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- CommentAuthorDemetris
- CommentTimeOct 27th 2008
Not to mention that best moments of Horner's TROY were direct lift-offs from Yared's rejected, instrumentation, arrangements, you name it, it's all there, even the same soloist(s).Love Maintitles. It's full of Wanders. -
- CommentAuthorSteven
- CommentTimeOct 27th 2008
HeeroJF wrote
Steven wrote
I hope you don't mean Yared's Troy, because that didn't lack anything.
It lacked Horner.
See you on the battle field, Sir. -
- CommentAuthoromaha
- CommentTimeOct 27th 2008
HeeroJF wrote
Erik Woods wrote
HeeroJF wrote
Steven wrote
I hope you don't mean Yared's Troy, because that didn't lack anything.
It lacked Horner.
Which was GOOD thing!
-Erik-
I see your point: too much a good thing and all that, right?
lol, a Horner vs. Yared war can never go anywhere. Let's just agree to disagree.
Nautilus wrote
NP:Cleopatra (Jones)
In my opinion the most enjoyable of Jones trio of televisions scores. (Merlin has annoying suspense music, and Dinotopia too much mikcey mousing. Both are impressive scores, thought).
And If you ask me, Cleopatra is what Gladiator or Troy scores lacked: a succefull fusion between Rozsa's old fashioned fanfarres and the new age sound.
Cleopatra is indeed the top of the top. But have you tried Gulliver's Travels? You don't mention that one. It's very mature and rich, even if it's not the masterwork that is Cleopatra.
NP: The Wreck of the Mary Deare, George Duning
Typical golden age stuff: hard to get into or even detect a theme, but it'll potentially pay off with repeated listenings.
on the contrary sir.
this war could be beneficial for both parties.
have at thee!
... just kidding -
- CommentAuthorHeeroJF
- CommentTimeOct 27th 2008
*Whacks opponents over the head with the Nockmaar motif*
yarrr yarrr yarrrrrrrrr!!
''The mandate, as well as the benefit, of responsibility is the ability to tell when one can afford to be irresponsible.'' - Me -
- CommentAuthorHeeroJF
- CommentTimeOct 27th 2008
NP: Twilight of Honor, John Green
Okay, forget The Wreck of the Mary Deare, the other score on that CD has a TREMENDOUS propulsive main theme!!!! This is like Bernstein's Carpetbaggers or David Shire's Pehlam 1-2-3. GOOD stuff! Will the rest of the score hold up to that first track? I don't know yet, but wow, that was powerful.''The mandate, as well as the benefit, of responsibility is the ability to tell when one can afford to be irresponsible.'' - Me -
- CommentAuthorErik Woods
- CommentTimeOct 27th 2008
Christodoulides wrote
Not to mention that best moments of Horner's TROY were direct lift-offs from Yared's rejected, instrumentation, arrangements, you name it, it's all there, even the same soloist(s).
I've never really paid much attention to the rips and what not but what still bothers me to this day is that Horner supplied the film with a massive, old fashioned orchestral score... just like Yared did. So, tell me again WHY Yared's was rejected.
I mean, THIS kicks some serious ass!
-Erik-host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS! -
- CommentAuthorAntineutrino
- CommentTimeOct 27th 2008
Christodoulides wrote
Not to mention that best moments of Horner's TROY were direct lift-offs from Yared's rejected, instrumentation, arrangements, you name it, it's all there, even the same soloist(s).
The employment of the soloist was hardly Horner's choice. She even had a cameo appearecance in the film. Even Horner can't ignore signed contracts. If you had the original cd and not just the mp3s you would know that Horner wrote in the liner notes that the voice of the singer was one of the reasons he took over this project. -
- CommentAuthorErik Woods
- CommentTimeOct 27th 2008 edited
NP: Species - Christopher Young
It's very apparent that Horner's Brainstorm and Aliens were major influences in the creation of this score. I've always enjoyed the films main title music and "A Vibrant Slime" is one of Young best pieces... and what a track title. "Milky Way Breasts" also gets a nomination as best cue title. Most of the score is atmospheric along the same lines as Aliens. "Fever's Fever" then enters more of a Horner's suspense/thriller mode with running strings, glistening piano and tapping wood claves. There are a couple of big action cues near the end of the album which are more in line with Young's general style of action scoring.
