Filmtracks Traffic Rank: #1,366
Written 10/9/99, Revised 4/15/07
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Buy it... only if your taste in classic horror music weights
heavily towards the more sparse, electronically rendered style of John
Carpenter.
Avoid it... if you expect the album to provide a consistent,
effective listening experience (or a solid representation from symphonic
horror scores).
Choice Cuts: (Compilation) Released during the
season to be frightened, Milan Records' 1999 compilation of score cues
and themes contains many of the most popular horror genre film scores of
the past twenty years. Ranging from the purely electronic to the hugely
orchestral, the "Choice Cuts" album features music from the likes of
John Carpenter, Pino Donaggio, Christopher Young, Marco Beltrami,
Michael Kamen, Howard Shore, Shirley Walker, Alan Howarth, Nicholas
Pike, and Dick Maas. These are cuts, indeed. But choice cuts? That may
be the issue that lies at the heart of the album. Even within the horror
genre, Milan's choices span a wide variety of styles within the horror
genre itself, with each of the chosen selections offering its own
virtues. It's easy to see right off the bat that the album was likely
created by devoted fans of the 1980's small-budget horror classics, with
John Carpenter at the forefront of their attention. The album has a fair
collection of work by Carpenter and his usual associates, from the
original Halloween to Escape from New York and its sequel,
as well as the more recent Vampires. With the work of Carpenter,
Howarth, and Walker placed with emphasis, the compilation is predisposed
to the more sparse, electronic style that Carpenter's films and music
embody, despite the fact that Vampires takes the industrial rock
sound to levels Graeme Revell or especially Robert Rodriguez would
appreciate. Similar in style to Carpenter's table-setters are Maas'
The Lift and Donaggio's Body Double. As a nod to the more
symphonic side of the horror genre, the album includes somewhat random
horror cues selected from Carrie, The Dead Zone,
Scream, Sleepwalkers, and Urban Legend. Howard
Shore's extremely unconventional sounds for Crash round out the
album with one of the more interesting utilizations of instruments
perhaps ever heard in a feature film score, a fan-favorite for many.
Ultimately, however, the album fails to create a consistent mood.
Many of the more mood-associated cues are overwhelmed
by neighboring selections of more conventional, slashing symphonic
bombast. It wavers without much sense between the conflicting styles
representative of Carpenter and Young, fooling you at one moment into
believing that the album will be a quietly creepy background experience
while making you jump out of your seat at the next moment with a
symphonic strike of dissonance. Perhaps this was how the album was meant
to be designed, but the resulting presentation doesn't lend itself well
to either an atmospheric listening experience or one in which you could
just crank up the sound and rattle your neighbors' windows. There could
be several reasons why the album's constant switching could cause it to
seem misguided and lost, including the possibility that Milan could have
simply chosen to include scores for
popular horror films rather
than
popular scores for horror films. Or, more likely, they might
have been restricted to only those that they could afford to include on
the product. The latter speculation begs for the usual questions that
consumers will ask about the obvious selections omitted from a
compilation like this. Perhaps the intent of the album was not to choose
the all-time choice cuts, and it appears as though modern audiences were
the target (1999 was a year for a sudden explosion of Hitchcock/Herrmann
compilations on the market, making this one a bit unique). Any film
score collector will be able to think of many other more impressive and
enjoyable horror scores that could have greatly assisted the album's
flow. In some cases, the best cue from the scores that do appear on
"Choice Cuts" isn't even chosen. The cut from
Scream is in no way
one of the strongest from that or Beltrami's one sequel at the time.
Conversely, the representation of the underrated Nick Pike on the album
is quite welcomed. Still, no horror album like this would be complete
without more from Chris Young's great horror career (such as the themes
from
Hellraiser or
The Fly films), and it would have been
a more intriguing product to modern ears had there been some John Ottman
or John Debney material included. As it is, despite featuring original
recordings (a major plus for any compilation), the album is too weighty
in the 80's style and begs too many questions from the knowledgeable
film score fan.
** @Amazon.com: CD or
Download
Bias Check:
For Christopher Young reviews at Filmtracks, the average editorial rating is 3.48
(in 27 reviews) and the average viewer rating is 3.17
(in 10,923 votes). The maximum rating is 5 stars.
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