The Black Hole (1979) Review

After Star Wars was a huge success, Disney decided to try to try their hand at a serious science fiction film. The result was a very uneven, but visually impressive movie about explorers finding a derelict spaceship near a black hole. Filled with robots, lasers, and an underlying mystery, it was not a great success. But for those of us who saw it in the theater it was a memorable experience and I have a fondness for this very flawed film.  Come, enter The Black Hole with me…

UPDATED & REVISED July 2012: In memory of Ernest Borgnine

The movie has an overture that plays before it starts, which was a relic of a bygone era even in 1979. John Barry’s brilliant soundtrack is introduced here and can be argued to be the best thing about the entire film. It is grand, dark, and mysterious with stately marches mixing with somber swirling statements. An interesting statement of tone, it sets the mood in a very un-Disney way. This was an announcement that the studio would be branching out from their standard family fare.

Zulu Soundtrack by The City of Prague Philharmonic

John Barry’s soundtrack for Zulu finally gets the justice it deserves in this lavish rendition in HDCD format. Also included are tracks from many of his other movie scores on this two disc set that spans most of his career.

In these faltering times for classical music and orchestras, The City of Prague Philharmonic has carved out a niche by redoing film themes and soundtracks under the direction of Nic Raine. The best modern recording technology has been employed for maximum clarity. Often the result is superior to previous recordings and occasionally Raine’s arrangements are simply better than the original.

A few years back I discovered one track from Silva Records 1999 double CD Zulu set online and that led to me buying quite a few tracks performed by the Philharmonic of various film themes. But I wanted to get this CD and only recently did I find a used one in the price range I am miserly so fond of.

Upon receiving it I was delighted to find that while the case had a light crack, the CD’s were immaculate. Even better, they were in the relatively rare HDCD format. After setting up Windows Media Player properly, I could hear a difference between it and my normal Media Monkey playback. Decent speakers and headphones are a must for this, otherwise you will not be able to tell the difference. But how to rip the CD’s and preserve the 20 bit quality?  DBPowerAmp to the rescue and I used its demo to rip the tracks to FLAC.

Further adding to the quality of Silva Records issue is a nine page booklet packed with liner notes on the tracks. Insights into Barry’s process on each film answered some questions I had while listening to the compositions and that made listening even more enjoyable.

On to the tracks. What I wrote about them in the review of the Ember release still applies, so you will want to read that first.

Disc One:

1. Zulu Main Theme/Isandhlwana – The much richer sound and impeccable clarity are noticeable immediately.
2. News of the Massacre/Rorke’s Drift Threatened – The drums really stand out more with the strings and horns benefiting greatly from the digital recording.
3. Bromhead’s Safari/Wagons Over – The addition of the short intro for Michael Cain extends this track in a lovely Copeland-like passage.
4. “You’re All Going to Die!” – One of the missing pieces it features ominous strings reminiscent of Barry’s Bond compositions. It is a much better segue into the next track than Wagons Over.
5. First Zulu Appearance and Assault – Compared to the original, the strings shine and the harp is delicately pristine. It makes the Ember release sound muddy.
6. March of the “Men of Harlech” – The Crouch End Chorus led by David Temple sing the full song acapella and it is a fantastic addition that is just as stirring as when the soldiers sang it in the movie.
7. Durnford’s Horses Arrive and Depart/The Third Assault – This shows off what a modern recording does for trumpet and brass in general.
8. Zulu’s Final Appearance and Salute – The HDCD wider “soundstage” allows you to place where almost every instrument is. Superb.
9. “Men of Harlech”/End Title – Once again, fantastic.
10. The Girl with the Sun in Her Hair (Sunsilk TV Commercial) – Composed for a 1967 shampoo commercial it reminded me of Barry’s work on From Russia with Love. It is classic 1960’s soundtrack far and is quite good. Too good for a commercial!
11. The Specialist: Suite – A compilation of music from Sylvester Stallone’s 1994 action movie it was a rare outing into action films post Bond. In some ways it sounds like he was trying to reach back to his hey day and it turns very jazzy two thirds of the way in. Sadly it is not memorable.
12. The Cotton Club: Suite – Now this is fun. Getting back to his jazz roots, Barry composed a very George Gershwin style soundtrack in 1984. The first third features a playful piano and smoky sax, the middle darker and noirish, and ending in a mournful theme. A very good bit of music, indeed.
13. King Rat: March – Very military and strangely upbeat it does what a march is supposed to do – move your feet. It fits the 1965 film’s POW setting well.
14. The Tamarind Seed: Suite – Since no soundtrack was ever released from the 1974 movie, this is the first time the music has been made available. It is a moody string based affair about an affair. At one point a repeating instrumental phrase builds relentlessly, sounding much like a Morse code transmission, which reflects the spy thriller elements of the movie. It ends with a slow moving piece that reminded me of parts of Barry’s later soundtrack for The Black Hole.

