(Compilation) While Arthur B. Rubinstein has had a prolific career
scoring television series and B-rate films, few casual film music
collectors will recognize his name. A Super Tracks 2-CD promotional set
arranged by veteran album producer Ford A. Thaxton in 1998 sought to
assist in spreading knowledge of Rubinstein's music, though given that
the composer did not go on to score another major picture, the album
likely proved ineffective. It was, however, a way for the hardest of
hardcore collectors to get their hands on some well-respected scores,
especially since only three of the eight scores included on this
compilation were available on other albums at the time. Such treatment
of an obscure composer's works on album is rarely achieved, and the
album succeeds in its basic duties regardless of whether you can
appreciate Rubinstein's music or not. One overarching problem with the
album is its sound quality; since the only available source for much of
this music was a collection of tapes that Rubinstein had on his shelves,
there is surprisingly poor quality to be heard. A significant tape hiss
effect is prevalent, which is odd considering both the relatively recent
age of the recordings (1983 - 1995) and the availability of correction
software for the transfer to the digital medium. As for the music
itself, the bright spots on this compilation are entertaining cues from
. The second CD, however, becomes much muddier,
and, along with an only partial inclusion of
All of the best moments in this set come on the first CD.
Nick of Time, which had been previously released but remains
difficult to find, starts off with promise. The first two tracks feature
some of Rubinstein's best work, with main titles music that is
suspenseful in maintaining a good melody over a small children's choir.
The second track has two minutes of heartfelt, romantic music, and while
not as thematically entertaining, the rest of the score remains
orchestral and offers some of the most engaging work Rubinstein has done
with an ensemble.
Best of Times is an effective score, but it
could easily irritate detractors of comedy music along the lines of
Robert Folk's
In the Army Now. It features moments of source
material directly from a high school marching band, which can be
difficult to enjoy out of context. The sequel
Another Stakeout is
more orchestrally complex than the first installment, but takes a softer
approach to the genre. The middle sections don't warrant excitement, but
it finishes with a rewarding guitar and flute theme in the 24th track
that defies the style of the rest of the score.
Hypersapien
concludes the first CD with some of Rubinstein's most orchestrally
creative music. A harmonica is added to the jaunty strings for an
appropriately playful, Western-genre effect. A rousing string theme at
the very end of the score is a highlight of the entire set.
The second CD lacks the uplifting moments of the first,
and ultimately meanders to the land of monotonous underscores. If you're
thinking about purchasing this set for the
Wargames section, you
might wish to consider otherwise. Not only does it not function as well
outside of the film, but some of the most prominent sections are missing
from this album (mainly the opening credit music). These decisions were
made by Rubinstein himself, and although they may have led to a more
pronounced variety of talent recognition, it leaves fans wanting a
little more. At least there isn't the dialogue over the score that was
heard on the only other available source at the time. The song in the
middle, though out of place, is an acceptable tribute to the mid-80s and
is followed by the most interesting score track, "Are the Russians
Coming?" The militaristic percussion that had been drowning the album by
itself previously is now accompanied by a deep male chorus. Aside from
this brief respite,
Wargames isn't worth the hype that some who
own the album might attribute to it. The other three scores represented
on the second CD,
Stakeout,
Deal of the Century, and
The Hard Way, provide a glimpse into a more jazzy, synthesized,
loungey side of Rubinstein's compositional capabilities.
The light rock of
Stakeout seems to have come
right out of an elevator speaker, with a thematically void tendency
towards the mundane. "Maria's Street" features random dialogue and the
sounds of partying in the background, which breaks the consistency of
the album's music. Perhaps more disturbing is
Deal of the
Century, which attempts to combine two genres of music into one
convoluted mess. The jazzy elements of a Henry Mancini ensemble are
given a Hispanic twist with a fluttering acoustic guitar, producing an
irritating result. Following is
The Hard Way, which not only
lacks a theme, but also makes the fatal mistake of combining electronics
with an ambitious jazz beat and big band sensibility, creating a
painfully incongruent listening experience. Ultimately, this set is a
mixed bag. On one hand, its very existence is encouraging. On the other
hand, however, the best of the music could easily have been condensed
onto one full-length CD. Because of the strong jazz elements in the
second CD (and the electronic feel throughout), it's difficult to
recommend the set to a fan of any one particular genre. Most of the
films represented here are "B" films, and the music subsequently, and to
no great surprise, sounds like a series of "B" underscore samplings. The
album contains practically no information about Rubinstein (how often do
you see that for a compilation promo?) and has become extremely
difficult to find on the secondary market in the years after its
pressing.
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