Logan’s Run: The Series

Logan's Run: The Series soundtrackIt’s hard to follow Jerry Goldsmith. Take Star Trek: Voyager, for example – each week, Goldsmith’s sweeping theme would often be followed by something that, despite the valiant efforts of the composers who scored each episode (and due to the restraints imposed on them by the show’s producers), simply couldn’t be in the same league. When MGM decided to continue the story of Logan’s Run on the small screen in the late 1970s, the decision was made to “reboot” the story – to essentially retell the movie in a different context that would lead seamlessly into an ongoing series of adventures. The main roles were recast, and so too was the music; gone were the futuristic city setting and Jerry Goldsmith’s avant-garde electronics, replaced by something much more traditional and, perhaps, not a million miles away from Fantasy Island (a thought that I had before opening the liner notes booklet and seeing that composer Bruce Broughton, who scored other episodes represented on this CD, said the same thing). This CD from Film Score Monthly presents the highlights from the entire series, written by several different composers.

Laurence Rosenthal was tapped for the extended-length pilot, several early episodes, and the theme music that would open every subsequent episode. The difference between all of the music on this CD and the score to the movie that inspired the series is stark – where the movie score achieves a little bit of timelessness through unusual instrumentation and unconventional musical thinking, the TV scores are clearly rooted in the pre-Star Wars 1970s. To a greater or lesser extent, depending on who composed it, virtually every track references Rosenthal’s main theme, but instead of being used as an adaptable leitmotif, the theme is quoted almost in its entirety every time it appears.

The theme itself is a snapshot out of time, with a Yamaha organ providing an electronic “siren” effect that, to put it lightly, hasn’t exactly aged gracefully. (It almost sounds like someone had a hot game of Asteroids going during the recording session.) And that’s about as electronic as this iteration of Logan’s Run gets.

The episode score suites do occasionally bear a certain similarity to some of the movie’s action cues, however, particularly those by Rosenthal himself. Bruce Broughton contributes a couple of decent tracks from two of his episodes, two more tracks are from Jerrold Immel’s score, and another track features score music by Jeff Alexander. The rest of the music is by Rosenthal, including a brief selection of “commercial break bumpers” that heralded a commercial interruption.

Now, I’m not judging this music solely on its similarity or lack thereof to a movie score by Jerry Goldsmith; the TV series was aimed squarely at family viewing time, and as such it’s pitched as a whole different animal. But it’s hard not to have the comparison in the back of one’s mind – how much more different could two projects bearing the same name and underlying premise be? The music itself is pleasant enough, though occasionally the age of the source material shows where audio fidelity is concerned. But in the end, there’s a phrase in a paragraph in the booklet describing one of the tracks, explaining that the track is comprised of brief excerpts of a score that wouldn’t have stood up to extended CD listening. To a certain degree, that applies to this CD as a whole. It’s neat to have another vintage SF series musically unearthed and lavished with packaging that’s as informative as it is attractive (Film Score Monthly is the best in the business at that), but as a listening experience, it’s an exercise in how well some music dates…and how well some doesn’t.

rating: 4 out of 4I can really only recommend this one to fans of the show – a show which, I’ll admit, I barely remember myself. Though the liner notes booklet, whose extensive episode guide reveals that such luminaries as D.C. Fontana, David Gerrold, Shimon Wincelberg and even Harlan Ellison worked on the series, makes me hope that a DVD release is in the planning stages somewhere; maybe then I’ll have a better appreciation of this version of Logan’s Run, and its music.

Order this CD

  1. Main Title (1:11)
  2. Pilot Suite, Part 1 (8:43)
  3. Pilot Suite, Part 2 (6:18)
  4. Pilot Suite, Part 3 (7:47)
  5. Bumpers (0:10)
  6. The Collectors (4:10)
  7. Capture (music by Jeff Alexander) (5:56)
  8. The Innocent (music by Jerrold Immel) (6:29)
  9. Man Out Of Time (9:06)
  10. Half Life (music by Jerrold Immel) (8:46)
  11. Fear Factor (music by Bruce Broughton) (11:39)
  12. Futurepast (6:40)
  13. Night Visitors (music by Bruce Broughton) (1:55)
  14. End Title (0:38)

Released by: Film Score Monthly
Release date: 2004
Total running time: 79:55

Battlestar Galactica – music by Richard Gibbs

Battlestar Galactica soundtrackIf ever there was a case of musically “playing against type,” the score for 2003’s Battlestar Galactica miniseries is it. The music of the original series had such a foothold in the collective memory of the viewers that it’d be hard to avoid comparisons. And yet, as fitting as Stu Phillips’ exercise in sounding like John Williams was for the original 1978 miniseries and series, Richard Gibbs’ and Bear McCreary’s score for the new version is equally fitting. It’s a visceral, almost mournful, score for a new take on the series that seems to be, more than any SF project of the past few years, informed by the 9/11 experience and its attendant emotions.

