Terminal Velocity
Joel McNeely
" Bring back Joel McNeely! "Written by Thomas Glorieux - Review of the regular release
In the long list of forgotten composers, Joel McNeely is surely one of the most sadly missed composers of all. He's still of the old school, having a powerful developed orchestral voice that still beats stronger than others. And if you don't know it already, then you must hear what he can do. There was a reason he was destined to follow in the footsteps of John Williams and that's because he has the same rousing voice. But where Williams adds a more melodic approach, McNeely brings in melody and rhythm creating thereby an unseen load of energetic orchestral music. Example nr 1 on our lists Terminal Velocity.
Back in those days, Varèse Sarabande was releasing 30 minute albums so don't be surprised to discover that the album just lasts about 32. But what McNeely provides in those 32 minutes is more than some can bring in the double amount of time. Terminal Velocity has motifs and returning melodies that create a thematic listening experience. Today rhythm and carnage matters and not melodic motifs you can hold on too. It is then also a wonderful surprise to discover that even motifs can create such a meaningful listening experience.
First of all, McNeely might only offer motifs and not A theme, it doesn't take away that you can identify the motifs from the very first moment. Secondly a main theme isn't necessary at all because it doesn't really need it. The motifs stand more for the characters, the action, the mystery of the entire adventure. And from track 1 that adventure begins.
A threatening approach is used in "Desert Landing" to guide us to the first motif, an action motif for the thrilling ride yet to come. And in "Aerial Ballet" a mysterious almost Russian theme is heard, this for the character Chris as the story. And how nice is it to mention that in the third track the positive theme or motif is heard, making "Airborne" a short but lovely piece. Perhaps the only track that's a bit out of context is the electric guitar rocking "Ditch's Dive", despite having its effect on screen.
The mysterious motif in "Easier Ways to Die" and "Desert Nocturne" and the action motif in "The Second Plane" all build up to the real pride of the score. Namely the insanely riveting action music. While the electric guitars defy otherwise, "Christa is Caught" brings in a pumping energy which unleashes the better action music of today. And yet that action music is multiplied in "Cadillac Freefall". The same rhythm and tone, now only larger and more riveting. It unleashes the action motif and the mysterious motif in a John Williams' manner of complexity, energy and grandeur. Or as I want to put it, in what probably is one of the best action pieces written by somebody other than John Williams.
Luckily McNeely knows how to use his positive theme to the maximum, in "Russian Gold" and "End Credits" it creates a wonderful finale alongside the mysterious motif.
I'm not going to lie. Joel McNeely is an amazing composer and he has blessed movies enough with his orchestral music to prove he deserves way more then what Disney is offering him now. I can't believe that he isn't writing music for movies anymore, because it is music like this that shows the great quality of filmmusic. Namely that is has returning multiple themes and motifs to hang on too. Now it feels like music is written without themes, just inspiration and let's see how it will sound. Trust me, in the Williams / Goldsmith / Horner wagon of the '80 McNeely's Terminal Velocity can offer you a whopper of mere excellence as well.
Tracklisting
1. Desert Landing (2.17)
2. Aerial Ballet (2.46)
3. Airborne (1.03)
4. Ditch's Dive (1.44)
5. Easier Ways to Die (1.43)
6. The Second Plane (3.46)
7. Christa is Caught (4.15) Excellent track
8. Desert Nocturne (1.10)
9. Cadillac Freefall (5.43) Excellent track
10. Russian Gold (3.25) Excellent track
11. End Credits (4.11)
Total Length: 32.09
Back in those days, Varèse Sarabande was releasing 30 minute albums so don't be surprised to discover that the album just lasts about 32. But what McNeely provides in those 32 minutes is more than some can bring in the double amount of time. Terminal Velocity has motifs and returning melodies that create a thematic listening experience. Today rhythm and carnage matters and not melodic motifs you can hold on too. It is then also a wonderful surprise to discover that even motifs can create such a meaningful listening experience.
First of all, McNeely might only offer motifs and not A theme, it doesn't take away that you can identify the motifs from the very first moment. Secondly a main theme isn't necessary at all because it doesn't really need it. The motifs stand more for the characters, the action, the mystery of the entire adventure. And from track 1 that adventure begins.
A threatening approach is used in "Desert Landing" to guide us to the first motif, an action motif for the thrilling ride yet to come. And in "Aerial Ballet" a mysterious almost Russian theme is heard, this for the character Chris as the story. And how nice is it to mention that in the third track the positive theme or motif is heard, making "Airborne" a short but lovely piece. Perhaps the only track that's a bit out of context is the electric guitar rocking "Ditch's Dive", despite having its effect on screen.
The mysterious motif in "Easier Ways to Die" and "Desert Nocturne" and the action motif in "The Second Plane" all build up to the real pride of the score. Namely the insanely riveting action music. While the electric guitars defy otherwise, "Christa is Caught" brings in a pumping energy which unleashes the better action music of today. And yet that action music is multiplied in "Cadillac Freefall". The same rhythm and tone, now only larger and more riveting. It unleashes the action motif and the mysterious motif in a John Williams' manner of complexity, energy and grandeur. Or as I want to put it, in what probably is one of the best action pieces written by somebody other than John Williams.
Luckily McNeely knows how to use his positive theme to the maximum, in "Russian Gold" and "End Credits" it creates a wonderful finale alongside the mysterious motif.
I'm not going to lie. Joel McNeely is an amazing composer and he has blessed movies enough with his orchestral music to prove he deserves way more then what Disney is offering him now. I can't believe that he isn't writing music for movies anymore, because it is music like this that shows the great quality of filmmusic. Namely that is has returning multiple themes and motifs to hang on too. Now it feels like music is written without themes, just inspiration and let's see how it will sound. Trust me, in the Williams / Goldsmith / Horner wagon of the '80 McNeely's Terminal Velocity can offer you a whopper of mere excellence as well.
Tracklisting
1. Desert Landing (2.17)
2. Aerial Ballet (2.46)
3. Airborne (1.03)
4. Ditch's Dive (1.44)
5. Easier Ways to Die (1.43)
6. The Second Plane (3.46)
7. Christa is Caught (4.15) Excellent track
8. Desert Nocturne (1.10)
9. Cadillac Freefall (5.43) Excellent track
10. Russian Gold (3.25) Excellent track
11. End Credits (4.11)
Total Length: 32.09