Filmtracks Recommends:
Buy it... only if you maintain an absolutely complete James Horner collection and wish to seek this score's hopelessly elusive album for half an hour of rhythmic, flute-led jungle funk and odd ambient textures. Avoid it... if Horner's early, electronically experimental works serve more as a curiosity for you rather than a necessity. Filmtracks Editorial Review:
Vibes: (James Horner) There are only two groups of people in the world who would have any reason to even want to remember the 1988 movie Vibes: Cyndi Lauper fans and James Horner collectors. The film was, for some reason, backed by Ron Howard's Imagine Entertainment production company, with a horrendous script from two of the co-writers of Howard's Splash who were attempting, probably, to take advantage of the resurfacing popular interest in parapsychology and the supernatural at the time (spearheaded by the wildly successful Ghostbusters). The premise of the film involves two psychically gifted characters, one a hair-stylist played by Lauper and the other a museum expert played by Jeff Goldlbum. They are conned into seeking adventure in Ecuador, thinking that they'd be helping someone find a lost child when indeed their psychic powers would be needed on a perilous mission to find a mystic pyramid and unlock its powers. Along the same idea as Romancing the Stone, the two city folk in a jungle environment manage to hook up by the end of the film, a predictable but truly frightful event. For Lauper, the film represented her big screen debut, and for director Ken Kwapis, Vibes followed his own debut with the Sesame Street film Follow That Bird in 1985. Needless to say, the recipe was perfect for disaster. The summer 1988 release floundered and has long since been forgotten, with Lauper's career stalling and Kwapis sent back to the dark corners of television directing. The only notable aspect of the film that remains is the score by then upstart composer James Horner. Already nominated for Academy Awards for his work on An American Tail and Aliens, the composer had completed work on the most lengthy and ambitious score of his career, Willow, an enduring orchestral classic, the same year. The era of electronically defined music in Horner's career, whether contemporary in tone or primitively ambient in intent, was waning. For Horner enthusiasts, 1988 marked the trailing years of the composer's heavy reliance on synthesizers as the sole instrumental spectrum on his lesser scores; many of his lower-budget efforts in the years to come would feature at least some moderately-sized orchestra or more authentic-sounding samples. Even though it is based seemingly entirely in the electronic realm, Vibes does have more individual character than Horner's more drab synthetic efforts of the era, such as The Name of the Rose. While it was reported at the time that Horner employed a traditional string and brass section for some of the more supernaturally scary cues, it's difficult to hear their presence in the final work. What does stand out from the synthetics are the use of a few select woodwinds, including a pan flute and Japanese sakauhachi flute (largely solidified in Horner's career that year). A significant array of percussive sounds, some strikingly electronic and some rattling with a little more authenticity, brings a vivid soundscape to the score during its jungle sequences. These elements are all placed over a rhythmic and early loop-based structure, often utilizing lengthy, repetitious, non-thematic performances to carry a score heavy on ambience and short on character theme or romance. That said, Horner's Vibes does shine at its best when his melodic material for the score is carried by the flutes. Over the banjos, guitars, clapping sounds, whimsical high range woodwinds, wood blocks, bird calls, mid-range drums, and a vast collection of banging and tapping instruments, these flutes perform a few hopelessly chipper themes. Unfortunately, their exotic fun is restricted to the first half of the film, during which the characters first arrive in the Andes ("Andes Arrival" and "The Journey Begins"), and the score becomes much darker, atonal, and harshly electronic in the other half. This sinister half culminates in "Silvia's Vision," with heavy, off-key electronic droning accompanied by simple minor key alternations by synthetic brass and strings, joined by the disturbing sounds of dismembered voices, an unnerving sound remarkably unique to this particular score for Horner. Despite the score's selling points, Horner allows Vibes to die miserably at its conclusion, with no resolution of ideas in the "End Title" and a choice made not to score the film's romantic moments at all. He seems to have gotten hung up on the artistically rich atmosphere of the location, for in the final cue, as he does throughout the entire work, Horner wanders from motif to motif, rhythm to rhythm, leaving the only connecting thread in the form of the score's inherently unique instrumentation. Overall, Vibes remains decades later as one of James Horner's more bizarre efforts, exhibiting very few of the usual commonalities that typically connect his other scores. Along those same lines, Vibes is also a score that devotees of the composer can use very effectively to combat arguments about the composer's relative lack of originality. Nothing in the world of digital age film scores sounds remotely like Vibes (though Thomas Newman might be the type to try someday), and Horner collectors specifically will be startled by the stark differences between this and the concurrently written Willow. On album, the awkward and disjointed score exists in short length, but it endures as one of the most collectible CDs in the history of films scores. Standing as the fourth entry in the Varèse Sarabande label's first set of CD Club releases in 1990, the pressing of Vibes was limited to an astonishingly low 1,000 copies. That slim pressing number was even surprising at the time, given that Horner had just stunned audiences with Glory and was sailing to the forefront of the industry. The album sold out as expected and fetched prices as high as $400 on the secondary market even after the proliferation of the score in bootleg form (which features only the identical musical contents and, usually, the same copied packaging as well). The standard Lauper pop song from the film, "Hole in My Heart," understandably does not appear on the product. Despite the score's two melodically enticing cues amounting to over seven combined minutes, the entire work requires a mood of significant funk to appreciate from start to finish, and for most collectors it will reveal itself to be a curiosity rather than a necessity. ** Track Listings:
Total Time: 35:40
All artwork and sound clips from Vibes are Copyright © 1990, Varèse Sarabande. The reviews and notes 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 9/24/96, updated 11/7/11. Review Version 4.1 - PHP (Filmtracks Publications). Copyright © 1996-2013, Christian Clemmensen. All rights reserved. |