There’s not a lot of orchestral writing, but contrary to some reports, there is some. Rather than going for a full-on western orchestral approach, Gibbs and McCreary mix orchestra with ethnic percussion and vocalizations. In the CD liner notes, Gibbs talks about how several scenes of the movie had been temp-tracked by director Michael Rymer with music from Peter Gabriel’s soundtrack for The Last Temptation Of Christ, and that’s a fairly good analogy for what the new Galactica wound up with. Gibbs and McCreary reined things in just a little bit, with a more traditional western feel than the aforementioned film score, but the Gabriel influence is clearly there: battle scenes tend to be tracked with Japanese taiko drums and a thunderous mix of other percussion. The scenes associated with the plight of the Colonials tend to be treated with wistful Middle Eastern vocals, a little bit of orchestra, and occasionally a bit of tuned percussion – Gabriel would be proud.

And it would seem that the composers took as many hints from Christopher Franke as they did from Peter Gabriel; the cue “Seal The Bulkheads” is given an epic-but-elegiac sound, as Commander Adama makes the decision to seal off a critically damaged portion of the ship, sacrificing the lives of several crewmembers still trapped inside. There’s no thundering action here (though the fast-cutting editing of that sequence and the show as a whole would have lent itself to that), but more of a funeral dirge for those lost.

When Gibbs arrived to work on Galactica, a scene had already been temp-tracked with a Sanskrit mantra loaned to the director by Edward James Olmos; Gibbs found that it was so hard to top that he phonetically transcribed the mantra and included it as a vocal for the track “To Kiss Or Not To Kiss”, which is easily the soundtrack’s most sensual cue; “The Lottery Ticket” and “The Storm And The Dead” tie for a close second in that department. I also liked some of the cues that are heard early in the miniseries, which build a sense of anticipation without really being specific about the end result of that anticipation being good or bad. (That “anticipation” motif shows up again in the final scenes, and the effect is altogether different – in that context, it’s almost like a musical demand for a series order.) My one regret is that the expansive main title for the miniseries seems to have been replaced with a more mournful piece to cover the main titles of the weekly series – but again, it fits with the tone of the series, whereas’ the miniseries’ main titles occurred before the real jeopardy of the story kicked in.

I’m a little torn on recommending the Battlestar Galactica miniseries soundtrack as an all-in-one-sitting listening experience – if you have it playing in the background and you’re not listening for the intricacies of the music, it all blurs together a bit. But a close listen makes it clear why this approach was chosen for the new Galactica – and it’s no surprise that the early episodes of the hourly series sound as though they may have 4 out of 4been tracked with this same material (fittingly enough, as the original Galactica was tracked from a limited library of music composed for a small handful of specific episodes).

Good stuff – let’s hope that the series is around long enough to get some more music, and maybe another CD or two, out of the composers.

Order this CD

  1. Are You Alive? / Battlestar Galactica Main Title (5:28)
  2. Goodbye, Baby (2:24)
  3. Starbuck Buck Buck (1:49)
  4. To Kiss Or Not To Kiss (2:42)
  5. Six Sex (1:48)
  6. Deep Sixed (1:59)
  7. The Day Comes (1:08)
  8. Counterattack (2:40)
  9. Cylons Fire (1:34)
  10. A Call To Arms (1:03)
  11. Apollo To The Rescue (1:56)
  12. Launch Vipers (4:26)
  13. Seal The Bulkheads (2:10)
  14. The Lottery Ticket (3:06)
  15. Eighty-Five Dead (1:23)
  16. Inbound (1:23)
  17. Apollo Is Gone / Starbuck Returns (2:19)
  18. The Storm And The Dead (2:40)
  19. Thousands Left Behind (2:09)
  20. Silica Pathways (3:32)
  21. Reunited (1:56)
  22. The Sense Of Six (3:01)
  23. Starbuck’s Recon (1:11)
  24. Battle (7:40)
  25. Good Night (2:38)
  26. By Your Command (1:56)

Released by: La-La Land Records
Release date: 2004
Total running time: 67:04

Finn Brothers – Won’t Give In

Finn Brothers - Won't Give In CD singleThe first single from Tim & Neil Finn’s recent Everyone Is Here album, “Won’t Give In” is accompanied on this CD single by a couple of songs that, perhaps, lend a little bit of insight into why that album was essentially recorded twice.

