Tracksounds Rating = 6/10
by Christopher Coleman
From time to time, a break from the multifaceted music of a
Williams, Steiner, or North is needed.
Christopher Young’s work for In Too Deep is just that.
No, it isn’t insanely deep or complex, but simplicity does have
its merits. Christopher Young
goes into the dark soul of the nineties.
Nearly every track has the dark, synthetic feel, of many of the
songs that fill the top forty airwaves.
It seems to tap into my past deejay experience as have other synth-laden
scores such as: The Saint,
The Negotiator, and more recently, The Bone Collector.
More in common with the afford mentioned scores is the dark edge to
each piece. Given the right mood and dosage, one can actually enjoy
this type of score. Obviously,
Young was asked to create such a contemporary urban feel for this
contemporary urban film.
The first track may be the most listenable although not your
typical film score track. In
Too Deep is a jazz fusion piece with some very cool muted trumpet
played by Saul Marquez and piano played by Kenneth Burgomaster.
It would find itself quite at home on your local smooth-jazz
after this track the mood
The surreal atmosphere created with Young’s use of synths
and drum machines begins to take hold of the score in track 2, Cool J.
The latter portion of this track does offer an almost pretty melody
as played by the strings. This little melody will show up in a few other tracks and is,
I suppose, the closest to a main theme this score has to offer.
The nice strings and synth work from the conclusion of track
2 returns in track 4, Hair Wind Child. Added to the synths is a simple drum loop and while there
isn’t much to this track it is a style I have come to enjoy from time to
time. Track 5, Thank Not,
track 11, Tank Trips both reprise of the synth-string theme.
Following track 5, Wild Life, is anything but wild.
Here the strings are again with the jazzy theme from track 1
flowing in the background. As
a little bonus there is a dash of deejay scratching samples added to the
end of the track.
Bust, track 8 changes things up a bit with some proper
action/suspense material. Not
the best action music you’ll here, but it does provide some variety.
The only other time the pace reaches the suspense tempo is in track
12, Jay Ball Sweat, but only for a few moments.
Surprisingly, this track ends with some real emotion.
Yes, the string theme is played but in multiple layers and provides
some of the best music of the CD.
As the score, as released by Varese Sarabande, draws to a
close, it does so solemnly. A
contemplative piece, Frisco in the Trash, is followed by Missing
Vocal, which gives us the main theme one last time.
This time; however, slow R & B rhythms and keyboard accompany
the well used theme and brings a substantial amount of life to the simple
Christopher Young has provided a much more enjoyable score
for In Too Deep than another of his releases in 1999, Entrapment. While I had high dramatic and romantic expectations for Entrapment,
I have had none for this score and have been pleasantly surprised.
This score may just surprise a someone if they are looking for a
little mainstream diversion. The
liner notes are of the useless variety- lots of black and white pictures
but no pertinent information. The
liner notes don’t even contain a track listing.
It would have been nice to have had a full orchestral version of
the string theme used so often or even one or two additional themes
denoting key characters of the film, but alas, it was not to be.
If a deep full orchestral score is what the doctor ordered for your
musical palette then In Too Deep is not going to fill the
prescription. What it does
provide are musical moments ranging from foreboding to funky.
In Too Deep
|4||Hair Wind Child||3:56||***|
|9||Goo's Alive (Inside a Movie)||2:30||**|
|10||Ant Heel Blues||2:58||**|
|12||Jay Ball Sweat||2:55||**|
|13||Frisco in the Trash||2:34||***|
|Total Playing Time||37:37|
is effective and could potentially be interesting for fans who enjoy his
other black culture scores. For mainstream score fans, there isn't much
orchestral material here, and be aware that the strong R&B motif is
the best aspect of the album. ***
Track 14 - Missing Vocal
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|All artwork from In Too Deep is exclusive property of Varese Sarabande (c) 1999. Its appearance is for imformational purposes only.|
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