Stealth [Original Soundtrack]

Performer: Original Soundtrack
Engineer: Dave Fortman; Aaron Sprinkle; Jeremy Parker; John Ewing, Jr.; Terry Date; Fabrizio Grossi; Mario J. McNulty
Producer: Dave Fortman; David Bowie; Gavin Rossdale; Aaron Sprinkle; Jim Abbiss; Photek; Scott Litt; Sly Stone; Terry Date; David Hodges; Brendan O'Brien
Distributor: Sony Music Distribution (

Notes: Personnel: Chrissie Hynde (vocals); Brian Trifon (guitar, programming); Kristeen Young (background vocals). Audio Mixers: Dave Fortman ; Rick "Soldier" Will; Jack Joseph Puig; Jay Baumgardner; Jim Abbiss; Mark Endert ; Ryan Hewitt; Scott Litt; Serban Ghenea; Terry Date; Brendan O'Brien. Recording information: Audio Vision Recording Studios, Miami, FL; Henson Recording Studios, Hollywood, CA; NRG, North Hollywood, CA. Stealth's claim to fame is three brand new songs from Incubus. The Californians have continually matured over the years (one listen to 2004's ambitious Crow Left of the Murder proves that), and the Stealth material continues that trajectory. "Make a Move" rails like an athletic, vibrant version of vintage Soundgarden, "Admiration" doesn't overdo it on the strings and melodrama, and "Neither of Us Can See" is an audaciously arranged, mildly psychedelic foot-tapper that features duet vocals between Brandon Boyd and Chrissie Hynde. It's a little weird that Sony chose to debut these songs on the soundtrack for an iffy late-summer actioner about a robot bomber gone rogue. But they're strong entries regardless, and help Stealth's quality climb higher than, say, the set for Fantastic Four. There's filler here, of course. Trading Yesterday is a too-clean amalgam of CCM and the Calling, and Acceptance offers the twinkling emo plead of "Different." But Stealth also opts for a number of collaborative tracks. They don't all work, but they're still more interesting than the average summer movie soundtrack fare. For example, Chili Peppers Chad Smith and John Frusciante (his guitar tone is unmistakable) join Glenn Hughes (Deep Purple, occasional Black Sabbath vocalist) for a reverent take on "Nights in White Satin." Hughes absolutely wails at the end. David Bowie's meet-up with BT isn't as successful. "[She Can] Do That" has a punchy electronic bounce, but it could be Bowie or anybody on the chopped-up vocal. Likewise, will.i.am selfishly recuts the Sly & the Family Stone classic "Dance to the Music" as a platform for his "I'm the best dancer ever" proclamations. Elsewhere there's "Bullet-Proof Skin" from Institute, the new project of grunge survivor Gavin Rossdale. Here's he's paired with Photek, but the producer's trademark electronic manipulation isn't apparent in the forgettable song, which sounds remarkably like the year 1994 refashioned for a new century. ~ Johnny Loftus

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