The lead single itself is, naturally, the same as what appears on the album, no surprises there. The real gem of this three-track CD is “Way Back Down”, a Neil-heavy number with some fun lyrics and interesting musical structure that just begs for a singalong. “Way Back Down” was produced by Mitchell Froom, the Crowded House producer who worked with the Finns to rerecord all but one of the tracks for Everyone Is Here almost from scratch. As catchy as it is, I’m surprised that this song didn’t make the cut for the album itself; I could actually nominate a song or two whose place it could’ve taken.

“Almost” means that some elements, especially the occasional orchestral backing arrangement, was salvaged from the original sessions produced by the legendary Tony Visconti. The second non-album B-side featured here, “Sunset Swim”, is a survivor of those original sessions, and it’s a laid-back, folky number with some interesting, singing-in-the-round elements to it. Interestingly, the one Visconti-produced track to survive on the album itself was the slickly-produced “Disembodied Voices”, which didn’t sound out of step with the Froom-produced tracks. “Sunset Swim”, on the other hand, is loose enough that it almost hearkens back to the 3 out of 4original Finn Brothers album – and whether the artists or their label made the decision, one gets the feeling that someone wanted to avoid that comparison.

An interesting trio of songs, this one – it’s worth it just to hear “Way Back Down”.

Order this CD

  1. Won’t Give In (4:18)
  2. Way Back Down (4:12)
  3. Sunset Swim (3:50)

Released by: Parlophone / EMI
Release date: 2004
Total running time: 12:22

Space: 1999 Year One

Space: 1999 Year OneIf anyone were to ask me what elements from the first season of Space: 1999 were most sorely missed in the show’s second year (and trust me, I get asked this a lot…well, not really), I’d give them two names: Barry Gray and Barry Morse. Barry Morse’s character mysteriously disappeared between seasons with no explanation, never to be even so much as mentioned again. And Barry Gray’s music, which had done more to define the show’s setting and tone than anything else that could be seen or heard on screen, was swapped out for Derek Wadsworth’s more rock/disco-driven scores in the second season.

No disrespect is intended toward Wadsworth here, but I always felt that was a bad move (though I learned from this CD’s extensively detailed liner notes that it was Mr. Gray who decided to bow out at that stage). The plight of Moonbase Alpha’s crew, to put it mildly, is a hopeless one, at least so long as they’re pining for Earth. And Barry Gray’s music reflects that almost too well; it’s somber, almost tragic in places, and even in epilogue scenes that would seem to be trying to tack some kind of hopeful or light-hearted moment onto the show, the music is a reminder that these people are so screwed. Continued use of Gray’s small library of music throughout the first season reinforced that better than anything that the writers and actors did. In a show where the cast occasionally served overbaked ham to the audience, where the special effects sometimes jarringly reminded one of producer Gerry Anderson’s string of puppet series, and where the plots sometimes took sharp turns right through the guard railing and off the road, Barry Gray’s music was the dramatic anchor.

Finally back in commercial release after nearly 30 years, this collection of music from Space: 1999 is pared down from an extensive 2-CD archive of every cue recorded for the show’s first season that was given an extremely limited release by the Gerry Anderson fan club, Fanderson. That double CD collection included “library” tracks not composed by Gray (i.e. Holst’s “Mars: Bringer Of War” was used to track the episode Space Brain), as well as early demos of the music Gray played for the show’s producers; a similar double CD release through Fanderson similarly chronicled Derek Wadsworth’s music for season two. Prior to the Fanderson release, whose value has skyrocketed on the collector’s market, there was an LP of music from the series released in the 1970s. Therefore, not only is this CD the first time that the Space: 1999 music has gotten a general release since the show’s heyday, but at its budget price…well, it’s nice to not have to worry about chasing down the Fanderson CDs on eBay and watching them escalate beyond the price of my next house payment. Eight pounds sterling beats a few hundred dollars anyday, and Silva Screen has my immense gratitude for that. It’s also worth noting that this CD adds material that had been unavailable during the Fanderson CD production, so completists, you still have to get this.

