Erik Woods

It was my favourite score of the year last year by quite a margin, and I think it's one of the best scores of the century! McCreary's wonderfully lyrical scores perfectly complement what came before by taking Shore's brilliant musical template and injecting his own unique sounds and instrumentation to create something that stands on its own but is also instantly recognizable as Middle Earth music! An extraordinary achievement! -Erik-

I agree! It (THE CANDENZA) sucks the energy out of the piece! BTW, I'm no fan of Anne-Sophie Mutter but the arrangement of "The Duel" for solo violin, cello and orchestra was superb! And this particular performance with the Pittsburgh Symphony might be my favourite Mutter/Williams performances of all time... and let me tell you, I don't like anything they've done together. For some reason, in this concert, so far, she wasn't annoying at all. The playfulness between the violin and cello was absolutely spot on, laser sharp and perfectly complemented the spirit of the original cue! -Erik-

The thing about Brianstorm is that we already have a BLOODY BRILLIANT recording of that score. I mean, it's Horner conducting the LSO with an Eric Tomlinson recording that's arguably the best he's ever done! What fans of Brianstorm really want are those original tracks. Stop teasing me like that! -Erik-

While the Intrada release is great, the performances sucks! BBTS would benefit from a proper performance by a proper symphony orchestra. It would really make that score soar! -Erik-

My guess based on the "definitive performance treatment" wording is BATTLE BEYOND THE STARS! -Erik-

2023 ALL REQUEST CHRISTMAS SPECIAL http://www.cinematicsound.net/2023-all-request-christmas-special/ Today we present our second ALL REQUEST CHRISTMAS SPECIAL on the CINEMATIC SOUND RADIO PODCAST. Since launching the CINEMATIC SOUND RADIO PODCAST Patreon in April of 2021, we’ve offered our patrons exclusive perks based on the tier they signed up for. One of those perks is participating in all request programs. For this second Patreon All Request Christmas show, we get to hear some Christmas favourites from the biggest supporters of the Cinematic Sound Radio Podcast including Angela Rabatin, Glenn Mcdorman, Elderly Morningstar, Will Welch, Lee Wileman, Deniz Çaglar, Stacy Livitsanis, Jochen Stolz, Jerome Flick, Victor Field, Carl Wonders, and Joe Wiles. They requested tracks from such composers as Alan Silvestri, John Williams, Yoko Shimomura, John Barry, Henry Mancini, Michael Convertino, Danny Elfman, Philippe Rombi, Anne-Kathrin Dern, Howard Blake, Carl Zittrer and Paul Zaza. Thanks to everyone who participated. Again, for those who didn’t get a chance to send in a request and want to be a part of the next all-request program, we’d love to have you join the CINEMATIC SOUND RADIO PODCAST Patreon family. But don’t feel like you have to join. I’m not forcing anyone to join. Remember this podcast will always be free to listen to but if you want to support the program and join the community we’ve formed on Patreon then we’d love to have you. Enjoy the show!

I documented my experience with the Star Wars Anthology and DCC's Radiers of the Lost Ark in this blog post I wrote back in 2010. http://www.cinematicsound.net/film-scores-i-was-excited-to-buy/ -Erik-

Here you go! https://web.archive.org/web/20160503015454/http://www.filmmusicmag.com/audio/fmr/ots/OTS-130_James_Horner_FMR_Archives_01.mp3

If anyone is going to do it right it would be Jean-Baptiste Martin and his team. -Erik-

This guy loves to fake cry while watching Indiana Jones trailers and whatnot hoping somehow his videos go viral. But it seemed to work on Lucasfilm because he was invited to the premiere.

There aren't many film music journalists (pro or amateur) that write articles like the one you are asking for. I mean, Jon Burlingame might write a piece about it but his writing always skews towards the positive. -Erik-

Indiana Jones and the Raiders of the Lost Ark

Thank you for the input!

COMPOSER CONVERSATIONS EPISODE 5: CATCHING UP WITH CHRISTOPHER WILLIS http://www.cinematicsound.net/composer-conversations-with-david-coscina-episode-5-christopher-willis/ In this episode, David Coscina catches up with Christopher Willis on his recent work, which includes the incredible music for the episode DEMON 79 from the TV series BLACK MIRROR as well as his lyrical score for the feature animated film LAMYA’S POEM. Willis is an Emmy Award-winning composer, arranger, songwriter, and pianist whose diverse career spans film and television soundtracks, interactive media, popular music, and concert works. He trained as a concert pianist at the Royal Academy of Music in London and later as a musicologist, earning a PhD in eighteenth-century music from Cambridge University. His film work includes THE DEATH OF STALIN and THE PERSONAL HISTORY OF DAVID COPPERFIELD, while his work in television spans projects such as VEEP, MICKY MOUSE CARTOON SHORTS, and SCHMIGADOON! He has also recently worked as an orchestral arranger on Eva Cassidy’s I Can Only Be Me, recorded with the London Symphony Orchestra. Enjoy the show!

