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Jerry Goldsmith's AIR FORCE ONE - 2019 2CD Varese Deluxe Edition
Richard Penna replied to Jay's topic in General Discussion
Good job digging that up! Reminds me of a few things, including what I later suspected was the actual reason for that temporary ban. Dark days in JWFan... -
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Richard Penna reacted to a post in a topic:
Jerry Goldsmith's AIR FORCE ONE - 2019 2CD Varese Deluxe Edition
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Bonus track:
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Another Star Trek film in the works, by Noah Hawley
Jay replied to Edmilson's topic in General Discussion
As Noah Hawley has been out promoting the new season of Fargo, he continues to drop more hints about his Star Trek movie, -
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I see where you're going with this, but I think its much too harsh. I've done the exercise of taking film series and laying their story on a three-act diagram as though they were one giant film. Its a nice exercise in terms of trying to understand how we think of serialized storytelling. I was quite surprised when I realized that the end of "Act I" in the Harry Potter series (which is when Voldemort first manifests in the flesh) happens halfway through the series' running time, which is much longer than you'd want, but certainly not unheard of. The classic Star Wars trilogy ends its first act, too, halfway through with "stopped they must be." At least with Harry Potter you do know no later than the last third of the first film that Voldemort is - and will continue to be - the main antagonist. That doesn't happen with Vader in the classic trilogy (much less the Emperor) until The Empire Strikes Back, doesn't happen with Thanos until Infinity War, not to mention Darth-Zombie in...that trilogy. The Star prequel trilogy sets-up the main antagonist quite early on, but when you look at it as part of a six-film suite, it doesn't work as well. As an exercise in telling a story across multiple films, Harry Potter is second only to the Middle Earth films; and that's not a fair comparison because that series was made by one filmmaker (and as two productions as opposed to seven). So I definitely think the film-to-film storytelling in Harry Potter is more effective than it is not.
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Other than the rest of the Ultimate War, this was my most wanted cue from Hook for a very long time. I was amazed it wasn't on the OST. It has such an impact in the film. It made this version of Neverland seem exciting, almost dangerous. Thanks for all the suggestions, guys! The more the merrier. I am making a playlist of everything I haven't heard now. I will get back to you when I have been able to hear it all.
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I always thought of this as JW's take on yo ho ho piratey stuff
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One of the best pirate scores EVER, original tracks never released but there’s this great re-recorded suite on Chandos: another absolute classic; Clifton Parker’s score for the very first live action Disney feature (again there’s a modern Chandos recording with over 20 min of the score): Not *exactly* a pirate movie, but another cracking seafaring score by the same composer over a decade later: Anne of the Indies by Waxman has some awesome stuff...for your compilation I’d use the Kunzel suite (which I can’t find online at the moment) but here’s the original recording: You should get this fine Kunzel album which in addition to a great sounding suite from Anne of the Indies also has other goodies like Waxman’s Captains Courageous and Bernstein’s The Buccaneer: https://www.discogs.com/Erich-Kunzel-Cincinnati-Pops-Orchestra-Masters-And-Commanders-Music-From-Seafaring-Classics/release/8869332 Some Captain Blood and The Sea Hawk by Korngold would also be good to include — maybe the Gerhardt recordings there. This is the one awesome cue I would absolutely prioritize including from the Pirates of the Caribbean franchise: I’ll come back if I think of more. Yavar
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Light in a similar way as the New Year's Concerts, only without the focus on the Strauß dynasty. But that's how they first performed Williams as well. -
The only Refn movie I've seen is Drive and I didn't like it
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Ludwig Göransson's THE MANDALORIAN
The Illustrious Jerry replied to Evanus's topic in General Discussion
I'll be honest when I say that the score to Chapter 5 was not as immediately keeping as the episodes prior, but over time I have come to appreciate the progression it marks in the series. It's hardly a musical turning point, but there are certainly some new tones that appear in passing as the mid-season one-off adventure permits. Considering how diverse the sound palette of the show is, this particular chapter features some of the strongest mismatching of ideas, ranging everywhere from a brass-led space dogfight to a dynamic twangy guitar setpiece. Interestingly enough, Chapter 5 boasts the shortest runtime of all the mini-albums, clocking in at twenty minutes, with less than two minutes of unreleased music, as I'll discuss further (note that after Chapter 4 I have not rewatched with unreleased music in mind, so I'm leaning on CGCJ's fantastic spreadsheet at this point). Let's give it a shot! Unfortunately, we don't hear much of Warm or Cold in the episode proper. Fortunately, the cue is included in its entirety on the OST. Surprisingly, this is the first taste of space battle music, as any other flying scenes have acted as transitions thus far (aptly underscored by that wavy synthesizer). Suspended strings run up and down as the fanfare gets stretched and pulled across the orchestra. As the stakes heighten, the utility theme walks a tightrope and delivers a strong sense of danger. A short intro segment sounds confidently as the tables turn, and leads into a verbatim Western title card. Dead Heads is a forty-second unreleased cue that, if I recall correctly, largely features a drum pattern used multiple times