Danny Elfman - Music For A Darkened Theatre [EAC-FLAC] [RePoPo]

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Danny Elfman - Music For a Darkened Theatre
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Track Listing:

01.- Pee Wee's Big Adventure: Overture/Breakfast Machine/Clown [7:01]
02.- Batman (Theme)/Up the Cathedral/Descent into Mystery [8:25]
03.- Dick Tracy: Main Titles [3:03]
04.- Beetlejuice: Main Titles/End Titles [3:43]
05.- Nightbreed: Main Titles/Meat for the Beast/End Titles [7:03]
06.- Darkman: Main Titles/Woe the Darkman, Woe [6:55]
07.- Back to School: Study Montage [1:30]
08.- Midnight Run: Walsh Gets the Duke/Main Titles/Diner Blues [4:42]
09.- Wisdom: Change of Life/Close Call in Albuquerque [4:39]
10.- Hot to Trot: Main Titles/Wandering Don [2:22]
11.- Big Top Pee Wee: Main Titles/Rise 'N Shine/Pee Wee's Love Theme [5:24]
12.- The Simpsons: Theme [1:30]
13.- Alfred Hitchcock Presents: The Jar: Suite [3:20]
14.- Tales from the Crpyt (Theme) [1:29]
15.- Face Like a Frog: Suite [2:08]
16.- Forbidden Zone: Love Theme [1:16]
17.- Scrooged: Main Titles/Show Time at Ibc/Elliot Gives Blood/Walter ...
[8:42]

Running Time: 73 minutes 22 seconds


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REVIEWS


FROM FILMTRACKS.COM

Music for a Darkened Theatre: Volume 1: (Danny Elfman) Most fans of rocker-
turned-composer Danny Elfman fell in love with his music in the late 1980's,
entranced by his ability to both entertain with wacky orchestral idea and melt
hearts with his extraordinary sense for the melodramatic. Even the most devoted
fans of the composer will admit that the he has produced some (lovably) strange
music in his career. The "Music for a Darkened Theatre: Volume 1" compilation of
early Elfman film and television music, covering 1985 to 1990, serves up a
healthy dose of vintage material, much of which remains difficult or impossible
to find in other commercial form. A second volume of "Music for a Darkened
Theatre" released six years later would feature samplings of Elfman's scores
from 1991 to 1996 (primarily) on two CDs. Now decades after the fact, you cannot
say that Elfman's music has followed a distinct pattern as he has matured in the
role of a film music composer. But in 1991, all one would have to do is listen
to Edward Scissorhands and "Music for a Darkened Theatre: Volume 1" to indeed
notice an early pattern. From the rock sounds of Oingo Boingo, Elfman was on a
course in 1990 to vault himself into the stars of orchestral soundtrack legends,
with Batman albums flying off of music store shelves in record numbers. But, as
Elfman would have it, his career would proceed like a whirlwind of stylistic
experimentation and ventures into the unknown, punctuated by a series of efforts
in the late 1990's that barely resembled his early, most popular works. His
knack for being consistently unpredictable continued well into the 2000's. On
"Music for a Darkened Theatre: Volume 1," though, you hear an excellent cross-
section of this talent across the entire range which brought Elfman into the
forefront in the first place. Suites from Batman, Nightbreed, and Darkman
provide the bulk of the serious, orchestral material, and are all well
assembled. Every time you see another performing group kill one of these scores
in a poor arrangement (and Batman especially) you have to wonder why they just
don't take a cue from Elfman's own choices for suites here. He does a remarkable
job of choosing the most interesting and superior cues for inclusion in the
suites, with only a little evidence of editing noticeable to the most ardent
fans of the original, fuller albums.