This is one of Young's most requested titles and good to see Intrada getting this one out commercially but IMHO Young has written better scores. It's a solid score but never really reaches the heights of Hellbound or other Young horror scores.
-Erik-host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS! -
- CommentAuthorDemetris
- CommentTimeOct 27th 2008
Antineutrino wrote
Christodoulides wrote
Not to mention that best moments of Horner's TROY were direct lift-offs from Yared's rejected, instrumentation, arrangements, you name it, it's all there, even the same soloist(s).
The employment of the soloist was hardly Horner's choice. She even had a cameo appearecance in the film. Even Horner can't ignore signed contracts. If you had the original cd and not just the mp3s you would know that Horner wrote in the liner notes that the voice of the singer was one of the reasons he took over this project.
Oh; you're killing me
The neophyte information you submit was known from the very early stages of Horner’s take over on the score, every little detail about the rejection and the replacement was all over the place for months. Thanks for reminding a fool like me though.
Point is though that for whatever reasons and regardless if you like it or not, the soloists were first employed and brought into the music by Yared who had already formed a basic amount of sound textures and tone for the film and Horner found everything ready, from the Bulgarian choir to the lead singer only to write significantly inferior music.
Of course judging by the limited amount of time he had and the stressful situation he got into with the contracts and all, he came up with a decent score in the end but to even compare the two is ridiculous, imo. So, jump off the smart-ass wagon I say and If you can't be unbiased towards this, it's not my fault.Love Maintitles. It's full of Wanders. -
- CommentAuthorTimmer
- CommentTimeOct 27th 2008
Christodoulides wrote
Steven wrote
I love open honest bluntness, that's me in a nutshell. But I have a similiar 'hmm' reaction to the things he says too.
Same here. All that is very good and welcome but one - professionals especially, has to know where to draw the line, imo.
People in all walks of life slag each other off. Artistic types in particular from actors to directors, classical to pop, there's always been professional jealosy. The more inserted up they're own jacksies an individual is the more shit they spout!On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt -
- CommentAuthorNautilus
- CommentTimeOct 27th 2008 edited
NP:Lost Season 3
Desmond Theme, The Island Theme, Juliett's theme, kate's theme, Claire's theme, Hugo's theme, even a re-done ben's theme....All of them are gorgeous!
You can't get better than this.
While the first score was more like a religious experience, and I love some of his most mystical moments, Season 3 is so thematically rich that it's a real masterpiece. -
- CommentAuthorMarselus
- CommentTimeOct 27th 2008
Christodoulides wrote
Of course judging by the limited amount of time he had and the stressful situation he got into with the contracts and all, he came up with a decent score in the end
Indeed. You may like the result or not (I liked it, overall) but to write/record two hours of music in two weeks has to be really stressing. Horner saw something in the project that really made him go for it (besides money of course).Anything with an orchestra or with a choir....at some point will reach you -
- CommentAuthorSteven
- CommentTimeOct 27th 2008
Nautilus wrote
NP:Lost Season 3
You can't get better than this.
You can, it's called Yared's Troy. -
- CommentAuthorMarselus
- CommentTimeOct 27th 2008
The promo or whatever that came out was all the music written for the film by Yared? Because there were only like 60 minutes of music if I´m not wrong.Anything with an orchestra or with a choir....at some point will reach you -
- CommentAuthorErik Woods
- CommentTimeOct 27th 2008
Marselus wrote
The promo or whatever that came out was all the music written for the film by Yared? Because there were only like 60 minutes of music if I´m not wrong.
Not sure if it's all of it or just an assembly made by Yared himself to get the music out there and heard. What I do know is that what was set out wasn't the final mix.
