Great Expectations [Original Soundtrack]

Performer: Original Soundtrack
Distributor: WEA (Distributor)

Notes: Producers include: Tori Amos, Chris Cornell, Alain Johannes, Richard Smith, Chris Thomas. Engineers include: Mark Hawley, Marcel Van Limbeck, Peter Nashel. Personnel: Chris Cornell (vocals, guitar); Duncan Sheik (vocals, acoustic guitar, electric guitar, keyboards); Tori Amos (vocals, piano, harpsichord); Carey Wilson (whistling); Bay (guitar, 12-string guitar); Gerry Leonard , Teddy Freese, Stefan Henry Cush, Alain Johannes, Luis Ramos (guitar); Jacinto Pereira (cavaquinho); Totinho (soprano saxophone, percussion); Nando Andrade, Ron Wasserman (piano); Jos� Paris (acoustic bass); Mark Plati (fretless bass); Greg Upchurch, Tim Newton (drums); Ralph Salmins (percussion); Mel Wesson (programming). Audio Mixers: Chris Lord-Alge; Bruno Quinquet; Elliot Scheiner; Jos� de Silva; Marcel VanLimbeek; Mark Hawley; Mark Plati; Tracy Chisholm; Brian Malouf. Like William Shakespeare's Romeo + Juliet before it, Alfonso Cuaron's contemporary update of Charles Dickens' Great Expectations was designed to win a new, younger audience, which means that the soundtrack is filled with alternative and post-alternative groups, since they would theoretically appeal to that audience. Great Expectations doesn't hold together as well as Romeo + Juliet, since the selection of artists isn't as strong. Artists like the Verve Pipe, Reef, Poe, Mono, and Fisher provide adequate but unremarkable alt-rock that doesn't necessarily sit well with the softer adult alternative of Duncan Sheik and Lauren Christy, and a pair of oldies from Iggy Pop ("Success") and the Grateful Dead ("Uncle John's Band") sound nearly as out of place as C�saria �vora's "Besame Mucho." That leaves the four songs that make the record interesting: new cuts from Tori Amos, Chris Cornell, Pulp, and Scott Weiland. Amos and Pulp both collaborated with the film's composer, Patrick Doyle, and while Amos' "Siren" sounds like a little like traditional film music, Pulp's "Like a Friend" is a terrific, theatrical tour de force with a typically nuanced, vicious Jarvis Cocker performance. "Sunshower" is Cornell's first effort since Soundgarden's breakup, and its layered guitars and subtle melody find him at his best. "Lady, Your Roof Brings Me Down" is Weiland's first release since the Stone Temple Pilots imploded, and its carnivalesque, ersatz Tom Waits feel may take some fans by surprise, but it indicates that his forthcoming solo album could be full of delightful, left-of-center pop like this. And those four songs make it worthwhile for dedicated fans, but they should also be aware that only Amos' and Cornell's tracks are exclusive: "Like a Friend" appears on Pulp's This Is Hardcore and "Lady, Your Roof Brings Me Down" is on Weiland's solo debut, 12 Bar Blues. ~ Stephen Thomas Erlewine Like William Shakespeare's Romeo and Juliet before it, Alfonso Cuaron's contemporary update of Charles Dickens' Great Expectations was designed to win a new, younger audience, which means that the soundtrack is filled with alternative and post-alternative groups, since they would theoretically appeal to that audience. Artists like the Verve Pipe, Reef, Poe, Mono, and Fisher provide alt-rock that sits alongside the softer adult alternative of Duncan Sheik and Lauren Christy as well as a pair of oldies from Iggy Pop ("Success") and the Grateful Dead ("Uncle John's Band"). That leaves the four songs that make the record especially interesting: new cuts from Tori Amos, Chris Cornell, Pulp, and Scott Weiland. Amos and Pulp both collaborated with the film's composer, Patrick Doyle, and while Amos' "Siren" sounds a little like traditional film music, Pulp's "Like a Friend" is a terrific, theatrical tour de force with a typically nuanced, vicious Jarvis Cocker performance. "Sunshower" is Cornell's first effort since Soundgarden's breakup, and its layered guitars and subtle melody find him at his best. "Lady, Your Roof Brings Me Down" is Weiland's first release since the Stone Temple Pilots imploded, and its carnivalesque, ersatz Tom Waits feel may take some fans by surprise, but it indicates that his forthcoming solo album could be full of delightful, left-of-center pop like this. ~ Stephen Thomas Erlewine A winner of an album all the way around, this soundtrack features a combination of modern and classic rock tracks, and should appeal to fans of both. The newer generation of rock artists comprises most of the album, delivering well-crafted pop songs that also retain a certain amount of '90s angst. Selections by Tori Amos, Mono, Pulp and Poe are among those artists' better work. The older generation of rock royalty is represented here by the Grateful Dead and Iggy Pop. But the real standout tracks are eagerly awaited solo cuts from Chris Cornell and Scott Weiland. Cornell's "Sunshower" is a mid-tempo track, similar to Soundgarden's "Black Hole Sun." Weiland's "Lady, Your Roof Brings Me Down" showcases his vocal ability and is a Sgt. Pepper-era Beatles-flavored song along the lines of STP's "Lady Picture Show." Overall, an extremely listenable album that will whet your appetite for the movie.

Rolling Stone (2/5/98, p.58) - 3.5 Stars (out of 5) - "...accompanying the cobblestone plots and Victorian mores of Charles Dickens, an assortment of mostly thirtyish singers wrestles with theshifting difficulties of continuing adulthood....offers some absorbing tracks..." Entertainment Weekly (1/16/98, p.71) - "...GREAT EXPECTATIONS surpasses our own lessened expectations for alt-rock movie grab bags." - Rating: B

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