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Everything posted by publicist

  1. It's no great shakes, and no repeated listening will change this (in either form). WW84 is a much more enjoyable affair, if only due to the few cues that outrageously use a jolly major mode for a change.
  2. Gee, that's...kinda boring, innit? There are a few slant moments where i could, with my ever-busy imagination, hear something desert-y, but all things considered, that's the most fucking boring Zimmer score ever.
  3. Yeah, when you start making movies as a public duty you are in deep trouble.
  4. Ups, there's another Battle on the Ice-clone in The Battle Of Grimball’s Landing. When he fell in love, he fell in love.
  5. I like it. Solistic chamber music, film music needs more of thee.
  6. Apple +, Amazon Prime and Spotify. Hardly have time for more.
  7. Call it the writing on the wall: all labels regularly fuck up since years, and we know that releasing film music is just not financially rewarding anymore (if it ever was), so they put out a product within an affordable care range and if stuff slips through, so fucking what? We may not like it (for me, i really don't care except for weird releases like 'The Mummy Returns', where i kept old Decca cues that sounded better than the new Intrada), but i'm sure it will not get better, but worse.
  8. No, we are living in a rapidly changing business environment and people just don't catch up to it. In other words, customers may feel entitled to a thorough quality check, but it's just not feasible anymore.
  9. Gremlins 2! Whatever you call it, it's just self-contained pieces dropped all over the movie. And they work differently than straight dramatic score. A good compromise would have been to ask Goldsmith (not just on this movie) to limit himself to a smaller instrumental group, because whenever he gets in his Barry-ersatz mode with horns, strings etc. playing in perfect harmony, he sounds like a stereotype. 'Six Degrees of Separation' and 'Fierce Creatures' are positive examples of how much more fresh his chamber music is. All the zany stuff from the middle is freakin great!
  10. I drop these little inconsistencies just to test your attention.
  11. The Goldsmith titles were fine, it was horrid on Peggy Sue, and to a lesser degree on Starship Troopers and Predator 2 (two loud and brutal scores, so at least it's kind of fitting).
  12. Two recent Varése's came in. LOVE FIELD: After the strains of 'Total Recall' and the less than ample rewards, Goldsmith attempted a 'genre purge', refusing from then on action and horror pictures, looking for the blessings of character dramas (Oscar bait, for the more cynical-minded). The results were decidedly mixed, with JG doing a string of chick flicks that he graced with sweet puppy-dog tunes that weren't always to the best advantage of the films they accompanied. Be that as it may, 'Love Field', written around early 1991, has the advantage of being a solid drama about race relations, so the rampant cuteness is bracketed with more somber material for the movie's stoic black character and the problems he and JFK-mad housewife Michelle Pfeiffer (the movie's set in 1963) encounter. The southern settings also beget us a blues/gospel vibe, a rare occurence in Goldsmith's work and a real shot in the arm for the score. It was released as very short album in 1993, so naturally a lot of Goldsmith's motivic work fell under the table or appeared like random musical ideas. It's by nature not the most exciting music to listen to, but a noticeable asset is the elaborate woodwind writing that recalls Goldsmith's 60's work and is a few notches above other scores of that time (especially in tandem with the deep reverb blues piano). Least pleasant are the typical jagged action moments (The Motel) that fall back on familiar clichés and feel a bit cheap in context, but thankfully they are kept to a minimum. All in all a welcome addition, with a few of Bill Payne's replacement cues, that sound like source music but are a nice bonus (Goldsmith's score got rejected halfway, which happened much more frequently from the late 80's onward). THE EIGER SANCTION: John Williams lone score for Clint Eastwood, and one wishes it were for a better picture. Part campy Bond movie, part tense mountain-climbing thriller, its elements never come together and apart from the breathtaking photography (Utah and the Swiss Alps), it's a rather unpleasant affair, with Eastwood hitting about everything offensive he could find (queers, women, toxic masculinity, and not in a charming kind of way). Williams was hired because he was a hot commodity at Universal back then and had a talent for jazz, a Eastwood favourite, even if the movie wasn't an especially 'jazzy' one. The main theme, a vaguely melancholic baroque affair with a distinctly european flavour, has at best a tangential relation to the movie. Like in the disaster movie's of that era, it was kinda hard to come up with anything fitting, so composers resorted to either locale or some other superficial element to grace them with something memorable (see also 'Cassandra Crossing' for a very similar example). The new Intrada fleshes out the other motivic elements, like the 'Family Plot'-like harpsichord idea that turns up much more often here, as well as the many suspense moments from later in the story, which unfortunately aren't nearly as exciting as i remembered them (resembling Jaws 2, surprisingly). So what we have here is a pop score with a lot o groovy variations on the main theme as a selling point, and single pieces from the fist half of the score - Friends and Enemies, the baroque montage, the fierce car chase, one of the best action cues from that time in Williams' career - as well as the Straussian alpine cues, mainly for the beguiling establishing shots of the Eiger north wall (The Eiger, First Sunset). It's all not particularly deep or insightful, but once you've seen the movie you wonder why Williams took it at all. It's very entertaining, though, once you got rid of the fat and the repetitions. My perfect 70's Williams collection is complete now.
  13. Ah, my second-favourite Joe Dante score now finally on Spotify:
  14. Jeez, it was over 100 minutes long, there was so much musical zero-information i just checked in and out. I hope the score album is curated with more care.
  15. It's ok. A bit of Pink Floyd, a bit of Gladiatorian wailing, a good chunk of Angels & Demons repurposed. I had hoped - on this occasion - for more of his Ofra Haza-tinged Prince of Egypt stuff (a desert is desert, after all), but this remains rather vague during the course of 70 minutes.
  16. Obviously not, because it's ancient history and he is testing the waters. I'm sure he's on to something.
  17. Talking about the movie. Score wasn't much good, either, but who expects for Cameron, anyway?
  18. Yeah, but who still remembers...Avatar? (translation: big deal)
  19. Whoever it was/is, the three chapters uploaded didn't reveal anything that the standard actor etc. bio's don't. Why Goldsmith's wife should be offended by reading in print something she obviously knew firsthand about (the kid's didn't like her that much) is beyond me. Sounds like filter bubble bs to me.
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