Nate and Hayes


La-La Land Records (0826924111628)
Movie | Released: 2010 | Film release: 1983 | Format: CD
Limited edition: 3000 copies
 

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# Track   Duration
1.Main Theme from ''Nate and Hayes''1:28
2.Escape from Mumi Village/Hayes Fights Mumi Women on Bridge 3:06
3.Hayes' and Sophie's Pact/Sophie Disembarks/The Veranda at Night 2:25
4.The Rona Turns About (partially used)/Pease Attacks Village 2:14
5.Ruined Village 1:37
6.Nate Sails Off/Nate is Shipwrecked/The Rona Turns About (not used in film)1:21
7.Sophie Ransoms Omar/Arrival at Samoa 1:32
8.German March 0:21
9.The Parting/Nate Stranded2:12
10.Pease Hastily Departs the Leonora/Nate Goes to the Auction House/Sophie's Escape Foiled by Omar 2:29
11.Hayes and the Men Overpower Pease Crew/Chase to the Gunboat/The Stolen Leonora Sets Sail for Ponape 3:29
12.Gunboat Pursues the Leonora/Gunboat is Boarded 6:04
13.Gunboat is Paralyzed 2:05
14.Sword Fight/Escape from Prison 4:08
15.End Credits4:31
 39:01
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Nate and Hayes - 09/10 - Review of Oscar Flores, submitted at (English)
While John Hughes will always be remembered as the filmmaker who brought us many of the 80's teen classics, including Sixteen Candles, Breakfast Club, and Ferris Bueller's Day Off; one of his earlier screenplays, Nate and Hayes, seems to have generated a sort of cult following from 'pirate' movie aficionados. Surely, Nate and Hayes never achieved the popularity the early Douglas Fairbanks (The Black Pirate) and Errol Flynn (Captain Blood, The Sea Hawk) pictures enjoyed. Of course, until the recently infamous Pirates of the Caribbean series, pirate movies made after the 40's never really characterized themselves as big box office hits or particularly deep motion pictures; thus, going unnoticed for the most part. As mentioned before, Nate and Hayes is no different, although, clearly, this is the one movie that probably stands up from the rest as being at the very least entertaining — yes, the 1995 Cutthroat Island was a major fiasco. Starring Tommy Lee Jones (Bully Hayes), Michael O'Keefe (Nathaniel Williamson), and the beautiful Jenny Seagrove (Sophie), the film centers around Bully Hayes — a real-life pirate from the 19th Century — trying to prove to Nate that the massacre that took place in the island where he was marrying Sophie was orchestrated by Pease, a known slave trader and pirate who has always been competing with Hayes after the end of their partnership. To make matters even more interesting, Nate's fiancee, Sophie, is kidnapped by Pease, but having met Hayes, she appears to have fallen in love with him. The love triangle dynamic works surprisingly well, ultimately resolving in a somewhat unpredictable fashion.

Not a mere action/adventure film, Nate and Hayes models itself around the archetypal John Hughes comedy, although in the case of this movie, the level of violence is heartless, therefore also introducing some level of savagery to the characters. For the music, South African-born composer, Trevor Jones, who at the time was well-known for his amazing orchestral score for Jim Henson's The Dark Crystal, provides a very solid and well-orchestrated musical score that truly stands out from his body of work. While overall the score is more than pure pirate gold; at times, Jones overuses his main thematic ideas, providing awkward sequences of crashing visual and musical concepts. In the end, however, this is one score that fans of Trevor Jones and film music in general should treasure.

Heroic and striking, the pirate-like main theme introduces the listener to what will be the most prominent melody of the film. Obviously, Jones studies the work of Korngold and designs a theme that stays true to the pirate sound many of us have grown accustomed to. The motif can be described as fanfaric, but the harmonies and instrument lines seem to dictate a sense of romanticism — one which certainly exists in the film. The main theme will resurface in many of the other tracks such as The Rona Turns About, The Stolen Leonora Sets Sail for Ponape, and more delicately in Sophie Ransoms Omar (played by solo flute, violin, and oboe). The main theme is heard at the beginning of the film, but only briefly and a bit altered, because the main title sequence shows Hayes and his crew disembarking in an island, with a quieter underscore playing in the background. The main theme will be heard quickly once Hayes begins his escape and in full-force once the Rona approaches the island where Nate is marrying Sophie.

As 'Escape from Mumi Village' takes over the main theme, Hayes continues to make his getaway from the village after a deal with the locals has gone wrong. The percussive-driven piece will appear in many other tracks, most notably in Pease Attacks Village and Chase to the Gunboat, making it a top selection by Jones whenever there is some sort of chase sequence. The string lines suggest Eastern influences while the piccolos keep the sense of motion by running up and down throughout the piece. The brass section intensifies the whole dynamics, and ultimately, the trumpet plays the main motif as Hayes kills one of the leaders.

