Tag Archives: John Debney


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Music for video games and games in general has certainly come a long way, but for one of LA LA LAND records latest releases we go back to 2007, we are presented here with John Debney’s powerful and highly exuberant soundtrack for LAIR. Which was released by Sony and caused something of a stir among gamers worldwide. The composers sweeping score is released here in a 2 disc set and has nearly 2 hours of glorious music contained in a total of 39 tracks which is a far cry from the five track promo that was issued in 2007. The thing that immediately strikes you when you begin to listen to the score is that it posses such power and drive, it is a vibrant and epic work that draws much from the works of John Williams and also at times Basil Poledouris especially his scores for The Conan movies and to a degree FLESH AND BLOOD. Large symphonic orchestra is utilized along with choir and some excellent female solo vocals courtesy of Lisbeth Scott that add an earthy and credible ethnic ambiance to the proceedings. Brass flourishes reminiscent of Williams STAR WARS soundtracks power the score onwards and sweeping strings add not only drama and fervour but also infuse a sense of romanticism to the work, personally apart from the obvious influences of Poledouris, Williams and Goldsmith there are also present nuances and interludes that can be likened to the epic film scores of Rozsa, Waxman and also Korngold. The composer employing bold and grand sounding thematic material that is filled with heroic and fervent flourishes, fanfares and crescendos and laced with numerous musical colours and layers to create a high octane soundtrack that is relentless and un-stoppable. To go into detail I think wont help, let us suffice to say that this is a score that you must own, it is adventurous, dramatic and full of highly effervescent themes. Presented to a high quality by La la Land records, with a informative booklet, disc two also contains the concert suite from LAIR which is also highly recommended. This is a must have soundtrack an essential purchase, just go and get it.



When I first saw the trailers and also publicity posters for HOCUS POCUS I was under the impression that is was just another of those Disney kids Halloween movies, which in a roundabout way I suppose it is, but on going to the cinema to see it the first thing that struck me was the infectious and also powerful music that opened the film and the subsequent score itself. In the impressive opening sequence we see the silhouette of a witch in flight on her broom reflected upon the coastal waters of Salem as John Debney,s exciting, sweeping and flyaway sounding theme gets proceedings underway.

The short but highly effective main title which becomes one of the central themes of the score establishes itself quickly and conjures (forgive the pun) up a fantastic atmosphere that is filled with urgency and also mischief and an impish ambiance. The energetic theme subsides as the witch lands in the autumnal and colourful countryside near a farm and the audience see that we are in fact in the late 17th Century and not in the present day. The Witch entices a young girl Emily from her home and Debney laces the beginning of this sequence with the composition entitled, GARDEN OF MAGIC, a haunting and delightfully melodic theme that is introduced on piano and mirrored by glockenspiel and touches from triangle, this is further enhanced by woodwind and a light dusting of strings which then rise to develop the theme fully with horns creeping into the composition changing its mood and atmosphere to something that is far more urgent and dramatic as the abducted girls older brother realizes that she has been taken by the witch and sees that a green smoke is rising from the woodland where there lair is, he sends his friend to summon the elders of the village for help and then follows the witch and his sister into the woods in a desperate attempt to rescue her.

The cue, GARDEN OF MAGIC was actually composed by James Horner.  Horner had been the composer originally commissioned to write the score for HOCUS POCUS, and had penned GARDEN OF MAGIC when the movie was in pre-production because the character portrayed by Sarah Jessica Parker had to sing it in the movie. Due to schedule clashes Horner found himself unable to continue working on the composition of the score and he had to pull out. Disney then had to find a composer and Horner and producer David Kirschner suggested John Debney to the studio. Debney utilized Horner’s theme and integrated it into the fabric of his own score, arranging it in a number of different ways and also combining it with his own original thematic properties. In fact track number 2, GARDEN OF MAGIC and THACKERY FOLLOWS EMILY are credited to Horner with Debney acting as arranger and conductor.