-Erik-host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS! -
- CommentAuthorSteven
- CommentTimeOct 27th 2008
Marselus wrote
Christodoulides wrote
Of course judging by the limited amount of time he had and the stressful situation he got into with the contracts and all, he came up with a decent score in the end
Indeed. You may like the result or not (I liked it, overall) but to write/record two hours of music in two weeks has to be really stressing. Horner saw something in the project that really made him go for it (besides money of course).
Brad Pitt? I'm not even gay and I'd plow that...
....what?? -
- CommentAuthorPawelStroinski
- CommentTimeOct 27th 2008
http://www.filmmusic.pl - Polish Film Music Review Website -
- CommentAuthorErik Woods
- CommentTimeOct 27th 2008
NP: Powder - Jerry Goldsmith
Great theme... That's indisputable! The rest of the score is rather atmospheric featuring some experimental electronics work by Goldsmith along with some creative orchestral tinkering. There are a few dark and disturbing cues but they don't disrupt the flow of the album. Impressive variations on the Powder main theme... both dark and mystical. And the finale cue "Everywhere" is one of my most listened to cues. It currently stands in at 25 on my Top 100 Most Played tracks. IMHO, it's one of Goldsmith greatest achievements.
Overall, Powder is a good score featuring two or three career defining cues! The album breezes by at just over 35 minutes. Check it out if you can find a copy.
-Erik-host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS! -
- CommentAuthorDreamTheater
- CommentTimeOct 27th 2008
Nautilus wrote
NP:Lost Season 3
Desmond Theme, The Island Theme, Juliett's theme, kate's theme, Claire's theme, Hugo's theme, even a re-done ben's theme....All of them are gorgeous!
You can't get better than this.
While the first score was more like a religious experience, and I love some of his most mystical moments, Season 3 is so thematically rich that it's a real masterpiece.
I don't get it... This soundtrack has themes, but they're so unmemorable, afterward I immediately have to put on anything from Goldsmith, Williams or Horner just to remind me what a thematic score really is. Lost 3 is just too ambient and boring for my tastes.
NP: Superman Returns - John Ottman
This is more like it, taking enough material from Mr. Williams masterpiece and injecting enough of his own stuff, Ottman is more than capable to deliver this tribute score, I admit Williams themes provide the most thrills, but the new secondary theme for the Supe is quite lovely, like in 'Power of the Sun'. One of the more thematic cohesive albums released in recent years."considering I've seen an enormous debate here about The Amazing Spider-Man and the ones who love it, and the ones who hate it, I feel myself obliged to say: TASTE DIFFERS, DEAL WITH IT" - Thomas G. -
- CommentAuthorAnthony
- CommentTimeOct 27th 2008 edited
Nautilus wrote
NP:Lost Season 3
While the first score was more like a religious experience, and I love some of his most mystical moments, Season 3 is so thematically rich that it's a real masterpiece.
Riiiiiiiiight...
Nautilus wrote
NP:Lost Season 3
Desmond Theme, The Island Theme, Juliett's theme, kate's theme, Claire's theme, Hugo's theme, even a re-done ben's theme....All of them are gorgeous!
You can't get better than this.
I concur!
And spot on with the themes! (Although you didn't mention Sun & Jin's theme, Eko's theme, Charlie's theme, Jack's theme... )
I'll be two episodes away from finishing the theme list for season 2 by the end of tonight, then bring on the big guns for the best season of them all! -
- CommentAuthorErik Woods
- CommentTimeOct 27th 2008 edited
NP: Radio - James Horner
One of my favorite Horner scores of the decade. I'm ashamed to say this but it took me a few years to truly "get" this score. It wasn't on my Top 10 of 2003 (shame on me) and it wasn't until a revisited the score a few years ago did I make the revelation that this is an OUTSTANDING classic Horner score. I love those rolling piano chords! That's a device that I don't mind Horner recycling. That there is a classic and unique trademark! India.Arie's vocals are perfect. Her wordless vocals might be a cliche but it's such a gorgeous voice that it doesn't seem to matter. Hearing Horner doing his lush strings, sweeping melodies thing is most welcome. And the massive "Night Game" finale is one of my personal favorite Horner cues!
Highly recommended!
