veröffentlichung Intrada: Arthur B. Rubinstein - ANOTHER STAKEOUT

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ANOTHER STAKEOUT
Music Composed and Conducted by ARTHUR B. RUBINSTEIN
INTRADA ISC 407



In honor of composer Arthur B. Rubinstein who passed away earlier this year, Intrada is proud to present his colorful, spirited score to the 1993 sequel, Another Stakeout starring Richard Dreyfuss, Emilio Estevez and Rosie O'Donnell. In the first film, Stakeout, Chris Lecce (Dreyfuss) and Bill Reimers (Estevez) pair as comically quarrelsome Seattle detectives who stake out the ex-girlfriend of an escaped con, only for Lecce to fall head-over-heels in love with the woman they are surveilling. Six years later, Another Stakeout heats up with a literal bang as hit man Tony Castellano (Miguel Ferrer) attempts to blow up Lu Delano (Cathy Moriarty), the star witness against a Mafia boss. When Delano subsequently vanishes, zealous A.D.A. Gina Garrett (O’Donnell) recruits Lecce and Reimers to stake out the lake district where Delano is believed to be hiding.

Rubinstein’s score for Another Stakeout is distinguished from its predecessor in several ways, one of which is scope. As a budget eighties actioner, the original movie had a synth-heavy score with a pronounced pop vibe. The sequel also employs synth and pop elements, but with a nearly ninety-member orchestra at the composer’s disposal. The difference is immediately apparent in the main title, with its spellbinding arpeggios and sumptuous dark strings. The film relies on its own catalog of motifs. First is the suspenseful theme introduced in the main title. Second is a muscular action theme, related to the motif for the actual stakeout. Finally, there is a heartstring-tugging theme for Lecce and Maria that spotlights the colors of guitar and flute. Though not heard frequently—it appears about as often as Maria herself—this is one of Rubinstein’s loveliest melodies.

Rubinstein scored the opening portion in a serious vein, then fashioned his score to match the amiable dynamics of the two principal stars. The soundtrack for Another Stakeout plays as two distinct scores. Common thematic ideas and harmonic devices are shared in both styles of writing and the result is an unusually strong cohesiveness within a widely diverse hour of music. Intrada prepared this premiere release from the 2? 24-track masters recorded over four days in late June 1993 by veteran John Richards at Todd-AO Studios with the composer conducting.

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01. Main Title (5:05)
02. You Dump We Pump (2:22)
03. Aftermath (0:46)
04. Arrest Him (3:18)
05. Garbage Fight (0:50)
06. Dead Mackerel (0:28)
07. Father And Son (1:01)
08. Talk Like That (1:54)
09. I’m Leaving (0:58)
10. Delano’s Not Dead (0:42)
11. Paper, Rocks, Scissors (2:48)
12. Drive To Isle (1:27)
13. Stickley!! (0:52)
14. Kitty Pie (1:59)
15. You Forgot My Name (0:40)
16. Dos Cero Seis!! (1:25)
17. Dinner Interruption (1:11)
18. Staying Awake (0:59)
19. Stakeout (1:36)
20. Jogging (1:51)
21. Dangerous Ball (0:51)
22. Putting In A Bug Pt. 1 (3:10)
23. Putting In A Bug Pt. 2 (1:39)
24. Night Knock Out (0:52)
25. Tied, Taped And Hooded (1:01)
26. Night Sprinklers (0:53)
27. Not On The Phone!! (1:15)
28. Knocked Down Stairs (0:38)
29. Dock Threat/Water Fight (5:03)
30. Get The Car!!* (0:52)
31. Hello Tony (1:00)
32. Tony Arrives On Isle (1:40)
33. Cops Shooting Cops (3:32)
34. Tony Gets Gina (3:01)
35. Marry Me (1:51)

