Flyboys
Trevor Rabin
" Fly Rabin you boy of Trevoring wonder "Written by Thomas Glorieux - Review of the regular release
Gridiron Gang, The Guardian, Snakes on a Plane and Glory Road, all somewhat enjoyable movies that prove Trevor Rabin might be making it after all in Hollywood. Hell, that's what he did the last few years but still, sometimes you wonder how easily he gets himself bound to one project. One that raised a couple of bucks was National Treasure, another one that failed to do it was Flyboys, Tony Bill's enjoyable war movie high in the sky.
At least visually the movie promises and delivers on all accounts, but for many it was a question if the music would stand the test of time. Trevor Rabin is not a bad composer at all, but I think many fans would have loved to see this fall into the hands of a John Debney, a Alan Silvestri, a James Newton Howard or a James Horner in the end. But for Rabin enthusiasts this was a promising hook to grab onto and in that end I guess Trevor Rabin might have surprised just a few persons of the non Rabin group, again.
That there is still a Rabin influence and sound to be detected is obvious, but sometimes I hear or I swear to hear something daringly new from him that brings me to the conclusion, the man is actually growing in maturity as a composer. Listen for instance to "Training Montage" where he inserts an intriguing piano movement over a blossoming main theme version, or the way he lets his choir be heard ominously epic in "Dogfight" and "Black Falcon". However for me the biggest stunner in finding the new tricks is indeed "Dogfight". As said the choir is heard in epic standards over whirling strings, but when the brass suddenly loses thematic standards, then you get the feeling Rabin's ambition suddenly takes hold of you. That the same track suddenly loses appeal due to its moody mid piece is actually sad as well.
The score opens with "Main Title" and it's a relaxing flute and piano movement that brings the soft version of the patriotic theme forward, to be put inside a Patriot like Williams maneuver in "Training Montage", which is a cleverly funny temp track moment indeed. And "Cassidy Funeral" is the soft whisperer of the group where Rabin also makes some new things happen (like the first full statement of the main theme).
With "We're out of Gas" a brief but typical Rabin suspense is brought forward, only to be enlightened through "The Last Battle" that contains a wonderful rise from the patriotic flute theme and a stunning main theme, bringing life and heroism to the battle. But its "Rawlings and Luciane Fly" that will put everyone in seventh heaven. What can almost be described as a dazzling main theme moment, people will finally soar along the skies with a Trevor Rabin that pulls out his epic romantic voice. Perhaps here most people will think of a Horner influence, but if you listen carefully the main theme is an alternate version of the Alcatraz base theme of Deep Blue Sea, so nuff said. The softer "Rawlings and Luciane" lets the theme appear much softer and delicate here, and shows you again Rabin at his best.
With "The Planes Arrive" we receive a variation of the main theme on heroic steroids. But "Heroes" goes even beyond the heroism with the patriotic theme, the ominous trailer music and when the gloves are later off, you'll be getting more of heroic Rabin, with fresh and exciting action music and a couple of patriotic theme statements that puts you right up there in the sky.
The album should have ended differently as well, but considering Varèse's been going through a weird phase lately, expect to get the good music first and the awkward finale track later. Because I see "Black Falcon" as the only track suitable enough to end this score in style. First you've should have gotten the somber "Briefing Room" and the soothing "Battle Hymn", to end in style with "Black Falcon" that has an Armageddon feeling and a bunch of thrills. But alas some people think they know better.
But forget about that final statement, because Flyboys is one glorious Trevor Rabin soundtrack. It's so sad to discover that Rabin hasn't matched nor repeated this kind of epic style lately, because Flyboys is simply put spectacular in several moments. The flying moments, both the romantic as the action ones are some of the most powerful filmmusic Rabin has ever composed. And that's why Flyboys is worth the prize of discovery, even for those Debney, Silvestri, Newton Howard or Horner fans alike who were disappointed they weren't getting a score from them instead.
