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Section Header
Six Days, Seven Nights
(1998)
Composed, Conducted, and Produced by:
Randy Edelman

Orchestrated by:
Mark McKenzie

Special Performances by:
Randy Edelman
Cassio Duarte

Label:
Hollywood Records

Release Date:
June 9th, 1998

Also See:
Dragonheart
Kindergarten Cop
Daylight

Audio Clips:
1. Into the Mist (0:30):
WMA (202K)  MP3 (254K)
Real Audio (179K)

2. Maketea (0:32):
WMA (213K)  MP3 (269K)
Real Audio (189K)

4. Crashdance (0:30):
WMA (202K)  MP3 (254K)
Real Audio (179K)

6. Fixing the Old Beaver (0:30):
WMA (200K)  MP3 (254K)
Real Audio (179K)

Availability:
Regular U.S. release.

Awards:
  None.









Six Days, Seven Nights

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Sales Rank: 162067


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Buy it... if you enjoyed the calypso and reggae flavor to the score in the film, including the performance by Taj Mahal shown on stage.

Avoid it... if you value coherence and adherence to stylistic boundaries in your scores, or if you've never been fond of Randy Edelman's somewhat plastic action material in the past.



Edelman
Six Days, Seven Nights: (Randy Edelman) Ivan Reitman is one of the most unpredictable directors in recent times, answering every film like Ghostbusters with something like Six Days, Seven Nights. Most of the problems relating to the 1998 romantic adventure starring Harrison Ford and Anne Heche were related to a derivative plot that steals ideas from practically every film or show that's ever been made about city folk getting stranded in a tropical paradise. The two stars play their predictable roles in a setting ripe for one-liners, though the script never survives its odd choice to insert pirate attacks into the equation. It's thematically all over the place, never choosing whether or not to really take itself seriously. Also added into the mix was the revelation by Heche halfway through production that she personally preferred female sex partners rather than male ones, an assertion that would immediately infuriate tough-guy Ford and eventually turn out to be false in real life anyway. Almost as predictably unpredictable is composer Randy Edelman's score for Six Days, Seven Nights, wandering all over the map in terms of genre. Several years before, Edelman had been responsible for the underachieving sequel score for Reitman's Ghostbusters 2, one that failed to make use of Elmer Bernstein's original themes and generally fell short in its own right. While the Six Days, Seven Nights score doesn't try to overtly borrow inspiration from the plethora of similar films before it, Edelman does reach for every predictable move in the book. His score features everything that defines his career, and, for the spirit of fun, throws in some style from the books of George S. Clinton for the ambience of the location. The overall effect of the score is one that seems unsatisfying in the whole, but keeps you interested enough during its running time to play the next track. Thus, your reaction to Six Days, Seven Nights will depend on just how enticing or annoying you find the stereotypical Randy Edelman romance and action sounds you've heard in countless other works by the composer.

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You can divide the score for Six Days, Seven Nights into four distinct categories, and it's because of the frequent shifts between them that the score sustains interest. The first style is the broad dramatic theme presented immediately in "Into the Mist." There is no reason why Edelman shouldn't have paid royalties to John Barry for this theme, utilizing both the broad brass strokes under strings and trademark elongated chord progressions that Barry made a living off of in the 1980's. This theme would tie into several larger panoramic shots in the film, and qualifies as 100% shameless in the ripoff department. Conversely, the second style in Six Days, Seven Nights is pure Edelman, and that involves the piano-led romance theme highlighted by "Robin." It's a lightweight, as his romance themes typically are, but the pleasant orchestral backing to the piano performances is easy on the ears. The third style in the score is the collection of action sequences, for which Edelman's synthetically aided sound, especially with the bed of percussion employed for cues like "Pirates," is cheap and underdeveloped (raising the same frustrations as parts of Dragonheart). The fourth style in the film is perhaps the most intriguing, and that's the calypso, mambo, and reggae-laced percussive tracks that often hide the larger themes from the score in their performances. In "Maketea," the band is joined by the full ensemble for a remarkable thematic combo performance. Towards the end of the album, several filler cues expose the weaker moments in Edelman's work. The final track is a source song heard performed on screen; reggae's Taj Mahal appeared himself in the film and the inclusion of the lengthy song on the album is welcomed and strangely complimentary of Edelman's score. The album features some outstanding recording qualities. With so many ensembles in play, including Edelman's own samples, the score is vibrant at every moment and places each starring instrument in a readily enjoyable position. Overall, Six Days, Seven Nights is a collection of derivative sounds from both Edelman's previous works as well as those of others, but there's enough spirit in the performances to float the album. ***   Amazon.com Price Hunt: CD or Download

Bias Check:For Randy Edelman reviews at Filmtracks, the average editorial rating is 3.06 (in 18 reviews)
and the average viewer rating is 3.18 (in 27,465 votes). The maximum rating is 5 stars.





 Viewer Ratings and Comments:  


Regular Average: 3.17 Stars
Smart Average: 3.1 Stars*
***** 144 
**** 154 
*** 183 
** 136 
* 90 
  (View results for all titles)
    * Smart Average only includes
         40% of 5-star and 1-star votes
              to counterbalance fringe voting.
   Accurate review from Clemmenson
  Krishna Manohar -- 10/17/07 (7:45 a.m.)
Read All | Add New Post | Search | Help  




 Track Listings: Total Time: 47:00


• 1. Into the Mist (1:56)
• 2. Maketea (2:12)
• 3. Pink Kawala (1:03)
• 4. Crashdance (2:41)
• 5. Floating Pontoons (2:30)
• 6. Fixing the Old Beaver (2:58)
• 7. Robin (2:38)
• 8. A Ray of Hope (2:11)
• 9. Quinn's Brilliant Idea (1:30)
• 10. Saying Goodbye (1:19)
• 11. Panorama (2:08)
• 12. Discovery (1:33)
• 13. Lunching with Peacocks (1:52)
• 14. Subways and Skyscrapers (3:24)
• 15. Pirates (2:51)
• 16. Just a Small Snake (2:03)
• 17. End of a Journey (1:05)
• 18. Flying Injured (1:10)
• 19. On the Edge (1:24)
• 20. Six Days and Seven Nights (1:52)
• 21. The Calypsonians --peformed by Taj Mahal (6:29)




 Notes and Quotes:  


The insert notes contain extensive credits, but no information about the music itself.





   
  All artwork and sound clips from Six Days, Seven Nights are Copyright © 1998, Hollywood Records. 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 6/15/98 and last updated 3/31/07. Review Version 5.1 (PHP). Copyright © 1998-2013, Christian Clemmensen (Filmtracks Publications). All rights reserved.