Varese Sarabande (302 066 414 2)
Release Date: 2002
The Hollywood Studio Symphony
|1.||Jimmy's Tux (John Debney)||2:50|
|2.||Skateboard Chase (John Debney)||2:00|
|3.||Mad Bike Messenger (John Debney)||1:04|
|4.||Jimmy's Dream (John Debney)||0:48|
|5.||"The Tuxedo" Main Title (Christophe Beck)||3:01|
|6.||First Mission (Christophe Beck)||2:54|
|7.||Swallow the Queen (Christophe Beck)||2:25|
|8.||Demolition (Christophe Beck)||1:20|
|9.||Putting On Tux (John Debney)||1:59|
|10.||Demolition Program (John Debney)||1:02|
|11.||Rope Fight (John Debney)||2:58|
|12.||Rope Fight (Christophe Beck)||2:14|
|13.||Superhuman (Christophe Beck)||1:39|
|14.||Walter Strider (Christophe Beck)||1:21|
|15.||High Noon (Christophe Beck)||0:49|
|16.||Banning Opens the Pods (John Debney)||2:29|
|17.||Banning Swallows Queen (John Debney)||0:49|
|18.||Jimmy Saves Blaine (John Debney)||1:50|
|19.||"Get Up (I Feel Like Being A Sex Machine)" - James Brown||3:19|
|Total Album Time:||36:51|
|by Dan Goldwasser
November 12, 2002
In The Tuxedo, Jimmy Tong (Jackie Chan) is a cab driver who gets recruited to become super-spy Clark Devlin's (Jason Isaacs) personal driver. After an accident that incapacitates Devlin, Tong assumes his identity, and by wearing his super-tuxedo, takes on all the skills and abilities of a secret agent. Teamed up with Delilah Blaine (Jennifer Love Hewitt), they try to uncover an evil plot to destroy the planet's fresh-water supply. Scored by Christophe Beck, the film required John Debney to come in and add his own brand of spy-tech to the music track. The resulting soundtrack sounds a tad bi-polar, but has a few entertaining moments that might be worth a listen.
Debney does more of the same stuff he's done in Spy Kids and Jimmy Neutron - hard hitting rhythms with plenty of brass and orchestral mayhem. "Mad Bike Messenger" is a representative track of the kind of fun score Debney gives us. On the flip side, we have Christophe Beck's work, which isn't as hard-hitting, but has more of a dramatic, almost "wondrous" edge. "First Mission" is sneaky and foreboding, but his action cues ("Demolition", "Superhuman") have a slightly more techno-edge to them than Debney's action cues. It's interesting to compare the two parallel scores; we're even given two versions of "Rope Fight".
Capped off with a James Brown song from the film, the album runs a rather tight 36-minutes in length. It's a solid listen, but after a while, the electronic beats get to be a bit much. Debney and Beck fans will find this one a "must have", but others might want to pass.
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