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  1. Thor wrote
    NP: QUEEN OF THE SOUTH (Giorgio Moroder & Rayne Shockne)

    Moroder's first 9 tracks are so gorgeous, they're to die for. You can read my pocket review here, if you're interested: http://celluloidtunes.no/queen-of-the-s … y-shockne/

    Interesting read. If I was familiar with this at all then I have completely forgotten the music now.
    The views expressed in this post are entirely my own and do not reflect the opinions of maintitles.net, or for that matter, anyone else. http://www.racksandtags.com/falkirkbairn
    •  
      CommentAuthorThor
    • CommentTimeApr 23rd 2021
    Thanks for looking. Knowing you like electronic music a bit, I think you'd like this.
    I am extremely serious.
  2. Thor wrote
    NP: QUEEN OF THE SOUTH (Giorgio Moroder & Rayne Shockne)

    Moroder's first 9 tracks are so gorgeous, they're to die for. You can read my pocket review here, if you're interested: http://celluloidtunes.no/queen-of-the-s … y-shockne/

    Having had a listen to the first 9 tracks I do admit that I do enjoy them. Of these opening 9 tracks I would say that track 2, "Escapar", is the one that I wholeheartedly like the most.
    The views expressed in this post are entirely my own and do not reflect the opinions of maintitles.net, or for that matter, anyone else. http://www.racksandtags.com/falkirkbairn
  3. Jerry Goldsmith - Executive Decision (deluxe)

    Not one of his best scores, by miles, not one of these, but after having two days to write an article about a new classical album which I first heard, well, yesterday and I literally sent it over an hour ago I need something to get my poor brain back.

    The more I listen to the scores Goldsmith wrote for Stuart Baird (who would direct only two movies, US Marshals and Star Trek: Nemesis, both scored by Jerry), the more I am convinced that they were somewhat temped with Hans Zimmer's action scores and contrary to what would happen today, Goldsmith managed to take note of it while retaining his own unmistakable style. Where is the temp influence to be heard? First, the Baird scores are essentially hybrid scores, with the electronics playing a much bigger role than they would in other action scores written all the time (they weren't as omnipresent, and then of course we have Air Force One which has synthesizers, conversely, in much smaller role than before). Second, the main themes are in minor key. Of course nothing new for him, as well, but they are always fairly anthemic, with only the Nemesis theme having a very good translation to more reflective, emotional material (Ideals being a highlight of the final ca 5 years of his career). Third, just single cues: listen to something like U.S. Marshals' The Wrapper, where the trumpet motif and the relationship between the trumpet and the synth basis essentially takes a page or two from Crimson Tide.

    These are not among his best scores, but US Marshals is decent, if mindless, fun. And kudos to Goldsmith for finding and walking the tightrope between what the director wanted (to the point that he returned to him in all his directed films; though Nemesis all but ended Baird's directorial career, he's still a working editor though) and maintaining his idiosyncratic voice.
    http://www.filmmusic.pl - Polish Film Music Review Website
    •  
      CommentAuthorThor
    • CommentTimeApr 24th 2021
    NP: FIREFLIES IN THE GARDEN (Jane Antonia Cornish)

    Classy, haunting score by Cornish. Never seen the 2008 film. This was a LEGEND-type situation where it had one score in Europe (by Javier Navarrete) and one in the US (this one) for the 2011 release there. I should check out the Navarrete some day.
    I am extremely serious.
  4. Thor wrote
    NP: FIREFLIES IN THE GARDEN (Jane Antonia Cornish)

    Classy, haunting score by Cornish. Never seen the 2008 film. This was a LEGEND-type situation where it had one score in Europe (by Javier Navarrete) and one in the US (this one) for the 2011 release there. I should check out the Navarrete some day.

    It's interesting that there's occasionally the need to have different scores for different territories.