-Erik-host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS! -
- CommentAuthorErik Woods
- CommentTimeOct 27th 2008 edited
DreamTheater wrote
NP: Superman Returns - John Ottman
This is more like it, taking enough material from Mr. Williams masterpiece and injecting enough of his own stuff, Ottman is more than capable to deliver this tribute score, I admit Williams themes provide the most thrills, but the new secondary theme for the Supe is quite lovely, like in 'Power of the Sun'. One of the more thematic cohesive albums released in recent years.
Talk about unmemorable and AMATEURISH themes. While Ottman is capable of writing solid themes (listen to his early work) the stuff he came up with for Superman Returns is down right embarrassing... with the exception of Luthor's Theme which is a step up from "The March of the Villains" from Williams' own score. The rejigging of the original love theme is GODAWFUL and what ever that new theme is... well, it certainly ISN'T a theme. "Power of the Sun" I think it's suppose to be a melody but it's not even that. It's like an incomplete melody. I think it wants to go somewhere and do SOMETHING but it just stops and to my ear doesn't make any musical sense. And a choir... A CHOIR... to accent the Superman Theme?! What the... why... huh... beedabeedabeeda... good lord NO!
The only kicks I get out of the score are the Warner Bros logo with the Superman theme added to it and a few exciting moments in "Rough Flight." But the excitement doesn't last long as the cue is a mess of ten different ideas all thorwn together, a direct rip of James Horner's "Samuel's Death" from Legends of the Fall and that AWFUL choral Superman Theme is was talking about.
Anyway, I'm certainly happy that there are people out there that enjoy this score but IMHO it's rubbish!
-Erik-host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS! -
- CommentAuthorSteven
- CommentTimeOct 27th 2008 edited
Erik Woods wrote
NP: Radio - James Horner
One of my favorite Horner scores of the decade. I'm ashamed to say this but it took me a few years to truly "get" this score. It wasn't on my Top 10 of 2003 (shame on me) and it wasn't until a revisited the score a few years ago did I make the revelation that this is an OUTSTANDING classic Horner score. I love those rolling piano chords! That's a device that I don't mind Horner recycling. That there is a classic and unique trademark! India.Arie's vocals are perfect. Here wordless vocal might be a cliche but it's such a gorgeous voice that it doesn't seem to matter. Hearing Horner doing his lush strings, sweeping melodies thing is most welcome. And the massive "Night Game" finale is one of my personal favorite Horner cues!
Highly recommended!
-Erik-
Agree... hmm, let's see... 100%?
( )
-
- CommentAuthorThomas Glorieux
- CommentTimeOct 27th 2008
NP: Cassandra's Dream by Philip Glass
Typical Glass album, but easy to listen towaaaaaahhhhhhhh!!! Where's my nut? arrrghhhhhhh -
- CommentAuthorTimmer
- CommentTimeOct 27th 2008
Erik Woods wrote
NP: Radio - James Horner
One of my favorite Horner scores of the decade. I'm ashamed to say this but it took me a few years to truly "get" this score. It wasn't on my Top 10 of 2003 (shame on me) and it wasn't until a revisited the score a few years ago did I make the revelation that this is an OUTSTANDING classic Horner score. I love those rolling piano chords! That's a device that I don't mind Horner recycling. That there is a classic and unique trademark! India.Arie's vocals are perfect. Here wordless vocal might be a cliche but it's such a gorgeous voice that it doesn't seem to matter. Hearing Horner doing his lush strings, sweeping melodies thing is most welcome. And the massive "Night Game" finale is one of my personal favorite Horner cues!
Highly recommended!
-Erik-
This is one that was never on my radar and I've never heard it.
I must remedy that now.On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt -
- CommentAuthorTimmer
- CommentTimeOct 27th 2008
Steven wrote
Marselus wrote
Christodoulides wrote
Of course judging by the limited amount of time he had and the stressful situation he got into with the contracts and all, he came up with a decent score in the end
Indeed. You may like the result or not (I liked it, overall) but to write/record two hours of music in two weeks has to be really stressing. Horner saw something in the project that really made him go for it (besides money of course).
Brad Pitt? I'm not even gay and I'd plow that...
