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[Closed] Now Playing XXXIX
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- CommentAuthorAnthony
- CommentTimeJun 24th 2011
Anthony wrote
NP: Monte Carlo - Michael Giacchino
At least The Family Stone had a memorable main theme. MG should stick to big stuff, because this style doesn't suit him at all. It just sounds like everything else.
This does get better, there's some good jazzy stuff later on, everything's just so damn short. -
- CommentAuthorThor
- CommentTimeJun 24th 2011
NP: THE DIG (Michael Land)
I can never get enough of this. Beautiful atmospheric writing.I am extremely serious. -
- CommentAuthorplindboe
- CommentTimeJun 24th 2011
King Kong (Barry)
Half Barry's awe-inspiring sound and half his romantic sound. Very good score.
Rating: ****
Peter
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- CommentAuthorKevinSmith
- CommentTimeJun 25th 2011
Thor wrote
NP: THE DIG (Michael Land)
I can never get enough of this. Beautiful atmospheric writing.
Revenge is sweet... Revenge is best served cold... Revenge is ice cream. -
- CommentAuthorlp
- CommentTimeJun 25th 2011 edited
justin boggan wrote
lp,
I don't have everything, but Kamen recorded a bunch of stuff, and there's a bunch of demos, too. From constant edits in the film, to just pleasing the producers/studio, he kept having to do, what he called, "tons and tons".
What info on the score I have, and interview quotes by Kamen, are here:
http://rejectedfilmscores.150m.com/info.html#TA
If he expressed himself correctly, I read on top of rewrites and demos, he essentially did two scores, so we could be looking at 2 to 3CDs of material, assuming he didn't do a really short score. But that could be the case, for my guess is the final film is littered with songs.
It'll be a blessing to have everything he did on CD, if ever possible.
Thanks for the info Justin. I'm still very surprised to read about all of the behind the scene info that you're able to gather. Keep up the great work. It's invaluable, I'd say.
And on the subject of the score, even though I would have liked to hear his tongue in cheek version, I know that I wouldn't have mind a version that was a mix of serious Kamen with Johnson's theme. Big reason why I like his Bond score. -
- CommentAuthorlp
- CommentTimeJun 25th 2011
PawelStroinski wrote
Ramin Djawadi - Medal of Honor
Listening to the La la Land box set version. A good score, probably Djawadi's best. Great theme, good emotional performance. The rhythms are pretty amazing. I love the ethnic stint and the general atmosphere. What I also love is how restrained Djawadi went here. There is no sense of being epic here and the main theme is more of a dirge/requiem-type than the outward Americana of the previous scores in the series.
Of course it's never as good as what anything Giacchino and Lennertz have done, but still I don't think it should be judged in context of the previous scores in the series (mostly masterpieces!), because it's a modern franchise reboot. The game (not as bad as people might think) is a realistic depiction of modern warfare (maybe even more realistic than the Call of Duty Modern Warfare games, though nowhere close story-wise) and it needed a more modern sound.
Heroes Aboard is singularly Ramin Djawadi's best tracks on many levels, from technique to emotions.
3,5 stars, could have been better but still it's the best reworking of Black Hawk Down ever to come from this studio.
Big yups on all points. -
- CommentAuthorKevinSmith
- CommentTimeJun 25th 2011 edited
First Knight - Jerry Goldsmith
I can't help but think that the main theme in "Promise Me" is Jerry's answer to Kamen's Robin Hood theme. Just a point of observation.
I agree with Thor, the 40 minute album is solid with not too much downtime (i.e. filler).Revenge is sweet... Revenge is best served cold... Revenge is ice cream. -
- CommentAuthorErik Woods
- CommentTimeJun 25th 2011
KevinSmith wrote
First Knight - Jerry Goldsmith
I can't help but think that the main theme in "Promise Me" is Jerry's answer to Kamen's Robin Hood theme. Just a point of observation.
I agree with Thor, the 40 minute album is solid with not too much downtime (i.e. filler).
There is ZERO filler in this score. ZERO! The expanded edition from La La Land is a revelation!