When I'm re-tagging, The Tagger will draw from Discogs. MusicBrainz Picard takes tags directly through it's own website which is quite comprehensive. -Erik-

Maybe… -The Real Erik-

Maybe they don’t have to since they own the design now. 🤷🏻‍♂️ -Erik-

That’s why I said it was from the PDF of the liner notes. My image compression setting for my PDF reader are pretty low. Well then, it’s up to the artist to take Disney to court for plagiarism. Was this issue ever resolved? Also, maybe Disney got permission from Sony to use the design since that’s who the artist was working for when he came up with the design. 🤷🏻‍♂️ -Erik-

I started digitizing my entire collection the moment the first iPod was announced. As of today, I have over 7100 albums, 145,647 tracks for a total of 297.5 days of listening 24/7. For me, stuff like that is a really easy fix in my tagging app called THE TAGGER. I can just easily use the FIND & REPLACE function and get rid of anything I don't want in a tag or in a file name. -Erk-

Do you think Michael Hussar, who painted ARMY OF DARKNESS, paid FIRE AND ICE artist Frank Frazetta? Do you think Paul Shipper pays Drew Struzen every time he creates a poster in his style? The point is that those new pieces of art are homages that pay respect to the art and artist that came before them. The same goes for music and film. -Erik-

BTW, there's another alt cover on the inside flap. This is taken from the PDF booklet.

I've been listening to the score all week, and it's easily the best score of the year! The opening few cues blur the lines between music and sound effects. I don't like it when scores do this, but what Sato is doing is more musical than trying to completely mimic a sound effect. I can hear basses sounding like air raid sirens and/or Godzilla's roar/growl. A there's something electronic as well that sounds like an atomic charge before Godzilla breathes hell's fire over everything! The score is perfectly mixed with the rest of the atmospherics so that Sato isn't confusing sound effects/sound design and music. The "bending" of certain sounds is cool to hear as well. This is shit lesser composers try to do and fail at miserably. The cue "Divine" is Goldenthalesque goodness! Again, the low end in this recording is beautiful!!!! Clean, deep and powerful! I can't recall anyone else but Zimmer who uses basses this prominently in a film score. I love hearing them at the beginning of "Elegy" as well. There's also stuff in here that reminds me of the unsettling and conflicting emotions of calm and horror in Bobby Krlic's brilliant score to MIDSOMMAR. The cue "Pain" is heartbreaking in it's simplicity. And John Adams' influences are felt in the brilliant cue "Resolution". Actually, nothing can really prepare your emotions for the one/two punch of "Pain" and "Resolution." Holy F__k was all that came to mind while I was listening to them, so hold tight. It's a wallop! The only downside are the irresponsibly placed Godzilla suites, which absolutely kills the tone of the rest of the score. They are completely unnecessary and should really be deleted from the play list. If you want a true and proper first experience with this score, skip those suites. Actually, never listen to them. They aren't needed! They are far too jaunty and whimsical for this score. This score is dark, bleak, foreboding, and deeply emotional. It's a serious, dramatic score unlike anything you've ever heard in the Godzilla film. If you come to this score expecting to hear an Ifukube clone, then you'll be greatly disappointed! Naoki Sato has always been one of my favorites (BATTLESHIP YAMATO, HEROIC AGE, MASQURADE HOTEL. MORIBITO: GUARDIAN OF THE SPIRIT,PRICELESS, etc) and his quality hasn't diminished. This is easily one of his best scores, and that's saying a lot because he has so many incredible, timeless scores attached to his name. I hope you all enjoy this score as much as I do and I cannot wait to hear this score in context when the film comes out! -Erik-

🚨UPDATE!🚨 Server problems have been resolved, and the backlog of episodes is finally being uploaded, beginning with Jason Drury's chat with Panu Aaltio. A big thanks to my good friend Sean Speiran for getting things resolved. ---- INTERVIEW WITH PANU AALTIO Today’s guest on TALKING SOUNDTRACKS has composed music for more than thirty feature films, several TV shows, video games, and a lengthy ballet performed by the Finnish National Opera. His name is Panu Aaltio. http://www.cinematicsound.net/talking-soundtracks-interview-panu-aaltio/ Panu is most recognized for his poignant work on major nature documentaries, but his lyrical orchestral sound has also adorned dramatic scores, including SUPER FURBALL SAVES THE FUTURE and the exciting Baltic Sea adventure FINDERS OF THE LOST YACHT. Another of his recent projects is 5000 Blankets, released in the US at the end of 2022, which follows the story of a woman and her young son, who set out to find her husband when he goes missing after having a mental breakdown, which sparks a movement in their city. Jason Drury had the pleasure of speaking with Panu via cleanfeed in Helsinki, Finland, at the end of January 2023. They discussed his work for television and film, his award-winning music for nature documentaries, his aspirations for the future, and of course, his amazing score for 5000 BLANKETS. Enjoy!

Exactly... he's had a lot of access to John Williams which was my point all along without listing every single time Burlingame interacted with Williams. -Erik-