Track Listing
1. Pee-Wee's Big Adventure
(6'59")
Breakfast Machine Clown Dream Drive-In |
9. Wisdom (4'37")
Close Call in Albuquerque |
Words fail me when I try to think of a way to describe Elfman's early years as a film composer. Sure, the words "zany," "creepy," and "wild" come to mind. There's a lot more to Elfman's music than that, though. It's some of the most wild and bombastic music that I've ever heard. It's also some of the most beautiful music that I've ever heard. Danny Elfman's music is innovative. It's music created by a thinker and not a money-maker.The world of Danny Elfman is like being trapped inside a Dr. Seuss book. The world looks familiar, but nothing seems quite normal. Instead of the standard orchestra of a John Williams score, in Elfman's world we get bongos, accordians, and la-la choirs. It's in these early years where Elfman had pure fun with composing and let his mind go free.Elfman's first five years as a film composer are magical. I know that sounds a little corny but it's true. Music for a Darkened Theater Volume One captures that magic. It's not as great as Volume Two. Volume One combines each score into one track which is a little annoying if you only want to hear part of a score represented. It also contains only about half of the music that Volume Two contains. However, if you have a budding interest in the music of Danny Elfman. There is no other CD that I would recommend more than this one.Rating: * * *This disc provides ample opportunity for the casual listener to sample much of Elfman's best-and not so great-work from 1980-90. Each track is either a film/TV programme's opening titles or a brief suite.Rather than playing in chronological order these tracks are mixed up. Why? Presumably so that an audience-friendly opener such as Pee Wee's Big Adventure can be used rather than the somewhat down-beat Forbidden Zone entry.The downside to this is that for some reason the "meaty" scores (Batman, Dick Tracy, Beetlejuice, Nightbreed and Darkman) are bunched together, while the more varied tracks languish in their own ghetto. Which is a pity because although it may pander to the Elfman enthusiast who owns soundtracks for Batman et al and has really bought this CD for the curiosities, it makes a less satisfying experience for the virgin. If the tracks were ordered chronologically Elfman's general progress from synths to massive orchestras and his accumulation of thematic skill would be far more apparent, as would his ability to cope with large and small-scale projects of varied content. Imagine for example contrasting the two tracks of 1989: Batman and The Simpsons: 1 ½ minute cartoon opener vs. a multi-million dollar smash action/fantasy film is as great a leap as any composer could make.VERDICT: Clearly a must-have for all. Its variety alone is enough for me to recommend it to Elfman fans and newcomers alike, because it balances the trusty crowd-pullers with the more obscure. I would certainly recommend this to the Elfman fan more than its successor, which contains a lot more music from successful films (a symptom of Elfman's flourishing career) which is obtainable in more complete form on separate CD releases.Rating: * * * 1/2 |
While the sequel isn't even 1/100 as good as its predecessor, Danny's score is still decent. Most of the good tracks are included, although my favorite, Elephant Ride, isn't. Still, it may be wise to stick with the compilation until someone can release the entire score without the annoying dialogue at the beginning of each track.