    I can't think of many examples of it happening but I wonder if the reasons for doing it are common for them all.
    The views expressed in this post are entirely my own and do not reflect the opinions of maintitles.net, or for that matter, anyone else. http://www.racksandtags.com/falkirkbairn
    •  
      CommentAuthorThor
    • CommentTimeApr 24th 2021
    Me too. In addition to LEGEND, there's also K2 (Zimmer/Jankel). Several others, I'm sure.
    I am extremely serious.
  5. The Frankel/Waxman duo for NIGHT AND THE CITY was explained in the liner notes but since all my CDs are in storage I can't check.
    The views expressed in this post are entirely my own and do not reflect the opinions of maintitles.net, or for that matter, anyone else. http://www.racksandtags.com/falkirkbairn
    •  
      CommentAuthorThor
    • CommentTimeApr 24th 2021
    FalkirkBairn wrote
    The Frankel/Waxman duo for NIGHT AND THE CITY was explained in the liner notes but since all my CDs are in storage I can't check.


    Interesting. I don't think I've ever heard the Frankel, but I love the Waxman, of course.
    I am extremely serious.
  6. Thor wrote
    Me too. In addition to LEGEND, there's also K2 (Zimmer/Jankel). Several others, I'm sure.


    Harrison's Flowers, in Europe scored by Bruno Coulais, the US score was done by Cliff Eidelman.
    http://www.filmmusic.pl - Polish Film Music Review Website
  7. PawelStroinski wrote
    Jerry Goldsmith - Executive Decision (deluxe)

    Not one of his best scores, by miles, not one of these, but after having two days to write an article about a new classical album which I first heard, well, yesterday and I literally sent it over an hour ago I need something to get my poor brain back.

    The more I listen to the scores Goldsmith wrote for Stuart Baird (who would direct only two movies, US Marshals and Star Trek: Nemesis, both scored by Jerry), the more I am convinced that they were somewhat temped with Hans Zimmer's action scores and contrary to what would happen today, Goldsmith managed to take note of it while retaining his own unmistakable style. Where is the temp influence to be heard? First, the Baird scores are essentially hybrid scores, with the electronics playing a much bigger role than they would in other action scores written all the time (they weren't as omnipresent, and then of course we have Air Force One which has synthesizers, conversely, in much smaller role than before). Second, the main themes are in minor key. Of course nothing new for him, as well, but they are always fairly anthemic, with only the Nemesis theme having a very good translation to more reflective, emotional material (Ideals being a highlight of the final ca 5 years of his career). Third, just single cues: listen to something like U.S. Marshals' The Wrapper, where the trumpet motif and the relationship between the trumpet and the synth basis essentially takes a page or two from Crimson Tide.

    These are not among his best scores, but US Marshals is decent, if mindless, fun. And kudos to Goldsmith for finding and walking the tightrope between what the director wanted (to the point that he returned to him in all his directed films; though Nemesis all but ended Baird's directorial career, he's still a working editor though) and maintaining his idiosyncratic voice.


    Even Jerry Goldsmith is this kind of style is 10 times better than other action scores of today. It has a theme, it has structure, it shows that action needs to underscore the pace or the urgency, therefore often infusing emotion into it without making it sound dramatic 'The Sleeper' is a good example.

    And I adore Executive Decision as a film, it's FUN and exciting.
    waaaaaahhhhhhhh!!! Where's my nut? arrrghhhhhhh
  8. Executive Decision IS a good film, though mostly because it manages to avoid being an action film most of the time (it's more of a thriller, because nobody knows who is where for quite a bit of the time and the final setpiece is short and sweet, incidentally, not unlike how a real special operation would go).

    The score is just a bit underwhelming because of the more ambient material (and boy it has some, actually the suspense underscore of the Baird scores is among the lesser Goldsmith material, paradoxically, Star Trek Nemesis actually improves on what came before) and because actually due to a certain lack in balance.

    I mean, at the end of the day: compare Executive Decision with Air Force One. I'm not even trying to mention stuff like Ghost and the Darkness here. Just compare with a fun actioner like Air Force One, even not taking the McNeely additions in the mix (though they are good to very good). The Sleeper or The Front Gate don't hold a candle to Free Flight or Welcome Aboard, Sir, let alone to The Hijacking.
    http://www.filmmusic.pl - Polish Film Music Review Website
  9. PawelStroinski wrote
    Executive Decision IS a good film, though mostly because it manages to avoid being an action film most of the time (it's more of a thriller, because nobody knows who is where for quite a bit of the time and the final setpiece is short and sweet, incidentally, not unlike how a real special operation would go).