Disc Two:

1. The Last Valley: Main Theme (Choral Version) – Big, militant, and sinister is how I would describe this theme. Appropriate for the 1970 film set during the The Thirty Years War. If you liked the soundtrack to Conan the Barbarian you will like this. I liked it.
2. Love Amongst the Ruins – A gentle and romantic waltz befitting the 1975 TV movie starring Katharine Hepburn and Lawrence Olivier. Harpsichord and strings dominate. For some reason it reminds me of The Wrong Box, a completely different movie.
3. Mercury Rising: The Story Ends – A generic effort that wanders about aimlessly before deciding to walk a darker path. It appears Barry did not know what exactly to do with the 1998 Bruce Willis film and parts of it seem like leftovers from Dances with Wolves.
4. Midnight Cowboy: Florida Fantasy – Cheerful in contrast to the 1969 movie it came from it is more of a pop track than anything else in this collection. Notable for featuring guitar work and what sounds like bongo drums if I am not mistaken.
5. King Kong: Prelude & Love Theme – Large sounding like the title character of the infamous 1976 remake it was composed without seeing the film! The first part is more discordant than I am used to with Barry. The love theme sounds like Rogers & Hammerstein meet John Barry. I really do not know how I feel about that.
6. Frances: Theme – From the very depressing 1982 movie, it combined Mozart’s Sonata in A major with Barry’s own music. Unfortunately, the outcome is slow, boring, and forgettable.
7. My Sister’s Keeper: Suite – Another rarity in that it comes from a 1986 period piece set in 1943 that ended up going straight to video. Opening with a harmonica and a bluesy piano, it gives way to strings and what seems to be only the left most keys of the piano. That makes for a deliberately uncomfortable passage evoking feelings of bad news. Then it gets darker in tone before finally lightening up. This is my favorite track on Disc Two and was a very nice surprise.
8. Hammett – Chinese motifs blend with piano and clarinet for a feeling of being in smoke filled and dimly lit dive. Can’t get more appropriate for a private eye film dealing with Chinatown! It is a good composition from a very troubled production that finally came out in 1982 after years of problems.
9. Dances with Wolves: The Buffalo Hunt – Gorgeous horn work and strings star in one of the best pieces from what I believe is Barry’s best soundtrack. It is a great rendition, but I still prefer the original soundtrack version from 1990. Go buy that, now!
10. The Deep: Theme – Slow, relaxed, and well… blah. I vaguely recall the 1977 movie only because of Jacqueline Bissett in her prime.
11. Mister Moses: Suite – Nic Raines went back to the original compositions of this music since Barry had compromised them to appease the film makers of the 1965 movie. So in a way, this is another first on this release. I would describe it as a very fun mix of Zulu and Dances with Wolves. Very enjoyable to listen to and it will bring a smile to your face.

All in all, this is an interesting overview of John Barry’s work over the decades. The performances are all very good and benefit from the all digital recording, not to mention the 20 bit HDCD format. However, there have been no new HDCD capable players made since the 1990’s so that is a problem.  But if you have the know how, you can decode it like I did and it will sound terrific on a decent soundcard.

