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Composed and Co-Produced by:
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Trevor Rabin
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Co-Produced by:
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Paul Linford
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Conducted by:
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Gordon Goodwin
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Release Date:
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September 19th, 2000
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Availability:
Regular U.S. release, three months after the song album release.
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Filmtracks Recommends:
Buy it... only if you enjoyed the score in the film and/or have a
poster of Trevor Rabin on your bedroom wall.
Avoid it... if you value basic harmony, lengthy rhythms, and scores
that establish a distinct personality within a composer's career.
Filmtracks Editorial Review:
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Gone in 60 Seconds: (Trevor Rabin) By the year 2000,
film producer Jerry Bruckheimer had clearly defined the kind of music that
he liked to hear in his films. It's a ball-busting, head-slamming,
in-your-face, no-nonsense attitude that Bruckheimer offers in his projects
that requires s specific genre of music. After teaming up with Hans Zimmer
in his early pictures, Bruckheimer chose former Yes band rocker Trevor Rabin
--also a pupil of Hans Zimmer on the scoring side of things-- to be his
regular guy when a testosterone heavy film was in production. Unlike Zimmer,
Rabin typically caters more towards the Yes audience of rock fans rather
than the Zimmer audience of open-minded orchestral film score collectors. In
his early days, Rabin still would, if possible, attempt to establish a theme
or motif that would at least bookend the film and its score. By 2000 and
2001, however, Rabin's compositions for film began to stray away from the
basic rules of film scores. Between Gone in 60 Seconds and The
One, Rabin had gone from being a film composer to a human sound effects
machine whose job is to pump up the audience with adrenaline by using hard
rock music at high volumes. As a sign of the times, perhaps, the scary side
of this eventuality is the fact that the majority of mainstream audiences
simply accepted this moment-to-moment blasting of loud, unorganized rock
music as a new staple of summer blockbuster films. Part of this transition
may be the result of Bruckheimer's insistence that this kind of sound
effects serve as music, but some of the responsibility for this transition
also falls on the shoulders of Rabin, who is leaning towards scores that
follow few of the basic rhythmic or harmonic rules of Music Composition
101. For Gone in 60 Seconds, the music basically works, and this is
because the film suffers from the same mindless, primitive construction of
nonstop displays of testosterone.
The most upsetting aspect of Gone in 60 Seconds, and, for that matter, half a dozen other recent Rabin works, is that Rabin is a very capable composer. He has shown glimpses that he has understood the path towards combining rock music with film music, but he keeps slipping back into aimless hard rock habits. The score for Gone in 60 Seconds suffers because the score can't establish a consistent theme, motif, or dominant instrumentation to identify the score as a unique work. Even if a theme isn't utilized well, a very effective score can be built out of an emphasis on a motif performed by a single instrument. No such dominant motif exists in Gone in 60 Seconds. Rabin also seemed to be reluctant to choose between a sensitive sound, highlighted by female vocals, heard in contemplate tracks and the driving, electric guitar explosions. Rabin would prove in The One that the heavy guitar sequences can work if the film allows two or three minute intervals during which he can continuously perform those guitar ideas into a substantial motif that can define the score. This time around, however, the score changes mood too quickly, and the cues that most Rabin die-hards will prefer are too short to appreciate. No better an example is the enticing "Memphis Jumps Elle" cue, which reaches a triumphant climax and then immediately dies. There might be merit in some of the softer cues that, through simplistic keyboarding, offer a hint of a heart. At the same time, there are bizarre choices by Rabin for the sound effects that run as the background rhythm. There is no doubt that a traditional film score fan will be horrified by the electric drill sounds in the "50 Cars" cue (if it can be tolerated at all). This score could have been functional had the deep bass guitar that pops up every now and then could be expanded into a defining element in Gone in 60 Seconds. It has a cool Ry Cooder kind of hip sound that never sticks around for longer than 15 seconds. Overall, the score is not one of Rabin's more interesting, even for many of his own fans who prefer lengthy cues of driving guitars. The album is short, which may be a blessing here, and it withers out to an inglorious end. **
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Viewer Ratings and Comments:
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• 1. Porsche Boost (1:12)
• 2. The Last Car (4:49)
• 3. Keys to Eleanor (1:22)
• 4. 50 Cars (2:57)
• 5. Sphinx (0:38)
• 6. Bad Man (1:36)
• 7. For the Cars (1:31)
• 8. Roundabend (5:21)
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• 9. Meet the Team (1:15)
• 10. Memphis Jumps Elle (1:40)
• 11. The Throb (1:10)
• 12. Bad English (1:35)
• 13. Halls of Dalmorgan (0:53)
• 14. Big Drag (0:49)
• 15. Bad Carma (1:51)
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Insert includes no extra information about the score or film.
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