"NO! NO! NO! ...This one goes there, that one goes there! Got it?!"

So anyway, I've been thinking a bit about something Herr V asked me yesterday. Since I had seen Revenge of the Fallen twice, he asked me my opinion on the track sequencing for the score album. I suggested the following (a guess mind you, but a pretty damned good one if I do say so myself):

N.E.S.T.

The Shard

Heed Our Warning

Einstein's Wrong

The Fallen (I'm not certain this is an actual cue in the film)

Forest Battle

The Fallen Arrives

Tomb of the Primes

Precious Cargo

Infinite White

The Matrix of Leadership

I Claim Your Sun

I Rise, You Fall

I wasn't sure where to put "Prime". I'm of the opinion that it, like "The Fallen", isn't an actual cue - but a thematic suite. This all got me thinking about track sequencing in general and the sometimes odd decisions that are made by the composer/album producer as to where to put what. It used to be that nearly all albums were sequenced for "listenablility" rather than placed in film order. Lately however, with more and more of the music from the film (typically) going on the CD, the albums are more often being presented in chronological order.

I understand the idea of resequencing cues for shorter album presentations. With large chunks of material being left out altogether, it makes perfect sense to rearrange things so that the overall listening experience is heightened. This idea though makes albums like Revenge of the Fallen all the more puzzling and irritating. I commented at length on V's ROTF score post about my frustrations with the album as a whole, so I'll simply reiterate here that I found the album somewhat disappointing. Particularly for it's length - it's blaringly obvious that many of the cues of the album were truncated, giving us sometimes half or less of the music from the scene that the track title eludes to (N.E.S.T. especially pissed me off as it ends just prior *spoiler warning* to Optimus hopping out of the C31 in Shanghai to kick some Decepticon ass!). And it's even more obvious that a BIG chunk of the score was left off altogether. So...the album is obviously sequenced out of film order, but...why?! The placement of the cues on the CD is such that it stacks most of the more exciting material at the end, leaving a sort of void in the middle. I figure if you're gonna fuck with it, at least intersperse an action cue after every couple of non-action cues.

John Williams' Star Wars prequel albums were really bad about this sort of thing. Ok, so...obviously we weren't going to get complete score albums at the time of release. Add to that all the tracking-in from The Phantom Menace that occurred with AOTC and ROTS - and the potential for disappointment sails off the chart. I'd still like a definitive answer on how much new (and obviously unused) material Williams wrote for those lengthy sequences at the end of both of those films - as I write this, I'm listening to expanded additions of AOTC and ROTS that I've "acquired". All that tracking-in is really fuckin' odd, and just damned frustrating ...But I digress. The albums stacked any and all new thematic suites at the front of the album - ok, sure...I get that. And it's not that the album tracks were presented out of order, it's that the music within many of the tracks was cut and pasted together from all-the-fuck-over the movies! The "Main Titles" were really bad - sure it'd start out with the main title, then rather than presenting the music that accompanied the opening scene, it would jump to a cue from 20 frickin' minutes later in the movie! Zimmer splices cues together in a similar manner; been doing it for almost every album he's put out - but at least his music isn't all that thematically dense, so it's not so jarringly obvious when cues from multiple sequences have been merged.

Michael Giacchino's Star Trek is another great example. The tracks are presented in film order. The music within those tracks isn't a product of cue splicing from various parts of the picture. Many of them however are very cropped. Then there's the issue of the fact that most of the middle act of the film is MIA. And it's short...too fucking short! I think most of us would argue in favor of a 70+minute album for this one...it's that good! But, given what we ended up getting, the result makes for quite a good listen. The middle act of Star Trek, like most middle acts, is full of exposition. The music for those scenes reflects this. So, I guess I'd argue in favor of keeping the album shorter in that regard, especially if they weren't planning on giving us the complete (or nearly so) score. And sensibly, what we did get constituted mostly action music, so the album never gets a bogged-down-in-the-middle sort of feeling. I suppose in my mind a good rule of thumb would be: If your score album is going to contain 60 or more minutes of music, you absolutely should sequence the tracks in film order. Logically, this makes perfect sense - the music (in theory...assuming the composer knows what he/she is doing) should match the ebb and flow of the drama/action on screen. So with a lengthy album, there should theoretically be a good sampling of music from all over the film - a good listening experience will just occur naturally. If your score album is going to be short - stack it with a good sampling of the more exciting material, then order it for listenablility. That's my two cents anyway...