'Hayes' and Sophie's Pact' introduces the love theme of the movie first with the strings, followed by the horns, and culminating with the oboe. The theme is quite exquisite and charming but keeps true to the harmonies heard before, and even when reaching the truly emotional climax at the end, Jones quickly adjusts his chord progression in order to return to a more neutral sonority. Not surprisingly, the sequence shows Sophie getting rather close to Hayes, while Nate is portrayed as if he were one of John Hughes 80's movie teens.

The Rona Turns About/ Pease Attacks Village is a medley of the main and chase themes, despite the fact that at the end of this track we hear Pease's motif for the very first time — in the album that is. Introduced in the movie when Hayes is captured by Pease after the jungle chase, this main motif will always differentiate the good pirates from the bad ones. The latter will also serve to accentuate the more barbaric incidents that take place throughout the movie. Trevor Jones creates a completely different musical idea of this sinister character by overemphasizing the sound of electronics.

Nathaniel appears to get a more dramatic treatment in Ruined Village and Nate Sails Off. After all, the people in the island have just been massacred and he has survived. The flute, harp and strings that play in Ruined Village brilliantly depict the tragic events that have just taken place. In Nate Sails Off, this idea is expanded by the strings, yet the devastating and solitary undertone continues. Pease's motif is added to the mix, probably as a way for Jones to remind us that Nate is mistaken by judging Hayes as the man responsible.

In 'The Parting/Nate Stranded' Jones makes the best use of the love theme and main theme. Sadly, not all of this music is heard on film. The beautiful shot of the Rona on the sea sets off the romantic rendition of Sophie's theme. It quickly transitions into a more melodic version of the main theme that contains the more sentimental nature of the harmony.

'Gunboat Pursues the Lenora/ Gunboat is Boarded' is the longest track in the album. This track accompanies one of the most entertaining, comedic and suspenseful scenes of the movie as Pease is trying to destroy his own ship, boarded earlier by Nate and Hayes, from a German gunboat. A somewhat militaristic and march-like rhythm maintains the pace of the music while Jones introduces other brass motifs and has the high woodwinds stress Pease's eerie motif. Finally, as Nate and Hayes board the German gunboat, the main theme is heard in its fanfaric context, but only briefly, as the march-like music continues once the Gunboat shields itself from Nate and his crew. 'Gunboat is Paralyzed' merely extends this sequence by highlighting the desperation Pease and Rittenberg (the commander of the German gunboat) encounter when they know Nate and Hayes have just disabled most of their equipment. A brief execution of the main theme is played by the brass, only to underline Hayes having outsmarted Pease and the gunboat's crew.

As the End Credits roll around, the listener will be incredibly familiar with all of the main themes from the movie. Jones simply plays them once more time in a very nice arrangement that begins with the main theme, followed by the most evocative interpretation of the love theme, and culminating with another execution of the main theme.

Trevor Jones delivers a true swashbuckling score that contains very memorable themes and incredibly detailed orchestrations. As stated earlier, his overuse of the main theme comes across as the only negative part of the score, even though it's a great theme that can be arranged in a myriad of ways. Undoubtedly, Jones' love theme is one of the best he has written and functions perfectly within the film. La-La Land Records brings us a genuine gem of a score that only a handful of people seem to remember but that everyone from now on should have in their collection.

Nate and Hayes - 07/10 - Review of Lammert de Wit, submitted at (Dutch)
Dit is de negentiende recensie in de Trevor Jones serie.

Vorige: Sea of Love
Volgende: The League of Extraordinary Gentlemen

De historische avonturenfilm Nate and Hayes is een van de eerste producties die Nieuw Zeeland op de kaart heeft gezet als filmproductieland. De regie was in handen van tv-serie-regisseur Ferdinand Fairfax, die wilde voortborduren op andere succesvolle historische avonturenfilms uit de zeventiger en tachtiger jaren van de vorige eeuw. Maar dat is duidelijk niet gelukt, want de critici van de pers kraakten de film flink af en ook in de bioscopen was het een grote flop, waarna piratenfilms jarenlang taboe waren.
Het verhaal draait om kapitein Williams Hayes (Tommy Lee Jones), die aan het roer staat van zijn zeilschip, waarmee hij zendeling Nate Williamson (Michael O'Keefe) en zijn verloofde Sophie (Jenny Seagrove) naar een zendingspost op een eiland in de zuid-pacific brengt. Hayes heeft een oogje op Sophie gekregen, maar ze wordt ontvoerd door de voormalige compagnon van Hayes, de piraat Ben Pease (Max Phipps). Daarop besluiten Williamson en Hayes om Sophie koste wat kost uit de handen van Pease te krijgen...

