Music that defines the episode...

[mjcmmv]

 

Buddies...for Robbie...

 

Edited August 24, 2021 by mjcmmv

[mjcmmv]

Line Of Fire-One of my favorites...

Edited August 24, 2021 by mjcmmv

[mjcmmv]

The classic...

[mjcmmv]

 

[Tom]

one version with different videp, but lyrics:

 

[Jack Gretsky]

I just rewatched "No Exit" - this anguished song's music extends into Hammer's score.  

 

[Tom]

vor 9 Minuten schrieb Jack Gretsky:

I just rewatched "No Exit" - this anguished song's music extends into Hammer's score.  

 

Jan Hammer mentioned once in an interview how he responded with his composition to the song (the song had been chosen before by Fred Lyle and was included on the tape they sent him to his NY home for composing the score). The similarity can also be heard in the first seconds of the teaser when Crockett sits in his Ferrari on Ocean Drive. In this sequence, Hammer used similar drums as in the first part of the Collins song to lead in the episode.

 

[Ferrariman]

C’mon! How could we ever forget “Cry”  from “Definitely Miami “?!

[Tom]

vor einer Stunde schrieb Ferrariman:

C’mon! How could we ever forget “Cry”  from “Definitely Miami “?!

Where is the video Lou?

I´ll help you out...

 

Edited August 24, 2021 by Tom

[RedDragon86]

"Rites of Passage"

Powerful scene and the timing of each important moment was exceptionally put together. 

 

[RedDragon86]

11 hours ago, mjcmmv said:

Line Of Fire-One of my favorites...

Beautiful music, full of heart. 

[Tom]

 

[Tom]

 

[RedDragon86]

"The Prodigal Son"

Edited August 24, 2021 by RedDragon86

[Augusta]

It's a song that just refuses to appear until nearly the last six minutes of the episode.  But I think it still defines the whole episode, as well as capturing that fresh noobie astonishment that we the audience felt for this new tv show that was just beginning its first season, and how we were sitting with our jaws hanging open at what the tv series was showing us... that no other tv show was close to doing.  

A hitman dispatched by Calderone has racked up a nice list of targets, and Crockett's name is on the list.  But Crockett is relaxing with Caroline in one part of the city, and even though Tubbs has just found out his new partner is in danger, he's clear across on the OTHER side of town, and has to drive Crockett's black spider down the empty night-lit Miami streets in an insane attempt to reach the family in time.  He's not just burning rubber---he's burning off the metal underside of the danged car as he goes...JEEZUS!  

 

As he's driving, Russ Ballard's "In the Night" is thumping slowly through the drive.  It's not a fast song.  I say again, it's NOT a fast song.  It's thumping slow beat.  You would think that a FAST beating song is what's needed here, cuz Tubbs is in a maniac-hurry.  But instead, while Tubbs is trying to hurry, Ballard's song is almost saying "Transplanted, out of his NY element cop barrels desperately down the empty street of a city that doesn't even give a hoot what his problem is right now cuz it's night and there's still one more 2am party on the other side of town.  Who cares about you, helpless cop?.  THAT's Miami Vice music!

I'm not including a link with the scenes in it.  Just listen to the song, then come back to read the rest of the post.

 

Needless to say, Tubbs doesn't get there in time, and a man with his wife and child have to entertain an expert murderer.  That occurs exactly when Ballard's song FINISHES.  All music soundtrack stops cold.  And the rest of the scene is suddenly owned by this full blown GUN soundtrack---the most gripping gun sequence I remember seeing in all five seasons.  

 

The room is too small to do this sort of prolonged combat in.  

There's nothing but big soft 80's furniture around.

The whole event takes place with the light OUT---they are in the dark!

There's a woman and child in the room.  This is INSANE.

There comes a point in the shooting where the hitman realizes he's no longer in a likely position to kill his target, and he has to remove himself from the damn room he's sharing WITH the target.  So he uses his weapon like a WWII trench-sweeper, at one point seen spiraling bullets right into the CAMERA lens, just to psychologically clear himself a path--then he steps OVER the damn wife-n-kid to successfully dash straight out the door (...and out into an completely separate, equally stammering Quick-Death). 

On the night I watched this episode, I got trapped in the living room with my mom.  MY MOM.  She normally watches her dull Falcon Crest/Dallas gooo, but this time she decided to watch the cop show her son was watching.  My own MOM was watching this episode in the room with---I couldn't figure out a way to get out of that jam without missing the episode (and I wasn't going to miss my Miami Vice, no way).  So we were both watching it.   After that shooting scene, we were both heartbeat-silent---it had stuck something in your throat.  BOTH of us.  I figured my mom would have criticized me for watching such violence---but she didn't, she just watched the rest of the episode, and wanted to see Part II.  I think she was actually as impressed by that scene--it had her stunned.

I was just a freshman kid studying architecture, but I did know something about cameras and photography.  If you were a film student or something, I bet that scene just cannot be understated.  It is shocking how gloriously filmed and edited that entire gun exchange was.

The crew COULD have had Jan Hammer do something to accompany it.  Or they could have run Russ Ballard's single DURING the shootout.  But they didn't.  Ballard's song stops cold, and the guns immediately start hot.

