{"id":7170,"date":"2013-10-24T11:34:43","date_gmt":"2013-10-24T15:34:43","guid":{"rendered":"http:\/\/kqek.com\/mobile\/?p=7170"},"modified":"2013-10-24T11:34:43","modified_gmt":"2013-10-24T15:34:43","slug":"cd-turbulence-1997","status":"publish","type":"post","link":"https:\/\/kqek.com\/mobile\/?p=7170","title":{"rendered":"CD: Turbulence (1997)"},"content":{"rendered":"
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Return to<\/strong>:\u00a0Home <\/a>\/\u00a0Soundtrack \u00a0Reviews<\/a> \/ <\/em>T to U<\/a><\/p>\n

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\"\"<\/a>Rating: Excellent<\/p>\n

Label: La-La Land Records<\/a> \/ Released: July 16, 2013<\/p>\n

Tracks & Album Length: 22 tracks \/ (77:42)<\/p>\n

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Special Notes: 24-page colour booklet with liner notes by John Takis \/ Limited to 2000 copies.<\/p>\n

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Composer: Shirley Walker<\/p>\n

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Review:<\/p>\n

Previously available as a limited composer promo with a significantly scaled down version of Shirley Walker\u2019s score, La-La Land\u2019s CD delivers the complete goods, plus two extended tracks at the end of the composer\u2019s extremely playful variation on the Die Hard<\/strong> (1988) action score.<\/p>\n

Turbulence <\/strong>(1997), dubbed \u2018Fly Hard,\u2019 was a conservatively budgeted riff among many on Fox\u2019 successful DH franchise, but the music budget, at least under the sublime penmanship and baton of Walker, doesn\u2019t sound scaled down, even with some extra augmentation from synth drums and light electronics.<\/p>\n

Just as Michael Kamen began his DH score with the first bars of his main theme \u2013 a riff on Beethoven\u2019s \u201cOde to Joy\u201d \u2013 Walker begins the score with her personal choice – the traditional Christmas \u201cCarol o\u2019 the Bells\u201d – which is then spun off into a series of action versions + grimmer variations for when the plane\u2019s lunatic chases the heroine, a spunky flight attendant, all over the plane prior to a rapid descent that poles and wires, and drags part of the landing gear through an office.<\/p>\n

Walker\u2019s role was pretty straightforward \u2013 score the preliminary tension, allude to the seething mental instability of soon-to-be free-roaming serial killer Ryan Weaver (Ray Liotta), and support the variations in dangerous encounters and torment as flight attendant Teri (Lauren Holly) attempts to repeatedly wrestle control from the loon and safely land the aircraft.<\/p>\n

Walker\u2019s orchestral palette features a heavy brass contingent, and her experience orchestrating on Danny Elfman\u2019s Batman<\/a><\/strong> [M<\/a>] (1987) brings out some wild flailing brass sounds, as well as a four-note fanfare that signals how far Ryan has managed to gain the upper hand and control of the plane. \u201cStubb\u2019s Attack \/ Gunfire on Board\u201d is the score\u2019s first big action cue, and Walker supports the brass with some wonderful, furious figures from the strings.<\/p>\n

\u201cIdent Switch\u201d introduces a lumbering motif which covers both the physical and emotional struggles between the two rivals; later versions have heavier bass that further trace the progression of vicious antagonism between the pair, as in the brooding \u201cTopsy Turvy,\u201d Also integral to the cue (and score) is some electronica which adds some warmth to the sharp sounds that dominate the first half of \u201cIdent Switch.\u201d<\/p>\n

Walker saves heavy dissonance for some of the face-to-face contact between the pair, and \u201cHere\u2019s Johnny\u201d features trilling trumpet figures, gliding strings, and thumping percussion without veering towards straight bombast. The colours within this cue are typical of Walker\u2019s brilliant writing \u2013 seamless layering of clusters, textures, and trumpet figures that accentuate the eventual victory Teri has over her bonker\u2019s rival \u2013 and it is surprising that after giving this straight B-movie such a potent sound (and very classy sonic veneer), she wasn\u2019t able to graduate to big budget projects.<\/p>\n

Most of what followed this film were TV movies, mini-series, and TV shows \u2013 all exemplary efforts – but it wasn\u2019t until Final Destination <\/strong>(2003) that she was able to tackle suspense, action and horror with the same scope, working in her own witty sensibilities without mocking the ridiculousness of the respective films. (Her familiarity with genre conventions were also sometimes expressed as sly homages, such as the closing bars of \u201cThe Landing \/ Welcome Home, Teri,\u201d with the low brass version of the heroic theme sounding quite a bit like a John Williams disaster film finale.)<\/p>\n

La-La Land\u2019s presentation features a punchy mastering, and deservedly appreciative liner notes by John Takis on the composer\u2019s brilliance, and the film\u2019s production. The success of Turbulence<\/strong> (especially on home video) led to a pair of direct-to-video sequels a few years later, although none of these increasingly budget-constrained productions were scored by Walker.<\/p>\n

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\u00a9 2013 Mark R. Hasan<\/p>\n

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External References:<\/p>\n

IMDB <\/a>— Soundtrack Album<\/a> — Composer Filmography<\/a><\/p>\n

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Select Merchants:<\/p>\n

Amazon.ca<\/a>\"\" —<\/span> Amazon.com<\/a>\"\" —<\/span> Amazon.co.uk<\/a>\"\" —\u00a0BSX<\/a> —\u00a0Intrada<\/a> —\u00a0SAE<\/a><\/p>\n

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Return to<\/strong>:\u00a0Home <\/a>\/\u00a0Soundtrack Reviews<\/a> <\/em>\/\u00a0T to U<\/a><\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Return to:\u00a0Home \/\u00a0Soundtrack \u00a0Reviews \/ T to U . Rating: Excellent Label: La-La Land Records \/ Released: July 16, 2013 Tracks & Album Length: 22 tracks \/ (77:42) . Special Notes: 24-page colour booklet with liner notes by John Takis \/ Limited to 2000 copies. . Composer: Shirley Walker . . Review: Previously available as […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"spay_email":"","jetpack_publicize_message":"","jetpack_is_tweetstorm":false},"categories":[20],"tags":[1098,2292],"jetpack_featured_media_url":"","jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p8nuyW-1RE","_links":{"self":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/7170"}],"collection":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=7170"}],"version-history":[{"count":2,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/7170\/revisions"}],"predecessor-version":[{"id":7173,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/7170\/revisions\/7173"}],"wp:attachment":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=7170"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=7170"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=7170"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}