Two Weeks Notice
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| # | Track | Duration | |
|---|---|---|---|
| 1. | Love Theme | 1:38 | |
| 2. | Divorce | 1:24 | |
| 3. | Take Away | 2:40 | |
| 4. | Trying To Get Fired | 1:31 | |
| 5. | Helicopter Ride | 2:30 | |
| 6. | In The Limo | 0:51 | |
| 7. | Bobcat Pretzel | 3:15 | |
| 8. | Protest | 1:26 | |
| 9. | Interviews | 0:44 | |
| 10. | Emergency | 1:40 | |
| 11. | Absolutely Beautiful | 2:41 | |
| 12. | Sad Bowels | 2:51 | |
| 13. | George's Speech | 2:44 | |
| 14. | Finale | 3:42 | |
| 15. | Epilogue | 0:43 | |
| 30:19 |
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Performed by a small ensemble concisting of piano, guitars, double bass and percussion, John Powell's score for the romantic comedy Two Weeks Notice is loaded with jazzy and groovy rythms. It's an intimate score, that refreshingly manages to avoid the traditional orchestral swells almost always heard in scores for romantic films. Due to the fact that the orchestra is absent throughout the entire score, of course! No matter how lovely these romantic outbursts might be, they are after all a cliché, so it's nice to get something different for a change. The result is a charming little score, that won't sweep you away with orchestral, or thematic, grandeur, but makes for some terrific background, lounge styled, music and demonstrates Powell's diversity as a composer.
The main theme is a lovely, albeit rather simple, melody that shows up in a large number of cues. Performed by a solo piano in the opening "Love Theme" and given a beautiful treatment by an acoustic guitar, backed up by soft keyboards and percussion, in "Helicopter Ride", this is the scores' largest asset. "Bobcat Pretzel" includes some jassy piano solos, supported by guitar and percussion. Nice.
The cues are quite short - only a couple of minutes long - which of course is a problem when it comes to developing musical ideas - there's just not enough time. The result is a somewhat shattered listening experience, with cues which, even if they are related when it comes to sound, are a little fragmented and abrupt.
Two Weeks Notice is certainly not a must have, and Powell has written better, more enjoyable scores. But it's a beautiful listen, with some excellent writing - especially for the piano and the guitar - even if it is rather short with its thirty minutes of music.
The main theme is a lovely, albeit rather simple, melody that shows up in a large number of cues. Performed by a solo piano in the opening "Love Theme" and given a beautiful treatment by an acoustic guitar, backed up by soft keyboards and percussion, in "Helicopter Ride", this is the scores' largest asset. "Bobcat Pretzel" includes some jassy piano solos, supported by guitar and percussion. Nice.
The cues are quite short - only a couple of minutes long - which of course is a problem when it comes to developing musical ideas - there's just not enough time. The result is a somewhat shattered listening experience, with cues which, even if they are related when it comes to sound, are a little fragmented and abrupt.
Two Weeks Notice is certainly not a must have, and Powell has written better, more enjoyable scores. But it's a beautiful listen, with some excellent writing - especially for the piano and the guitar - even if it is rather short with its thirty minutes of music.
Romantic comedy scores generally seem to take a full blown orchestral approach, which may come across as heavy handed, but many work well with a more intimate ensemble. The more lightly scored ones leave the assorted pop songs to make most of the romance and the score just fills in the gaps; this can be most successful, George Fenton's charming score to You've Got Mail never really became that romantic, but stayed bright and breezy, while Badly Drawn Boy combined the song and score writing duties very successfully in the quirky About A Boy. For this Sandra Bullock and Hugh Grant outing, John Powell, in what appears to be his first romantic comedy score, takes the low key approach with a small ensemble of keyboard instruments, guitar, drums and bass. The results are pleasant, but that's about all.
The album opens with the love theme, which is nice, but to be honest, sounds like the sort of thing I could write given half an hour doodling at the piano. The rest of the tracks alternate between a light jazziness and renditions of the love theme, the latter most effective in Helicopter Ride as it is performed on acoustic guitar with tuned percussion. The effective instrumentation works to the score's advantage, particularly the vibraphone and Hammond Organ combination as for In the Limo. As there is no orchestra, the score doesn't swell to any great moments and so we're left with a lounge jazz album that is nice enough, but far from being anything special. Unlike Fenton's similar score, Two Weeks Notice lacks any particularly great melodies or memorable quirks so while it's nice at the time, there isn't much to remember afterward.
The album opens with the love theme, which is nice, but to be honest, sounds like the sort of thing I could write given half an hour doodling at the piano. The rest of the tracks alternate between a light jazziness and renditions of the love theme, the latter most effective in Helicopter Ride as it is performed on acoustic guitar with tuned percussion. The effective instrumentation works to the score's advantage, particularly the vibraphone and Hammond Organ combination as for In the Limo. As there is no orchestra, the score doesn't swell to any great moments and so we're left with a lounge jazz album that is nice enough, but far from being anything special. Unlike Fenton's similar score, Two Weeks Notice lacks any particularly great melodies or memorable quirks so while it's nice at the time, there isn't much to remember afterward.
This soundtrack trailer contains music of:
Big Yellow Taxi, Counting Crows (song(s))
Goodbye To You, Michelle Branch (song(s))
Big Yellow Taxi, Counting Crows (song(s))
Goodbye To You, Michelle Branch (song(s))
Other releases of Two Weeks Notice (2002):
