BILL CONTI

But no mention of Coolangatta Gold? I would have thought stylistically if you liked FYEO then you'd have to rate his score for Coolangatta Gold right up there.

nope, but any Conti score is good enough for me

36 min of music for $20! Too expensive

One of my very favourite scores is Le Train by Philippe Sarde and it's only 18 minutes complete, if it had cost $20 I'd have considered that money well spent, as it is the CD is padded out with other works and I rarely play them so in effect I've paid full price for a CD that I only play 18 minutes from....money well spent IMO.

I might...if I had the vaguest inkling of what in heaven's name you were talking about.

COHEN & TATE
Composed and Conducted by BILL CONTI
INTRADA Special Collection Volume 139


The 1988 feature Cohen & Tate, about a boy abducted by two hitman and driven across Texas at night, attracted composer Bill Conti due to its unrelenting darkness, giving Conti the opportunity to compose his darkest, most serious work. Conti was best known for brightly triumphant scores ranging from Rocky to The Right Stuff. Thrillers weren't new to Conti, though, as he had made inroads to scoring thrillers in the late 1980s, among them the supernatural Nomads and the suspenseful F/X. The Cohen & Tate score would be a markedly different challenge for Conti, as the film plays like a chamber piece for three characters, all bent on destroying the other as they drive in a vehicle that doubles as an emotional pressure cooker. Conti deliberately avoided the overtly thematic scoring he was best known for, instead sublimating his character motifs into the music’s turbulent, and oftentimes explosive atmosphere of dread. Travis’s tender youth becomes the sound of piano, tossed against the hitmen’s brooding strings, the chords’ bright sounds almost lost in a sea of menacing low tones. Yet, the piano’s hopeful sound always manages to rise again, no matter what’s thrown at it. Conti’s use of the piano also gives the score a subtle, classical feeling, one that becomes more overt as the film progresses. But in this unforgiving world, Conti’s love of Baroque melody mostly stands in for two professionals who are bluntly elegant in their work. Conti also focuses on French horn at the request of director Eric Red (The Hitcher) "...
because it’s somber, muted and heroic There’s a power to it which embodies Cohen, especially as he bonds with Travis against Tate."

Cohen & Tate offers a disturbing thriller on the two-lane blacktop, as a nine-year old boy (Harley Cross) engages in a psychological battle of wits with
two steely hitmen (Roy Scheider, Adam Baldwin). The film would litter the middle-of-the-night road to Houston with the bodies of innocents, and mature the boy into a lethal match for his tormentors. And riding shotgun, so to speak, would be one of the most ominous and unrelenting scores ever to be found in the otherwise upbeat musical canon of Bill Conti.

01. Main Title 1:13
02. The Hit 5:33
03. Wounded? 3:50
04. Tail Lites 4:23
05. It’s Them 1:11
06. It’s Really Them 0:54
07. Roadblock 6:11
08. Kaboom 1:18
09. The New Car 0:38
10. Travis Is Right 2:48
11. Near Miss 1:58
12. Round To Tate 1:43
13. Travis Slips Away 2:33
14. Help Me 1:17
15. The Final Battle 4:40
16. End Title 2:06

This release is limited to 1200 units.

INTRADA Special Collection Vol. 139
Retail Price: $19.99
AVAILABLE 8/17/2010
For track listing and sound samples, please visit
http://store.intrada.com/s.nl/it.A/id.6660/.f

The Formula

CDs will begin shipping the week of October 4.

Limited Edition of 1200 copies

Music Composed by Bill Conti

Marlon Brando and George C. Scott starred in John G. Avildsen's 1980-thriller The Formula.

A detective uncovers a formula that was devised by the Nazis in WW II to make gasoline from synthetic products, thereby eliminating the necessity for oil--and oil companies. A major oil company finds out about it and tries to destroy the formula and anyone who knows about it.

Bill Conti's score, though sparse, is powerful, symphonic and comes to CD for the first time with this special release that has been discounted to reflect its shorter than usual running time.

1. Main Title (2:36)
2. Bye Bye Kay (3:04)
3. Obermann (1:30)
4. The End Of Obermann (1:30)
5. Lisa And Barney (2:44)
6. My Sentiments (1:44)
7. Please Stay (3:27)
8. That's True (2:48)
9. The Chocolate Shop (2:12)
10. Neeley's Shirt (1:29)
11. End Title (2:36)

Years ago I was dubious about Conti to say the least, but in recent years I've become a serious convert - basically because with every score I hear of his, it only re-emphasises just how few composers of modern times can write consistently interesting orchestral music in the way of Conti and those of his generation.

This is another certain buy for me - my God, listen to the soundclip from 'He's Got a Leg', if that alone doesn't convince a purchase, then nothing will!

http://sdtom.wordpress.com/2013/10/30/i-the-juryconti/

A review of I, The Jury. You'll enjoy this if your into jazz.
Tom

good one Jon