Turbulence
Shirley Walker
" Though the album's too long for my liking, there's a wonderful 40 minutes album here "Written by Thomas Glorieux - Review of the limited release
Turbulence is an odd example of a movie. Though it did incredibly poor at the box office (earning back just 1/5 of its budget), the movie went on to receive 2 sequels (direct to video sequels of course). Logically, the first one is the largest of the 3, starring Ray Liotta and Lauren Holly and containing a score by the in 2006 deceased Shirley Walker. As you know, Shirley was the first female composer to receive a credit on a major Hollywood movie and became a large influence for the few female composers in the business. And now, La-La Land has made it possible to hear that talent in 2 recently released CD's. Willard and Turbulence, the one we'll be reviewing here.
I can place Turbulence easily amidst Die Hard and Starship Troopers for some apparent reason. Why Die Hard is of course easy to explain. In some way it has the same setting (a bad guy takes over a place that the good guy has to prevent), plus the basic fact it uses Christmas Eve as the time of the setting. And I choose Starship Troopers as the other one because at times it shares the no nonsense busy brass approach of Basil Poledouris' amazing score. Making Turbulence quite the catch if you're up for the ride.
Opening with the Christmas carol tune Carol of the Bells in "Carol O' The Bells / Christmas Shopping / I'm Innocent", this Christmas cheer soon transforms to its own version as Ryan Weaver enters the screen. Even more it transforms to its very own bad guy theme, that shares a resemblance as well with Die Hard's bad guy theme (coincidence or not?). This opening cue is followed by some of the best cues of the disc. In "F-A.A. 214" and "The Take-Off" Walker displays a couple of those lively energetic pieces, enriched in the third track mostly by a rich pace and sturdy brass playing that follows the plane to the moment it gets airborne. This cue "The Take-Off" shares that busy Starship Troopers sound immensely and is a joy to experience again and again.
And of course once the plane's airborne, the (un) thinkable happens. The plane's taken over and all hell brakes loose. In "Stubb's Attack / Gunfire on Board" Walker leaves no room for you to breath. Especially the second part is thrilling as hell, though sharing a similar style to the earlier James Newton Howard action music. Nonetheless, again a thrilling brass / percussion fest. After that a nice sense of anticipation grows steadfast when "Auto Pilot Landing" begins to descent and the one minute "The Next Sound You Hear" and "747 Flyby" show a delightful sense of rhythm and action. However the thrilling explosion comes late in "The Landing / Welcome Home, Teri", when both Shirley Walker's fully fleshed out theme for Teri as her explosive fanfares come out to play. The frenetic "Here's Johnny" is a bit too much for my liking.
But in between all that, things slow down considerably, and everything becomes a lot more sinister. After all, the plane's taken over and the cat and mouse game can begin. Expect lots of sinister eeriness and creepy dissonance. The middle is full of them. And though Walker keeps it interesting enough, too much of something is never a good thing. Here the album could have used with a little (read a lot) trimming. And despite Walker's use of the 2 protagonists themes, the score can't sustain its interest enough. Of course there are exceptions, like the menacing but delightful returning suspense in "Don't Trust Him, Teri / Teri Looks for Maggie". The other one is "Fighter Escort" that holds a nice nostalgic moment of Jerry Goldsmith drum music (Executive Decision if anyone's still wandering about the coincidence).
In full, Turbulence doesn't hold its altitude, but with a trimming in the middle and a cute flight stewardess by our sides Turbulence actually flies pretty steadfast. It shows the undeniable knack for rhythm and no nonsense action music of Shirley Walker, a sound that sadly isn't among us anymore. Because what I pick up here again puts many composers to shame, only in her attention to detail and sense of build up. Again, Turbulence feels too long for its 77 minute listening experience, but a 40 minute edit will happily serve us our meals on board, meals you'll have to eat through your oxygen masks for sure.
Favorite Moment - The Landing / Welcome Home, Teri (0.01-3.20)
The finale that builds and delivers its explosion powerfully
Track Listing
1. Carol O' The Bells / Christmas Shopping / I'm Innocent (3.44)
2. F.A.A. 214 (2.47)
3. The Take-Off (2.45) Excellent track
4. Storm Clouds / Marty's Mistake (1.15)
5. Stubbs' Attack / Gunfire on Board (4.24) Excellent track
6. Ryan Saves Teri / No Pulse (2.58)
7. Ident Switch (5.15)
8. Maggie Confronts Ryan / Nobody (3.09)
9. Level Six / Last Breath (3.33)
10. Don't Trust Him, Teri / Teri Looks for Maggie (6.16)
11. Getting Acquainted (3.41)
12. Topsy Turvy (2.53)
13. Teri Says No (2.20)
14. Buffalo Gals / Ryan's Left Foot (3.45)
15. Auto Pilot Landing (4.09)
16. The Next Sound You Hear (1.07)
17. 747 Flyby (2.00)
18. Fighter Escort (3.15)
19. Here's Johnny (3.09)
20. The Landing / Welcome Home, Teri (5.02) Excellent track
21. End Credits (extended film version) (4.37)
Bonus Track
22. End Credits (Shirley Walker suite) (5.16) Excellent track
Total Length: 77.20
I can place Turbulence easily amidst Die Hard and Starship Troopers for some apparent reason. Why Die Hard is of course easy to explain. In some way it has the same setting (a bad guy takes over a place that the good guy has to prevent), plus the basic fact it uses Christmas Eve as the time of the setting. And I choose Starship Troopers as the other one because at times it shares the no nonsense busy brass approach of Basil Poledouris' amazing score. Making Turbulence quite the catch if you're up for the ride.
