Twin Peaks: Fire Walk With Me
This intersting soundtrack is about the only thing worth remembering from this largely reprehensible big-screen prequel to the confusing ABC-TV series of the same name. I’ve spent years trying to block my traumatic memories of this generally bad, murky, confusing flick which has few (if any) sympathetic characters whatsoever. But oddly, the music for the movie incarnation of Twin Peaks is a bit more lively and varied than the soundtrack from the TV series. The melodies gain complexity while keeping the ethereal, light jazz feel of the TV show’s tunes. This album includes a vocal contribution from Julee Cruise, and another from 
Jimmy Scott, both of which are almost worth the price of the whole album; unfortunately, Angelo Badalamenti also makes a couple of vocal appearances in the guise of “Thought Gang,” which I could’ve just as easily done without.
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- Theme from Twin Peaks – Fire Walk With Me (6:40)
- The Pine Float (3:58)
- Sycamore Trees – with Jimmy Scott (3:52)
- Don’t Do Anything I Wouldn’t Do (7:17)
- A Real Indication (5:31)
- Questions in a World of Blue – with Julee Cruise (4:50)
- The Pink Room (4:02)
- The Black Dog Runs At Night (1:45)
- Best Friends (2:12)
- Moving Through Time (6:41)
- Montage from Twin Peaks (5:27)
- The Voice of Love (3:55)
Released by: Warner Bros.
Release date: 1992
Total running time: 56:10
This album was rather quietly released with the support of the single “Countdown” which was a rather tame iteration of many staples of Buckingham’s Fleetwood Mac style. But despite that, it was one of the better songs on the album. For all the hoopla surrounding his departure from Fleetwood Mac in 1987 and all the immense talent he brought to both the Mac’s 70s/80s sound and his own previous solo work, this album, about five years in the making, was a bit disappointing. That said, Out Of The Cradle isn’t a total loss either. The opening track “Don’t Look Down” is much more exemplary of what I’m looking for if I listen to Lindsey Buckingham, and “All My Sorrows” and “Street of Dreams” come in close behind. One of the really neat things about this CD is that some of the songs have extended intros which are separate tracks. This may not seem like a big deal, but since I was working in radio when this album was released, I thought it was just incredibly handy (but it’s a real bugger if you’ve got a random or shuffle button on your CD player!). The final two tracks, a beautiful acoustic guitar instrumental cover of a Rodgers & Hammerstein number called “This Nearly Was Mine” (I honestly can’t say where the song comes from, though) followed by Buckingham’s own sentimental “Say We’ll Meet Again”, make me wish that he’d done more of the album in this style than trying to rekindle Fleetwood Mac vibes. One of my biggest gripes with the album is a song which sounds like a rough keyboard demo of “Big Love” from Buckingham’s last album with Fleetwood Mac. It’s a blatant attempt to make it sound like you don’t need Fleetwood Mac for the Fleetwood Mac sound (and I liked the Mac’s post-Buckingham 
Behind The Mask quite well, thank you). There are commercial considerations, of course – one must have reasonable sales from one album in order to make the next – but there are some artists who forego commercialism in order to be interesting and experimental. Lindsey Buckingham used to be one of those, but you’d hardly know it from listening to Out Of The Cradle.
composer if he’s given room to do the job. The most un-Trekkish tracks on this collection are the best, including the wonderful “Amazon Highway”, “Luna” and “Dance Of The Blue Wonder”. Be warned, if you’ve only listened to Chattway’s orchestral meanderings on Star Trek, the instrumentation is almost completely electronic aside from some lovely French horn solos. 
“Well,” I thought, “that’s nice, it’s in the bargain bin.” Then I did a slight double-take. “What? This is new, and it’s already in the bargain bin.” This meant trouble. The fading remnants of my favorite band were fading really fast if their new release, even though it is a live album, was entering the music store shelves at rock-bottom. And I found out why (that’s the great thing about bargains, eh?). This is, at best, an excessively mediocre live album. Years later, in 1996, I saw ELO Part II perform live when they made a stop in my home town of Fort Smith, Arkansas, and I discovered that ELO Part II does a kick-ass live show, just not on this album. Perhaps the improvement in their live repertoire is that they’ve expanded their selection of post-ELO originals, which are better suited to their live performance needs because they know what they’re capable of on stage. This album is comprised entirely – with the singular exception of “Thousand Eyes” – of classic ELO songs which people have come to know with a full string section. The Moscow Symphony can deliver the goods most of the time, but even they have their off nights, as can be heard when somebody hits an outrageously, painfully flat note in the 