Imagine a lounge, an old lounge, classy, with dancers and that big band playing like no tomorrow. It is nineteen twenty something. The lights dim. A new band has taken the stage. The spotlight centers on the striking woman in front of the microphone; she is revealed as the curtains pull away.
The music begins to thrum and our singer opens up with a sultry voice. “If I had my way,” she sings, trailing the last syllable like smoke from a cigarette. A man in a white tuxedo (an impossibly large man with a flower in his lapel that glows red like his eyes) enters the lounge scans the room and settles on a woman sitting alone at a table. “I’d burn this whole building down.” The tuxedoes in the band vanish in a flash and the sultry voice sings like a feral chainsaw. The man in the white tuxedo stops at the table, and violently pulls her to her feet. He dances ferociously with the woman that has more hardware than Home Depot (only in bullet form) strapped to her. They dance as if the fate of the world would be decided at the end of the song. Maybe it does.
This is the beginning song of Terminator: the Sarah Connor Chronicles soundtrack Sampson and Delilah. Arranged and written by the leading sci-fi composer Bear Mcreary, the soundtrack covers a whopping sixty three minutes of music (almost as long as the whole of Season One thanks to the writer strike).
In listening to the soundtrack I am relieved to hear the music follow form with the movie franchise. Fresh, original, inventive, and merciful. Why merciful? Merciful because the Sarah Connor Chronicles makes no bones about writing its own storyline in a valiant effort to avoid what T-3 did with its catastrophic storyline and woeful ending. Under the watchful and visionary hands of Bear Mcreary, Sarah Connor galvanizes the jarring thunder from the original soundtrack written by Brad Fiedel from the first two movies and presents a fresh course for the television series to follow.
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