Gone in 60 Seconds
Trevor Rabin
" Yes returned, but not for 60 seconds! "Written by Thomas Glorieux - Review of the regular release
There was a time Jerry Bruckheimer productions secured the movie with a box office charm. No matter what, the name Bruckheimer made people aware that they would have a good time whilst watching the specific movie. Gone in 60 Seconds was indeed one of those lucky charms. Personally I like it a lot. Good cast, enjoyable witty characters, overblown macho behavior, fun stunts and a couple of great laughs. And Trevor Rabin was always around back then to spice those Bruckheimer productions with an effective score.
Yet effective doesn't always mean enjoyable. I know Rabin's a rock guitarist and I can stand the occasional moment. But Gone in 60 Seconds just rocks more than wanted. And when you receive better emotional material around that, you come to realize that Rabin's filmmusic voice works better than Rabin's Yes voice. Hence the reason Gone in 60 Seconds is a score I appreciate more during the movie.
Meaning the rocking attitude already unravels its presence in "Porsche Boost" while "The Last Car" already tries to intervene that specific style with Rabin's filmmuisic voice. In here a solo vocal stands for the emotional connection between Memphis and his car Eleanor, whilst Rabin's more electronic rock music fuels the chase in motion. That solo vocal returns in "Memphis Jumps Elle", showing once again the Eleanor connection.
For me the best material is Rabin's typical yet catchy tinkling material, the playful synthesizer moments that always enlighten a Rabin score. And here he puts it around the main theme of the movie. "Keys to Eleanor", "For the Cars" and "Halls of Dalmorgan" are his best interpretations.
And what the rest bring is Rabin's own effective if less enjoyable take on the movie. "50 Cars" is suspenseful and threatening, the same can be said about "Roundabend" that constantly infuses those electronic whooshes, the coolness of "Meet the Team" takes us back to Armaggeddon's texan guitar style while Rabin rocks his electric guitars during "Bad English" and "Big Drag". That the album ends with a forgettable track makes me question why this album is not in the order of how it appears in the film.
This takes us to the big picture. Gone in 60 Seconds is not a bad score, but even 29 minutes is too much to listen to. And that means as an album, you've got a problem. This is not the best that Rabin can bring, but it's the best that Rabin needed to bring for the motion picture. It fuels every coolness factor that the characters have, it fuels every chase that needed this edge, it is as they say effective background music. The album though only functions for me when Rabin bring us his simplistic yet entertaining filmmusic voice, giving the motion picture at times an emotional human connection. But that's not nearly enough for me to recommend this album, and I'm a Rabin fan to begin with.
Tracklisting
1. Porche Boost (1.12)
2. The Last Car (4.48)
3. Keys to Eleanor (1.21)
4. 50 Cars (2.56)
5. Sphinx (0.38)
6. Bad Man (1.35)
7. For the Cars (1.31)
8. Roundabend (5.21)
9. Meet the Team (1.12)
10. Memphis Jumps Elle (1.41)
11. The Throb (1.10)
12. Bad English (1.35)
13. Halls of Dalmorgan (0.54)
14. Big Drag (0.49)
15. Bad Carma (1.53)
Total Length: 29.08
Yet effective doesn't always mean enjoyable. I know Rabin's a rock guitarist and I can stand the occasional moment. But Gone in 60 Seconds just rocks more than wanted. And when you receive better emotional material around that, you come to realize that Rabin's filmmusic voice works better than Rabin's Yes voice. Hence the reason Gone in 60 Seconds is a score I appreciate more during the movie.
Meaning the rocking attitude already unravels its presence in "Porsche Boost" while "The Last Car" already tries to intervene that specific style with Rabin's filmmuisic voice. In here a solo vocal stands for the emotional connection between Memphis and his car Eleanor, whilst Rabin's more electronic rock music fuels the chase in motion. That solo vocal returns in "Memphis Jumps Elle", showing once again the Eleanor connection.
For me the best material is Rabin's typical yet catchy tinkling material, the playful synthesizer moments that always enlighten a Rabin score. And here he puts it around the main theme of the movie. "Keys to Eleanor", "For the Cars" and "Halls of Dalmorgan" are his best interpretations.
And what the rest bring is Rabin's own effective if less enjoyable take on the movie. "50 Cars" is suspenseful and threatening, the same can be said about "Roundabend" that constantly infuses those electronic whooshes, the coolness of "Meet the Team" takes us back to Armaggeddon's texan guitar style while Rabin rocks his electric guitars during "Bad English" and "Big Drag". That the album ends with a forgettable track makes me question why this album is not in the order of how it appears in the film.
This takes us to the big picture. Gone in 60 Seconds is not a bad score, but even 29 minutes is too much to listen to. And that means as an album, you've got a problem. This is not the best that Rabin can bring, but it's the best that Rabin needed to bring for the motion picture. It fuels every coolness factor that the characters have, it fuels every chase that needed this edge, it is as they say effective background music. The album though only functions for me when Rabin bring us his simplistic yet entertaining filmmusic voice, giving the motion picture at times an emotional human connection. But that's not nearly enough for me to recommend this album, and I'm a Rabin fan to begin with.
Tracklisting
1. Porche Boost (1.12)
2. The Last Car (4.48)
3. Keys to Eleanor (1.21)
4. 50 Cars (2.56)
5. Sphinx (0.38)
6. Bad Man (1.35)
7. For the Cars (1.31)
8. Roundabend (5.21)
9. Meet the Team (1.12)
10. Memphis Jumps Elle (1.41)
11. The Throb (1.10)
12. Bad English (1.35)
13. Halls of Dalmorgan (0.54)
14. Big Drag (0.49)
15. Bad Carma (1.53)
Total Length: 29.08