PRIMAL FEAR Soundtrack (1996)

PRIMAL FEAR

  • Release date:
  • Tracks:
  • Lenght time:
  • Label:

1996
22
45:44
Milan Records

PRIMAL FEAR Soundtrack: Expanded Score (2016)

PRIMAL FEAR: Expanded Score

  • Release date:
  • Tracks:
  • Lenght time:
  • Label:

2016
40
66:02
La-La Land Records

Primal Fear (ENGLISH)

Primal Fear (James Newton Howard). The always interesting trial films shows, in this case, the story from the point of view of the lawyer, on the other side, as so many times has been done, but with the important difference that, in this time, the defense attorney Martin Vail trust in the hardly tenable innocence of his client, Aaron, who ultimately turns out to be guilty, in a finale in which it is discovered that the accused pretends to have a dual personality who deceives everyone.

Disturbing, atmospheric, urban. So it is James Newton Howard's score for a story difficult to make a soundtrack, which require the composer to use their maximum abilities. The conceited attorney Martin Vail and the two personalities of the murder accused boy, the affable Aaron and the violent Roy, conform a trio whose music make use predominantly intriguing piano notes, subtle strings and disturbing synth atmospheres. In turn, the use of the trumpet as a solo instrument provides doses of solitude that the characters experience, especially the deluded lawyer in the final sequence (Love Hurts) after the shocking confession of his client, Aaron/Roy, rebelling that he did not suffer from dual personality and that everything shown inside and outside the courtroom was a perfect performance on his part.

The soundtrack of Primal Fear passes almost unnoticed during the film, but it is brilliant in its separately listening. Originally published in 1996, the soundtrack contained 22 tracks, including the song Canção Do Mar, performed by Dulce Pontes, used repeatedly throughout the film, also in the end credits, linking their appearance to the character of Joey Pinero, client and friend of the attorney Martin Vail.

In 2016, La-La Land Records reissued the soundtrack bringing new issues and alternative versions previously unheard, including 2 versions of Newton Howard's synthesizer mock-up with a high sound quality. Although missing the presence of the two sung themes, the mentioned Canção Do Mar and Don't Deceive Me (Please Don't Go) by Johnny Otis, which did appear in the 1996 version, this edition has also with a booklet that provides lots of information about the film, Newton Howard's music and the own edition.

Las dos caras de la verdad (ESPAÑOL)

Las dos caras de la verdad (James Newton Howard). El siempre interesante cine de juicios muestra, en este caso, la historia desde el punto de vista del abogado, como tantas otras veces se ha hecho por otro lado, pero con la importante diferencia de que, en esta ocasión, el abogado defensor Martin Vail confía en la inocencia difícilmente defendible de su cliente Aaron, el cual finalmente resulta ser culpable, en un final en el que se descubre que el acusado finge tener una doble personalidad que engaña a todo el mundo.

Inquietante, atmosférico, urbano. Así es el score de James Newton Howard para una historia difícil de musicalizar, de las que necesitan que el compositor exprima sus máximas habilidades. El vanidoso abogado Martin Vail y las dos personalidades del chico acusado de asesinato, el afable Aaron y el violento Roy, conforman un trío musicalizado con predominancia del uso de intrigantes notas de piano, sutiles cuerdas e inquietantes atmósferas de sintetizador. A su vez, el uso de la trompeta como instrumento solista aporta las dosis de soledad que los personajes experimentan, sobre todo la del engañado abogado en la secuencia final (Love Hurts) tras la sorprendente confesión de su cliente, Aaron/Roy, rebelando que no padecía doble personalidad y que todo lo mostrado dentro y fuera de la sala de juicio fue una perfecta actuación por su parte.

La banda sonora de Las dos caras de la verdad pasa casi inadvertida durante la película, pero resulta brillante en su escucha por separado. Originalmente editada en 1996, la banda sonora contenía 22 pistas, incluyendo la canción Canção Do Mar, interpretada por Dulce Pontes, y de la que se hace uso en varias ocasiones a lo largo de la película, incluidos los créditos finales, ligando su aparición a la del personaje Joey Pinero, cliente y amigo del abogado Martin Vail.

