KEVIN KINER

Well done William

I concur with my fellow doctors. Well written, sir.

New interview over at bsx

In detail:



Full article at:
http://www.buysoundtrax.com/larsons_soundtrax.html

Indeed.

Very good review, i agree 100%

A couple of notices:

1) i really liked how you included (and expanded upon) all the possible counter-arguments the current wave of trend that defends EVERY SINGLE THING that gets out as long as it's a new release - shot and will continue to repeat each and every-time at the face of a reasonable reviewer each time they dare dispute the said brilliance of each and every new release.

2) As many of those (read the bsx interview and score description, or the DEATH RACE thingy over at the other site or think of how Tyler Bate's 300 and himself were presented at various large websites / radio shows when the film and score got out) articles are getting out PRAISING and declaring as UNDERRATED / OVERLOOKED film score Gods people that should clearly never be characterized as such, i couldn't help but to feel thrilled by the following fragment:



Before anyone of the new army jumps down my throat, consider this; how many TRULY talented and overlooked composers get tossed each day and lost in ignorance just because people who obviously (as proved by the facts showcased by the actual music they compose) DON'T deserve it get the assignments and the ridiculous praise? I can't help but to shiver when i see Haslinger or Bates or Kiner or you and the RC army getting the said praise while people like Cliff Eidelman, McNeely, Broughton, McKenzie and Johnston among dozens others equally gifted remain basically under-or even not employed at all?

COME ON PEOPLE (radio shows / film music journalists / websites included) have we completely lost the grip here? Unless you want to convince me that you're truly pleased and satisfied by this kind of constantly popping impersonal and soulless computer-generated scores on auto pilot that "just do their job and are simply serviceable" (as even people who defend them will admit about them) with which everyone will eventually stop dealing after a month or so and will gradually forget they even existed, then why the fudge do you condone and actually promote through your actions / writings / articles the spread and growth of such works and policies? Has everyone lost their taste and logic completely or are you all dancing the money / publicity dance? Have we all adjusted to and settle with the mediocrity of "just doing their job and being simply serviceable" scores?

Before you reply, bear in mind that i wasn't having you in mind when i wrote nor ACTUALLY playing the score on air 'cause you already made your sentiments clear (and on the on-air piece that was discussed with Ralph before); it's a logical thing to do firstly in order to continue doing what you do and support your professionalism and business and secondly in order to inform the buying public of what's out there.

It's actually elevating some composers and some works into levels that clearly aren't as the next big thing that bothers me and to which i object.

Thanks

Don't worry... this isn't going to get nasty.

First of all, I understand that you weren't neccsarily aiming your comments at me but I tink I should respond anyway just so you get my point of view on the matter. Now, I'm probably repeating myself here but what the hell...

My primary job as a film music radio producer/host is the promote film music. PERIOD! And in order to help promote the art form we love so much I have the co-operation of the record labels to send me albums to play on the show to assist me in my promotion of this art form. So, if a label sends something and if I don't like the score I still have an oblication to play the album. I play the album the labels gets a note from me, they see that I'm playing there music on the show and when that true masterpiece gets released down the road, they send that to me, and I play that on the program. You scratch my back I scratch yours.

Now, what's so great about being a radio host is that I can speak my mind honestly about the score... love it or hate it... while at the same time letting the audience make up there own mind about the score by playing not just 30 second snippets but full tracks for 15 minutes or so. Sure, there are probably occasions where only my on air rant has influenced the decision of the listener as to what to buy and what not to buy but that ultimately is THERE choice. Most of the time, I'm sure users skip the rant and get on with the music. Whatever... all that I know is that my show has helped listeners with there purchasing options.

However, there have been the rare occasions where I simply refuse to play a certain score on the show because I personally just can't play it. It would be a waste of my time. Is that fair to the listeners? Not sure. But when something like IRON MAN comes out I just can't for the life of me spend the time recording my voice, editing that speech down, then selecting the BEST TRACKS (if any) from a terrible album and then waste bandwidth and web space on such trash. Now, this hasn't happened much in the past 12 years but the score has to be truly bad for me not to even consider playing it on the program.

That brings me to Kiner's score to STAR WARS. I don't like it... but I'm sure there are a pile of film score nuts who do. And as you can tell by reading the forums here that that is true. So, as pointed out in a previous thread I gave my two cents about the score (some didn't like my rant ) and then I played 15 minutes of the score. That's ususally how things work for me on the program. And trust me, when I like something I also let the listeners know.

As you can see by going to my site that I am trying my very best to help promote Golden Age scores and the magnificent work of Charles Gerhardt by keeping an almost 3 year old program on line. I truly think it's one of the very best programs I've ever produced and is one of the most import film music radio series on the Internet right now, IMHO. There aren't to many click throughs to that show but I'm sure there are people who do find the page and are being introduced to this magnificent music for the very first time and I'm glad to play a tiny roll in that.

As for web sites and magazines. I think they also do a great job in helping promote all kinds of film music. Sure, a lot concentrate on the new releases but if you look at a site like James' he reviews 2-3 new releases with 1 classic score as well. Even Christian at Filmtracks is reviewing and re-writing all of his older reviews and presenting daily updates. So, I think there is a variety of options for film music fans out there.

As for the promotion of stuff like Death Race and Star Wars: The Clone Wars. Well, maybe if those two scores sell well... crap or not... maybe it will help those labels release more scores from the Universal vault (Intrada) or maybe help with expanded releases of more Star Wars music like the complete prequel scores.

Anyway, those are my two cents...

-Erik-

I agree, Demetris. I like Kiner's The Clone Wars, but I know for a fact that it will never be rightly heralded as a masterpiece. It is just another score, which (though it utilizes a few) fails to present hardly any memorable (and almost certainly not recognizable) motifs. People like this, who falsely portray it as a masterwork wither have no clue whatsoever what they're talking about, or are being paid to put out stuff like this (the latter which I strongly oppose to).

EDIT: 1000th post!

It is a possibility if the music for the movie sells well.

Hurray!

For those interested, some more of Kiner's music for the Star Wars: The Clone Wars TV show may be heard in the video on this page.

I agree. Kiner has made it quite clear that it was George who laid out exactly how he wants The Clone Wars to sound. Not much Kiner could do about it. You just don't talk back to George Lucas, especially when you've just got the job.

Well, from what i remember, a bit Madizzzzzon

No, at all. I don't feel like genuinely hating anyone.

I don't remember much from it; that's an indication itself isn't it?