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No. How is it like?

I've been meaning to spruce up my Hisaishi collection for a while, and there's really no excuse for me not to have Spirited Away, is there? Given that it's released domestically and therefore affordably. I'll definitely have to put that on my hunting list.

NP: The Bourne Supremacy, John Powell.
I stick to my guns on this one: it's a very well-rounded album, to be sure, but I find nothing on there, not one thing, that can compare to the energy of "Tangiers" from Ultimatum. Not even that famed "Berlin Foot Chase". Plus, I have a soft spot for ethnic music, and the middle-eastern flavour of "Tangiers" just makes me go wild.

NP: The Kentuckian/Williamsburg - Bernard Herrmann
William Stromberg conducting the Moscow Symphony Orchestra

There is only one team out there consistently doing excellent re-recordings and that would be John Morgan, Anna Bohn, William Stromberg and the Moscow Symphony Orchestra. Even if it’s for a score that I don’t like – Mysterious Island – a can still appreciate the effort that went into making that album the best possible Mysterious Island album out there. The Kentuckian continues Tribute Film Classics trend of presenting to us albums with brilliant sonics, brilliant performances and top notch album packaging.

The score itself begins with a rousing overture which I will be returning to often. I’m sure it will become one of my favorite Herrmann pieces. The score then slows down quite considerably and becomes something a bit more reflective, smaller in size and intimate. What I find very interesting about this release is the conscience decision to combine shorter cues into one… so to speak. While each cues still has it’s own track number the shorter cues, some not lasting longer than a few seconds, bleed into one another giving the listener a complete Herrmann album that flows like a ballet or complete concert piece rather then just a pile of cues performed start to finish with 2 seconds of silence in between disrupting the flow of the music. This is something other Herrmann re-recordings DON’T do and which is why listening to a complete Herrmann score on its own is a most difficult one. But what the Tribute Film Classics team has done is given us a wonderful listening experience while at the same time demonstrating Herrmann’s strength in creating coherent scores where each cue brilliantly compliments the cue before it and after it! How many composers these days are doing this?

For those looking for a Bernsteinesque western score you will most certainly be disappointed. While Herrmann’s score is rich in Americana it pays homage mostly to folk music heard around the mid 1800’s and early 1900’s. The score rarely goes big but when it does it is most impressive. The tracks "Steamboat/Welcome Aboard" wakes you up from your tranquil listen about 20 minutes into the score which is a wonderful upbeat cue with some odd orchestrations. The rest of the score continues with the tranquil nature and relaxing feeling we got in the previous 20 minutes mostly performance by strings and woodwinds. As we get to the end of the score it get more dramatic and dark but still contains those great lush themes we were introduced to at the beginning of the score. However, there are no trumpets or heavy brass in the score which again is odd for a western themed score again proving Herrmann as a master of odd orchestrations and a man who continuously went against the grain with his music.

Overall, this is a fascinating listening. While The Kentuckian doesn’t contain the excitement levels of other western scores it’s still a most rewarding listen especially if you just want to grab a nice drink, sit in a big comfy chair, kick off your shoes, put your feet up and relax. The Kentuckian is a most wonderful and rewarding experience.

I haven’t listened to Williamsburg yet but from what I’ve read is a score that pays homage to some of Herrmann’s favorite British composers while at the same time including some Yankee favorites along the way.

For those who are interested in film music re-recordings, the music of the Golden Age or are looking to expand their Herrmann collections to include one of the composer more listenable complete scores then I highly recommend this album.

-Erik-

I really enjoy that album, of particular note is Crocket's Theme whicch for various reasons holds a special place for me.

NP: Eagle Eye - Brian Tyler

Not bad! Thank God it's not as ridiculously noisy as AVP:R. This is a bit more of a coherent album with influences from Hans Zimmer and John Powell with Tyler's unique signature stamped all over it. This reminds me more of a John Powell score than anything else. The Borune lifts are evident and easy to hear. The Bourne string motif is a glowing example. I also hear Chris young's influence in this massive action spectacular as well. "Injection" has Chris Young written all over it. I will say this that "Potus 111" is one massive and impressive cue! Big, bold Zimmeresque music!

Overall, it's a meaty score but still leaves me a bit cold. I don't get incredibly excited when I hear the action cues. They're nothing really new but I find it much more enjoyable than a Zimmer or RC effort... not because it's a better composition but because of Tyler’s use of orchestra and that it’s front and centre in the final mix. I like that the orchestra plays a dominate role in this score. But I don’t hear anything truly memorable or worthy of repeat listens but I think it beats the pants off most of Tyler’s most recent efforts.

-Erik-

PS - Anyone else want to cringe when the "Eagle Eye End Title" plays? Tap that Maple Tree and bring on the sap!

Erik, here's a tip: give it some time and lots of listens, before your final decision on EAGLE EYE

I might go for another ride later but I can't remember a theme or anything that really stood out that has me wanting more. Like I said, the only tracks that rally impressed me was "Potus 111" Besides that... well... I'd rather listen to...

NP: Hudson Hawk - Michael Kamen with Robert Kraft

Oh ya! I'll take a big, ballsy Kamen score over Tyler anyday. The album opens with a fun, playful and noble English styled theme. The action cue “Stealing the Codex” is only 2 minute long and boy how I wished there was more. Classic monster Kamen action track. I adore the silly cue “Igg and Ook” with its tip of the cap to The Addams Family. Things continue with the bizarre in “Cartoon Fight” Bells, Cow Bell, Harpsicord, full symphony orchestra is a delicious Mickey Mouse cue. It’s a whimsical ride that ends far too early. There is only 31 minutes of score on the album with a great jazz finale cue but at least that's something which is always better than nothing.

-Erik-

Glad you like it Pawel
I also think Eagle Eye is his best effort in a long time (at least regarding his action scoring), with a perfect balance of his over the top action writing and the more soft and melodic passages.

Of course the influences you mention are there (his own, the Zimmer ones, the Bourne ones ), but he does it in such a cool and strong way I can´t (and won´t) criticise him for that.



What about "Symphonic Touge" and "Touge"?

One of my favs from Silvestri. ACtually I enjoy it more than The Mummy Returns and Van Helsing. "The Seduction" theme is one of the best themes he´s written IMO.

NP: The Strangers by Tomandandy

Joep, I think I have found my new Glimmer Man, this is total crap

I tried to listen to E.T. but couldn't hear it because of noises of a laundry machine in my room.
So switched to something more noisy...


NP: Pirates Of The Caribbean: Dead Man's Chest - HZ

I want to listen to E.T. in a good environment.

Though I love Jack Sparrow track on PotC2, actually I rarely play other tracks... but I play Kraken when I want to forget something. lol

Yes!!!! Much better mode than his "Father-of-the-Bride-mode". Or his "Judgment-Night-mode" *snooore*

Of course, i was ready to hit that reply with the same comments and then i saw yours buddy! Cheers

Beowulf is an awesome score album, I love that guitar in the theme. Badass mutha fucker!