This version of Zulu is simply superior in every way but one to the original Ember Records release. All that is lacking is the narration by Richard Burton. Otherwise everything about the modern version is better mainly due to modern recording techniques, but also the inclusion of a couple of missing pieces. Add in all the other tracks from different movies and it becomes a slam dunk. One caveat is that it will cost you more than twice as much as the Ember release to buy in physical or digital format.

I highly recommend this two CD set to fans of Zulu, John Barry, and good film scores.

Zulu: The Soundtrack Review

John Barry is most famous for his many James Bond soundtracks but his resume is considerably larger than that. His score for the movie Zulu is one of his more memorable early efforts, despite being a relatively small amount of music. This is the first of two reviews of different releases.

Watching Zulu the music always stands out due to it being overtly dramatic and “in your face” when it is used. There is nothing subtle about it and that was hardly unusual in the late 1950’s and 60’s scores. Used sparingly in the film, it made a bigger impression then its scanty twenty minutes of use in the long movie should. So it is a pity that the movie was only released in monaural format given how good it was.

One of the nice things about the Web is the ease of obtaining hard to find music in digital format. In this case it was Amazon’s MP3 store that provided me a chance to get the original soundtrack issued on the Ember label for a reasonable price.

Originally put out on stereo LP, the album surprised me in including extra tracks by The John Barry Seven. I scratched my head and wondered why. Then I saw the total time for the film score amounted to 18:26! They clearly needed the extra music to pad the flip side of the LP. Running time for the album is just shy of thirty six minutes.

The stereo presentation of the music is not very impressive and appears to be artificially shifted from the monaural sources used for the movie. Still, it is better for stereo systems and should allow some matrix expansion whether it be Dolby ProLogic or DTS. The MP3 files are of high quality variable bitrate (VBR) and given the source do not lose much fidelity. That will put this release at a bit of a disadvantage in comparison to the Silva Records version I will review in the future. Well, not the only disadvantage.

John Barry got his start as a jazz musician and the use of musical motifs in variation is something he carried over to his orchestral composing. Zulu is an extreme example of this with nearly every track being a version of the main theme. It is an amazing demonstration of doing much with very little, in my opinion.

On to the tracks!

1. Main Title Theme/Isandhlwana, 1876 – Proud, dramatic, and deliberately over the top, it states the main theme forcefully. Brass and drums dominate before fading into Richard Burton’s narration from the beginning of the movie. Oddly, the narration was placed so it came through the left speaker only.
2. News of the Massacre/Rorke’s Drift Threatened – This is the fanfare from the title reveal in the movie seguing into a brief restatement of the theme. Not content to restate the theme, Barry continues into a muted version ending with military drums and a lonely trumpet evoking the feeling of being alone against the world. Or in this case against 4,000 Zulus.
3. Wagons Over – Again the muted version of the theme but punctuated with fanfares to raise the tension. It is a short but effective track conveying the growing conflicts within the outpost.
4. First Zulu Appearance and Assault – A slower building piece that relies heavily on base drums at first and then adds horns and strings to push the theme. It is all about dread and tension building, then fading and building again. Which is a perfect companion to the ebb and flow of battle, of course.
5. Durnford’s Horse Arrive and Depart/The Third Assault – The first part of this is oddly out of order on the soundtrack, having accompanied the scene showing the local cavalry before the first attack. As a result, the hopeful and lilting horns playing an optimistic version of the main theme seem out of place. The silence that bridges the two passages aggravates things somewhat. The later half is a stately reprise of the theme.
6. Zulu’s Final Appearance and Salute – It starts out quiet with underlying tension before becoming a despairing implementation of the theme. It fits the scene in the movie perfectly in the changing moods.
7. The VC Roll and Men of Harlech – Burton narration from the film lists the Victoria’s Cross winners and fades into a men’s choir singing Men of Harlech. It is somber and at the same time brings forth a feeling of pride, just as in the movie.
8. Stomp and Shake – Female Zulu singers provide the vocals over very surf/jazz rock guitar for a piece of 60’s pop kitsch. It reminds me somewhat of the soundtrack to Hitari.
9. High Grass – More of the same, minus the singers and slightly mellower. At this point I was thinking this is 60’s movie music 101.
10. Zulu Stamp – While more rhythmic, it is more of the same again, albeit in a playful form.
11. Big Shield – Okay, this is pure 1960’s light jazz material and could have been composed by Henry Mancini for a Pink Panther film. That is not necessarily an insult, but it is hard to adjust to these tracks after listening to the score part of the album.
12. Zulu Maid – The female singers return for a song that is fluffy lightness.
13. Monkey Feathers – Ever imagine the main theme of Zulu done on an electric guitar? I had not and that is exactly what this is. The problem is the presentation being like the previous tracks by The John Barry Seven. A more serious attempt at this would be a classic piece of electric guitar -- which is not to be found here, sadly.
14. Zulu Stamp [Mono Single Mix] – It is what it says it is, the mono version of track 10.
15. Monkey Feathers [Mono Single Mix] – You guessed it, the mono version of track 13.

