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New Intrada Release Is......


Ollie
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I'm glad this isn't a limited release. The sound clips sound spectacular. I will definitely be ordering this first of September. You can't have too much Goldsmith, mesa thinks. :thumbup:

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Wooo!

Already ordered. This is one of Goldsmith's best, and on my top 5 film scores of all time.

If you're new to it, it might take a couple of times to actually "get it," but once you do, you'll never go back.

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When scores need several listens to "get" it's not a good sign

I disagree with this statement. The full score for Nemesis took me several listens to really love it.

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When scores need several listens to "get" it's not a good sign

I disagree with this statement. The full score for Nemesis took me several listens to really love it.

Me too, and of course with the boot instead of the OST.

John- who should take this opportunity to finally get some more Goldsmith

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When scores need several listens to "get" it's not a good sign

I disagree with this statement. The full score for Nemesis took me several listens to really love it.

You may be one of the only people I've ever seen who dosen't trash everything associated with Nemesis. Good job; you're not as anal-retentive as some of the other Trek fans I've seen.

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Fantastic! I've always hoped this would be re-issued at some point, it's a magnificent score. And I completely disagree with KM's comment - quite a lot of my absolute favourite scores took many listens for me to fully "get".

You may be one of the only people I've ever seen who dosen't trash everything associated with Nemesis. Good job; you're not as anal-retentive as some of the other Trek fans I've seen.

I like Nemesis' score very much (it's my favourite TNG score), and I quite enjoyed the film. Not a great film, but I can't quite see why it got quite as much criticism as it did. I certainly thought it was better than that snooze-fest Insurrection.

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I can't stand the love theme (sounds too North-ish to me, plus, I associate it with Candice Bergan in the movie, who gave one of the worst performances I've ever seen). But the main theme is pure gold, as is the action music.

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When scores need several listens to "get" it's not a good sign

I disagree with this statement. The full score for Nemesis took me several listens to really love it.

You may be one of the only people I've ever seen who dosen't trash everything associated with Nemesis. Good job; you're not as anal-retentive as some of the other Trek fans I've seen.

True story! I think a lot of the people who do that are the ones who would sleep with Kirk if they could though. I don't mean Shatner. Kirk.

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You may be one of the only people I've ever seen who dosen't trash everything associated with Nemesis. Good job; you're not as anal-retentive as some of the other Trek fans I've seen.

Thanks. I keep an open mind when it comes to Star Trek. A lot of the so called fans generally don't... and when a movie like Nemesis or a TV series like Star Trek Voyager comes a long it gets bashed to hell by most fans (I'm not saying anyone in particular here does that...). There's another forum I visit that's devoted to model building and nearly all the members bash Voyager and Nemesis whenever it's brought up and it's irritating as hell.

I love all of Star Trek (from TOS-Voyager, well most of Enterprise anyways and the Movies), despite the flaws that a lot of episodes or some of the movies might have. I even enjoy the music the most.

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Ordered me too! :) This is surely one of my all-time Goldsmith favourite.

I took the occasion to grab also Herrmann's Jason and the Argonauts (the Excalibur Edition conducted by Broughton.. yum! ROTFLMAO)

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When scores need several listens to "get" it's not a good sign

I didn't notice anything special about the expanded Tombstone release the first few times and then it suddenly clicked. Now I really like it.

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An excellent opportunity to replace my old CDR.

When scores need several listens to "get" it's not a good sign

Ah yes... Planet of the Apes, The Final Conflict, Poltergeist, Total Recall, The Fury, Alien³, Farewell to the King, all bad scores...

Though when a Williams score doesn't click after the first one or two listens, it usually doesn't in the long run, either. I guess he just doesn't write those kinds of scores.

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Ah yes... Planet of the Apes, The Final Conflict, Poltergeist, Total Recall, The Fury, Alien³, Farewell to the King, all bad scores...

Though when a Williams score doesn't click after the first one or two listens, it usually doesn't in the long run, either. I guess he just doesn't write those kinds of scores.

I dunno first time I listened to all those I liked them immediately.

But yes it may take 2 to 4 listens to really appreciate some scores. Of course there are some that get worse the more one listens to it.

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I dunno, Marian, some Williams scores really do take a lot of time to absorb. It happened with me with Close Encounters, or the underscore in Seven Years in Tiber, for example.

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I liked it before I saw the movie. But it is attached to one of the worst performances ever. Forever stained the theme in my ears. Not unlike what seeing Star Trek:TMP did to Ilea's theme. Although, in that case, the theme is so great that I can forget the character and story it was attached to.

BTW, Donnagio's Hercules has sold out.

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In order to enjoy great film music there are times you have to forget about what's on screen when you listen.

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Damn it I want this so bad. I fell in love with Goldsmith through that score. This is how scores are supposed to be released in the first place. I wonder if there will ever be an extended Geisha or Munich. I can only dream of it I guess.

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In order to enjoy great film music there are times you have to forget about what's on screen when you listen.

And I did, with Star Trek:TMP. With The Wind and The Lion, it wasn't worth the effort. I liked it before, but was not moved by it, as I was with Ilea's theme, before seeing the film. IMO, it is a case of essential, yet inappropriate film scoring. It theoretically supports the story beautifully, yet it contrasts with the film greatly. And the theme isn't strong enough in my ears to triumph over the contrast.

In general, I do not separate between scores and the movies they're based on. I guess I'm too much of a film person- very few of my favorite scores are to movies I didn't like.

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So I guess this is the score that was being hyped so much the past month or so. Nice. I also lumped in Witches of Eastwick into my purchase too. It's been a while since I've bought a new Goldsmith and Williams CD at the same time.

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Let's not forget that it was that weakling JT Williams who beat the almighty Rasuli..I mean..Jerry to the Oscar that year for a little movie called JAWS.

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In general, I do not separate between scores and the movies they're based on. I guess I'm too much of a film person- very few of my favorite scores are to movies I didn't like.

That's a ridiculous position to take.

It's not a position, it's the truth. But, then again, I do my best not to see films I won't like, so there aren't many scores I dislike because of the movies they're composed for. And Frankly, I think that it's ridicules to judge a score without concidering the film it was composed for.

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Not really. While you can judge it's effectiveness in the film a stand alone listening experience it can have a completely different effect.

In the film the music may be buried under effects or massively edited and looped. Take Arnold's Godzilla, in the film the music is buried at times. While I got a good idea of what it sounded like, once I got the expanded release I even more impressed with it.

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That goes without saying. Of course you cannot get a full picture of score from how it is used in the film. But many scores become far better and far more understandable once you know their context. Scores that may have sounded inane and boring can become fascinating. You can hear an idea in a score that sounds good, but you haven't a clue what it means. Then, when you understand it's purpose, you can fully appreciate the work put into it.

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It works both ways. It can work in the film but sound like crap away from it, or it can sound great on it's own but not work in the film.

My preference is to listen to it as music and not worry about why or what it was composed for.

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As I said, it is a hard thing for me to do, and, in general, I believe that most of the major film composers are good as scoring films, so the scores will generally not be harmed by the association, quite to the contrary.

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Actually, I specifically had Shore in mind. The Aviator is good separated from the movie. But once you see the film, even though the score is not very prominant, you get an idea of what Shore was tackling with the music, and the music becomes richer for it.

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