Soundtrack: Die Hard
Varese Sarabande VCL 0202 1004

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After waiting for close to 14 years, Varese Sarabande finally released a limited-edition run of Michael Kamen’s Die Hard score. But was it worth the wait? Well, if you’re interested in experiencing every magnificent note Kamen wrote, then yes. If you’re looking to immerse yourself in a complete digitally remastered CD, think again. Tape azimuth problems and some compressed dynamics show that Varese simply transposed the score from the original analog masters instead of completely restoring it. But with great cuts like "The Nakatomi Plaza," "Gruber’s Arrival," and the emotionally charged "The Battle," less-than-stellar sound quality is no more than an annoyance. Kamen’s use of familiar melodies also adds depth and a level of humor to one of the best action scores ever produced. You’ll need to hurry, though. Varese is only offering 3000 prints through their CD Club -- and I have one of them!

Beth Orton: Daybreaker
Astralwerks 39918

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Astralwerks’ marketing should be given a pat on the back. I had never heard of Beth Orton, but the little sticker affixed to her Daybreaker CD did mention William Orbit and Ben Watt -- two great talents who I do know of. Without snubbing the considerable talents of Watt and Orbit, there’s no denying Orton’s flair for writing solid, enjoyable songs. Daybreaker is folk and blues peppered with electronic ambience and some beautiful orchestrations. What's more, there was not one song on this album that could be considered a throwaway. "Paris Train" builds nicely with swirling guitars and strings, while songs like "Anywhere" and "Daybreaker" just pull you in with their funky elements. Not having heard Trailer Park or Central Reservation, I can’t make an assessment whether Daybreaker is a step up or not. On its own merits, though, Daybreaker represents an excellent effort, by a bona fide talent. As for Miles Showell’s shrill mastering of the CD, well, that’s another story.

Soundtrack: K-Pax
Universal 016192

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This soundtrack literally soaks you with textures and emotion. Building on a couple themes, Edward Shearmur’s treatment of this Kevin Spacey film is a treat for anyone who enjoys well-composed ambient music. And though Shearmur revisits the same basic themes, he does give them a fresh appearance with every reprise. This is the kind of score that is experienced best with headphones on, and a glass of wine in hand. Its extremely well-recorded textures and rhythms are the perfect treatment for unwinding from a stress-filled day. Listening to tracks like "Bluebird" and "Coda" put me in a better mood. Could one classify this score as being a little sappy? Yes. But that’s probably what is intended. And I know my disposition could stand a little softening at times.

Bruce Springsteen: The Rising
Sony 86600

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Springsteen may never rise to the level of his glory days back in the ‘80s, but this release with his legendary E Street Band is a good reminder of what once was. A large chunk of The Rising is that larger-than-life, stadium-filling sound that was so popular on albums like Born in the USA. These somewhat overblown songs don’t break any new ground, but they are tight, tuneful, and surprisingly fresh. Still, Springsteen’s at his best with sparse musical arrangements (Nebraska and The Ghost of Tom Joad are proof of that). Not surprisingly, the simpler tracks like "Into the Fire," "Nothing Man," "Worlds Apart," "You’re Missing," "Paradise," and "My City of Ruins" are the standouts here. In the end, this isn’t Springsteen’s best release, but it’s a surprisingly good one so late in his career that plays successfully to all of his fans.

Soundtrack: Monster's Ball
Lions Gate 9608

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Overall Enjoyment

Brian Eno and Bernard Herrmann would be proud of Asche and Spencer. The music for Monster’s Ball not only succeeds as a standalone ambient effort, but also as a score. It does a superb job of expressing the desperation and longing of the film’s characters without calling much attention to itself. Through the score, the audience is allowed to internalize what two hopeless souls are feeling. Offering a complex texture of sounds that rarely break off into a defined melody, the trio builds a dense atmosphere with little more than a guitar and piano modulated through a synthesizer. And though the result often makes Hank and Leticia’s struggle seem almost insurmountable, the beautiful melody of "Under the Stars" exposes optimism for their future. Like the film, this soundtrack benefits from a delicate and pervasive recording.