Things kick off with Gray’s energetic, starts-out-heroic-and-gets-downright-funky main theme for Space: 1999, co-written with Vic Elms (of The Prisoner incidental music fame). While a recent marathon review of the series on DVD brought into sharp relief how diluted my childhood memories were of the quality of the show itself, my fond memories of this theme music remain intact. I loved how the thundering tympani roll would actually start in the episode teaser itself before you actually saw the titles (shades of the build-up to the revised main theme from Farscape season 3 and 4!), and that fanfare…wow. Most of the fanfare didn’t even include the words “Space: 1999” on the screen. No, that heroic fanfare was there to tell you, prior to identifying the show, that MARTIN LANDAU and BARBARA BAIN were starring in this series! After the final blast of brass, Gray kicks into dramatic-but-funky mode with a jammin’ guitar solo (played by Elms himself) covering the highlights from “This Week’s Episode” and the recap of the fateful events of September 13th, 1999. Yes, it’s dated – very dated. But in its day, this was one of the coolest intros ever for an action-adventure show.

The healthy number of cues from the series-launching Breakaway are a reflection of how often that episode’s music turned up in later shows, and with good reason; the first 35 or so minutes of that particular show were so intentionally nervous and heavy with dread that the music does a masterful job, when re-used later, of re-establishing the underlying hopelessness of the characters’ situation. The liner notes, which I can’t say enough nice things about, reveal that Gray only scored four episodes of the show, and the music from those shows was reused in just the right places for the remainder of the season. The score for Another Time, Another Place is another winner, including a tragically sad little cue called “Flowers For Helena” which seemed to play over the epilogue of nearly every installment of the show’s first year.

Now, all of this effusive praise for Gray’s evocative music doesn’t mean that the show’s scoring didn’t occasionally go off the deep end. The cues from Testament Of Arkadia – drawn from library music, not from Gray’s scores, but included here because of that episode’s pivotal place in the show’s history – start out with a very formal classical feel, and then segue into something that sounds like a 70s peace-and-love rock jam (think of something you’d hear if you were actually budgeted to buy the world a Coke). The cue from “The Troubled Spirit” is probably the wildest track on the whole CD, and I love it. It’s an extremely well-performed electric sitar jam which essentially was the only sound hear during the unusually off-format teaser for that episode. Granted, it’s a bit of an Indian music clichè, but for contrast’s sake, I could listen to this track three times in a row easily…and can barely stomach the Beatles’ “Within You, Without You” once.

The Mission Of The Darians was tracked from library music as well, though it’s a very close match for the show’s general musical direction as established by Barry Gray. Ring Around The Moon is represented by a funky guitar/organ track composed by Vic Elms, another frequent Anderson musical collaborator (possibly by virtue of, as the liner notes reveal, being Anderson’s son-in-law).

Even if you’re unfamiliar with this series, I strongly recommend the soundtrack to you if you enjoyed the soundtrack releases for Gatchaman/Battle Of The Planets or Star Blazers/Space Battleship Yamato. It’s in much the same vein, though more string-oriented where those shows’ scores were brass-heavy, and all of rating: 4 out of 4those titles together are an interesting study in television scoring in the 1970s. If you’re more accustomed to the modern-day John Williams/Jerry Goldsmith school of film scoring, there are passages here that will trip your trigger, and just as many that you’ll want to skip. But it’s definitely worth a listen. Barry Gray seemed to know better than anyone what the dramatic thrust of Space: 1999 was, and this CD is the proof.

Order this CD

  1. Space: 1999 Main Title (1:10)
  2. The Dark Side Of The Moon (2:12)
  3. People Are Dying Up Here (4:10)
  4. Breakaway (4:29)
  5. Human Decision Required (1:42)
  6. Alien Attack (“The Astronauts”) composed by Mike Hankinson (4:05)
  7. Terra Nova (3:06)
  8. Phase Two (1:42)
  9. Matter Of Life And Death (4:18)
  10. Paradise Lost (0:42)
  11. Space: 1999 End Titles – Alternate Version (0:32)
  12. The Late Shift / Gwent’s Arrival / Gwent’s Farewell (5:13)
  13. The Solarium: “The Latest Fashion” composed by Giampiero Boneschi (1:35)
  14. Captives Of Triton / Moonwalk composed by Vic Elms and Alan Willis (1:41)
  15. Asteroid (1:50)
  16. Black Sun (4:25)
  17. Event Horizon (4:25)
  18. Home (1:34)
  19. Daria: 100 Square Miles composed by Robert Farnon / Macrocosm composed by Frank Cordell (2:13)
  20. Atonement composed by Jim Sullivan (2:58)
  21. Space: 1999 Main Theme – Extended Alternate Version (1:42)
  22. The Origin Of Life: Suite Appassionnata – Andante composed by Paul Bonneau and Serge Lancen / The Miracle: Picture Of Autumn composed by Jack Arel and Pierre Dutout (5:44)
  23. Moon Odyssey (3:57)
  24. Regina’s World (3:54)
  25. Earthbound (1:33)
  26. Santa Maria (7:08)
  27. Flowers For Helena (1:05)
  28. Space: 1999 End Titles (0:34)