Opening with the Christmas carol tune Carol of the Bells in "Carol O' The Bells / Christmas Shopping / I'm Innocent", this Christmas cheer soon transforms to its own version as Ryan Weaver enters the screen. Even more it transforms to its very own bad guy theme, that shares a resemblance as well with Die Hard's bad guy theme (coincidence or not?). This opening cue is followed by some of the best cues of the disc. In "F-A.A. 214" and "The Take-Off" Walker displays a couple of those lively energetic pieces, enriched in the third track mostly by a rich pace and sturdy brass playing that follows the plane to the moment it gets airborne. This cue "The Take-Off" shares that busy Starship Troopers sound immensely and is a joy to experience again and again.
And of course once the plane's airborne, the (un) thinkable happens. The plane's taken over and all hell brakes loose. In "Stubb's Attack / Gunfire on Board" Walker leaves no room for you to breath. Especially the second part is thrilling as hell, though sharing a similar style to the earlier James Newton Howard action music. Nonetheless, again a thrilling brass / percussion fest. After that a nice sense of anticipation grows steadfast when "Auto Pilot Landing" begins to descent and the one minute "The Next Sound You Hear" and "747 Flyby" show a delightful sense of rhythm and action. However the thrilling explosion comes late in "The Landing / Welcome Home, Teri", when both Shirley Walker's fully fleshed out theme for Teri as her explosive fanfares come out to play. The frenetic "Here's Johnny" is a bit too much for my liking.
But in between all that, things slow down considerably, and everything becomes a lot more sinister. After all, the plane's taken over and the cat and mouse game can begin. Expect lots of sinister eeriness and creepy dissonance. The middle is full of them. And though Walker keeps it interesting enough, too much of something is never a good thing. Here the album could have used with a little (read a lot) trimming. And despite Walker's use of the 2 protagonists themes, the score can't sustain its interest enough. Of course there are exceptions, like the menacing but delightful returning suspense in "Don't Trust Him, Teri / Teri Looks for Maggie". The other one is "Fighter Escort" that holds a nice nostalgic moment of Jerry Goldsmith drum music (Executive Decision if anyone's still wandering about the coincidence).
In full, Turbulence doesn't hold its altitude, but with a trimming in the middle and a cute flight stewardess by our sides Turbulence actually flies pretty steadfast. It shows the undeniable knack for rhythm and no nonsense action music of Shirley Walker, a sound that sadly isn't among us anymore. Because what I pick up here again puts many composers to shame, only in her attention to detail and sense of build up. Again, Turbulence feels too long for its 77 minute listening experience, but a 40 minute edit will happily serve us our meals on board, meals you'll have to eat through your oxygen masks for sure.
Favorite Moment - The Landing / Welcome Home, Teri (0.01-3.20)
The finale that builds and delivers its explosion powerfully
Track Listing
1. Carol O' The Bells / Christmas Shopping / I'm Innocent (3.44)
2. F.A.A. 214 (2.47)
3. The Take-Off (2.45) Excellent track
4. Storm Clouds / Marty's Mistake (1.15)
5. Stubbs' Attack / Gunfire on Board (4.24) Excellent track
6. Ryan Saves Teri / No Pulse (2.58)
7. Ident Switch (5.15)
8. Maggie Confronts Ryan / Nobody (3.09)
9. Level Six / Last Breath (3.33)
10. Don't Trust Him, Teri / Teri Looks for Maggie (6.16)
11. Getting Acquainted (3.41)
12. Topsy Turvy (2.53)
13. Teri Says No (2.20)
14. Buffalo Gals / Ryan's Left Foot (3.45)
15. Auto Pilot Landing (4.09)
16. The Next Sound You Hear (1.07)
17. 747 Flyby (2.00)
18. Fighter Escort (3.15)
19. Here's Johnny (3.09)
20. The Landing / Welcome Home, Teri (5.02) Excellent track
21. End Credits (extended film version) (4.37)
Bonus Track
22. End Credits (Shirley Walker suite) (5.16) Excellent track
Total Length: 77.20