Beverly Hills Cop – Axel F (Lorne Balfe)

What is it?

Harold Faltermeyer‘s scores for the first two Beverly Hills Cop movies in 1984 and 1987 are considered classics in the electronic film music genre. With its bouncy rhythms and catchy themes, the audience took notice of a new sound. When film number three appeared in 1994, the music of the 80s was no longer in vogue, and composer Nile Rodgers went another way, with a more orchestral approach.

Now, 30 more years have passed, and the 80s are more popular than ever. So, Netflix decided that a fourth movie in the franchise was needed, although in reality it had been in the works for many years. In Beverly Hills Cop – Axel F, directed by Australian newcomer Mark Molloy, Foley is working with his daughter and old pals Taggart and Rosewood to uncover a conspiracy. The key actors from the older films are all on board, including Eddie Murphy as Axel Foley.

It was natural for producer Jerry Bruckheimer, now 81, to look at the music from the two first films again. Faltermeyer had made a nice little comeback with his contributions to Top Gun: Maverick in 2022, assisted by “new kid” Lorne Balfe. Harold would not compose any new music for Beverly Hills Cop – Axel F, but once more Balfe would use Faltermeyer’s themes and incorporate them into a new score.

For me, the music was by far the most interesting thing about a rather unfunny action-comedy. The film premiered on Netflix on July 3, 2024, and record label La-La Land Records quickly released the music from the film on streaming services. A couple of months passed before the score received a physical release, as a limited CD edition of 3000 copies. Included are 44 minutes of music and a few paragraphs of liner notes by Jerry Bruckheimer, where he name-drops Faltermeyer and praises Lorne Balfe as a brilliant composer with an immense talent.

How is it?

The disc starts with the obligatory rap song. «Here We Go!» by Lil Nas X at least incorporates «Axel F» and gives Faltermeyer a writing credit, but I consider this music that 7-year-old boys enjoy. The title track from the film is remixed by 80s legends Ian Curnow and Phil Harding, an inspired choice by Balfe who no doubt knows the history of the synthpop music genre. Sax player Tim Cappello, who contributed to The Lost Boys soundtrack in 1987, is also included. He appears again on the best track of the album, «Axel’s Return», a powerhouse tune where Balfe also drafts in new synthwave artist Sunglasses Kid to assist. Check out the fun music video on YouTube if you haven’t already.

The CD booklet lists the 107-piece(!) Rise Orchestra and no less than 40 choir members as contributors to the score, but they are not easy to detect in the soundscape, probably a wise decision considering that the two first BHC scores were performed by one man only and the filmmakers wanted to keep the retro element alive. It’s only on the final one-minute track «90120» that the full orchestra seriously swells. There are also 10 guys performing on synthesizers, many of the synths vintage ones.

The original «Axel F» theme is of course heard on several tracks, but it’s thankfully not overused. Also, old Faltermeyer tracks like «Shootout» and «Bad Guys» make appearances here and there, another good decision by Balfe. In «Bad Helicopter», Balfe’s old mentor Hans Zimmer shines through and the eight percussionists get their time in the limelight. The choir is featured nicely on «Team Talk», while «Trackers» is a smooth and pleasant cue with Balfe’s own musical voice at the forefront.

Again, thanks to Faltermeyer-friendly La-La Land Records for releasing this on CD, so the 50-year-olds have something to put on their shelves.

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