Miami Vice in its early season wasn't just about adding hit singles to the episodes.  Not just about creating a mood with the song they chose.  Using songs in this manner isn't even done as well as that in TODAY's tv shows, where it's been an ordinary tool for decades now.  

Edited August 24, 2021 by Augusta

[Glades]

59 minutes ago, Augusta said:

It's a song that just refuses to appear until nearly the last six minutes of the episode.  But I think it still defines the whole episode, as well as capturing that fresh noobie astonishment that we the audience felt for this new tv show that was just beginning its first season, and how we were sitting with our jaws hanging open at what the tv series was showing us... that no other tv show was close to doing.  

A hitman dispatched by Calderone has racked up a nice list of targets, and Crockett's name is on the list.  But Crockett is relaxing with Caroline in one part of the city, and even though Tubbs has just found out his new partner is in danger, he's clear across on the OTHER side of town, and has to drive Crockett's black spider down the empty night-lit Miami streets in an insane attempt to reach the family in time.  He's not just burning rubber---he's burning off the metal underside of the danged car as he goes...JEEZUS!  

 

As he's driving, Russ Ballard's "In the Night" is thumping slowly through the drive.  It's not a fast song.  I say again, it's NOT a fast song.  It's thumping slow beat.  You would think that a FAST beating song is what's needed here, cuz Tubbs is in a maniac-hurry.  But instead, while Tubbs is trying to hurry, Ballard's song is almost saying "Transplanted, out of his NY element cop barrels desperately down the empty street of a city that doesn't even give a hoot what his problem is right now cuz it's night and there's still one more 2am party on the other side of town.  Who cares about you, helpless cop?.  THAT's Miami Vice music!

I'm not including a link with the scenes in it.  Just listen to the song, then come back to read the rest of the post.

 

Needless to say, Tubbs doesn't get there in time, and a man with his wife and child have to entertain an expert murderer.  That occurs exactly when Ballard's song FINISHES.  All music soundtrack stops cold.  And the rest of the scene is suddenly owned by this full blown GUN soundtrack---the most gripping gun sequence I remember seeing in all five seasons.  

 

The room is too small to do this sort of prolonged combat in.  

There's nothing but big soft 80's furniture around.

The whole event takes place with the light OUT---they are in the dark!

There's a woman and child in the room.  This is INSANE.

There comes a point in the shooting where the hitman realizes he's no longer in a likely position to kill his target, and he has to remove himself from the damn room he's sharing WITH the target.  So he uses his weapon like a WWII trench-sweeper, at one point seen spiraling bullets right into the CAMERA lens, just to psychologically clear himself a path--then he steps OVER the damn wife-n-kid to successfully dash straight out the door (...and out into an completely separate, equally stammering Quick-Death). 

On the night I watched this episode, I got trapped in the living room with my mom.  MY MOM.  She normally watches her dull Falcon Crest/Dallas gooo, but this time she decided to watch the cop show her son was watching.  My own MOM was watching this episode in the room with---I couldn't figure out a way to get out of that jam without missing the episode (and I wasn't going to miss my Miami Vice, no way).  So we were both watching it.   After that shooting scene, we were both heartbeat-silent---it had stuck something in your throat.  BOTH of us.  I figured my mom would have criticized me for watching such violence---but she didn't, she just watched the rest of the episode, and wanted to see Part II.  I think she was actually as impressed by that scene--it had her stunned.

I was just a freshman kid studying architecture, but I did know something about cameras and photography.  If you were a film student or something, I bet that scene just cannot be understated.  It is shocking how gloriously filmed and edited that entire gun exchange was.

The crew COULD have had Jan Hammer do something to accompany it.  Or they could have run Russ Ballard's single DURING the shootout.  But they didn't.  Ballard's song stops cold, and the guns immediately start hot.

Miami Vice in its early season wasn't just about adding hit singles to the episodes.  Not just about creating a mood with the song they chose.  Using songs in this manner isn't even done as well as that in TODAY's tv shows, where it's been an ordinary tool for decades now.  

Edited 18 minutes ago by Augusta

Thank you for sharing this moment with us!

Edited August 24, 2021 by Glades

[fakespyder]

@Augusta

If you could only tell a Vice fan by the passion of their write-up, then you'd be fan "numero uno". You captured my own enthusiasm for the show back then, when it was all fresh and new. Cheers mate.

[Mr. Vigilante]

This is literally the definition of the episode!   Great song! However, I do love "Lunatic Fringe" at the beginning.  Also, all great choices above!!

[mjcmmv]

On 8/24/2021 at 5:07 PM, Augusta said:

It's a song that just refuses to appear until nearly the last six minutes of the episode.  But I think it still defines the whole episode, as well as capturing that fresh noobie astonishment that we the audience felt for this new tv show that was just beginning its first season, and how we were sitting with our jaws hanging open at what the tv series was showing us... that no other tv show was close to doing.  