....what??
On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt -
- CommentAuthorHeeroJF
- CommentTimeOct 27th 2008 edited
Christodoulides wrote
Of course judging by the limited amount of time he had and the stressful situation he got into with the contracts and all, he came up with a decent score in the end but to even compare the two is ridiculous, imo. So, jump off the smart-ass wagon I say and If you can't be unbiased towards this, it's not my fault.
Personally, I have absolutely no trouble admitting that I'm biased appreciating Horner's Troy. I've been a Horner nut since Willow (which still stands as my all-time favourite score) and I don't care about the musicology of his music, and whether it is intellectually "superior" or "inferior" to a effort by one of his peers, like Yared. You could write an essay proving that one is more complex than the other, and I wouldn't dispute it one bit, but at the end of the day, one fact remains: Horner just moves me so much more.
However, even if it doesn't move me as much as Horner's, it remains that Yared's Troy is still by far my favourite Yared score. I really, really wish he were given projects like that more often, because his typical subject matter tends to create score that really don't interest me at all. Cold Mountain, I'll admit though, had some pretty nice moments.
NP: The Nightcomers, Jerry Fielding
What's this?! A charming Fielding?? Was the right CD included in the case?? I didn't know Fielding could be.... lovely!!!''The mandate, as well as the benefit, of responsibility is the ability to tell when one can afford to be irresponsible.'' - Me -
- CommentAuthorErik Woods
- CommentTimeOct 27th 2008
Timmer wrote
Steven wrote
Marselus wrote
Christodoulides wrote
Of course judging by the limited amount of time he had and the stressful situation he got into with the contracts and all, he came up with a decent score in the end
Indeed. You may like the result or not (I liked it, overall) but to write/record two hours of music in two weeks has to be really stressing. Horner saw something in the project that really made him go for it (besides money of course).
Brad Pitt? I'm not even gay and I'd plow that...
....what??
One of the funniest posts I've seen in a while!
-Erik-host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS! -
- CommentAuthorDreamTheater
- CommentTimeOct 27th 2008
Erik Woods wrote
DreamTheater wrote
NP: Superman Returns - John Ottman
This is more like it, taking enough material from Mr. Williams masterpiece and injecting enough of his own stuff, Ottman is more than capable to deliver this tribute score, I admit Williams themes provide the most thrills, but the new secondary theme for the Supe is quite lovely, like in 'Power of the Sun'. One of the more thematic cohesive albums released in recent years.
Talk about unmemorable and AMATEURISH themes. While Ottman is capable of writing solid themes (listen to his early work) the stuff he came up with for Superman Returns is down right embarrassing... with the exception of Luthor's Theme which is a step up from "The March of the Villains" from Williams' own score. The rejigging of the original love theme is GODAWFUL and what ever that new theme is... well, it certainly ISN'T a theme. "Power of the Sun" I think it's suppose to be a melody but it's not even that. It's like an incomplete melody. I think it wants to go somewhere and do SOMETHING but it just stops and to my ear doesn't make any musical sense. And a choir... A CHOIR... to accent the Superman Theme?! What the... why... huh... beedabeedabeeda... good lord NO!
The only kicks I get out of the score are the Warner Bros logo with the Superman theme added to it and a few exciting moments in "Rough Flight." But the excitement doesn't last long as the cue is a mess of ten different ideas all thorwn together, a direct rip of James Horner's "Samuel's Death" from Legends of the Fall and that AWFUL choral Superman Theme is was talking about.
Anyway, I'm certainly happy that there are people out there that enjoy this score but IMHO it's rubbish!
-Erik-
Well it certainly ain't rubbish in my book, and I don't even like most of the soundtracks that have come out these past years."considering I've seen an enormous debate here about The Amazing Spider-Man and the ones who love it, and the ones who hate it, I feel myself obliged to say: TASTE DIFFERS, DEAL WITH IT" - Thomas G. -
- CommentAuthorSteven
- CommentTimeOct 27th 2008
Radio James Horner
Trying... to stay... manly...
....ah to hell with it, this score makes you cry!