En 2016, La-La Land Records reedita la banda sonora aportando nuevos temas y versiones alternativas antes no escuchados, incluyendo 2 versiones en sintetizador de la maqueta previa del propio Newton Howard, de una elevada calidad de sonido. Aunque se echa en falta la presencia de los dos temas cantados, el mencionado Canção Do Mar y Don't Deceive Me (Please Don't Go) de Johnny Otis, que sí aparecieron en la versión de 1996, dicha edición cuenta, además, con un libreto que aporta gran cantidad de información sobre la película, la música de Newton Howard y la propia edición.

PRIMAL FEAR (1996)
Total Time: 45:44
  1. Introitus: Cibavit Eos from The Mass for Four Voices (3:35)
    Performed by The Christ Church Cathedral Choir
  2. Martin Meets Aaron (1:17)
  3. Molly's Interview (1:02)
  4. The Murder Scene (2:39)
  5. Courtroom Montage (2:15)
  6. Chasing Alex (2:38)
  7. Got An Aspririn? (1:05)
  8. Canção Do Mar (Performed by Dulce Pontes) (5:15)
  9. Aaron On Stand (1:11)
  10. Roy Appears (1:35)
  11. Under The Tracks (1:10)
  1. Janet Finds Video (1:05)
  2. Don't Deceive Me (Please Don't Go) (Performed by Johnny Otis) (4:16)
  3. Dinner With Shaughnessy (1:04)
  4. Don't Smile (1:21)
  5. I'm Arrogant (1:24)
  6. Martin Reviews Crime Scene (1:51)
  7. Switching Videos (2:17)
  8. What Did You Say? (2:54)
  9. Roy's Freeze Frame (1:01)
  10. Love Hurts (1:33)
  11. Lacrimosa From Requiem (Performed by Wiener Sängerknaben) (3:16)
PRIMAL FEAR: Expanded Score (2016)
Total Time: 66:02
  1. The Murder Scene* (film version) (2:44)
  2. Under the Tracks (1:10)
  3. Martin Meets Aaron (1:16)
  4. Martin Reviews Crime Scene* (film mix) (1:52)
  5. Don’t Smile (1:21)
  6. Molly’s Interview (1:02)
  7. Dinner With Shaughnessy (1:03)
  8. Courtroom Montage (2:12)
  9. Roy Appears* (film version) (1:34)
  10. Chasing Alex (2:48)
  11. Switching Videos (2:17)
  12. Marty Meets Roy* (1:45)
  13. Got an Aspirin? (1:05)
  14. Martin’s Philosophy* (0:28)
  15. Janet Finds Video (1:06)
  16. Roy’s Freeze Frame (1:00)
  17. Aaron on Stand* (film version) (1:11)
  18. Roy Appears in Court* (1:15)
  19. Restraining Roy* (0:40)
  20. I’m Arrogant (1:23)
  21. What Did You Say? (1:54)
  22. Love Hurts (1:33)
    BONUS CUES:
  1. Opening* (unused) (0:26)
  2. Dinner With Shaughnessy* (alternate) (1:03)
  3. Courtroom Montage* (alternate) (2:13)
  4. Chasing Alex* (alternate) (2:25)
  5. Martin’s Philosophy* (alternate) (0:22)
  6. Aaron on Stand (alternate) (1:11)
  7. Roy Appears in Court* (alternate) (1:17)
  8. Restraining Roy* (alternate) (0:40)
  9. What Did You Say?* (alternate) (0:55)
  10. Love Hurts* (alternate) (1:33)

  11. ALBUM MIXES:
  12. The Murder Scene (album mix) (2:39)
  13. Martin Reviews Crime Scene (album mix) (1:51)
  14. Courtroom Montage (album mix) (2:12)
  15. Roy Appears (album mix) (1:33)

  16. SONGS:
  17. “Introitus: Cibavit Eos” from Mass for Four Voices (3:35)
    Performed by The Christ Church Cathedral Choir
  18. “Lacrimosa” from Requiem (3:14) (Performed by Wiener Sängerknaben)

  19. DEMO TRACKS:
  20. The Murder Scene* (mock-up) (2:47)
  21. Love Hurts* (mock-up) (1:34)

* previously unreleased.

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Publication date: 11/02/2016.
Página publicada: 02/11/2016.