Music Roundup - Run-up to the 2005 May Sweeps
By Chris Fullman
Posted at May 2, 2005 - 3:47 AM GMTTV's had quite an unstable break period, with certain shows staying strictly to reruns while others break the break up then throw a rerun in for good measure. All three CSI shows did the latter, making the schedule quite odd. I took this weekend to catch up with 10 episodes of CSI, and I'm quite tired. Without further adieu..
CSI: Miami -- "Game Over", "Sex and Taxes" & "Killer Date"
If any of the 3 shows surprised me, CSI: Miami would be it. The curious shift over to electronica music for a previously Latin-esque soundtrack show is quite different, at the same time, I've heard some textures not previously heard since Graeme Revell left the show as composer. While it is quite possible that the new composers went back to the first two seasons to see how Graeme identified with the show and its characters, I'll just assume this is a case of trying their best to fit in, and they pull if off extremely well.
When a surprise revelation is brought to Horatio's attention, the soundtrack brings back the soft, cinematic themes that we tend to identify with Horatio. What will the remainder of this season bring?
CSI: New York -- "The Dove Commission", "Crime and Misdemeanor" & "Supply and Demand"
One of my favorite, stand-out pieces of the past 3 episodes would be where Mac helps the father with the boxes at the end of
Supply and Demand. The uplifting song shows a sense of "freedom from guilt", very close to
CSI's Season 1's section at the end of
"Friends and Lovers" (you can hear this theme at the end of
Grissom's Overture on the
CSI: Soundtrack.) Mac seems to free his mind by helping the father, and the score reinforces that.
The recurring theme has once again popped up. I suspect that composer Bill Brown is trying to make CSI: New York's sound a familiar one, as textures in Miami from Graeme Revell would show.
The drama created by Danny's unfortunate incident in the next episode and the eventual end of NY's first season are sure to create quite an opportunity for Bill to strut his composition skills.
With the horror and cinematic formats coming into this end of the season, the levels of ambient/environmental and grand compositions has become and increasing factor for the show. The overall tone for episodes like Spark of Life, and Committed, the environment is outright creepy, while 4x4 and Hollywood Brass give us unique and tension-creating soundtracks. 4x4 wins this column especially due to the unique themes given to the episodes 4 separate and independent cases.
The waltz/piano instrumentals have seemed to become a popular tool for John M. Keane, especially during Committed. This technique not only enhances the curiosity we have when learning more about Sara Sidle's past, but also the ongoing momentum for the next TV blockbuster event, "Grave Danger."
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Chris Fullman is a regular contributor.
