原声大碟 -《绿色奇迹》(The Green Mile)[APE]

专辑中文名: 绿色奇迹

专辑英文名: The Green Mile

艺术家: 原声大碟

资源格式: APE

发行时间: 2000年03月13日

简介:

MUSIC FROM THE MOTION PICTURE

〖专辑名称〗绿色奇迹 (The Green Mile)

〖专辑制作〗托马斯·纽曼 (Thomas Newman)

〖参与制作〗B.B. & Group, Fred Astaire, Bill Bertein, Lombardo, Guy And His Royal Canadians, Austin, Gene

〖发行日期〗13,03,2000

〖发行公司〗华纳兄弟 (Warner Music Group)

专辑介绍：

托马斯·纽曼的众多作品之一，其中还收录了电影中的电影的经典原声。相信看过这不片子的朋友一定会对这张精美的原声大碟产生共鸣。

以下是该原声的英文详细介绍：

There is no question that Thomas Newman has an inherent understanding of the art of composing for film. And even if it might be argued that this particular score is not wholly satisfying purely as a listening experience, I think few would dispute that it is undeniably fine film music.

With a grand total of thirty-seven tracks, there's certainly much to consider here and after a brief snatch of the traditional Negro song 'Old Alabama', 'Monstrous Big' sets the tone for the rest of the CD with its slightly Bluesy feel, coupled with jangling guitars and rich strings. This is followed by 'The Two Dead Girls', a very atmospheric piece that builds forcefully toward a dramatic conclusion and then the mood shifts with 'The Mouse on the Mile', a much lighter track featuring a playful marimba line. Next we hear what I feel is Newman's most significant and memorable creation in 'Foolishment, a very beautiful, lyrical theme that grabs the attention, played here with a dark, ominous undercurrent. It is also later heard in 'Condemned Man' and given a halting reprise that seems to signify both sadness and loss in 'Danger of Hell'. Finally it appears in its most powerful incarnation in 'Coffey on the Mile' as a kind of lament. This is certainly my favourite element of the entire score, although I can't helping wishing it had been developed even further. Greedy I know!

'Billy be Frigged' introduces another major characteristic of this work with its use of country guitar and Hillbilly banjo (courtesy of soloist George Doering) that effortlessly conjures a sense of the American Deep South and this is reinstated in various other tracks like 'Limp Noodle' and 'Wild Bill'.

'Cigar Box' features a lead flute in a reflective cue that adds variety and colour and is recalled later on 'Punishment' before being given an expanded string led interpretation on the 'The Green Mile'.

The quirky 'Circus Mouse' is almost like a Thomas Newman signature track with its echoes of some of his earlier work, but this is quickly swept aside by the wild, doom-laden strings, drums and brass of 'The Bad Death of Eduard Delacroix', the closest thing here you'll find to an action-cue.

I was amused to note what sounded to me like some minimalist variation on Elmer Bernstein's The Great Escape theme in 'Two Run Throughs' and there are some nice moments in 'Red Over Green', but this can said of several other tracks, particularly 'Boogeyman' with its changes in mood from powerful opening chords to low-key piano and then back to passionate strings. If I heard just a whisper of Herrmann here, that comes as no surprise as so much modern work bears signs of his influence and this is something I for one am very happy to detect. Even so, the last few bars put me in mind of another one of the greats, a certain John Barry. It is interesting to wonder if these references are deliberate or more likely, just echoes of other styles and other scores.

The haunting 'Night Journey' features more flute work over piano and strings and there are a number of very brief pieces such as 'Boy's Eye', 'Done Tom Turkey', 'Briar Ridge' and 'Now Long Gone' that give the impression of a broad, musical mosaic. And although I never found myself bored, as one might imagine with so many pieces some are less noteworthy than others.

Four songs are featured to capture the musical climate of the thirties era in which the story is set; Fred Astaire's 'Cheek to Cheek', 'I Can't Give You Anything but Love' by Billy Holiday, 'Did You Ever See a Dream Walking' performed by Gene Austin (also used to great effect in Frank LaLoggia's superb Lady in White) and Guy Lombardo's version of 'Charmaine'.

Overall, this is an impressive score that further establishes Thomas Newman as a leading composer for the new Millennium. Alongside the many other gifted artists we are fortunate enough to have working in this field today, from the legendary masters like Williams and Goldsmith to young maestros such as Danny Elfman, he can be sure of a place among their illustrious ranks.