Performed by Asche & Spencer

Release Date: January 22nd, 2002

        Lions Gate Records

     Not the kind of film I usually use as an excuse to forgo everything and head to the local cineplex to check out, Monster’s Ball dropped pretty low under my film radar. Thus, even three years after the fact (and an Oscar win for Halle Barry…who I don’t care for as an actress no way and no how as it stands), I still haven’t had the urge to see it. Most of the popular opinion I have encountered has been negative, so why waste my time? Additionally, while the scores of some of these films have been an encouragement to finally take the two hours to be (hopefully) swept away, the music by the production company of Ashe and Spencer, leaves a lot to be desired.

     This is going to be a short review because, honestly, I just don’t have that much to say about the music I have just listened to. Basically, the score to Monster’s Ball boils down to atmospheric synth slush. Outside of a few interesting bell-like synth effects, there is not much going on here. You have your typical electronic percussion with synth “strings” flowing along in the background, and random harsh noises bubbling up from the background. Through thirteen tracks and just under a forty-minute running time, we’re treated to nothing that will stick with us days later. In essence, Monster’s Ball is an unobtrusive, erotic drama score. Useful for studying to, but it fails to hold your attention otherwise.

     Do I mean to completely knock this score though? Well, maybe not. It could be worse. It could be annoying to the point where I wanted to turn it off several times. This has happened before with other similar type scores, but not in the case of Monster's Ball. The music is just simply there. It’s not in your face, and it isn't trying bolster the emotional content of the film to the point where it goes over the top. It just has nothing to say, really. Maybe it would have been better had it given me a strong negative reaction, because then it would have aroused something. As it is, there is simply nothing to note.

     I suppose that this album will have an audience of the people out there who liked this film. But I don’t see how it can stand on its own apart from that. This style has been done before, and much, much better.

1 - Opening Title (3:31)

2 - Close Thirteen (3:51)

3 - Night Into Day (2:23)

4 - Resignation (3:55)

5 - Paying Respects (2:51)

6 - Tyrell (3:32)

7 - I Needed You (1:11)

8 - Hank's Transition (2:28)

9 - I Don't Want To Go Out Like This (2:10)

10 - Hit and Run (2:00)

11 - Under the Stars (4:17)

12 - End Title (3:00)

13 - I'm Your Man

       Performed by The Jayhawks (4:05)

Total Running Time: 39:22