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Section Header
An Everlasting Piece
(2000)
Co-Composed and Produced by:
Hans Zimmer

Co-Composed and Performed by:
The Jigs

Label:
Varèse Sarabande

Release Date:
December 19, 2000

Also See:
Toys

Audio Clips:
1. Repo Man (0:30):
WMA (195K)  MP3 (242K)
Real Audio (151K)

4. Day Job (0:30):
WMA (197K)  MP3 (242K)
Real Audio (150K)

10. Takes a Woman (0:31):
WMA (202K)  MP3 (250K)
Real Audio (155K)

16. Jiggy's Last Jam (0:30):
WMA (193K)  MP3 (238K)
Real Audio (147K)

Availability:
Regular U.S. release.

Awards:
  None.









An Everlasting Piece

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Sales Rank: 435431


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Buy it... if wild jigs are a source of inspiration for your feet and rear end.

Avoid it... if you're fearful of hearing the usual Media Ventures crowd take Irish elements and twist them into hard-rocking meyhem by the end of this score.



Zimmer
An Everlasting Piece: (Hans Zimmer and Co.) A flighty political satire about a couple of men who run a toupee company in Northern Ireland during the 1980's, An Everlasting Piece was originally approved by its studio, Dreamworks, for production in 1999. But after seeing a partial cut of the film, the producers of Steven Spielberg's company got cold feet on the politically charged project because of their ties to the British government. Director Barry Levinson continued with his edit of the film, in spite of growing pressures leaking from the ranks of Dreamworks. It's hard to be stuck in the middle of any spat between Spielberg and Levinson, though that's exactly where composer Hans Zimmer found himself when he received a call about scoring An Everlasting Piece. Ironically, the project turned sour publicly when Dreamworks refused to hire Zimmer, Levinson's composer of choice with whom he had created his Academy Award winning Rain Man over a decade ago. Declining employment of Zimmer to the project was an even greater curiosity when considering his blockbuster score for the Dreamworks juggernaut Gladiator the previous summer, as well as Spielberg's stated affinity for his music since Crimson Tide. As a solution to the problem, Zimmer agreed to compose a small score for the comedy as a favor to Levinson. Upon doing this, Dreamworks jumped to retain the rights to the music by paying Zimmer the minimum amount to establish legal title over the score: a single dollar. So for just $1 (and after the success of Gladiator in the stores, he certainly isn't short on cash), Zimmer collected a group of mostly regular Media Ventures musicians ultimately known as "The Jigs" and recorded an intimate, ethnic, and wacky score. The music is as zany as the arthouse film, with Irish and Scottish flavor mixed wildly with pop rhythms of the 1980's. The score's short cues jump between the two attitudes required by the action in the film, occasionally exploring a more solemn and romantic theme on the side. The funky music for which the Jigs perform to their name provides the comical element in the score. A band of authentic and synthesized percussion, with a heavy emphasis on drums, begin with a rapturous performance at the start of the score and meld into more traditional rock rhythms.

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For the ethnic flavor, a fiddle, viola, and/or synthesized strings are complimented by an occasional bagpipe for an extra ethnic effect (sometimes quite attractive, as in "Piece on Earth"), though most of the ethnicity of the score is established in Zimmer's rhythms. The flip side of the score consists of the more serious, character building elements that convey the secondary theme first heard in "One Hundred and Ninety." Drawing the music closer to the listener, Zimmer leaves the funk behind for a number of cues and provides an understated and yet noble theme for the film's primary characters. Performed by singular strings or a duo of guitars, the heart of these moments is genuine, though it's still a tad underplayed because of the comical nature of the film. Keeping the controversy in mind, perhaps Dreamworks had anticipated more of the wacky jigs and less of the reflective attitude in the film and its music. One of the more curious aspects of the score is the strong development of the character theme in "F**Kin' Genius" and "Piece Offering." At times, it seems as though Zimmer has made an accidentally satirical mix of James Horner's usual blend of similar ethnic sounds, and this resemblance comes forth in the progressions and instrumentation of those cues. Overall, the score will likely be remembered for its outbursts of the jigs and rock performances, however. For the final track, Zimmer lets the dozen-man crew of the Jigs rip with impromptu performances of background vocals, electric guitars, and a completely insane pianist. To be sure, if anyone doubts the diversity of Zimmer's talents (as well as those of the people he surrounds himself with) then An Everlasting Piece is clear evidence of the kinds of things that the composer needs to unleash more regularly. Some of the basic elements of the ethnic reflection in this score were introduced in his convoluted music for Toys early in his career, though in An Everlasting Piece their purpose is clear and the score is more effective. The primary detriment of the music on album is its wild inconsistency, often proving to be schizophrenic in its movements. It's the type of music that will be a riot in the film, but the album, shifting between the overtly funky and profoundly reflective, is more difficult to grasp. For people who introduced themselves to Zimmer with Gladiator, then An Everlasting Piece must have been a major shock. ***   Amazon.com Price Hunt: CD or Download

Bias Check:For Hans Zimmer reviews at Filmtracks, the average editorial rating is 3 (in 87 reviews)
and the average viewer rating is 3.02 (in 262,726 votes). The maximum rating is 5 stars.





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 Track Listings: Total Time: 41:53


• 1. Repo Man (3:57)
• 2. The Demon Barber of Dublin (0:55)
• 3. One Hundred and Ninety (3:52)
• 4. Day Job (2:08)
• 5. You Gotta Lose to Win (2:23)
• 6. Toupee or Not Toupee (2:18)
• 7. The Rant (1:08)
• 8. Glass Slipper (0:46)
• 9. I'm a Dick (2:12)
• 10. Takes a Woman (2:05)
• 11. The Piecemaker (1:25)
• 12. Piece on Earth (1:54)
• 13. The Piece People (1:31)
• 14. F**kin' Genius (4:59)
• 15. Piece Offering (6:05)
• 16. Jiggy's Last Jam (4:09)




 Notes and Quotes:  


The insert includes no extra information about the score or film.





   
  All artwork and sound clips from An Everlasting Piece are Copyright © 2000, Varèse Sarabande. The reviews and other textual content contained on the filmtracks.com site may not be published, broadcast, rewritten or redistributed without the prior written authority of Filmtracks Publications. Audio clips can be heard using RealPlayer but cannot be redistributed without the label's expressed written consent. Page created 12/30/00 and last updated 9/29/08. Review Version 5.1 (PHP). Copyright © 2000-2013, Christian Clemmensen (Filmtracks Publications). All rights reserved.