The album is a mixed bag thanks to the split personality between orchestral score and pop jazz. While I love the soundtrack, I do not love the pop side of it. Other than Monkey Feathers, it felt flat to my ears and condescending. What was serious is turned into superficial twaddle. I have no idea what Barry was thinking other than “I need to pad out the record.”

On the other hand, the score is wonderful for fans of the film. I cannot say how someone who has not seen the movie would rate the music, but I can guarantee it is not boring. Anyone looking for the Zulu singing from the film will be disappointed because none of that is part of the score. That is a pity, since it was as memorable as the orchestral music.

I recommend Zulu to those who absolutely have to have the original soundtrack, the Richard Burton narrations, or are curious about the pop jazz tracks. Otherwise, there is a much better version available taking advantage of modern recording technology.

TRON: Legacy Soundtrack (2010) Digital Format

An exceptional auditory experience blending synthesized and orchestral music, the soundtrack is even more dazzling than the movie. While I’m not a Daft Punk fan, the duo has created something very special here.

Thanks to the Internet, it is easier to acquire music than ever before in all its myriad variations. In turn, that has allowed me to broaden my musical horizons and sample things I would never have otherwise. There are only a few genres I don’t like and techno verges on being one of them. Daft Punk is so big in techno that even I had heard of them. So it was with some trepidation that I approached the samples from the forthcoming movie last winter.

To my surprise, the snippets I listened to were very intriguing and I really liked what I heard. With bonus tracks being offered with the digital version from iTunes, I purchased the album.  After that, I purchased the Amazon exclusive MP3 to complete what was available in the USA. Europe got a deluxe edition which I can’t find or afford so my review is limited to the USA tracks.

So without further adieu, the review of TRON: Legacy Original Motion Picture Soundtrack!

A note on my starring system: It is what I have them marked as in MediaMonkey, the media player and music database program I use. I tend to be harsher with evaluations, so 1 star = can be tolerated, 2 stars = good, 3 = above average, 4 = excellent, and 5 = a true favorite.

The Tracks

Overture is the first track and its slow rising horns and strings set a mournful tone before blending with synth for the fanfare. It is a somber and serious piece, not your typical heroic fare. 3 Stars.

The Grid follows with pulsating percussion and tense strings accompanying Jeff Bridges narration setting up the movie. It builds into heavy synth with a feeling of anticipation to it. 4 Stars.

The Son of Flynn is a moody track dominated by synthesizers that pays some tribute to Wendy Carlos’ score for TRON. It is an odd mix of playful synth that wouldn’t sound out of place on a harpsichord overlaid upon a pensive orchestral base. 5 Stars.

Recognizer builds to ominous tones very quickly. There is a feeling of something big and menacing coming that gives way to a variation of the main motif. It ends with a much darker version of the preceding track. 3 Stars.

Armory brings a change of pace to the soundtrack. Reminiscent of early 80’s electronica of the Tangerine Dream type, it conveys a sense of mystery through its softer tones.

Arena starts with quiet buzzing which leads to an ever escalating and repeating synth keyboard eventually joined by taiko drums. One can easily imagine the entry of a gladiator into an excited coliseum and the crowd erupting. 4 Stars.

