A used copy of the score for Angels In America finally shows up at Amoeba today. That means I can borrow it. I haven’t seen the film yet, but that can wait. Newman is what matters here.
Anyone who’s ever hung out with me at length has probably heard me expound upon my obsession with Thomas Newman and his music. I first noticed his style way the hell back in 1985, when we showed The Man With One Red Shoe at my movie theater back in Santa Fe. We would crank the monitors in the projection booth during the end credits. It’s a wild, percussive score which, alas, has never seen the light of CD.
It isn’t until a few years later that I actually learn his name. During a brief obsession with the criminally overlooked Paul Brickman film, Men Don’t Leave, I recognize his style. Life, since then, has been a long series of drab intervals between Thomas Newman scores.
From Angels In America:
Acolyte Of The Flux:
The former contains all the elements of Newman’s signature sound–the sparkling percussion, the swelling strings, the thin, plaintive oboe, the gorgeous melody and just the slightest hint of voices. The latter is more understated and subtle, but very cool. Check ’em out.