Elmer Bernstein - The Good Son FLAC

Elmer Bernstein Fox Records Score 1993

Genre:	Stage - Screen
Performer:	Elmer Bernstein
Title:	The Good Son
Style:	Score
Date of release:	1993
Label:	Fox Records
Catalog Number:	07822 11013-2
Country:	US
FLAC album size:	2537 mb
MP3 album size:	2539 mb

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Tracklist

1	Rocks & Rails	1:34
2	Skating & Drowning Orchestrated By – Patrick Russ	3:26
3	Goodbye	1:41
4	End Credits	4:35
5	Mark Arrives	2:49
6	Mr. Highway	2:13
7	Evil	2:20
8	Killing The Dog	1:55
9	Threat	1:16
10	Dog Chase	2:43
11	The Cliff Orchestrated By – Patrick Russ	4:26
12	Richard's Duck	1:18
13	Dark	2:56
14	Mom	1:47
15	The Good Son	2:22
16	Treehouse	2:00
17	Hospital	0:51
18	Susan	2:28
19	Funeral	1:48

Versions

Category	Artist	Title (Format)	Label	Category	Country	Year
07822 11013-4	Elmer Bernstein	The Good Son ‎(Cass, Album)	Fox Records	07822 11013-4	US	1993
BVCA 633	Elmer Bernstein	The Good Son ‎(CD)	Fox Records	BVCA 633	Japan	1994

Credits

Contractor – Sandy de Crescent
Mastered By – Stephen Marcussen
Ondes Martenot – Cynthia Millar
Orchestrated By – Emilie A. Bernstein (tracks: 1 to 12, 14 to 17, 19)
Recorded By – Dan Wallin

Notes

Cynthia Millar is spelled as "Miller" in liner notes.

Recorded in August 1993.

Barcodes

Barcode: 07822-110013-2 5
Rights Society: ASCAP

Companies

Marketed By – Arista Records, Inc.
Distributed By – Arista Records, Inc.
Recorded At – Paramount Recording Studios
Mastered At – Precision Mastering
Published By – TCF Music Publishing, Inc.

IWAS

Elmer Bernstein's wonderful music was the best thing about this otherwise mediocre movie. The innocent yet haunting piano cue that opens the movie reflects the mysterious evil behind Macaulay Culkin's apparent innocence. It really is a beautiful tune that provokes images of lost childhood and sadness, emotions that were (and still are) beyond Mac's ability to exhibit.

It's not all bittersweet emotion however, Bernstein delivers two ferociously powerful suspense tracks with "Skating and Drowning" and "The Cliff", both of them percussion-led cues of raw, fierce power that he later attempted to re-use in Last Man Standing but his score was rejected by Walter Hill. You can still hear them in more fitting context in The Good Son.

The CD is long out of print but it is still worth hunting down, and perhaps a contemporary label will give it a re-release and a better presentation in the future.