Rain Man

Review by Thomas Glorieux:

It was a special year and an important step into the already massive career of composer Hans Zimmer. Not only did the first Oscar nomination that Rain Man received did do great things for the man's career but also because it still gives him the respect from people that admire him the most. Some see him still as the man of action music but a light emotional soft breeze that controls the heart of this piece is something they easily forgot, especially if it never received full score attention. This is the reason why many people simply don't see him as a full all rounded composer. Rain Man is by all means a soundtrack release that covers a lot of hits, especially the time where the story revolves around. This makes the release worth it, since it all makes a sense in the movie's story. But so did Hans Zimmer's score and perhaps 11 minutes of score material is all what some will need, it nonetheless leaves you wanting more of the rightful Oscar nominated touch that blessed the fantastic tale between brothers Raymond and Charlie, the successful movie directed by Barry Levinson who immediately responded to the potential and friendship growing with each second he worked with Hans.

Most of this CD's running length is set on the songs that will control the interest for most people. Most of the songs are now listed as classics, including hits that are scattered around on countless other releases, 'Iko Iko' but also the likes including 'Dry Bones' by The Delta Rhythm Boys, 'At Last' by Etta James and 'Beyond the Blue Horizon' by Lou Christie among others. However the interest that caught my only attention from the start and still does is Hans Zimmer's music. Divided into two tracks, both cover however two musical moments in the film. The first 'Leaving Wallbrook / On the Road' covers versions of the wonderful main theme on pan flute and remains one of his most respected themes yet. The other which runs for 8 minutes is the treasure of the album. 'Las Vegas / End Credits' starts with swinging pumping music which covers some unique use of vocals (Point of no Return like at moments) and the second is emotionally dripping with beauty, when the soft dramatic theme and main theme make their most heartfelt performance of the movie. Overall, for some it is enough and you do not receive two tracks but four, glued properly together, making the disappointment somewhat lighter for most of us.

However, will it be enough for the other fans? Probably not and it is this that keeps the discussion open for debate as to why Zimmer is an action composer. People who want just score material do not want to spend money on something that has only two tracks (for the same thing running just 3 minutes long, since the track time is not listed on the back cover of the soundtrack). But if people love a little collection consisting of classic hit songs and more an ethnic flute theme to worship, they will do fine with Rain Man. Of course it ain't Beyond Rangoon but the bootleg which runs 5 minutes longer than this release (no songs included there) is a nice example of a score that sooths just the way you like it. I am not the one saying here that the soundtrack album doesn't cover something special about the songs, since they are one way or another classics in their own right. But a score as good and appreciated like Rain Man still needs to be heard in full, then not another word needs to be said about it.

Rain Man "Bootleg"

Oscars are a funny thing. But it worked for Hans Zimmer since his first large score was for the outstanding drama Rain Man. He wrote a sublime theme which surprisingly worked on pan flute amazingly in the context but else, the score didn't show much of that Oscar nominated material. A lot of songs and two score cues which mixed 4 tracks in two wholes were presented on the commercial outlet. And after hearing the bootleg, you understand why they did it this way, since the score is all about the main theme, the drama theme and the solo bouncy jazzy vocal track for Las Vegas. But you don't tell me that it doesn't work as easy listening material. Rain Man as a bootleg is better of material but weaker to enjoy because of the sound quality and that is a real shame. Rain Man is such easy listening when the flute appears, that the sound quality doesn't make it all happen as a listen. But still, you get more score and that was the idea all the time of the bootleg. The actual highlight of the score is 'Track 20', which is basically Zimmer swearing a couple of times when discussing a piece with some guys. Of course its not the highlights and its not to compare with the score, but still, you dig this as a Zimmer fanatic. No, the real highlight is 'Track 21' with first the Las Vegas jazzy and bouncy control, with its powerful beat and vocals, followed by the drama theme and the main theme on lovely pan flute. No harm since its basically the same track as heard on the original and in the same sound quality, the Las Vegas moment appearing also in 'Track 13' but there the sound quality is so poor, you basically don't hear the trumpet on occasions and there is no bass, meaning its loses power.

However, another highlight is the drama theme and the main theme, but again this is the second part of 'Track 21' which again shows that the original had it all to offer. Of course, more material means more the main theme and it appears frequently through the score, yet there are exceptions like 'Track 4' which opens with solo piano and a more bouncy tune on synthesizer and definitely 'Track 14' which opens with percussion and then the same women of the Las Vegas tour screaming their heads off, in disturbing circumstances. Either way, it offers on sparse occasions something different. But mostly, its the main theme on pan flute and that is all what made the movie good. Hans Zimmer's Rain Man is a case where the original soundtrack offered the highlights but missed more material to warrant actually the deserved attention. At least 30 minutes of score isn't much but would have done good with the songs. The bootleg doesn't offer much new but it at least feels like a movie score where there is at least some decent length of music to speak off. The weak clarity makes it to lose power, and above all the pleasure will hurt much of the people's expectations but even then, the score works to please you on a normal scale. Add to that Zimmer swearing the famed f-word a couple of times and you've got a bootleg classic which offers more benefits for the weird then benefits for the normal.

Score: *** Songs: ***

Rain Man: ***
Rain Man "Bootleg": ***

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Tracks

Single Disc

1. Iko Iko: The Belle Stars (2.52)

2. Scatterlings Of Africa: Johnny Clegg and Savuka (4.03)

3. Dry Bones: The Delta Rhythm Boys (2.52)

4. At Last: Etta James (2.59)

5. Lonely Avenue: Ian Gillan and Roger Glover (3.07)

6. Nathan Jones: Bananarama (5.09)

7. Leaving Wallbrook / On The Road (2.51) Excellent Track

8. Las Vegas / End Credits (8.19) Excellent Track

9. Stardust: Rob Wasserman with Aaron Neville (4.34)

10. Beyond The Blue Horizon: Lou Christie (3.44)

Total Length: 40.47

Rain Man "Bootleg"

1. Track 1 (1.29)

2. Track 2 (0.50)

3. Track 3 (0.46)

4. Track 4 (1.27)

5. Track 5 (1.40)

6. Track 6 (4.01)

7. Track 7 (1.29)

8. Track 8 (1.09)

9. Track 9 (2.24)

10. Track 10 (1.16)

11. Track 11 (1.25)

12. Track 12 (1.09)

13. Track 13 (6.53)

14. Track 14 (1.09)

15. Track 15 (1.08)

16. Track 16 (1.34)

17. Track 17 (1.53)

18. Track 18 (3.17) Excellent Track

19. Track 19 (1.24)

20. Track 20 (0.37)

21. Track 21 (8.18) Excellent Track

Total Length: 45.32

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

=== Link to Composer Site: Hans Zimmer ===