Miller's Crossing

Review by Thomas Glorieux:

Carter Burwell is a name I don't often associate with great albums. The man is obviously talented but I never heard an album of him on CD (until now) and he is not one of those composers you hear a lot of. But let me tell you this, I have heard several scores in films that I greatly enjoyed (The Rookie and The Jackal). Now comes Miller's Crossing, the first score I own and what does it capture? An appalling soundtrack release which mingles 16 tracks in 28 minutes. Of those 28 minutes, 10 minutes are non Burwell material and some of Burwell's own material has the minimum of lasting 5 seconds long (and this for a commercial album, no bootleg) must be one of a kind. So what does Miller's Crossing then possess? One stunning theme. I basically heard this main theme several times before in a couple of trailers (Powder and The Shawshank Redemption) and you just can't help but love it the moment it starts. Here it receives a lot of air time (in those 18 minutes) because it is the only theme or even melody you hear of Burwell. But trust me, I could listen 1 hour solely to this theme in the small variations that Burwell delivers because as said, it is one of the best themes I have ever heard. Put it in one of Spielberg films and it will win Oscars and Globes. And simply the sole reason to have Miller's Crossing is because of that theme.

Now, the four non Burwell tracks (2 songs and 2 jazz pieces) are in my case regrettable. 'Danny Boy' is the best and 'Goodnight Sweetheart' stops like it is interrupted but the problem also is, it stops the score with it, which is a dreadful way to end it. But Burwell does better, 4 tracks cover track times of 40 seconds, 2 times 20 seconds and even 1 time 5 seconds. So, this is an absolute dreadful publicized album. But basically you don't care since the sole musical material is simply the main theme which is just brilliant. An Irish little piece (but performed through orchestra) that swells makes just this sole album stunning to hear. 'The Long Way Around' contains the theme without the sweeping swelling but 'Main Titles' (which was completely used in the trailer of The Shawshank Redemption, download it now) and 'End Titles', a 4 minute recapitulation of this theme are knockout moments which shine on any moment of the day. The other only material are two rather atmospheric tracks (with 'Nightmare in the Trophy Room' also used in the trailer of Powder) to break the repetition of the sole material. This doesn't hurt the listening experience, it are more the jazz pieces and songs which take that part for themselves, most regrettable is that they are also longer then the actual composed material. So, Miller's Crossing has many faults and one surplus but that surplus surpasses all the minor points and makes this theme simply candidate for top 10 themes of all time (I'm not kidding, again download the trailer and hear for yourself). As an album, Miller's Crossing is a joke of production but a wonderful listen simply because of Burwell's theme which solely makes the album unforgettable and divvying to listen to. A theme to have!

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Tracks

Single Disc

1. Main Titles (1.50) Excellent Track

2. Caspar Laid Out (1.54)

3. A Man And His Hat (0.55)

4. King Porter Stomp * (2.06)

5. The Long Way Around (1.35)

6. Miller's Crossing (2.32)

7. After Miller's Crossing (0.42)

8. Running Wild ** (3.06)

9. Rage Of The Dane (0.05)

10. All A You Whores (0.23)

11. Nightmare In The Trophy Room (1.37)

12. He Didn't Like His Friends (0.19)

13. Danny Boy: Frank Patterson (4.07)

14. What Heart? (0.47)

15. End Titles (4.40) Excellent Track

16. Goodnight Sweetheart: Frank Patterson (0.53)

* Performed by Ferdinand Jelly Roll Morton, Sonny Burke & Sid Robin

** Performed by Joe Grey, Leo Wood & A. Harrington Gibbs

Total Length: 27.40

The use of artwork or photos is posted for non profitable reasons

=== Link to Composer Site: Carter Burwell ===