Rinzler is a very sinister track that starts ominously. There is a feeling of being hunted, starting with the sensation that somebody is watching you followed by the realization it really is happening. Then comes the horrifying attack and silence.  3 Stars.

The Game Has Changed fuses elements from Arena and Rinzler then brings in the horns from Recognizer. Tension steadily rises and fades like the ebb and flow of an extended battle before ending in a crescendo of noise. 4 Stars.

Outlands begins with the now familiar use of repetitive and tension building strings. Along the way it turns into a Wagnarian journey when the horns kick in for an exciting finish before trailing off suggestively. 3 stars.

Adagio for Tron is mainly orchestral at first before its mournful strings meet mellow keyboards. Here Carlos’ influence is very clear. Halfway, the tone shifts dramatically in a bolder reprise accompanied by dark synths and louder horns. A solo cello assumes center stage to end the piece on a sad note. 3 Star.

Nocturne continues the brooding atmosphere with a mix of slow strings and synths. Introspection and sadness are invoked by the track. 3 Star.

End of Line kicks things into gear after the previous melancholy tracks. Featuring a turn toward techno, it has a strong dance beat that would fit in any club scene. But it also manages to sound incredibly sinister, with a feeling that very bad things are lurking under the surface. Distorted electronic noises contribute greatly to that feeling of unease. It is a stand out track. 5 Stars.

Derezzed was the track that got previewed on the Web and from what I’ve seen is classic Daft Punk. An example of pure techno it is frenetic and has a heavy beat, but with an 8 bit feel to it. Distortion that was present in the previous track is increased dramatically. 3 Stars.

Fall sounds like falling, strangely enough. Fuzzed tones rise like a tea kettle, pause, then start over again. The effect is that of something going very, very wrong. 3 Stars.

Solar Sailor brings another break from the tension while remaining somewhat pensive. Keyboard synth work reminds me of a babbling brook and also the original movie. Something serene and lovely is implied in this relatively peaceful track. 3 Stars.

Rectifier ends the mellow mood decisively when sinister strings build into something martial and strident. An impression of an army appearing over the horizon is conveyed by the horn section. The piece slows and fades out gradually like the army has marched past you. 3 Stars.

Disc Wars is percussive and immediate. It is the first heroic sounding track; strangely full of hope. The 8 bit keyboard returns and adds further urgency until it builds into something grand. Possibly my favorite on the soundtrack. 5 Stars.

C.L.U. features urgent strings again with dark undertones provided by synthesizer. They give way to calculated keyboards before resuming with horns accompanying. The overall effect is the feeling of someone slowly losing their temper until they hit the snapping point. Danger fills the soundstage and it stays that way until the end. 3 Stars.

Arrival conveys a sense of weariness after a long journey. This slower synth piece has a pervasive melancholy about it. 3 Stars.

Flynn Lives reprises the theme from Overture with the addition of whirling beauty to accompany the sadness. This is what the entire score has been building to. 4 Stars.

TRON Legacy (End Titles) is a heavy electronica version of what was first presented in The Grid. This restatement of the main theme simply sounds like an end title. Which it is supposed to, right? 4 Stars.

Finale is the final track of the score. Featuring mournful and elegiac horns that give way to strings, it moves to a more optimistic sound when woodwinds introduce the final crescendo. Seeing light at the end of a dark tunnels is how I would describe this track. 3 Stars.

iTunes Bonus Tracks:

Father and Son is a slow piano reprise of the main theme, with the addition of subdued strings and horns. It is another melancholy piece. 3 Stars.

Outlands, Pt. II is a variation on Outlands, but more urgent and layered in sound. Mysterious and dark by comparison, it begets a sense of dread before an organ makes it funereal. 3 Stars.

Amazon Exclusive Track

Sea of Simulation continues the burbling brook electronica of Solar Sailor. It is slightly more contemplative than that track. 3 Stars.

Thoughts

Daft Punk did an outstanding job in composing Tron: Legacy.  It is a wonderful and masterful blend of synth and orchestral elements that always flows with nary a misstep. I ended up loving it long before I finally saw the movie. The impressions are hopefully the ones from before viewing the film.