Released by: Silva Screen
Release date: 2004
Total running time: 79:52

Christine McVie – In The Meantime

Christine McVie - In The MeantimeYou’ll probably remember about a year ago when I was yammering on about my disappointment with Fleetwood Mac’s Say You Will, the first studio album in some 15 years with both Stevie Nicks and Lindsey Buckingham on board – but also the first studio album in many more years without Christine McVie. When I heard Friend, the first single from McVie’s first post-Mac solo album, I thought to myself “Ah, so that’s where the real Fleetwood Mac sound went – Christine took it with her!” After listening to the entire album from which that song springs, though, one wonders if that train of thought doesn’t run in both directions.

First off, let’s talk about what’s good on this album. Christine’s still got that voice, that husky voice that’s been sending shivers up and down my spine since I was young enough to have no business having those kind of shivers. Everything’s pretty much mid-tempo, pleasant adult-contemporary fare.

On the downside…everything’s pretty much mid-tempo, pleasant adult-contemporary fare. Christine gave us (or gave Fleetwood Mac) such songs as the rockin’ “Isn’t It Midnight” and the stately and beautiful “Songbird”. And she herself has had some knockout uptempo numbers like her best solo hit to date, “Got A Hold On Me”. When the only standouts from this collection I can think of are “Friend”, “Easy Come”, “Easy Go”, “Liar” and the just-about funky “Bad Journey”, maybe there’s a hint that a lot of the material on In The Meantime sounds very similar. There are few tracks that jump out and grab you, and arguably the song that has the best chance of doing that is right at the beginning of the album.

rating: 3 out of 4Ultimately, it’s interesting. One could probably take a few select tracks from In The Meantime, put them back to back with a few select tracks from Say You Will, and almost have the makings of the best Fleetwood Mac album since Mirage. Numerous tracks on both albums hold their own as they are right now, but the magical interplay is missing, and both projects seem somehow diminished. That said, I’m willing to say that McVie solo is more cohesive than Mac minus McVie, and In The Meantime is on the lower end of my three-star range.

Order this CD

  1. Friend (4:31)
  2. You Are (3:35)
  3. Northern Star (5:22)
  4. Bad Journey (4:29)
  5. Anything Is Possible (3:15)
  6. Calumny (4:55)
  7. So Sincere (3:40)
  8. Easy Come, Easy Go (4:32)
  9. Liar (3:53)
  10. Sweet Revenge (3:50)
  11. Forgiveness (3:45)
  12. Givin’ It Back (4:43)

Released by: Koch Records
Release date: 2004
Total running time: 50:33

William Shatner – Has Been

William Shatner - Has BeenIn 1998, alt-pop rising star Ben Folds took a breather from the then-hugely-successful Ben Folds Five to cook up a side project, more for fun and experimentation than anything, called Fear Of Pop. Two tracks on that album were basically spoken-word poetry/rants set to music, with the poetry honors done by none other than William Shatner of Star Trek fame. Now, this doesn’t necessarily mean than Ben’s a dyed-in-the-wool Trekkie, but he has at least copped to an admiration for Shatner’s previous album of music/poetry, The Transformed Man. And lo and behold, enough mutual admiration emerged between Folds and Shatner to spark this little CD called Has Been.

And so help me, it’s kinda fun to listen to.

Fear Of Pop‘s “In Love” basically sets the mold for Has Been. Folds provides the musical accompaniment and does the bulk of the actual singing, while William Shatner lends his voice to a serious of monologues. The lyrics are purely Shatner’s, and the music is Folds’ in most cases. And it’s a better combination than you might at first expect. A lot of people are used to equating the Star Trek star with a galactic-scale ego. That includes me, by the way – I’ve read one of the guy’s autobiographies. But somehow he’s able to convey the inherent loneliness and pressure of his somewhat unique position in “It Hasn’t Happened Yet”, “Has Been” and “Real” (a dandy little collaboration with country artist Brad Paisley), and yet also gives full vent to things that bug him in a free-form rant with Henry Rollns, “I Can’t Get Behind That.”

