Randy Edelman for me has always been a composer of note, ok he has normally been involved with films that are of a lighter storyline, ie- MY COUSIN VINNY and KINDERGARTEN COP, but I remember hearing GETTYSBURG for the first time and being blown away by the way in which he was able to get such an epic sound out of synthesisers. His score for COME SEE THE PARADISE also impressed me, with its simple but effective and poignant theme. This offering from the composer is obviously, given the films subject matter a large scale score, and Edelman does effectively pull out all of the stops creating a powerful and booming soundtrack, but saying this he also gives to us some marvellously lyrical melodies, showing us just how versatile he is, cello is utilised within the score a number of times and its sorrowful almost sombre rich sound is welcome every time it raises its head. Overall the score has the sound of both Goldsmith and Silvestri present within it, surging strings, rasping brass, ominous sounding choir and tumultuous percussion all combining to create a grandiose and exciting sound. I am not telling untruths when I say that every track on this CD is a delight, there is certainly something here to keep every collector happy. The action cues are relentless, the love themes are sumptuous and even the minor cues are more than worthy. One of my favourite cues is track number 7 THE READING OF THE SCROLLS, the composer treats us to a slow and somewhat subdued beginning, which suddenly erupts into a full blown action cue, this however is short lived and Edelman returns us to relative calm utilising strings and solo female voice, that lead into a richly mysterious sounding composition. The sounds created here by Edelman are threatening, poignant and magical. Track 9 ALEX AND LIN is also a cue that I would highlight as being one of the scores brighter moments if that is at all possible as every track is excellent, another thing about this score is that Edelman does infuse a sound that is oriental, but he never goes over the top which makes these compositions more credible in a way. So for collectors who dismissed Edelman or thought of him as a B list composer in the past, should now I think reconsider their opinion. This is an entertaining score, that rivals Goldsmiths original Mummy score, and equals Silvestri’s work on the second instalment. Worth a listen…
MOVIE MUSIC INTERNATIONAL. (MMI) . 