Like the movie, this is not a cheerful work. You’ll notice I used the word melancholy to describe multiple tracks and that is the over all mood of the album. But there is a purposeful sound to it that makes it very easy to keep in your music rotation. Make no mistake about it, it is beautiful music.

Not all soundtracks can stand on their own from their associated film, but this one easily does. I highly recommend it to anyone who likes music.

Technical

iTunes included what they call a Digital Booklet (it’s a Acrobat file) with the downloaded album. Scans of the entire CD insert make up the booklet and contain some small interviews.

Daft Punk was inspired by the original TRON as can be seen by their helmets they wear in concert (and movie cameo). Influences on them include Wendy Carlos, Bernard Hermann, and Hans Zimmer. Aspect of all three composers can be heard in the structures of the tracks.

Sound is clean, near CD level and will sound great on any system. iTunes files have come a long way over the years.

I’d like to eventually get the CD because my sound setup does show a difference between lossless and lossy sound files. Most people won’t notice the difference, but the soundstage is much wider on my Boston Acoustics speakers and Sennheiser headphones when playing complex music.

A Day in the Life

It looks like this post will be made up of bits and pieces of random thoughts, as I’m a bit fuzzy today.
Finally, a good night’s sleep indicates I’m finally getting over the respiratory infection. Still not recovered from it, but it is fading out and the coughing has subsided.

By making myself post regularly, it is helping with being able to write even when impaired by illness. So I’m pleased with the results of prioritizing writing and hope to get started on some fiction.

My sister, her husband and step kids are arriving tomorrow and the place is a wreck. The two weeks of being sicker than usual were supposed to be devoted to cleaning which isn’t going to happen. Irritating. And messy.

The weather is nice and I want to see if the new Hogue grips I put on my Ruger pistol will help with accuracy. It has helped other owners of the same model. But I’m way too shaky at the moment and need to use my energy for other tasks. If I don’t get the improvement I’m hoping for, I’ll probably have to do some trigger work to lighten the pull. While I love a military style pull on a rifle, it appears to give me problems on pistols.

Why does iTunes importing CD’s default to 128 bitrate AAC when their store doesn’t sell anything less than 256?  I’m glad I moved to Media Monkey Pro a long time ago. FLAC is the best way to go if you have decent speaker or headphones, but 256 AAC isn’t bad at all. I do most of my purchasing at Amazon MP3 these days and take advantage of the cloud storage.

Having become a fan of Jack Wall’s soundtracks for video games, I was happy to score the Jade Empire Soundtrack for $1 from a vendor on Amazon. I wish his soundtracks Mass Effect and Mass Effect 2 had been put out on CD as well. But the CD is in trouble and digital delivery is the future.  And yes, I did buy them digitally and burned CD’s, but I’d like the higher quality.

I got a bicycle pump to modify for cleaning electronics. A spring around the hose base is needed to guarantee air flow and so far the basketball needle adapter has worked well. The setup will be a lot cheaper than buying duster cans.

Democrats arguing that having a debt ceiling violates the Constitution shows what amazing hypocrites they are. All of the talk coming out of them lately is how the Constitution isn’t really law, is out of date, and was only meant to be a rough guideline. Two faced doesn’t begin to describe them, especially since there was a default on federal bonds under Roosevelt in 1933. I have no faith in anyone dealing with the economic calamity that is upon us.

Was John Lennon a closet Republican?  Maybe, but I doubt Yoko was.

Mystery Science 3000 is an excellent medication when ill. Watched Werewolf and Laser Blast among other bad movies with Mike, Joel, and the Bots the last couple of weeks on Netflix streaming.  The new settings allowing lower quality streams has been very helpful on our measly 1 MB DSL.

Also saw John Wycliffe, the biography on John Wycliffe, the man who laid the foundation for the Protestant Reformation. Classic early 1980’s video quality but very good. Many Christians know who Martin Luther was, but how many know the man who first translated the Holy Bible into English in the late 1200’s?