ROAD WARRIOR SOUNDTRACK BRIAN MAY PROFESSIONAL
Reception Professional ratings Review scores The recording also includes a suite of special effects sounds, such as the Feral Kid's "Boomerang Attack" "Gyro Flight" "The Big Rig Starts" "Breakout" and the climactic effects for "The Refinery Explodes", when the booby-trapped oil refinery turns into a fireball. The final tracks include the "Finale and Largo" and the "End Title" music, which is used while the narrator describes the settlers' escape to the coast to start a new life. The next selections accompany the action-packed sequences as Max and the settlers battle with the gang ("Confrontation" "Marauder's Massacre", "Max Enters Compound" "Gyro Saves Max" and "Break Out"). The soundtrack begins with the music for the "Montage/Main Title" sequence, which gives the back-story to the descent into war and chaos. The sound effects suite that concludes the disc has two cues, "Boomerang Attack" and "Gyro Flight", that do not appear elsewhere on the album (the former is actually presented without any overlaying effects). The original Varèse Sarabande album release from 1982 is presented with May's cues out of order and sometimes retitled part of the track titled "Finale and Largo" is actually the main title, "Montage" was written for the truck chase scene (and as such would fit between "Break Out" and "Largo") and "Main Title" is actually the heard during the post-title montage. The music has since been released multiple times through various labels. The manuscripts of the orchestrated cues were later damaged in a flash flood, though some pages were saved by restoration experts. It is also often compared to "Mars, the Bringer of War" from Gustav Holst's orchestral suite The Planets. The score also bears resemblance to the Western genre, featuring a refined orchestra that differs from the first film. "Whereas in Mad Max I had a jagged brass, very atonal and difficult to play, in Mad Max 2 I had deep basses, cellos, and lots of short motifs that were not totally melodic but were just enough to be unified." "It was an optimistic picture, and it was really like a modern revival of an old Western," said May. Unlike the score for the previous film, May approached the music with a more legato and grandeur frame of reference. Follow the links in More to Explore below to see rare clips and more items from the NFSA collection.In 1981, composer Brian May reteamed with director George Miller and producer Byron Kennedy to write the music for Mad Max 2. We're celebrating #MadMay with new curated collections and articles devoted to George Miller's Mad Max universe. Deserving their own separate recognition and analysis, these scores draw from and expand upon the musical language established in Brian May’s original scores, all of which have played a decisive role in the franchise’s long-lasting success. The more recent Mad Max: Fury Road (2015) features the music of Dutch DJ Junkie XL (aka Tom Holkenborg), blending orchestral Romanticism with electronic and rock idioms. This more contemporary soundtrack also showcases the music of Tina Turner (who plays the character Aunty Entity) over the opening and closing credits. It was scored by French composer Maurice Jarre (1924–2009) and integrates instruments outside the usual Western orchestral canon, including the didgeridoo and gamelan. Mad Max Beyond Thunderdome (1985) presents a musical departure from the previous two films. At times the score mimics these sound effects, at other times it replaces them, making us contemplate the very distinction between music and sound. Moreover, it interacts with a distinctive soundscape, a high-octane sonic environment, characterised by (among other things) the sounds of V8 engines, diesel motors, sirens, radio transmission and burning rubber. The music not only provides emotional resonances to specific scenes and helps clarify filmic meaning, but it also functions on spatial, temporal and psychological levels. The films, however, also include some of the most compelling music on Australian celluloid. Stylistically, they transcend typical Australian filmmaking formulas through punk-influenced aesthetics and a unique approach to rhythmic editing and camera movement. The films blend elements of Australian culture and geography with universal themes, such as good overcoming evil, and resonate with some of the most poignant anxieties of our time: resource exploitation, societal breakdown and the devastating impacts of car culture. The Mad Max franchise has made a significant mark on our cultural landscape. Johnny Milner takes a closer listen to the soundscape of Mad Max and Mad Max 2, highlighting the film scores of composer Brian May.
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