Total Time: 60:25
*Not Featured in Film

Exciting 1993 Arthur B. Rubinstein soundtrack CD premiere! From Touchstone Pictures comes John Badham’s sequel to his hit 1987 action comedy Stakeout. As with the original, Badham offers profuse action and thrills with his comic touches in another tale of buddy cops Richard Dreyfuss and Emilio Estevez on the trail of bad guys, this time being no less than a local Mob boss and his deadly hitman (Miguel Ferrer) chasing after star witness Cathy Moriarty. Featured is Rosie O’Donnell as the zealous Assistant District Attorney who engages our two cops in staking out the lakeside residence where Moriarty is believed to be hiding out. Composer Arthur B. Rubinstein again scores albeit this time enlarging the scope of his music significantly with an 80-piece orchestra. The scale is bigger, the comic episodes more involved and the action is much bigger. At times its intense. This is Rubinstein doing what he does best, working with the director he is most famed for. Listeners are the beneficiaries! The shape of Rubinstein’s score is worthy of note: Intense drama and action open, then light comic material enters, soon followed by melodic development, all leading to powerhouse action segments and a rousing final shootout. When all is said and done, Rubinstein wraps with a brief unassuming coda. There are numerous highlights but the action sequences deservedly get the spotlight: After a lengthy “Main Title” set-up, “You Dump We Pump” illuminates the frightening initial bombing attack with crisp low brass punctuation over rolling left hand piano and snare. Staccato trumpets add to the terror. “Arrest Him” launches with witty harmonica and guitar but quickly dissolves into more crisp low brass and dynamic rhythmic activity as the chase gets underway. When Rubinstein zeroes in on the climactic chase and shootout sequences, all vestiges of comic play drop as the film heats up: “Dock Threat/Water Fight” gets things going with dark, intense material based on the composer’s signature harmonic vernacular of shifting minor chords in strings leading to jagged outbursts from a trio of trumpets. The grim mood remains throughout several cues, culminating in two back-to-back deadly serious action sequences: “Cops Shooting Cops” followed by “Tony Gets Gina”. Together they offer some of Rubinstein’s most ferocious action writing of his terrific career. Powerhouse! Entire CD mixed and mastered from the original 2” 24-track session masers vaulted in pristine condition by Walt Disney Pictures. Informative liner notes by John Takis, colorful “flipper-style” booklet design by Kay Marshall. Sad footnote: As this CD went into production, it was to become the last soundtrack album Mr. Rubinstein was personally involved with before his death in April 2018 of complications resulting from cancer. This important release is understandably presented in loving memory of him. John Richards mixes, Brad Warner orchestrates, Arthur B. Rubinstein composes, conducts. Intrada Special Collection CD available while quantities and interest remain!

 

[Sebastian Schwittay]

Sehr schön, den hole ich mir. Bin derzeit generell ein bisschen in Rubinstein-Laune - in den letzten Wochen habe ich mich viel mit THE HARD WAY und BLUE THUNDER beschäftigt.

[ronin1975]

Spitzenscore. Hab ich schon lange drauf gewartet, dass der ausgegraben wird.

Auch megalustiger Film. Den kann ich immer wieder schauen. Die Abendessenszene is der Knaller.

Die Musik nimmt das alles ja immer ernst und is schön brachial in den Actionszenen.

 

[bimbamdingdong]

ich LIEBE film und score! absolut geile musik, sehr brassy und wild, aber auch heiter. alleine der lange filmanfang, filmisch wie musikalisch - hammer!

 

[bimbamdingdong]

mein absoluter lieblings-score von arthur b. rubinstein,

noch vor "hypersapien", "war games", "the hard way", "nick of time" und "whose life is it anyway?".

 

[ronin1975]

find auch, dass is echt nen Must Have!

[bimbamdingdong]

endlich, endlich, endlich!

eine unverrauschte und vollständige aufnahme von diesem wahnsinnsscore.

klar, es gibt wiederholungen auf dem album, aber das ist zu verschmerzen. schön finde ich, daß rubinstein seine verschiedenen themen in unterschiedlicher variierung und instrumentierung im score verteilt.

herrlich das brassige, verspielte und humorige element, aber es gibt auch wilde passagen. und ein paar wunderschöne eher romantische themen.

meine highlights:

arrest him!

garbage fight

you dump, wie pump

stakeout

paper, rock, scissors

stickley

cops shooting cops

jogging

kitty pie