Warner Sunset/Warner Bros. MUSIC FROM THE MOTION PICTURE
"AI" Composed by John Williams John Williams “Music
From the Motion Picture A.I.” Warner Sunset/Warner
Bros.
John Williams is the master of the film score. From “Star
Wars” to “Indiana Jones” to “Jurassic
Park” his movie themes are arguably among the most recognized
in the business. While not nearly so easy to hum as, say, the
“Star Wars” theme, the score Williams composed for
“A.I” is nonetheless striking in its originality and
often poignant exquisiteness. Rather than hovering in more familiar
triumphant tones, the score lurks in darker corners. The highly
publicized Stanley Kubrick connection to the movie lingers in the
music, which has as much of a Kubrick feel as its visual
counterpart. The cost of the Kubrick element is that the overall
impression left by the score is one of coldness. In the film this
factor may enhance the script’s message, but in the
soundtrack it casts a somewhat gloomy mood. The quiet, haunting
beauty of “Stored Memories and Monica’s Theme,”
complete with its faint choral element, is a perfect example.
Delicate, sad and never heavy-handed, this is an excellent
expression of a scene’s mood. Unfortunately, the mood
isn’t one many want to experience as they drive to work.
“Where Dreams Are Born,” has the more uplifting quality
usually associated with both Williams’ music and
Spielberg’s films. An operatic thread adds to the sense of
strength in the track. Also to its credit and unlike many other
soundtracks, “A.I.” doesn’t make the common
mistake of repeating one catchy musical phrase until the listener
is bored to tears. Rather, Williams incorporates variety, as when
he adds electronic elements in “Cybertronics” or the
singing talent of Lara Fabian in “For Always.” In spite
of the immense quality of this work, it doesn’t stand alone
from the film as well as many of the composer’s other scores.
Williams has indeed produced a work of technical mastery and
emotional melancholy ““ one that is eminently appropriate in
the film for which it was written, but less so in an ordinary
setting.
Mary Williams Rating: 7 Â Flip Records
BREAK THE CYCLE Staind Staind “Break The Cycle”
Flip Records
Passion is an element missing in much of today’s corporate
rock, but an ingredient that defines the music of the hard rock
band Staind. In the band’s sophomore album, “Break The
Cycle,” lead singer Aaron Lewis delivers a moving performance
that allows listeners to connect with both his emotion and pain. On
the popular songs “Outside” and “It’s Been
Awhile,” Lewis sounds like he is literally ripping his heart
out for the listener. It is this type of vulnerability that lends
itself to the power of Staind’s introspective music.
“Break The Cycle” is only the group’s second
album. Still, Staind shows great maturity, which made a name for
itself several years ago with its hit song “Mudshovel.”
Intense melody lines placed over the erupting music, as in the
opening song “Open Your Eyes,” will please both fans of
hard edge music and those of shrewd lyrics and melody. It is this
type of dichotomy that separates Staind from similar bands. Another
highlight of the album is the pulsing bass and soaring melody of
“Fade,” which shows that “Break The Cycle”
is not only about its two radio hits; it features other songs that
are just as potent and powerful. A more severe song,
“Can’t Believe” presents the distorted vocals and
screaming side of Staind, which are much less prevalent on this CD
than on its debut album. The sparing use of screams makes them an
effective tool when unleashed on “Can’t Believe.”
The following song, “Epiphany,” contrasts beautifully
with its slow pace and vocals, presenting a gloomy yet uplifting
soundscape. This uplifting power in Lewis’ pain-filled
delivery is a key attraction for listeners. He realizes the
connection that fans can feel with his music, as evident in his
“Thank You” on the last page of the booklet insert. It
reads, “To the fans: I really can’t express how much
you mean to me. You have all made me realize that I am not the only
one who feels the way I do, and for that I thank you.” And
for that Lewis, listeners thank you as well.
Chris Moriates Rating: 8 Â Priority
Records NUTHIN’ BUT A GANGSTA PARTY 2 Various Artists
Various Artists “Nuthin’ But A Gangsta Party
2″ Priority Records
Well, the name says it all. “Nuthin’ But A Gangsta
Party 2″ is one of those CDs that should be advertised on TV
with an old school supped-up car bouncing down the street, while a
list of white and yellow song titles run up the screen. The album,
released by Priority Records, brings together classic rap from the
early ’90s Dr. Dre era with brand new music from artists such
as Kurupt, all on one disc. The first two songs give the listener a
definite idea of what the rest of the album will be like, as the
1993 Death Row hit “Who am I (What’s My Name)” by
Snoop Doggy Dogg is followed by the lesser known 2000 addition
“Snoop Dogg (What’s My Name Pt. 2).” The
approximately 75-minute long album relies on old time favorites to
help bring attention to new songs. Interestingly, unlike the
classics, the newer songs are mostly on the Priority Records label,
giving the impression that the older hits are simply placed on the
CD in order to sell listeners on the new songs. The track listing
is a veritable who’s who list in the “gangsta
rap” circuit, featuring songs by Ice Cube, Mack 10, Silkk the
Shocker, C Murder, Nate Dogg, Dr. Dre, Snoop Dogg, Kurupt,
Eastsidaz, Roscoe and more. The remarkable thing is the way that
songs such as Kurupt’s “Who Ride Wit Us” released
in 1999, fits in perfectly with songs such as the original
“Nuthin’ But A “˜G’ Thang,” released
in 1992. “Nuthin’ But A Gangsta Party 2″ delivers
a solid mix of West Coast hip-hop music, accomplishing its purpose
of providing an effective party soundtrack. The hard edged tunes
conjure up images of the early ’90s-style gold chains,
hydraulic cars and 40 oz. beers. Although the compilation merely
regurgitates mostly overplayed rap tunes, it is a well-organized
assembly of 19 songs to party with.
Chris Moriates Rating: 7