A hitman dispatched by Calderone has racked up a nice list of targets, and Crockett's name is on the list.  But Crockett is relaxing with Caroline in one part of the city, and even though Tubbs has just found out his new partner is in danger, he's clear across on the OTHER side of town, and has to drive Crockett's black spider down the empty night-lit Miami streets in an insane attempt to reach the family in time.  He's not just burning rubber---he's burning off the metal underside of the danged car as he goes...JEEZUS!  

 

As he's driving, Russ Ballard's "In the Night" is thumping slowly through the drive.  It's not a fast song.  I say again, it's NOT a fast song.  It's thumping slow beat.  You would think that a FAST beating song is what's needed here, cuz Tubbs is in a maniac-hurry.  But instead, while Tubbs is trying to hurry, Ballard's song is almost saying "Transplanted, out of his NY element cop barrels desperately down the empty street of a city that doesn't even give a hoot what his problem is right now cuz it's night and there's still one more 2am party on the other side of town.  Who cares about you, helpless cop?.  THAT's Miami Vice music!

I'm not including a link with the scenes in it.  Just listen to the song, then come back to read the rest of the post.

 

Needless to say, Tubbs doesn't get there in time, and a man with his wife and child have to entertain an expert murderer.  That occurs exactly when Ballard's song FINISHES.  All music soundtrack stops cold.  And the rest of the scene is suddenly owned by this full blown GUN soundtrack---the most gripping gun sequence I remember seeing in all five seasons.  

 

The room is too small to do this sort of prolonged combat in.  

There's nothing but big soft 80's furniture around.

The whole event takes place with the light OUT---they are in the dark!

There's a woman and child in the room.  This is INSANE.

There comes a point in the shooting where the hitman realizes he's no longer in a likely position to kill his target, and he has to remove himself from the damn room he's sharing WITH the target.  So he uses his weapon like a WWII trench-sweeper, at one point seen spiraling bullets right into the CAMERA lens, just to psychologically clear himself a path--then he steps OVER the damn wife-n-kid to successfully dash straight out the door (...and out into an completely separate, equally stammering Quick-Death). 

On the night I watched this episode, I got trapped in the living room with my mom.  MY MOM.  She normally watches her dull Falcon Crest/Dallas gooo, but this time she decided to watch the cop show her son was watching.  My own MOM was watching this episode in the room with---I couldn't figure out a way to get out of that jam without missing the episode (and I wasn't going to miss my Miami Vice, no way).  So we were both watching it.   After that shooting scene, we were both heartbeat-silent---it had stuck something in your throat.  BOTH of us.  I figured my mom would have criticized me for watching such violence---but she didn't, she just watched the rest of the episode, and wanted to see Part II.  I think she was actually as impressed by that scene--it had her stunned.

I was just a freshman kid studying architecture, but I did know something about cameras and photography.  If you were a film student or something, I bet that scene just cannot be understated.  It is shocking how gloriously filmed and edited that entire gun exchange was.

The crew COULD have had Jan Hammer do something to accompany it.  Or they could have run Russ Ballard's single DURING the shootout.  But they didn't.  Ballard's song stops cold, and the guns immediately start hot.

Miami Vice in its early season wasn't just about adding hit singles to the episodes.  Not just about creating a mood with the song they chose.  Using songs in this manner isn't even done as well as that in TODAY's tv shows, where it's been an ordinary tool for decades now.  

This is awesome, Augusta! Thank you for all the effort you put into this. I loved the scene with your Mom! Sharing something that means so much to you and having her affected in the same way. Awesome!

[mjcmmv]

The Peter Gabriel music has been used throughout, and for good reason. 

 

 

Edited August 26, 2021 by mjcmmv

[mjcmmv]

I love this song and think of this episode every time I hear it. 

 

[Dadrian]

43 minutes ago, mjcmmv said:

I love this song and think of this episode every time I hear it. 

 

That is a very sensual song—well-chosen by the powers that were (was Fred Lyle still at this helm by S5?). I always enjoy it when it comes up on my MV playlist (set to “shuffle/random”  ). 
 

Anyway, I don’t believe I’ve seen one post about that song on this forum that I recall. Nice work, Mary! 

[Miami Beau]

This one always gets me. A truly wonderful ending to “Heart Of Night”. The song by Joan Armatrading is so beautiful and perfectly matched the visuals on screen. For me, this is in the top 10 best endings to any episode of MV. 
 

 

[Tom]

I posted Dogs of War earlier above, but this piece is a second defining one for the Borrasca episode. It´s the tune when Castillo´s friend sneaks onto the drug freighter and nearly gets caught. A wonderful Truman tune, one of the best he ever made. The mood created with relatively simple and low number of instruments and same for melody based on very few accords is amazing.

 

Edited August 26, 2021 by Tom

[Tom]

And, for the Madonna episode there are two music pieces summing up the mood.

Tim Truman wrote around 30(!) minutes of score for this episode - more than many artists have on one album they work on for months - with 3 very long cues (>6 minutes each) and many shorter ones. Below is the best long cue for me at the posh house, with incredible melodies and guitar work by Michael Thompson (I still get goose bumps on these guitar licks and riffs) and the reprise of She´s waiting that Truman wrote responding to the song by Eric Clapton that was used as well.

 

Edited August 26, 2021 by Tom