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ROOKIE OF THE YEAR Triumphant
triumvirate from Conti, including one real great A review by JAMES SOUTHALL The current renaissance of interest in Bill
Conti continues apace, with no fewer than three of his Twentieth Century Fox
scores released on this new CD from the Varese Sarabande CD Club. Three
films that are unlikely to trouble the compilers of lists of great motion
pictures, and indeed two that few are likely to have even heard of, their
release nevertheless is extremely welcome, with Conti being one of the most
overlooked and underrated composers in film music of the last three decades. Headlining the release in all ways is Rookie
of the Year, a 1993 movie about a little boy who ends up being a baseball
superstar after a broken arm magically heals to become the best bowling arm in
the sport. Yes, well. It was quite popular at the time. Conti
is simply the perfect composer for "inspirational" sports movies like
that, with his blissfully unsubtle style entirely appropriate; and of course, he
pretty much wrote the book on the genre with Rocky. Rookie of
the Year is an absolute treat. It's all anchored around a wonderful
main theme, aptly described in Julie Kirgo's witty liner notes as "part
Mozart, part marching band" which is exactly correct, with the rousing
march being one of Conti's most memorable creations (and there's no shortage of
memorable creations from the composer). "The River" is a
delightful, small-scale guitar-and-piano piece; and "Jack's Big
Mistake" a genuinely affecting piano version of the main theme. Best
of all are the sports sections themselves, notably "Mound Advice" and
the exceptional finale, "Float It!", opening with some Hoosiers-style
synths and developing into a rousing, brilliantly over-the-top piece which
should be as infectious to film music fans as the H5N1 strain of bird flu is to
our avian friends. A Night in the Life of Jimmy Reardon
was a coming-of-age piece starring River Phoenix (the more cruel-minded might
suggest that he never actually appeared in anything other than coming-of-age
pieces). Conti's music, of course, is rather different from Rookie,
dominated really by light pop, synth-heavy material, which is mostly charming,
but inconsequential. "Desperation" introduces the playful main
theme; the electric guitar and synthetic pan pipe solos of "Reality"
offer a slightly darker picture, though it still sounds like pop music of the
time (1988). Much of the score is on the lighter side and it's all rather
pleasant. With drum machines aplenty and little of real significance, I
suspect most people would be disappointed if they'd paid money for it alone, but
as part of a package of three scores, it's charming enough. The most recent of the scores represented is Bushwacked,
from 1995, a "riotous comedy" which I've never heard of. The
music is more substantial than Jimmy Reardon, and just as pleasant.
The opening theme, "Whacked!", is great fun, recalling Danny Elfman's Midnight
Run in many ways. Again, it's all very lighthearted, though more
orchestral, pleasingly so, and is another nice way to spend 25 minutes or
so. Scoring comedy is rather difficult to do well, and the somewhat madcap
style is no departure from the Elmer Bernstein-established way. There's
some surprisingly literate music here, like the martial "The Swat
Team" and full-bodied orchestral pieces "The Hike" and especially
the delightful "Our Leader", which even includes the briefest quote
from the composer's Masters of the Universe. It all ends with the
ludicrously, delightfully over-the-top finale "Big Finish", which more
than lives up to its name. This album presents one superb Conti score,
one rather good one and one that's pretty forgettable, but it's a no-brainer for
fans of the composer, and an excellent opportunity for others to see what he's
all about. Highly recommended. I hope more Conti releases are around
the corner (or, better still, that he gets a new assignment or two). Tracks |