There’s nothing more difficult than adapting a franchise like Miami Vice, the paragon of neon eighties glamor, into an uncompromising adult story. A risky project – between hurricanes and the out-of-control Jamie Foxx – but these were years in which Michael Mann made courageous films while remaining faithful to his ideals, experimenting with digital music and rewriting genres through hyper-stylization and documentary precision.

The same could be said about the soundtrack, a never-before-heard mix in which pop, salsa, R&B, trip hop, electronic go hand in hand with post rock, without forgetting a musical reference to the original series, “In the Air Tonight” by Phil Collins, lifted from the 1984 pilot to the end credits of the 2006 film in a nu-metal cover by Nonpoint (from the album Recoil, 2004).

At the opening, Mann reminds us that what was hot in Miami in August of 2005 was “Numb/Encore” by Linkin Park feat. Jay-Z (from the album Collision Course, 2004). The song accompanies Crockett and Tubbs, intent on foiling Neptune’s plans in a nightclub reminiscent of Collateral’s Club Fever, when the medley embraces Nina Simone’s Sinnerman (from the album Pastel Blues, 1965), “Blacklight Fantasy,” and the splendid “Strict Machine” (We Are Glitter Mix) by Goldfrapp (both versions taken from the album Fundacion NYC by Sasha, 2005). Conversely, in the unrated director’s cut, the film begins with underwater footage of an offshore race (Mann admits he was wrong not to include it) is accompanied by the unpublished track “Donzi Race” by composer John Murphy.

If in pre-production brought to mind a comment written by RZA of the Wu-Tang Clan, in the end came the great John Murphy, a Los Angeles-based Englishman with a history of collaborating with synthpop stars like OMD and Heaven 17, now a multifaceted composer. This is evidenced by his partnership with Massive Attack for Guy Ritchie’s Snatch, and the incredible score for Danny Boyle’s 28 Days Later.

On the CD with the WEA Atlantic label we find two tracks composed by Murphy: “Who Are You,” of which an extended version played during the dialog in the Havana Bar between Isabella and Sonny, and Mercado nuevo, an effective electronic piece with stupendous beats and electric guitar arrangements set against the night-time rendez-vous in a car with cartel boss Arcángel de Jesús Montoya.

While Trudy and Ricardo make love under the shower, under the eye of the capable Thompson Viper Camera, we hear the touching “Ready for Love” (from Acoustic Soul, 2001) by India.Arie, princess of new R&B and winner of a Grammy in 2003 for Voyage to India. On the subject of voyages, Sonny and Ricardo return from Colombia on an ultra-light A-500 aircraft, from which the song composed by Klaus Badelt and Mark Batson takes its name. The piece was inspired by the throwback “Crocket’s Theme” by Jan Hammer, a guide track for the television series.

Defining cool is one way to increase your level of satisfaction, and – if we’re talking about icy mojitos in Havana, they certainly make good ones. Here are Sonny and Isabella aboard an MTI 39 Series offshore catamaran, floating between the blue of the sea and sky rendered three-dimensional by the notes of “One of These Mornings” by Moby feat. Patti LaBelle (from the album 18, 2002). This is also the “Mojo” written on the sides of the catamaran: “Mojo as good luck, charm or skill that seems to come from something magical or supernatural o special people"

From Michael Mann we expect only avant-garde electronica; however – being the connoisseur he is (remember “Destino de Abril” from Collateral – the director takes a bold step into salsa: Sonny and Isabella let loose during their Cuban trip with “Arranca” by Manzanita. This fades into the voice of Chris Cornell who, with the group Audioslave, returns with “Shape of Things to Come” (from the album Revelations, 2006) during the heated love-making scene that follows. The same passage is repeated in the pre-finale, when Arcángel Montoya evades justice by deserting his palace.

At the finish, it’s the arches of “Sweep” by Danish group Blue Foundation (from the album Sweep of Days, 2004) – an imposing pop-electronic song with references to the trip hop of Massive Attack – that recalls a hybrid between David Darling’s “In November” (Heat) and Gustavo Santaolalla’s “Iquazu” (The Insider, Collateral), but it’s real strength is in the fantastic vocals of Kirstine Stubbe Teglbjærg (not appearing in the film), which form a dramatic backdrop for the return of Sonny “Burnett” from Cuba.

Speaking of Massive Attack, “P for Piano” (from the soundtrack of Danny The Dog) must have sparked an idea in Mann for how to accompany Miami Vice, and here is Murphy’s “Meth Lab,” which the director uses masterfully for the kidnapping scene set in the den of the man with the cross-shaped tattoo – music that fully captures a stunned Trudy’s claustrophobia in the midst of a group of Aryan brothers.