De muziek is gecomponeerd door Trevor Jones, die toen nog redelijk aan het begin van z'n carričre stond, maar al wel naam had gemaakt met z'n scores voor The Dark Crystal en Excalibur. Het was dan ook jammer voor Jones dat de film zo weinig succes kreeg en eigenlijk roemloos ten onder is gegaan en daarmee is ook zijn avontuurlijke score eigenlijk nauwelijks opgevallen bij het grotere publiek. Dat is dan weer compleet in tegenstelling tot de score die John Debney componeerde voor de eveneens geflopte piratenfilm Cutthroat Island uit 1996, waarmee Debney juist zo ongeveer z'n carričre een enorme impuls gaf en die een van zijn grootste successen werd.

De score van Jones kreeg nauwelijks aandacht en het duurde dan ook tot 2010 voordat LaLaLand Records besloot om de score uit de obscuriteit te trekken en er een album van uit te geven dat recht zou doen aan deze score.
De muziek van Jones voor deze film heeft een sterk avontuurlijk karakter, dat eigenlijk wel een beetje typerend is voor het begin van de tachtiger jaren van de vorige eeuw. De muziek is vrijwel voortdurend stevig orkestraal en heeft voortdurend een lichte spanning over zich. De strijkers hebben meestal het overwicht in de score, maar zij spelen melodieën die toch wat minder aanspreken. Dat komt mede omdat een behoorlijk deel van de score een wat grillig arrangement heeft en dat de instrumentatie wat gedateerd aandoet, alsof het een score uit de zestiger of zeventiger jaren betreft.
Daarnaast zijn een behoorlijk aantal tracks voorzien van muziek met een flink spanningsniveau, waardoor de melodieën wat ondersneeuwen. Die spanning wordt niet zozeer gecreëerd door heftig chaotische muziek, maar juist door meer ingetogen arrangementen, waardoor de muziek vooral dreiging uitstraalt. En die spanning en dreiging wordt in de score onvoldoende gecompenseerd door meeslepende melodieën of heroďsche arrangementen.

Wel staat Jones erom bekend dat hij z'n scores strak laat spelen, zoals ook Jerry Goldsmith dat deed. En die strakke manier van spelen zorgt ervoor dat de muziek kwalitatief op een hoog niveau ligt, wat een positieve invloed op de beluisterbaarheid heeft. Daarnaast komt de muziek van deze avonturenscore krachtig over, waar de strakke leiding zeker aan bijgedragen heeft.

Het hoofdthema van de score is een stevige melodie, die vooral door koperblazers en strijkers gespeeld wordt. Maar de melodie is onvoldoende pakkend om te blijven hangen, ondanks dat dit thema op het album regelmatig in verschillende tracks voorbij komt.
Andere thema's, zoals het liefdesthema, beklijven al evenmin en heb je na het beluisteren gelijk weer vergeten.

Kortom, met zijn muziek voor de Nieuw Zeelandse film Nate And Hayes heeft Trevor Jones een avontuurlijke score gecomponeerd. De stijl is typerend voor een score uit de zeventiger jaren. De muziek is stevig en lijkt bij vlagen wel wat op die voor de Indiana Jones scores van John Williams. De muziek wordt strak gespeeld, wat de kwaliteit positief beďnvloedt, maar de melodieën spreken niet zo aan en ook de verschillende thema's zijn niet echt meeslepend. De muziek is wat grillig, maar prima te beluisteren. Het 'pakt' echter allemaal net niet, waardoor de waardering niet hoger komt dan 69 uit 100 punten.
Presenting the premiere score release from the 1983 Paramount Pictures feature film NATE AND HAYES, starring Tommy Lee Jones, Michael O’Keefe and Jenny Seagrove, directed by Ferdinand Fairfax and written by David Odell and John Hughes. Renowned composer Trevor Jones’ (THE DARK CRYSTAL, EXCALIBUR, CLIFFHANGER, RUNAWAY TRAIN) fashions an exhilarating Korngold-esque orchestral score that injects all kinds of fun and excitement into this cult comic-action swashbuckler. Produced by Dan Goldwasser and digitally restored and mastered by Mike Matessino, this special Limited Edition of 3000 Units features exclusive liner notes by Jeff Bond.
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Other releases of Nate and Hayes (1983):

Nate and Hayes (2018)

Soundtracks from the collection: Limited Editions

Trading Places (2011)
Wings (2012)
Berlin Affair, The (2011)
Report to the Commissioner (2008)
Woman Obsessed / In Love and War (2007)
Inside Daisy Clover (1965)
Mio nome č Nessuno, Il (2000)
Predator (2003)
Saladino (2013)
Condorman (2012)


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