A review by JAMES SOUTHALL

What is it with those Newmans?  Just as you think the market is saturated with them, along comes another.  Whatever generation of film music fan you belong to, chances are you are a fan of at least one Newman, probably several.  Alfred Newman could rightfully be seen as the most important figure in film music history through not only his terrific music, but his stewardship of Twentieth Century Fox's music department over so many years, bringing through so many composers who went on to become key figures; his brother Lionel also played a key role; a third brother, Emil, won an Oscar himself; and sister Maria was a concert violinist and performed on many vintage film scores.  Randy was the first of the next generation - his father was a doctor, going against the family business, and he may primarily be known as a singer/songwriter, but of course we know him for other things; then along came David and Thomas, Alfred's sons, to write many fine scores.  And now, hold your horses because there's a new Newman in town, as the third generation of Newmans in Hollywood begins with Joey Newman, Lionel's grandson.  

After orchestrating some of Snuffy Walden's tv music, Joey Newman's first feature was Stealing Time.  Finally released in late 2003, it was actually made a couple of years earlier, and followed a group of college graduates a year after graduation, seeing how their lives come together again.  A couple of bars into the score, quicker than you can say "George Doering", it's clear that the Newman this most resembles is Thomas.  As the composer himself describes it in his notes, the music emphasises "percussion and groove instruments", with American Beauty the obvious template, though there are probably more obvious parallels with slightly lesser-known Thomas Newman scores like Pay it Forward.  Vibrant and funky, the main title theme is an instant hit and the pace and rhythm is maintained throughout, with the highlight being the propulsive, stylish "The Heist".  For the more emotional sections of the movie, Newman favours piano and winds, and there is some delightful writing, particularly the moving finale "Death Montage".

It's clear that another major talent has emerged from the Newman clan.  He's still very young (27!) and will clearly have a big future.  Cousin Randy employed him as an orchestrator on Seabiscuit and he's got two movies, Hold Up and Pursued, lined up for later in 2004.  Stealing Time is the first score of his to get an album release and, in common with all of La-La Land's releases, has high production values including lengthy liner notes.  Well worth picking up if you want to see the birth of a potentially great career, especially if you like Thomas Newman!

Tracks

1. Main Title (1:29)
2. Post-College Montage (3:42)
3. Bank Death (:52)
4. Four Life Paths (1:18)
5. Sam Gets the Job (:48)
6. Alec's Tumor (:53)
7. Alec's Breakdown (1:38)
8. Trevor's Audition (1:01)
9. Revelation (1:55)
10. Alec Persuades (2:17)
11. Casey and Kiley (1:30)
12. Bank Stakeout (:59)
13. Research (1:03)
14. Graveside / Casey's In (2:25)
15. Our Disguise is Crucial (2:19)
16. The Heist (6:45)
17. Alec on the Run (2:07)
18. Alec's Triumph (:51)
19. The Evidence (:55)
20. New Love / Cops (1:02)
21. Death Montage (2:53)
22. Main Title (alternate) (1:33)
23. Sam's Too Late (1:03)
24. Messin' Round (:44)
25. Liquor Store Hold Up (:32)