Intrada Soundtrack Forum

INTRADA Announces:



THE METEOR MAN
Composed and Conducted by CLIFF EIDELMAN
INTRADA Special Collection Vol. 274

“I wanted a bigger-than-life orchestral sound that
would tell you who was driving the energy of the score and to hit all of the
different levels of the story.” - actor/director Robert Townsend

For the 1993 MGM film The Meteor Man, composer Cliff Eidlelman drew upon his inspiration from the pacing and large orchestral forces of such scores as Star Wars and Back to the Future, concentrating mostly on capturing the Meteor Man’s mythic dimension. “For me, ‘superhero’ music has extra muscle, a quality that transcends and takes flight,” Eidelman said. “That made it important to reference the stylistic feeling of the big superhero scores of the past, which had the straight-ahead sound of guys fighting for truth and justice. But [The] Meteor Man also had a completely new take on the subject matter. So I went for an approach that would be catchy and soulful.” Eidelman wrote a considerable amount of original orchestral underscore for the film, recording over an hour of exciting and energetic music on a scale of his other massive genre score, Star Trek VI: The Undiscovered Country.

The premiere release of Cliff Eidelman's score is mastered directly from the digital two-track session masters, with the first 58 minutes constituting of the score in picture sequence, minus some very short bridge cues and other brief pieces. For completists, these additional 12 minutes of music appear as extras following the main program.

Robert Townsend imagined himself as Jefferson Reed, a well-meaning but cowardly high school teacher whose biggest lesson is to run away from trouble—especially when confronted by a gang called the Golden Lords. Struck by an emerald meteor, Reed gains a myriad of powers, including flight, strength, X-ray vision, the ability to memorize the skills gleaned from touching a book and to speak and understand canine. Finding the confidence to assume the identity of Meteor Man, Reed becomes a moving target for the Golden Lords and their young spin-offs, taking a bruising while uniting gangsters, cops and neighbors with their own power to do good.

INTRADA Special Collection Vol. 274
Retail Price: $19.99
Available NOW
For track listing and sound samples, please visit
http://store.intrada.com/s.nl/it.A/id.8568/.f

It is unfortunate that the music from the part when he grows the garden of food is not included or the film version of Ultimate Hero. I'm still happy however this has got released finally.

Well I would like to say a big hearty THANKS and WELL DONE for another CD release of a score I've wanted for years!
Any new unreleased Cliff Eidelman gets a big thumbs-up from me (and coming so soon after CRAZY PEOPLE and DELIRIOUS makes it extra cool).
Now, just get ASPEN EXTREME by Michael Convertino released and I'll quit griping

Great Silvestrian syncopated rythms a la Predator in the action cues, and a wink at TIE Fighters Attack in the cue Meteor Spill! It seems like a great vintage adventure score !

This score was great fun! The superhero elements were big and bold, but Eidelman also had plenty of time to write some of those sensitive melodies he excels at.

Okay so I finally got my copy. First off I want to again thank Intrada for finally bringing this score out. Cliff is so underappreciated and underutilized.

But I do have a few issues with it. The first 3 are subjective one's, and easily corrected by organizing it the way I want. But as an FYI to others:

1. I don't really understand why the Extras include cues that appear in the film. Really they should be in the main program. Extras should be for cues that were not used.
2. Track 18, Jeff Catches Bullets (Version 2) should be in the Extra's section. It was not the film version.
3. The alternate Karate Duel in the Extras is actually the film version
4. Cleaning Up the Hood, both versions, are not actually the full film versions. See here for part missing from the film version: http://www.sendspace.com/file/7a99y1
5. Ultimate Hero on the album is also NOT the film version. The first 23 seconds is totally different in film. See here for the film version: http://www.sendspace.com/file/jn5vmi

So while Doug says every note Cliff wrote is included, that isn't really the case. And it isn't a case of music editor trickery. That is clearly different music not anywhere else in the score.

_________________
Karl Morton IV

"Enjoy every sandwich."
-- Warren Zevon

I don't see any issue with label producers deciding which versions of certain cues make sense to them in the main album section even if what's included are not the film versions, whether it be for creating more diversity through less thematic repetition or simply for being more interesting cues.

One example of many is with Beyond the Poseidon Adventure. The original, unused end credits cue is in my mind a more interesting closure to the album section than what was used in the film. The film version is amazing in its own right, however.

As for missing material, I'm sure Intrada included everything they had and there's nothing they could have done beyond that. As much as I appreciate how scarily knowledgeable some are of a film as silly as this, the 1 hour, 11 minutes of music that we did get will do just fine for us mere mortals.