The Replacements


Colosseum (4005939618025)
Varèse Sarabande (0030206618020)
Movie | Released: 2000 | Film release: 2000 | Format: CD
 

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# Track Artist/Composer Duration
1.The Replacements Remix5:48
2.I Don't Want to be Your GirlfriendKelli Owens3:29
3.Second ChanceBret Domrose4:10
4.Bust a MoveYoung MC4:25
5.I Will SurviveGloria Gaynor7:54
6.The Dallas Game2:00
7.Falco2:50
8.StrikebreakersFont 486:13
9.Wild Yam - The Look in Your EyesFont 484:19
10.R.O.W.D.I.E. - Sample PlayFont 481:39
11.Chicks Dig Scars2:10
12.Training CampFont 481:36
13.Football: Replacements Style3:49
14.Rock and Roll Part IIGary Glitter3:01
15.Falco Changes the Play2:30
16.Martel Crossed1:50
 57:43
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The Replacements - 06/10 - Review of Tom Daish, submitted at
Whatever you expect from a John Debney score, don't expect it from The Replacements, well at least most of the time. With all due respect to Varese, I'm surprised that it was left to them to release this score since given the nature of both Debney's music and the other artists featured, I'd have thought it would have been the type of album that a larger label would release. It would almost certainly appeal more to the casual listened than the hardened film music fan. I've not actually heard of Font 48 who perform in many of the tracks composed by Debney, but they are an enjoyable soft (softer during their songs than instrumentals as far as I can tell) rock group who also perform a couple of their own songs.

While unusual for John Debney, the score isn't terribly surprising given the genre (American Football) of the film; a rock sensibility prevails during the action, with plinky plunky moments for the quieter scenes. It's the kind of film I can imagine Bill Conti or perhaps Stewart Copeland scoring during the 80's; nothing too strenuous compositionally and a few basic emotions highlighted in all the right places. In fact, a vaguely retro 80's (and sometimes 70's) feeling pervades the entire endeavors which does have the slight disadvantage of making it seem almost immediately dated.

I'm not sure what orchestral score fans will make of it, but I found it funky and enjoyable, even if it isn't exactly great art. With this and End of Days, John Debney seems to be adding an interesting pop sensibility and element of collaboration to his music. While he's a fine composer, I don't think he's going to reach the upper echelons of orchestral film composers, but with efforts like this is demonstrates more than a modest ability in producing music in wildly diverse idioms.


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