    The score is just a bit underwhelming because of the more ambient material (and boy it has some, actually the suspense underscore of the Baird scores is among the lesser Goldsmith material, paradoxically, Star Trek Nemesis actually improves on what came before) and because actually due to a certain lack in balance.

    I mean, at the end of the day: compare Executive Decision with Air Force One. I'm not even trying to mention stuff like Ghost and the Darkness here. Just compare with a fun actioner like Air Force One, even not taking the McNeely additions in the mix (though they are good to very good). The Sleeper or The Front Gate don't hold a candle to Free Flight or Welcome Aboard, Sir, let alone to The Hijacking.


    I haven't heard the deluxe edition, nor do I want to. Some albums are just better short.
    US Marshals was the same, decent enough in its short format but not rewarding enough for the long run.

    Air Force One was of course more an action packed film, and Goldsmith and McNeely had more room to flex their muscles.

    I know Goldsmith could do Ex and US in his sleep, but again he made sure all his typical trademarks were there. And that's what keeps it above par from the scores of today

    Example 1 "Attack of the Unknown" by Scott Glasgow

    Will I ever remember anything of it? Hell I don't even remember anything of it during the listen. Another forgettable LONG listen
    waaaaaahhhhhhhh!!! Where's my nut? arrrghhhhhhh
  10. Scott "I Studied At Juilliard, Why Don't I Get More Assignments" Glasgow? I know he's beloved by reviewers but his often assholish attitude (like, in a now deleted post, accusing Harry Gregson-Williams of ripping off a John Williams cue in The Martian even if the guy who was a long-time assistant and worked on THAT PARTICULAR SCORE was repeatedly telling him that there was no way it would happen as neither Ridley Scott nor Gregson-Williams knew the JW score he'd rip) or admitting that he takes pride in ripping off classical music, even taking literal pages from it? Yeah.

    US Marshals has an actual missing theme. Some of the atmospheric material is boring, but I actually like the expansion more than I like the original album. Executive Decision actually has a bit more action in the beginning which makes it more interesting. I guess the problem with that one is that it's not sure whether it wants to be small-scale or over the top and in its worst moments it tries being both at the same time smile
    http://www.filmmusic.pl - Polish Film Music Review Website
  11. Jerry Goldsmith - Raggedy Man

    First listen. Great theme, if a bit reminiscent of Carol Anne's Theme in a setting... a bit closer to Lonely Are the Brave.

    Good dissonant material, too
    http://www.filmmusic.pl - Polish Film Music Review Website
  12. PawelStroinski wrote
    Jerry Goldsmith - Raggedy Man

    First listen. Great theme, if a bit reminiscent of Carol Anne's Theme in a setting... a bit closer to Lonely Are the Brave.

    Good dissonant material, too


    I feel it's overall very reminiscent of Poltergeist. Not only the Carol Anne theme, but also the dissonant material. You can swap several tracks, and overall it wouldn't feel out of place
    waaaaaahhhhhhhh!!! Where's my nut? arrrghhhhhhh
    •  
      CommentAuthorThor
    • CommentTimeApr 29th 2021
    NP: LA COURSE DU LIEVRE A TRAVERS LES CHAMPS (Francis Lai)

    Lai sometimes gets a bit repetitive, but this is a great album (from 1972) that showcases both elegant compositions and variations.
    I am extremely serious.
    •  
      CommentAuthorThor
    • CommentTimeApr 29th 2021
    NP: UN HOMME QUI ME PLAIT (Francis Lai)

    Another Lai favourite while I was it. From 1969, and pointing towards the jazzy stylings of the New Wave films at the time, even if it's more 'popular' in tone than those. Love the baroque jazz melancholy of "Concerto pour la fin d'un amour".
    I am extremely serious.
  13. Cosmic Sin (Scott Glasgow)