Tracklisting
1. Main Title (5.27)
2. Training Montage (3.41)
3. Cassidy Funeral (6.15)
4. We're Out of Gas (0.25)
5. The Last Battle (3.10) Excellent track
6. Dogfight (5.36)
7. Rawlings and Luciane Fly (2.32) Excellent track
8. Rawlings and Luciane (3.32)
9. The Planes Arrive (1.53)
10. ID the Planes (0.49)
11. The Cuffs are Off (0.46)
12. Have to Get Luciane (1.17)
13. Heroes (4.32) Excellent track
14. Battle Hymn (1.47)
15. Black Falcon (4.12) Excellent track
16. Briefing Room (2.11)
Total Length: 48.19
At least visually the movie promises and delivers on all accounts, but for many it was a question if the music would stand the test of time. Trevor Rabin is not a bad composer at all, but I think many fans would have loved to see this fall into the hands of a John Debney, a Alan Silvestri, a James Newton Howard or a James Horner in the end. But for Rabin enthusiasts this was a promising hook to grab onto and in that end I guess Trevor Rabin might have surprised just a few persons of the non Rabin group, again.
That there is still a Rabin influence and sound to be detected is obvious, but sometimes I hear or I swear to hear something daringly new from him that brings me to the conclusion, the man is actually growing in maturity as a composer. Listen for instance to "Training Montage" where he inserts an intriguing piano movement over a blossoming main theme version, or the way he lets his choir be heard ominously epic in "Dogfight" and "Black Falcon". However for me the biggest stunner in finding the new tricks is indeed "Dogfight". As said the choir is heard in epic standards over whirling strings, but when the brass suddenly loses thematic standards, then you get the feeling Rabin's ambition suddenly takes hold of you. That the same track suddenly loses appeal due to its moody mid piece is actually sad as well.
The score opens with "Main Title" and it's a relaxing flute and piano movement that brings the soft version of the patriotic theme forward, to be put inside a Patriot like Williams maneuver in "Training Montage", which is a cleverly funny temp track moment indeed. And "Cassidy Funeral" is the soft whisperer of the group where Rabin also makes some new things happen (like the first full statement of the main theme).
With "We're out of Gas" a brief but typical Rabin suspense is brought forward, only to be enlightened through "The Last Battle" that contains a wonderful rise from the patriotic flute theme and a stunning main theme, bringing life and heroism to the battle. But its "Rawlings and Luciane Fly" that will put everyone in seventh heaven. What can almost be described as a dazzling main theme moment, people will finally soar along the skies with a Trevor Rabin that pulls out his epic romantic voice. Perhaps here most people will think of a Horner influence, but if you listen carefully the main theme is an alternate version of the Alcatraz base theme of Deep Blue Sea, so nuff said. The softer "Rawlings and Luciane" lets the theme appear much softer and delicate here, and shows you again Rabin at his best.
With "The Planes Arrive" we receive a variation of the main theme on heroic steroids. But "Heroes" goes even beyond the heroism with the patriotic theme, the ominous trailer music and when the gloves are later off, you'll be getting more of heroic Rabin, with fresh and exciting action music and a couple of patriotic theme statements that puts you right up there in the sky.
The album should have ended differently as well, but considering Varèse's been going through a weird phase lately, expect to get the good music first and the awkward finale track later. Because I see "Black Falcon" as the only track suitable enough to end this score in style. First you've should have gotten the somber "Briefing Room" and the soothing "Battle Hymn", to end in style with "Black Falcon" that has an Armageddon feeling and a bunch of thrills. But alas some people think they know better.
But forget about that final statement, because Flyboys is one glorious Trevor Rabin soundtrack. It's so sad to discover that Rabin hasn't matched nor repeated this kind of epic style lately, because Flyboys is simply put spectacular in several moments. The flying moments, both the romantic as the action ones are some of the most powerful filmmusic Rabin has ever composed. And that's why Flyboys is worth the prize of discovery, even for those Debney, Silvestri, Newton Howard or Horner fans alike who were disappointed they weren't getting a score from them instead.
Tracklisting
1. Main Title (5.27)
2. Training Montage (3.41)
3. Cassidy Funeral (6.15)
4. We're Out of Gas (0.25)
5. The Last Battle (3.10) Excellent track
6. Dogfight (5.36)
7. Rawlings and Luciane Fly (2.32) Excellent track
8. Rawlings and Luciane (3.32)
9. The Planes Arrive (1.53)
10. ID the Planes (0.49)
11. The Cuffs are Off (0.46)
12. Have to Get Luciane (1.17)
13. Heroes (4.32) Excellent track
14. Battle Hymn (1.47)
15. Black Falcon (4.12) Excellent track
16. Briefing Room (2.11)
Total Length: 48.19