But encroaching age and mortality are also very much in evidence on Has Been. “You’ll Have Time”, presented almost as a mock church sermon, talks about how there’s only so much time to live life but an eternity afterward to look back and regret the things that were never done. This Is Me Trying is a confessional from a man trying to reconcile with a bitterly estranged adult daughter before time runs out for both of them. And most haunting – some might say disturbing – of them all is “What Have You Done.” Not even weighing in at two-minutes, it’s an almost music-free piece in which Shatner relives the true story of coming home to find that his wife had drowned in the swimming pool. One almost has to hit stop after that track and sit back for a bit, maybe listen to something else a bit cheerier, before going on. It’s really a bit of a shock to the system.

3 out of 4Overall, Has Been is startlingly effective as listening material. I wasn’t ready to, as Shatner and Rollins put it, “get behind that” conceptually until I heard it. It’s by no means perfect, and it’s not for everybody by any stretch, but William Shatner’s Has Been must be heard to be believed; Golden Throats, it’s not.

    Order this CD in the Store

  1. Common People featuring Joe Jackson (4:38)
  2. It Hasn’t Happened Yet (3:52)
  3. You’ll Have Time (5:20)
  4. That’s Me Trying featuring Aimee Mann and Ben Folds (3:51)
  5. What Have You Done (1:49)
  6. Together featuring Lemon Jelly (5:41)
  7. Familiar Love (4:02)
  8. Ideal Woman (2:26)
  9. Has Been (2:21)
  10. I Can’t Get Behind That featuring Henry Rollins (3:02)
  11. Real featuring Brad Paisley (3:10)

Released by: Shout! Factory
Release date: 2004
Total running time: 40:12

Duran Duran – Astronaut

Duran Duran - AstronautFace it, nostalgia for the 80s is back in. Old arcade games are being repackaged in battery-powerered, self-contained joysticks and sold to us one more time. TV shows from over 20 years ago are hot commodities on DVD. And bands are rising from the ashes of the new wave movement that met its ignominious end with the rise of the hair band era.

Now, to be sure, I’m not sure Duran Duran was ever, strictly speaking, new wave. They took some of the new wave’s synth wizardry and production techniques and dropped a thick, frothy layer of funky guitar licks on top of it – not really a bad mixture, truth be told. You’d be hard-pressed to find too many consistently good 80s albums as Rio. And you’d be equally hard-pressed to find a band from that era making as solidly listenable a comeback as Astronaut, their new offering, and the first in quite some time with all five of Duran Duran’s founding members.

Part of the real shock value of Astronaut is that, while the band has updated its instrumental sound ever so slightly – okay, okay, quite a bit – the defining sound that is Simon Le Bon’s voice, and the great harmonies from the group as a whole, hasn’t changed a bit. If anything, I almost think his range has gotten better with age. On the instrumental side, the synth-heavy tunes show some real evolution from the band’s 80s sound, but it’s in the guitar-centered songs where you’re in for a real shock – quite a few times, we actually get acoustic guitar, and played really well too. Andy Taylor was never a slouch in the guitar department to begin with, mind you, but he really wows me here.

4 out of 4Standouts include the damned catchy “Astronaut” with its euphoric synth sweeps and the well-chosen lead single “(Reach Up For The) Sunrise”, but those are just the two tracks that trip my trigger the most on the first listen – the whole album really is worth a listen. Who would’ve thought that Duran Duran could muster up a reasonable amount of musical credibility two decades down the road? Now the real trick is to see if they can stay together this time. If they can turn out more albums like this one, they have my permission.

    Order this CD in the Store

  1. (Reach Up For The) Sunrise (3:29)
  2. Want You More! (3:43)
  3. What Happens Tomorrow (4:09)
  4. Astronaut (3:28)
  5. Bedroom Toys (3:55)
  6. Nice (3:30)
  7. Taste The Summer (3:57)
  8. Finest Hour (3:59)
  9. Chains (4:50)
  10. One Of Those Days (3:50)
  11. Point Of No Return (5:02)
  12. Still Breathing (5:59)

Released by: Sony / Epic
Release date: 2004
Total running time: 49:53