-Erik-host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS! -
- CommentAuthorThor
- CommentTimeJun 25th 2011 edited
Erik Woods wrote
KevinSmith wrote
First Knight - Jerry Goldsmith
I can't help but think that the main theme in "Promise Me" is Jerry's answer to Kamen's Robin Hood theme. Just a point of observation.
I agree with Thor, the 40 minute album is solid with not too much downtime (i.e. filler).
There is ZERO filler in this score. ZERO! The expanded edition from La La Land is a revelation!
-Erik-
Unsurprisingly, I'm completely opposite Erik here.
I've sampled the expansion, and by God - it drove me nuts after just a few minutes. It's horrible. That said, I think the Lancelot theme could have been added and put in an appropriate place on the old release without it losing much integrity as a listening experience. I could live perfectly well without it too - and, indeed, I didn't even know about its existence untill this new release - but no harm done by including it, I guess. It's a nice theme that stands well on it own. If it fits in with the overall "album design".I am extremely serious. -
- CommentAuthorErik Woods
- CommentTimeJun 25th 2011 edited
I agree that adding Lancelot's Theme (and other variations of it) to the original album wouldn't have hurt the original album's listening experience but I was surprised by how well the La La Land album played. Not one wasted note. Then again, Thor, First Knight isn't the type of score you listen to nowadays so I will turn a blind eye to your opinion on this matter.
-Erik-host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS! -
- CommentAuthorKevinSmith
- CommentTimeJun 25th 2011
Erik Woods wrote
I agree that adding Lancelot's Theme (a other variations of it) to the original album wouldn't have hurt the original album's listening experience but I was surprised by how well the La La Land album played. Not one wasted note. Then again, Thor, First Knight isn't the type of score you listen to nowadays so I will turn a blind eye to your opinion on this matter.
-Erik-
Is turning a blind eye to Thor becoming more common?
Revenge is sweet... Revenge is best served cold... Revenge is ice cream. -
- CommentAuthorScribe
- CommentTimeJun 25th 2011
KevinSmith wrote
Erik Woods wrote
I agree that adding Lancelot's Theme (a other variations of it) to the original album wouldn't have hurt the original album's listening experience but I was surprised by how well the La La Land album played. Not one wasted note. Then again, Thor, First Knight isn't the type of score you listen to nowadays so I will turn a blind eye to your opinion on this matter.
-Erik-
Is turning a blind eye to Thor becoming more common?
Unnecessary comment much?I love you all. Never change. Well, unless you want to! -
- CommentAuthorSouthall
- CommentTimeJun 25th 2011
Erik Woods wrote
I agree that adding Lancelot's Theme (and other variations of it) to the original album wouldn't have hurt the original album's listening experience but I was surprised by how well the La La Land album played. Not one wasted note. Then again, Thor, First Knight isn't the type of score you listen to nowadays so I will turn a blind eye to your opinion on this matter.
-Erik-
I didn't expect to like the expansion nearly as much as I do. I think it blows the original release out of the water, and you can count on the fingers of one hand the number of expanded soundtracks I say that about. -
- CommentAuthorSouthall
- CommentTimeJun 25th 2011
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- CommentAuthorSouthall
- CommentTimeJun 25th 2011
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- CommentAuthorThor
- CommentTimeJun 25th 2011
Erik Woods wrote
I agree that adding Lancelot's Theme (and other variations of it) to the original album wouldn't have hurt the original album's listening experience but I was surprised by how well the La La Land album played. Not one wasted note. Then again, Thor, First Knight isn't the type of score you listen to nowadays so I will turn a blind eye to your opinion on this matter.
-Erik-
True, you have a point.I am extremely serious. -
- CommentAuthorSouthall
- CommentTimeJun 25th 2011
Legend - Jerry Goldsmith
Love this, so much. Such colour and depth. (Yes, I know, most people hate it!) -
- CommentAuthorThor
- CommentTimeJun 25th 2011
Southall wrote
Legend - Jerry Goldsmith
Love this, so much. Such colour and depth. (Yes, I know, most people hate it!)
