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The Five Tones

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  1. Similar. In ROTJ it's more exposed in the mix and has a gesture-like LFO effect - could've been Minimoog, Oberheim, Roland Jupiter, Prophet 5, so many period instruments. In River, it feels a little like the breathy pads of the peak 80s a la Peter Gabriel - Synclavier, Fairlight or even Yahama DX-7. Great mood setting opener! Also, he really nabs you with that deceptively simple main theme. The 4-3 suspension resolved, stoic, sometimes harmonized with the flat seventh degree, bluesy, contemporary, unwavering within a changed harmony. Perfect music for a family... with a little interval nod to another: Luke & Leia. The second family theme with its parallel minor seventh chords is quite noirish, and adding to what I wrote above about disaster specifically Earthquake, "The Hotel" has that "City Theme," 5-7pm, hard liquor on the rocks feel (I've no recollection of what actually happens in that scene after 35+ years!)
  2. Have listened now and really like it (in that rainy day, mellow mood way others have mentioned). It fits a niche in his output. Matessino describes it as a return to his Americana period that ended in 1974, which is quite evident, but it also felt literally like a return to 1974 in some ways, as though The River was another disaster score and not a farm family drama. I can even hear the main theme with a brass variation and a deep low note, a la Towering Inferno main title, although that is beyond the scope of this score. Even the acoustic drum kit in End Credits (The River) echoes that instrument's presence in Earthquake, an overt reference to the everyday world and the music of the street after so much fantasy genre music. Those Simmons drums in the film version of Leaving Home sound like Sly Dunbar got on the track after finishing Black Uhuru's Anthem sessions! In any case, The River is the soft close to his golden decade. I do hear style touches here and there that connect to SpaceCamp, even though that film is on the other side of a two-year feature scoring sabbatical.
  3. Arrived in Toronto this morning, 15 days after ordering. Grateful to still be able to have this access and engagement during these times.
  4. Sure. But now we all need to know MM's or someone else's rationale for the ordering... JWFan won't rest until the reason is known, lol
  5. If it really mattered, I agree, most expansions put the OST presentation at the back, kind of like singles, remixes and live versions on pop expansions... in the order versions were created. But, does it really matter? Isn't everyone ripping their collection to iTunes or another player anyway. These releases always end up on several lists for me: JW master playlist, JW (by decade), LLL as issued, JWFan C&C, iPhone list, etc. and tracks are variously reordered, omitted, adjacent to different programs depending.
  6. Those for sure would be a "top 3 Gothic" alone, but I mean it very generally to refer to the darker, melodramatic, almost (but not quite) operatic side. So not just the actual period Gothic setting of those pieces, but the American gothic of pieces like Nixon or Black Sunday or even Minority Report, bits of Sleepers. The Kryptonian act of Superman which I love. "The Hungry Sea" episode of Lost in Space, that weirdly explosive First Act Finale from Fiddler on the Roof. Gothic in the way ANH is that none of the other episodes quite are (possibly due to the darker sound of its recording). TLJ minus the Canto Bight sequences. Much of CE3K. When the Chinese invade in Seven Years in Tibet. The macabre, tragic or foreboding moments, still very tonal as opposed to the modernistic or experimental textures. And not the rhythmic, action/chase stuff, which I also love. Definitely it's there in places in the sound samples I heard of The River. Obviously, only one side of what he does so well. I'm looking forward to this score as I suspect it captures a more casual, personal JW ca. 1984, as well as including other sides like Americana (he has 52 flavours of that), folk and pop/contemporary. Not sure 16 year old me would agree, and would have far preferred ToD back then.
  7. Ordered. Saw the film somewhere in the 80s and haven't thought about it or the score since. I would rather The Reivers (if we ever get it) with its time capsule approach to Americana, than The River which feels like a time capsule now by default, but it is from his golden decade so hard to pass up. I'm sure I'll find material I'll gravitate to even though I'm more fantasy/gothic side with JW.
  8. A wonderful archival edition to have - what a scoring year for him. There's a metascore feeling to it, with echoes of existing repertoire and hints of things to come. I listened to the intense early act of the score before referring to the notes or revisiting any material on the film, it works without getting specific on subject as Jerry's style works its own narrative magic. Somewhat reductive from what I might've expected in this period though brilliantly so and also among his most dynamic including Alien.
  9. In the mail today (9 days after ordering). Arrived home too late to focus on but tomorrow night!
  10. Got a shipping notice yesterday so should arrive soon, usually within a week or not much more from Burbank to Toronto.
  11. nominally better than Horlicks. Growing up in the 70s it was the allowed alternative for Quik (now Nesquik) in my house. You could never really get those instant coffee-like crystals to dissolve properly in cold milk.
  12. I was listening to TFA the other day and I thought of this sub-topic, and (you may well have noted that) the progression appears in major mode form as the tension mounts before Kylo kills Han, foreshadowing post-kiss Ben but still with the ambiguity of the 2nd degree ending:
  13. Bravo! Not a film or score that has been on my radar (cultural and personal experiences and ultimately, interests and tastes informed by same) but going to look into it now that it has the MM/LLL stamp of approval. And obviously it's a major item with the fan base. Will definitely check out Maurizio's episode about it, he always makes everything sound fantastic! Are there sound samples? May be enticed to order it alongside Goldsmith's The Swarm LLL release, which should be lots of fun.
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