Debney’s score for HOCUS POCUS is in a word huge, it is performed by a 92 piece symphony orchestra with choral support and is filled with wistful and grand sweeping musical passages that at times give a gentle nod of recognition to John Williams or maybe in the real action set pieces a hint of Wagner. The work literally overflows with dramatic sounding compositions, and oozes poignant segments which are tinged with melancholy, these are perfectly complimented by and interspersed with comedic undertones that at times can really be filed under the Mickey Mousing style of film scoring simply because of their little nuances and strategically timed and placed appearances add much to the screen action and events. This I think is demonstrated to great effect in the cue, WITCHES LAIR, where one of the Witches Winnie Sanderson (Bette Midler) floors Thackery Binx with one gesture of her finger, Debney effectively underlines this action with a synchronized two note stab. The soundtrack has never received an official release, the score was issued on a promo compact disc but this is now ultra rare and has a high price tag attached to it. The original release contained 19 tracks where as this excellent expanded release from Intrada has a whopping 27 cues from the score and a further 5 labelled as EXTRAS at the end of the CD, it also contains the vocal SARAH’S THEME which has to be a bonus in any ones book of spells.

The original promo, ran for 43 mins, here we are treated to 74 mins and 25 seconds of gloriously entertaining and effervescent music. Debney’s score is in my opinion just as entertaining as the film itself, the music being larger than life and as over the top at times as Bette Midler’s highly entertaining performance and as quirky as Sarah Jessica Parker and Kathy Najimy’s brilliant characters, the music works with the movie and also has an identity of its own away from the images it was written to enhance, it is an imposing and attractive work that is even more impressive because it was the composers first work for the big screen. I cannot recommend this soundtrack enough, my suggestion is that you grab this very quickly, it will be gone before you can say TRICK OR TREAT….Wonderfully presented with numerous stills from the movie and a thorough set of notes which are a delight to read.

Dream House.


Ever since I first heard the opening music for HOCUS POCUS I knew that I would be a fan of John Debney. He has the ability to create wonderful atmospheres and to invent auras within his music, enhancing wonderfully the numerous motion pictures that he has worked upon with his original and eclectic style. That is why it is so easy to appreciate and to also like his music; the composer always produces a work or a piece of music that holds something for everyone and every taste. DREAM HOUSE is a horror tale and “yes” the composer does lay down some pretty fearsome music within this score that chills and purveys a feeling of uneasiness. But there is also a romantic sound present within the work and also an emotion to the soundtrack that is poignant and haunting rather than fearful and frightening. The opening track ‘Dream House’ is a luxurious and blossoming composition that is touching and heartrending. It begins with a childlike sounding solo voice, which itself immediately creates an atmosphere of unease. As the composition moves on, the composer employs woodwind, piano, and strings which combine to bring us a rather touchingly delicate lullaby of sorts – in fact one would think that everything in the dream house is just that, dreamy and at peace. The string section take on the  theme mid-way through the composition adds a sumptuous and rich layer to the piece. The theme that is briefly encountered within the opening cue is given a fuller and even more sumptuous sound if that is at all possible within track two, LITTLE GIRLS DIE, which is a heartbreaking and highly emotive cue where Debney opens with a sorrowful sounding cello and builds upon this performance, gradually adding woods and strings until the piece literally bursts into a full working of the gorgeous and stimulating theme. Throughout the score the composer utilises and effectively re-introduces the central theme. At times this is just a fleeting appearance but one can hear it throughout in varying arrangements and also with differing orchestration.
Debney has fashioned a score which is slightly disturbing as it evokes many emotions. It is a score filled with tension for the majority of its running time but is not just another horror soundtrack, which crashes and bangs its way through to its conclusion. I suppose one could say it is an intelligent and also an appealing work that has many a dark corner; at times these being almost jagged and Herrmann Esque in their sound, as in Track 14, ‘Peter Saves Ann/Redemption’, which is a powerful, exciting and nerve jangling cue with its ominous and driving strings, booming percussion and fierce brass stabs but also has a tender sounding ending which returns us to the soaring and superb core theme or at least a variant of it. This in my opinion is one of the composer’s best scores to date and if, like myself, you had kind of lost faith in some Hollywood composers, then please give this score a listen and maybe, just maybe, you might think again.