I don't hate it. I just hate the synth bits, and the fact that they rob this of a great "could-have-been".I am extremely serious. -
- CommentAuthorScribe
- CommentTimeJun 26th 2011 edited
One may choose to view the synth bits as adding to the personality of a unique, well-rounded score.I love you all. Never change. Well, unless you want to! -
- CommentAuthorErik Woods
- CommentTimeJun 26th 2011
Southall wrote
Legend - Jerry Goldsmith
Love this, so much. Such colour and depth. (Yes, I know, most people hate it!)
Love it! Every single second of it... synths included which really makes this score sparkle!
-Erik-host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS! -
- CommentAuthorThor
- CommentTimeJun 26th 2011
Scribe wrote
One may choose to view the synth bits as adding to the personality of a unique, well-rounded score.
It certainly adds to the personality of......something.I am extremely serious. -
- CommentAuthorSouthall
- CommentTimeJun 26th 2011
I think the synth bits are such an integral part of it I can't really imagine it without them. It'd be like Star Wars without the violins or something. -
- CommentAuthorThor
- CommentTimeJun 26th 2011
Well, while I'm a huge electronic music buff, I've always hated JG's use of them. There are some very, very few exceptions that have a quirky charm, like GREMLINS. But LEGEND is one of the worst offenders, IMO.I am extremely serious. -
- CommentAuthorSouthall
- CommentTimeJun 26th 2011
You've said that before. I think it's the most extraordinary use of synths in a film score I've heard. So rare to hear synths, orchestra and choir used so organically, so naturally together. -
- CommentAuthorScribe
- CommentTimeJun 26th 2011
Clearly "quirky charm" versus "offensive" is entirely a matter of personal taste.
This is part of why new scores are becoming so generic, because they have to avoid offending everybody...and in the process end up offending everybody for unoriginality...at least everybody who cares about such things...I love you all. Never change. Well, unless you want to! -
- CommentAuthorThor
- CommentTimeJun 26th 2011 edited
Southall wrote
You've said that before. I think it's the most extraordinary use of synths in a film score I've heard. So rare to hear synths, orchestra and choir used so organically, so naturally together.
Yes, I've said it before, and I'll probably say it again. It's one of my pet peeves (fuelled by the immense Goldsmith defense I usually encounter every time I say it), maybe because I'm such a big fan of synth music and I really feel Goldsmith was clueless about how to use them organically. But of course, that's still an opinion like everyone else's.I am extremely serious. -
- CommentAuthorThor
- CommentTimeJun 26th 2011 edited
NP: SILVERADO (Bruce Broughton)
Still his best score, especially in the film where it turns everything into an operatic western -- pr. Kasdan's wish. Classic theme.I am extremely serious. -
- CommentAuthorSouthall
- CommentTimeJun 26th 2011
Thor wrote
Southall wrote
You've said that before. I think it's the most extraordinary use of synths in a film score I've heard. So rare to hear synths, orchestra and choir used so organically, so naturally together.
Yes, I've said it before, and I'll probably say it again. It's one of my pet peeves (fuelled by the immense Goldsmith defense I usually encounter every time I say it), maybe because I'm such a big fan of synth music and I really feel Goldsmith was clueless about how to use them organically. But of course, that's still an opinion like everyone else's.
Indeed so. I will express my love for this whenever the occasion arises, but all opinions are valid.
What does strike me is that it's actually pretty rare for film music to contain electronics carrying the main melody while there's a big orchestra and choir there too - Legend's one of the few high-profile examples. The synths in the electronic-and-orchestral scores usually feel like a pasted-on afterthought, especially from the primarily-orchestral composers, but here everything just sounds so natural to me. I hope some day someone else is able to write something like it (but won't hold my breath).
Or (alternative attempt to convey the same thing), there are a lot of orchestral scores with bits of electronics added on, lots of electronic scores with orchestra added on, but hardly any where everything is there and sounds like it belongs together. I can't think of any finer example than Legend. -
- CommentAuthorThor
- CommentTimeJun 26th 2011
We've got ourselves some irreconcilible viewpoints here, James. Probably best to leave it at that.I am extremely serious. -
- CommentAuthorSouthall
- CommentTimeJun 26th 2011
I'm sure we'll make the same points again in a year or two, next time it comes round!