throughout the series. Bright Eyes is most certainly a delectable little nugget in the grand scheme of the score. An uncertain opening of eerie synths make way for a lighthearted pizzicato and woodwind serenade, with dressings from harp and a certain "marimba"-esque synth that should ring familiar for those who read my write-up on Chapter 4. This cheery, bouncing excerpt takes the cake over the off-kilter Jawa motif (we'll get there in a moment) for the most Prokofievan melody in the show, embodying that playful innocence that Williams' tapped into with the Ewoks. It's certainly a unique passage in the score, standing above comparison to any other cue. Stuck With Me Now, to me, is fairly standard underscoring. We hear a deep, dark string line, foreshadowing the changing fate of the newly introduced rookie bounty hunter, but there's little else of note present here. Speederbikes is a short cue, but centre stage of the episode nonetheless. From the get-go the rhythm of the Jawa motif is borrowed and reshaped, this time taken up by full orchestra, ringing out joyously from the trumpets. A "surfing" guitar and familiar percussion bring in the new idea of the episode, which has both multiple parts and, in turn, multiple uses. Desert Raiders, only heard in episode, is fairly similar, but works out the new motif immediately. Raiders is a rather intriguing cue for being, again, so short. The overlapping muted trumpets outline the very last notes of the fanfare, evoking a sound that reminds me of something out of Star Trek (cannot put my finger on it exactly, but I think you'll understand what I mean). The rest of the track is a soundscape dominated by pattering drums and a very wild (and unorthodox) woodwind of some sort. I have no recollection of hearing the next cue, First Watch, and given that it's no longer than half a minute, I'd wager it's not especially integral. Night Riders offers a bit more space for the speeder motif, intermixed with cutting electronics that signal the rush of the bikes across the sand and the path of the flares in the night sky. A solo oboe ends the cue, which picks up again in The Hangar. Decidedly pretty winds and harp rise and fall before atmospheric strings take the reigns. That same brooding line from Stuck With Me Now comes full circle. As a last little Easter egg (emphasis on egg, hehe) the snooping synth from Chapter 2's The Egg reappears, and not for the last time either. In Farewell, the Child's theme makes a rare but gorgeous appearance, reaching upwards on solo flute with a lovely harp accompaniment (John Barry, is that you?). The fanfare picks up with a bopping synth, and a full orchestra (and recorder) mark the end of the episode with the riff. The track ends with some dark, menacing elements for a brief tease at what must be a Season Two revelation. We'll know soon enough! Glad I was able to follow up so soon. I aim to wrap it all up in the coming weeks and make all my notes and analysis available in a neat PDF, to keep things in one place. I am considering going back to Chapters 6, 7 and 8 as there's a lot more unreleased music there that I'd like to bring to light (twelve cues!!!). As always thank you for reading and cheers! -
Jerry Goldsmith's AIR FORCE ONE - 2019 2CD Varese Deluxe Edition
Jay replied to Jay's topic in General Discussion
I found it! Ricard made a new policy about not discussing bootlegs about a month before Wojo's post, and posted it as an announcement, not a discussion thread. I don't remember any of this, but apparently I copied the entire text of his announcement in this thread here: https://www.jwfan.com/forums/index.php?/topic/17524-jwfans-new-bootleg-discussion-policy/ This was well before I was a mod, Mr. Breathmask was mod at the time. I think this policy was only ever lightly enforced and didn't accomplish much, and just kind of got phased out organically without any hurrah. One of the first things I did as a mod was go over all the rules Ricard wanted for the forum and we rewrote some together, and that got posted here in 2011 https://www.jwfan.com/forums/index.php?/topic/20175-forum-rules-please-read-before-posting/ So apologies for misremembering, while it has been allowed for the majority of the past 21 years, there was indeed a brief window where Ricard had second thoughts about it -
The Main Theme to "Assassin's Creed: Black Flag" "The Scumm Bar" from "Escape from Monkey Island"
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Thanks... shame, it's kinda what I figured. Back to the Matrix Trilogy, Jurassic Park III (still fingers crossed on an expansion of that, I think it's a great score and far more enjoyable than the Giacchino efforts, albeit not up there with JW's original two) and... for now, Warriors of Virtue!
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ur never old if ur young at heart mate
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In the interest of providing some tracks outside the usual, Two Steps, while not film music composers, make a habit of usually having one pirate pun track per album and they're all usually bangers. You also have McCreary's theme to Black Sails. And since you mentioned Cutthroat Island, Debney recently brought back his pirate sensibilities for the latest SpongeBob movie to fun effect: And then I'll end by throwing in a little David Wise for good measure.
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Sure, Squid-Board has some good selections of pirated music! (Just kidding ) Treasure Planet is a good one; has both pirate music and scifi music together, really good score.
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Gotcha! You're clearly not senile!
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Not as far as I could tell.
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What Is The Last Score You Listened To?
Naïve Old Fart replied to Ollie's topic in General Discussion
I hate you...twice. -
Does this release add something that's not on the promo?
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Now...er...what was I saying? Yeah, that's right; today, while talking with some friends...
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IN HARM'S WAY: a good score, from a good film.
