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I’ve been looking forward to “Hellboy” and “Wanted,” and was kind of up in the air about this one. But I’m glad I bought it. It’s gorgeous and moody, and one of his most mature scores. The adaptations of “Serenada” are minimal, too. It seems like mostly new music. Good stuff.
Homer and Marge were commenting on the names in the credits, and when Elfman’s name came up, Marge said, “Oh, I’ve always liked him,” and Homer said, “Not me!”
I do custom arrangements for wind bands and orchestras, and I would be happy to take the comission if you are interested.
I have the top one, I bought it back when the movie itself came out. There are 21 tracks on the disc, but the tracklist only has 20. Track 21, an extension of the “End Title” is a ghost track.
But the original CD was two tracks as well, it was only listed as one. I have the CD that I got in 1993, and once you’ve listened to track 20 (the last one on the track list), a ghost track (#21) pops up. Either way, there’s some damn fine contrabass clarinet playin’ on that last track.
My top 5 Elfman Finales:
5. Men in Black
4. Dick Tracy
3. Edward Scissorhands
2. Batman Returns
1. BatmanI do have that CD, but the music on there is incidental score. I’m curious about the opening theme song sung by “Chairy” where all the characters are introduced.
All right, Knight, let me try to explain what I meant. I say all this from a compositional standpoint.
There are some composers, like John Williams, Nino Rota & Thomas Newman
who approach film scores like classical pieces of music, using rigid form and theory. They write very complex parts not just for their themes, but for the entire orchestra.Composers like Danny Elfman, who don’t have that same education, have learned to do the same sort of complex composition, but without the formal structure, and he makes it way cool, as I assume you’d agree (since you are a member on this site).
James Newton Howard is in that group with Hans Zimmer and James Horner, where the composers are very, very good at creating a feeling, or a mood with their music. I will admit that if I listen to “The Sixth Sense” or “Signs,” I get the willies and turn on every light in the place. However, in terms of impressive orchestral composition, these guys don’t cut it.
Every composer has their own voice, their own style, which makes them recognizable and attracts people like us to them as fans. All I’m saying is that from a compositional standpoint, Howard is not that impressive. I don’t say this as an opinion; he’s just not the writer John Williams is. He creates very effective soundscapes, yes…but they’re very simple ones.
Personal taste is totally different. I wouldn’t dream of commenting on someone’s taste, this is only about the musicality of it.
That was my point, I apologize for ruffling feathers. Peace.
Blasphemy! James Newton Howard comes up with a memorable theme every once in a while, but mostly his scores are the same stagnant chords, re-orchestrated. Any musician worth their training can do that. His score for “Unbreakable” was worth note, but they are all so derivative.
As an exception, I’ll offer “Peter Pan,” which I think is Howard’s one stand-alone, standout score.
What is your favorite…
Danny Elfman score –Edward Scissorhands
Track –
The Finale, Pt. II (Penguin’s funeral)
Director Colaboration –
Tim Burton
Song with lyrics (Boingo included) –
“Out of Control” (Boingo)
Saxophone is considered sort of the bastard-child instrument. It wasn’t invented till the mid-19th century, when the orchestra as we know it had been established. An orchestra, by definition, has no saxophones unless a composer decides specifically to add them. Likewise, a band, by definition, HAS the saxes but doesn’t have strings.
When I was in college I found the “Dick Tracy” score (which, at that point, had been out of print for six or seven years) in the Bargain CD Bin at Wal-Mart for $5.
I have a master’s in music education, and I am a school band director. Theory is about the most useful skill I learned in HS and college!
From a musical standpoint, I actually think this score is one of Elfman’s best in a long time. There is most definitely a theme, the one heard in “Main Titles,” that recurs frequently. “Into the Forest” is as terrifying as anything in “Sleepy Hollow ” or “Red Dragon,” and “The Finale” calls to mind the emotion of “Edward Scissorhands.”
The jazz numbers are a specialty of Elfman’s. He started out transcribing Count Basie scores; he has said so in interviews regarding the movie “Chicago.” And his jazz pieces here are fantastic. They are ver reminiscent of “Crime Spree” in “Dick Tracy.”
And with the exception of “Tears to Shed,” I find the songs fantastic. They’re not as rough or madcap as those in “Nightmare Before Christmas,” but Danny Elfman is delving into the musical styles of the time in “According to Plan” and “The Wedding Song.” The former is fantastic in terms of rhythmic rhyme–Albert Finney and Paul Whitehouse really stand out. And “The Wedding Song” is like “Making Christmas” as written by Arthur Sullivan. I laugh every time I hear it. “Remains of the Day” is, of course, just Elfman fun.
Although I enjoyed the “Charlie…” score, I thought it was more reminiscent of his recent works; electronic and without a theme to rally around. “Corpse Bride” has moved into my top ten Elfman scores without hesitation.
As far as he and Burton being in a “creative lull?” Maybe they are. Maybe they’ve realized that the business they’re in does demand some financial success, and maybe they’ve toned down their bizarreness…but I don’t think so. I think they are now at an age where their emotional maturity complements their far-out imaginations. No one else around does what they do, and I’ll be sticking with them till they’ve both gone and joined the Land of the Dead. I think that they’ve grown from that tasty grape juice into a fine wine .
I only have it written as a Finale file. Do you have that program? In the meantime, I’ll see what I can do about converting it.
