3 of 5 people found the following review helpful
on November 3, 2001
If you love Philip Glass, there is no doubt that this CD will be welcome in your collection. Glass did not initially want to release this music on CD because there wasn't enough music to warrant it. But with the addition of music from Candyman 2, and to counter the bootlegs, it has been released and, according to Glass's website, only available thus far on Amazon. The pieces are very short and there is a fittingly gothic feel to the music. Actually, the length of the pieces are from 1:07 to 9:46 are more like the length of pop songs, which is unfortunate for me, since I like to immerse myself. There is a glaring and unforgivable error in the short liner notes that will, I'm sure, be corrected in the next pressing. The notes say that the movie was based on a story by Clive Barnes. WRONG. It was Clive Barker. Anyhow, buy this. It may not be available forever and I know that supplies at Amazon seem to be limited.
19 of 30 people found the following review helpful
on October 11, 2001
...that it's clear that Philip Glass wrote this music for another film. Or, at least, not the movie I saw. (I have no idea if "Candyman II, Farewell to the Flesh" is any good, since I wouldn't waste my time, after seeing the first. My guess is the only element of that effort which has a soupcon of quality is the roman numeral in the title. So, hereafter, I'll call it just "II").
If I hadn't read Don Christensen's liner notes, (I guess this is a hint as to my age) I still would have thought, upon hearing this CD, that composer Glass had a really fine mystery tale to tell, like "The Moonstone" or even "The Maltese Falcon", not a cheapy version of "Friday the Thirteenth". After reading the notes, I understand that he did have a fine chller in mind, it's just that the other guys, who had control of the final production, didn't.
So, the music, standing alone, should not be confused with the schlocky movies by a newby to the Glass oeuvre.
The first track, "Music Box", seems to be an homage to the band music in the finale of Beethoven's 9th, as it might be realized on a merry-go-round music box at an Atlantic coast amusement pier, circa 1939. But, Philip Glass doesn't write 19th century oompaa music, so it's not Ludvig Van's happy sappy "Ode to Joy". (OK, so it's Schiller's happy, sappy "Ode to Joy"). But, a haunting, bittersweet, dance tune calling forth the sad ballads of the loss of loved ones, of the unlived futures, of the unmet desires of the torch song. But, ending, as a good Glass tune should end, in the middle. With a question. With ambiguity as it's answer.
Tracks 3 and 7, "Helen's Theme" and "It was Always You, Helen", take up this tune once again and more fully realize the haunting little theme which contains, in small, all of the elements of the complete work, but adds the full throat of the organ and chorus and ending on track 3 with a short solo piano rendering and a return to the chorus, and the queston, and on track 7 with the piano, organ and chorus and an answer. And, surprise (!), track 13, the last cut on the album and the final tune in II, "Reverend's Walk" revits this theme and adds a period at the end.
Track 2 "Cabrini Green" is too pretty, Cabrini-Green, the low income housing complex on Chicago's near northwest side is not pretty. But, track 6, "Return to Cabrini", introduces the warning klaxon sound found in tracks 8 and, especially, track 11 and is the most purely Glass-like of all the music on the disk. It is the longest and most interesting of the pieces presented and gives a sense of the fear, unease and foreboding associated with both the subject matter and the place.
Tracks 4 and 5, "Face to Razor" and "Floating Candyman" and track 9 "The Slave Quarters" (from II) are wonderful examples of the interweaving of voice and keyboards which is a Glass hallmark.
Track 8, (the first of the II tracks) "Daniel's Flashback", the soundtrack to your worst nighmare, juxtaposes the organ which will be played at your funeral with the voices of the damned who sing as your puny soul is weighed on the Great Sabath after your death. Quite refreshing.
Track 10, "Annie's theme", alone, is worth the price of the Album.
Track 11, "All Falls Apart" is Walpurgisnacht. But, curiously up-tempo and upbeat. It is the witch's Sabath, celebrated with all the joy, one can muster on such a frightful night.
Track 12, "The Demise of Candyman" is a kind of reprise of "Annie's Theme" but draws the curtain on the urban legend of the Candyman. None too soon, I might add.
On balance, this is a subject not worthy of Philip Glass's talents, but rescued from deserved oblivion by his unswerving dedication to his craft and his genius.
A "must have" for the affictionado.
Thanks to Kurt Munkacsi, Don Christensen, Pete Keppler, Hector Castillo and Kara Bilof for their efforts in bringing this work to Philip Glass's many fans and to Michael Reisman for his superb and sure-handed direction.
M. Tepper, West Chicago