“It’s all true,” writes their manager Stephen King in reply to an email about the use of two songs from Mogwai’s Mr. Beast (2006) in Miami Vice.So here is the essence of post rock in the masterful guitars of the group from Glasgow: “We’re No Here” comments on a wonderful scene, shot using WESCAM (a special anti-vibration camera mounted on helicopters, a sort of flying steadycam). It begins with “I will never doubt you” from Tubbs to Crockett ,then goes,flying over Iguazu falls, to Jesus Arcangel De Montoya's look and referring to his Luciferian ability to understand Isabella’s feelings and intentions; but you know, business is business, and just a few moments later Audioslave returns with “Wide Awake” (also from Revelations album), a commentary on a kiss between the two that seems related to an ancient story about another Judas.

Then comes José Yero, the slimy villain for whom ego and envy go arm in arm, to spy on and record Isabella and Sonny, guests in one of his clubs, as they dance to “Pennies in My Pocket” by Emilio Estefan. The scene will later be presented to Arcán Angel to endorse the “payment in lead,” accompanied this time by “Fate Scrapes” by Elliot Goldenthal. This is an effective reprise from Heat, as is James Newton Howard’s “Daniel” from Collateral, this also being camouflaged in the context of Miami Vice, when the Aryan Brotherhood, communicating with Sonny, changes the location for the final exchange.

It doesn’t matter if, at the end of the evening of dancing, there will be a “I will find you” between the two lovers, a reference to The Last of the Mohicans, accompanied by “Ramblas” by King Britt & Tim Motzer, because it’s “Anthem” by Moby that’s the real gem. On the CD there is the short version, while in the film, during the night-time showdown that includes racing catamarans and a white BMW 645Ci [E63] coupé employs the kinematic version from Everything is Wrong (1995).

An instrumental version of King Britt’s “New World in My View” (from the album King Britt Presents Sister Gertrude Morgan, 2005) is the prelude to the conflict, accompanied by the unpublished song “Death Theme #3” by John Murphy. Immersed in the chiaroscuro of Dion Beebe (A.C.S A.S.C), we become wrapped up in Isabella’s desperation and the subsequent question from which Murphy’s “Who Are You” takes its name, for a finale that allows for any possibility. And here again is Mogwai, with “Auto Rock,” to translate salvation and “farewells,” which in love are often “goodbyes.”

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Composer(s):
John Murphy (original score)
Klaus Badelt (additional music)
Ian Honeyman (additional music - uncredited)
Mark Batson (additional music)
King Britt (additional music)
Tim Motzer (additional music)
Organized Noize (additional music)

RZA  Rejected Score

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DONZI RACE John Murphy Unrated Director Edition's Opening

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NUMB/ENCORE Jay Z Linkin Park Theatrical Opening

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DANIEL James Newton Howard Collateral Soundtrack "The Location Got Changed"

 

FATE SCRAPES Elliot Goldenthal Heat Soundtrack Yero show the video;Arcángel de Jesús Montoya Deadly Intents

 

P FOR PIANO John Murphy Massive Attack Cover form Danny the Dog Soundtrack Meth Lab scene

 

WIDE AWAKE Audioslave Album: Revelations (2006) Isabella and Jesús bed scene

 

SHAPE THINGS TO COME Audioslave Album: Revelations (2006) Isa & Burnett First Love Scene,Safe from harm end sequence at dawn

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DEATH THEME #3 John Murphy Searching for snipers,Set the showdown

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MIAMI VICE

ORIGINAL MOTION PICTURE SOUNTRACK TRACKLIST

ATLANTIC RECORDS 7567-83997-2

1. In The Air Tonight - Nonpoint[End Titles]

2. One Of These Mornings - Moby [ Going to Havana ]

3. We're No Here - Mogwai [ Iguazu Jesus Headquarter]

4. Sinnerman (Felix Da Housecat's Heavenly House Mix) – Nina Simone[Disco Theme]

5. Auto Rock - Mogwai [ Farwell Awekening Back to life End Sequence]

6. Arranca – Manzanita[Dancing at Havana]

7. Ready For Love - India.Arie[ Ricardo 's Love Scene]

8. Strict Machine - Goldfrapp[Disco theme opening sequence]

9. Pennies In My Pocket - Emilio Estefan [Dancing at Yero's Club]

10. New World In My View - King Britt [Set meeting with Yero]

11. Sweep – Blue Foundation [Back from Havana Luisiana]

12. Anthem - Moby [Going To Trailer Park]

13. Blacklight Fantasy - Freak Chakra

14. Mercado Nuevo – John Murphy

15. Who Are You - John Murphy[Recurring Theme-Isa knows Sonny]

16. Ramblas - King Britt

17. A-500 – Klaus Badelt[Delivering Drugs]