If young Thomas Newman hasn't reinvented the art of film scoring, he's certainly bent and hammered many of its most shopworn clichés into refreshing new musical elements. As he did with similar work for American Beaut... more »y and Erin Brockovich, Newman's music suffuses the characters and plot of director Mimi Leder's socially conscious melodrama with an almost stealthy sense of mood and emotion. Once again using his small studio ensemble to great effect, Newman provides a modern, largely rhythmic soundscape, one whose electronically synthesized elements blend so well with his organic sounds as to be utterly seamless. And if there's a familiarity creeping into his work, it's only because Newman--like all the greats--has found such a distinct, effective musical voice. Equally important here, the composer also remembers the Newman family's daunting Hollywood roots--father Alfred, brother David, uncles Lionel and Emil, cousin Randy--and reinforces the film's sensitive nature with quiet, more traditional pastoral orchestral passages, frequently with his own spare solo piano taking the lead. Singer Jane Siberry's "Calling All Angels" closes the album out with appropriate grace and beauty. --Jerry McCulley« less
If young Thomas Newman hasn't reinvented the art of film scoring, he's certainly bent and hammered many of its most shopworn clichés into refreshing new musical elements. As he did with similar work for American Beauty and Erin Brockovich, Newman's music suffuses the characters and plot of director Mimi Leder's socially conscious melodrama with an almost stealthy sense of mood and emotion. Once again using his small studio ensemble to great effect, Newman provides a modern, largely rhythmic soundscape, one whose electronically synthesized elements blend so well with his organic sounds as to be utterly seamless. And if there's a familiarity creeping into his work, it's only because Newman--like all the greats--has found such a distinct, effective musical voice. Equally important here, the composer also remembers the Newman family's daunting Hollywood roots--father Alfred, brother David, uncles Lionel and Emil, cousin Randy--and reinforces the film's sensitive nature with quiet, more traditional pastoral orchestral passages, frequently with his own spare solo piano taking the lead. Singer Jane Siberry's "Calling All Angels" closes the album out with appropriate grace and beauty. --Jerry McCulley
"Earning Oscar-nominations, no stranger to composing scores and coming from a musical dynasty - father was (Alfred Newman-Music Director at 20th Century Fox) is trudging forward with flying colors in this his latest release from Varese Sarabande - "Pay It Forward". Something to think about from his past works - "Fried Green Tomatoes", "The Shawshank Redemption", "Scent of a Woman", "Little Women", "Horse Whisperer", "Lost Boys", "Corrina, Corrina", "Phenomenon", "Up Close & Personal" and "American Beauty"...all of which are outstanding scores, but hold on this may not be my final answer, the best is yet to come. This score is moving, emotional and very close to his Academy Award nominated score for "American Beauty", but listen to "ONE KISS", very touching, warm and tender with piano coloring the scene with heart-felt love...another stand out is "I FORGIVE YOU", again a piano setting the mood, with strings echoing and blending the moment, total awareness is this beautiful cue.In closing "CALLING ALL ANGELS" by Jane Siberry is lyrical with a message for all, nice effect and a wonderful addition to the already unique and kinetic arrangements by Newman...this my "movie-music" and "film-score-buffs" is a keeper!Total Time: 45:47 on 27 Tracks...Varese Sarabande 066195...(2000)"
Definitely worth the money
01/31/2002
(5 out of 5 stars)
"If you love Thomas Newman, then you'll love Pay It Forward. If you've never heard his stuff, I highly recommend him. Pay It Forward is wide-ranging, almost eclectic, but all of his themes blend together wonderfully. I especially love the softer orchestral themes. I do wish the songs were longer, but if you've watched the movie, then you know that those were the full lengths of music found in the film. The CD is well worth the money I paid for it, and is one of the few CDs I have that I can listen to constantly."
Great Soundtrack worth "Paying For It"
johnelijah | WV , United States | 11/10/2000
(5 out of 5 stars)
"Thomas Newman proves once again that he can capture the spirit and poise of a film and release it in a creative and powerful score. While listening to this soundtrack you can easily imagine the scenes from the film, and skip over the more depressing scences if you like. =) Newman's is very well known for his work on the film American Beauty (which is also a wonderful CD). The music from Pay It Forward is from the same breed (as American Beauty) but holds its own distinct melodies. In my opinion the score on this CD is a tad more emotional, and at the same time more up-beat. The final song on the soundtrack is Jane Siberry's song "Calling All Angels". For those of you that have seen the movie it is the song that is played during the film's final sequence. It is a perfect song for the film and a wonderful addition to this soundtrack. Overall I highly enjoy this CD. 5 Stars! It is great to listen to while driving your car or just lounging around the house. Enjoy this CD!"
A decent listening that doesn't quite pay off
Brandon Cutro | Tyler, Texas United States | 12/23/2002
(3 out of 5 stars)
"First off I want to say Happy Holidays to everyone. Thomas Newman is one of the most experimental composers out there. His use of melodies and harmonies are unlike any other and his sound is fresh and unique. As usual, with Thomas Newman, I like to list all of the instruments that he uses in his scores, most of them you have probably never heard of. For Pay It Forward, he uses an electric autoharp, dutar, guitars, song bells, wave drums, processed loops, tap eko gate 1 (what the heck is that?), freeze 3 (??), prepared guitars (I guess the other ones are not prepared), alto flute, spit rhythms (I don't even want to know), processed glass (??), slow tubes (unlike the fast ones I suppose), phonographs, an ewi, a processed saz (??), and a piano (finally, something I know). A unique blend of instruments as you can see. There are 2 kinds of music found in the soundtrack. The first is upbeat and lively with plenty of percussion sounds and the use of the odd instrumentation listed above. The second is soft and more laid back with the piano carrying most of the music. The theme itself is found in "Possibility", "Tardiness", and "Desert Drive" and contains the more upbeat type of music described with guitars, piano, and off beat percussion. Other noteworthy cues include the soft piano tracks, including "Fixture Vodka", "One Kiss", "Night and Day and Night", and "Sleepover". Great orchestral music is found in "In Recovery", which Newman does the best at. Most of the rest of the score contains mainly filler music with lots of sound effect related sounds in it. The song "Calling All Angels" by Jane Siberry doesn't really sound much like Angels are being called to me. But, the score is okay and is not Newman's best. Still, a decent listenings worth and that's about it."