For the strictly orchestral fans who will mostly appreciate the above-mentioned
scores, there is a significant amount of Elfman's pop-inspired electronic
material on this compilation of which to be weary. The 1986-1988 pieces, such as
Midnight Run and Wisdom, present the more hip and stylish side of Elfman's
sensibilities, though these degenerate into pure comedy in Hot to Trot and Face
Like a Frog. The latter score's selection here is described by Elfman as
"midnight madness" and easily stands as one of the most unstable, deranged
pieces of film music to ever be recorded (not to mention being of questionable
listenability). The television score selections are each interesting in their
own right, but they often run too briefly to establish a distinct mood. Thus,
the latter half of the album is as inconsistent of a listening experience as you
might expect. The Pee Wee music on the album is certainly creative, if not
successful in perpetuating a sick, carnival sort of atmosphere (people with a
built-in pervert meter could have problems with it; it's not surprising that the
title "Pee Wee's Love Theme" strikes an off chord). Those fans for whom Pee Wee
music doesn't remind of perverts will likely be impressed by the sheer energy of
these pieces. The album finishes with one of Elfman's most sought after early
scores, unavailable on commercial album and very reminiscent of Beetlejuice in
its morbid mood. The suite presented here from Scrooged will service the needs
of most Elfman collectors for music from that early orchestral work. On the
whole, both "Music for a Darkened Theatre" albums are the equivalent of
promotional samplers for the composer, packaged neatly into an attractive
commercial form. As listening experiences (as is the case with most samplers),
it is difficult to sit down and enjoy the album from beginning to end unless you
are among the most devoted fans of the composer. For more casual Elfman fans, as
well as the orchestral film music collector in general, the second "Music for a
Darkened Theatre" double-CD set is a more advisable purchase, because it
presents a wider range of works with equally strong selection choices by the
composer himself. But for those Elfman fanatics, it's hard to go wrong with
"Music for a Darkened Theatre: Volume 1." It'll be a whole lot of fun and it'll
definitely reaffirm why you love the guy's music.


FROM MOVIEMUSIC,US

The first of Danny Elfman's two Music for a Darkened Theatre compilations
focuses on the music he composed for film and TV up to 1990 - in essence, the
music that put him on the film scoring map. All his five biggies are there - the
dark, rich and triumphant 'Batman'; the fun and quirky 'Beetlejuice', the
dramatic 'Dick Tracy', the melodramatic 'Darkman' and the beautiful but slightly
disturbing 'Scrooged' - but if one is to be perfectly honest, much of Elfman's
mainstream music tends to be quite similar. In all of the scores mentioned above
he uses the same orchestrations and musical styles - swirling strings, trumpet
fanfares, bouncy melodies, harps and wordless chanting female choirs - and, if
the truth be known, I think it is precisely because of this that Elfman has
never quite reached the heights his contemporaries have. His usual orchestral
style rarely differs from score to score and, although the music always works
perfectly well in the film and is popular with the public, it is only when he
diversifies into other styles that he really shines. This is not to say that the
music on this album is bad in any way - in fact most of it is extremely good
and, if anything, goes a long way to prove what a talented individual Elfman is
when he breaks free from his musical shackles: in addition to the five mentioned
above, 'Midnight Run' is one of my favourites - a driving rock piece with
electric guitars, funky trumpets and a bluesy piano; 'Wisdom' is an unusual
piece performed by Elfman himself on an ethnic-sounding synthesiser; 'Hot to
Trot' is a brilliant, upbeat boogie for accordions and an acoustic guitar, 'Big
Top Pee-Wee' is just about the best piece of "roll up, roll up" circus music I
have ever heard and, in addition to film scores, the album also presents
Elfman's two most famous TV themes, for 'The Simpsons' and 'Tales from the
Crypt'. But if you want a piece of music to sum up Elfman's musical personality
to a tee, listen to 'Face Like A Frog' - it's diverse, fun, and musically clever
but doesn't take itself too seriously. Excuse me, did someone say weird...

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Exact Audio Copy V0.99 prebeta 4 from 23. January 2008

EAC extraction logfile from 5. April 2009, 0:31

Danny Elfman / Music For A Darkened Theatre - Film & Television Music - Volume
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