    If this is the best he can do (Mr. Julliard), he can go back to school. Lesson 1: how to come up with a theme, or a melody, or something interesting
    waaaaaahhhhhhhh!!! Where's my nut? arrrghhhhhhh
  14. Thomas Glorieux wrote
    Cosmic Sin (Scott Glasgow)

    If this is the best he can do (Mr. Julliard), he can go back to school. Lesson 1: how to come up with a theme, or a melody, or something interesting

    I look forward to the expanded review! wink
    The views expressed in this post are entirely my own and do not reflect the opinions of maintitles.net, or for that matter, anyone else. http://www.racksandtags.com/falkirkbairn
  15. His earlier scores (like Lo) are reportedly better.

    Jerry Goldsmith - Total Recall

    A masterpiece. 'Nuff said.
    http://www.filmmusic.pl - Polish Film Music Review Website
  16. PawelStroinski wrote
    His earlier scores (like Lo) are reportedly better.

    Yes, Lo is definitely worth a listen. I also like his Chasing Ghosts, which is another early one.
    The views expressed in this post are entirely my own and do not reflect the opinions of maintitles.net, or for that matter, anyone else. http://www.racksandtags.com/falkirkbairn
  17. FalkirkBairn wrote
    PawelStroinski wrote
    His earlier scores (like Lo) are reportedly better.

    Yes, Lo is definitely worth a listen. I also like his Chasing Ghosts, which is another early one.


    I had to go back and check, but I reviewed 2 scores of him. Lo was definitely the better of the 2.
    Jeezus, I know you're restricted to the limits of the film, but any person must try to make something of it. And those' last scores of him are really poor
    waaaaaahhhhhhhh!!! Where's my nut? arrrghhhhhhh
  18. Godzilla vs Kong (Tom Holkenborg)

    Well, it's better than Justice League (which is not saying much), but you really miss Bear McReary here. He infuses some of the themes, but this guy's action music is so poor. His percussion still sounds exactly the same as Mad Max, and like most of his music it's all so alike. Once again you can switch the music of Justice League and you won't notice.

    Mortal Engines, now that was good. This is pretty poor
    waaaaaahhhhhhhh!!! Where's my nut? arrrghhhhhhh
    •  
      CommentAuthorThor
    • CommentTimeApr 30th 2021
    NP: ENCODYA (Yann Latour)

    Lovely game score from 2021 -- it's all very Vangelis/BLADE RUNNER (and intentionally so).
    I am extremely serious.
  19. Still on my roll:

    Jerry Goldsmith - Fierce Creatures

    First listen. One cute little score smile
    http://www.filmmusic.pl - Polish Film Music Review Website
    •  
      CommentAuthorLSH
    • CommentTimeMay 4th 2021
    OUTBREAK - JAMES NEWTON HOWARD

    One of those scores I always forget about for ages and then re-discover (this time because a colleague and I were talking about the film).

    I'd argue that this was still within a time when JNH hadn't properly found his ultimate 'voice' yet. It's great but it's essentially a very good Goldsmith impersonation (the action music particularly). That's no bad thing and it's still a great score to revisit. On the recent expansion especially.

    cool
  20. It's great, indeed. And yes, in the expanded form especially.

    Jerry Goldsmith - The Challenge

    Long time no hear...
    http://www.filmmusic.pl - Polish Film Music Review Website
  21. Vangelis - Blade Runner

    Revisiting and old friend. Writing a 5000-character essay on how the music is responsible for co-creating the film's world. This is going to be fun smile
    http://www.filmmusic.pl - Polish Film Music Review Website
  22. PawelStroinski wrote
    Vangelis - Blade Runner

    Revisiting and old friend. Writing a 5000-character essay on how the music is responsible for co-creating the film's world. This is going to be fun smile

    5000 character? I've not seen length defined by this. It's usually by number of words.
    The views expressed in this post are entirely my own and do not reflect the opinions of maintitles.net, or for that matter, anyone else. http://www.racksandtags.com/falkirkbairn