suspense additions that make the album experience way too long for listeners. This new release by Renovatio Records addresses those issues and presents a new program that makes justice to Goldsmith’s outstanding score. A must-have addition to any fan's collection of the maestro.


Track List:

1. Imhotep (4:17)
2. The Sarcophagus (2:13)
3. Tuareg Attack (2:19)
4. The Desert Will Kill Him (2:22)
5. Giza Port (1:58)
6. Night Boarders (4:05)
7. The Caravan (2:41)
8. Camel Race (3:23)
9. The Crypt (4:13)
10. Discoveries (3:38)
11. Locusts (5:46)
12. My Favorite Plague (4:00)
13. Crowd Control (3:09)
14. Sand Storm (3:14)
15. Rebirth (8:23)
16. Death Is Only the Beginning (5:26)
17. The Sand Volcano (2:17)
18. The Mummy (2:26)

Total Running Time: 65:50



Size: 421.4 MB
Files type: FLAC Audio File [.flac]
Channels: 2 (stereo)
Sample Rate: 44.1 KHz
Sample Size: 16 bit
Bit Rate: 1,411 kbps


Cover Artwork:





Credits:

Music Composed and Conducted by Jerry Goldsmith

Original Score Produced by Jerry Goldsmith
Executive Album Producers: Sean Daniel, Jim Jacks, Stephen Sommers
Executive in Charge of Music for Universal Pictures: Harry Garfield

Orchestrations: Alexander Courage
Music Recorded by Mike Ross-Trevor at Air Studios and Whitfield Street Recording Studios, London, England
Music Mixed, Edited and Mastered by Bruce Botnick
Choir: The Ambrosian Singers
Music Mixed at Sony Pictures Scoring, Culver City, CA
Music Editor: Ken Hall
Orchestra Contractor: Isobel Griffiths
Music Preparation: Vic Fraser
Computer Programming: Nick Vidar
Assistant to Mr. Goldsmith: Lois Carruth
Soundtrack Coordinators: Randy Dry, Trevon Kezios, Kristen Turner

Published by Music Corporation of America, Inc. (BMI)



Cue Assembly:

Track Title

Slate & Cue Title

1. Imhotep

R1P1 Imhotep

2. The Sarcophagus

R1P3 The Sarcophagus

3. Tuareg Attack

R1P4 The Tauregs Attack

4. The Desert Will Kill Him

R1P5-R2P1 Closed Door

R2P2A Undiscovered Creature

5. Giza Port

R4P1 Giza Port

6. Night Boarders

R4P3-R5P1 Night Boarders

7. The Caravan

R5P3 The Caravan (Edited)

8. Camel Race

R5P4 Camel Race

R6P1 Ancient Mirrors

9. The Crypt

R6P2 The Prep Room (Edited)

R6P3 The Scarab Tunnel (Edited)

R6P4 Bad Air (Edited)

R6P5 The Mummy Sarcophagus

10. Discoveries

R7P3 Discoveries

11. Locusts

R8P2-R9P1 The Locusts (Edited)

R9P2 Never Stop

12. My Favorite Plague

R111P1A Wild D Chord

R11P1 My Favorite Plague

13. Crowd Control

R11P2 Crowd Control

14. Sand Storm

R12PA Airplane Ride

R12P1 Sand Storm (Edited)

15. Rebirth

R12P3-R13P1 p/u Intro Bugs Again

R12P3-R13P1 Rebirth (Edited)

R13P1A Rebirth Pt.2

16. Death Is Only the Beginning

R14P1 The Mummy Attack (Edited)

17. The Sand Volcano

R14P3 The Sand Volcano

18. The Mummy

R14P5 Love Theme


Motion picture artwork and photos © 1999 Universal Studios. This compilation and cover artwork © 2024 Renovatio Records.
All rights reserved. Unauthorized duplication is a violation of applicable laws. For promotional use only.

Renovatio Records [0-01702-19091]