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Far and Away (1992) - 2020 2-CD expansion from La-la Land Records


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That is why it is so low on my list. I will still buy the new set and maybe that changes my mind about it being the autopilot score of that decade. Every decade of John Williams' career has one:

1970s: Midway

1980s: Always

1990s: Far and Away

2000s: The Patriot

2010s: The BFG

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2 hours ago, Brundlefly said:

1990s: Far and Away

2000s: The Patriot

 

 

The Patriot is great! One of my top 10 JW scores ever. And Far and Away is pretty good as well.

 

I'd say his autopilot score of the 90s is Stepmom and the 2000s is KOTCS. 

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37 minutes ago, bollemanneke said:

Stepmom isn't auto-pilot, it's just bad.

 

What on Earth are you talking about? It's a fantastic score. Absolutely nothing auto-pilot about it, painting the autumny feel of the movie in airy acoustic guitar and the warm strings/woodwinds thing he does so well for intimate dramas.

 

In fact, there are very few autopilot scores in Williams' career, and the few there are, are mostly found from 2006 onwards.

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5 minutes ago, Thor said:

True, although in the case of RAIDERS, I actually prefer the DCC. You just chose one of the extremely few JW soundtracks where I prefer the expansion over the original! :D

You also prefer the columbia (?) expansion of Goldsmith's Star Trek TMP to the OST IIRC.

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Yup, I do have a couple of expansions. I also prefer the Arista STAR WARS versions over the OSTs.

 

7 minutes ago, Fal J. M. Skywalker said:

You also prefer the columbia (?) expansion of Goldsmith's Star Trek TMP to the OST IIRC.

 

Wow, excellent memory. That's true.

 

Back to the 90s for a minute, I actually found SAVING PRIVATE RYAN extremely boring when I got the soundtrack as a young man. But as I've grown older and wiser, I've come to really love it. So many nuances and sophistication in what first appeared to me as Americana drones.

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18 hours ago, Ricard said:

When you keep talking about 'scores' when you're actually referring to OSTs you're confusing people.

Based on the OST, one should be able to determine, whether a score is auto-pilot or not, don't you think. I mean, it's not like you need every single cue in order to be able to say something about the main characteristics of the music.

 

16 hours ago, Thor said:

Back to the 90s for a minute, I actually found SAVING PRIVATE RYAN extremely boring when I got the soundtrack as a young man. But as I've grown older and wiser, I've come to really love it. So many nuances and sophistication in what first appeared to me as Americana drones.

I'm not a fan of the repetition of the OST program. Since I'm listening to the (13 minute shorter) complete score, I've come to enjoy the score.

 

18 hours ago, Jurassic Shark said:

Wrong about Stepmom not being boring? Yes.

You are wrong in this case.

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6 hours ago, rough cut said:

Whoever said KOTCS is an autopilot score needs to disconnect the soundtrack from to movie to which it belongs.

 

The movie was bad, but the score is full of highlights. 

What are the highlights according to you?

 

Indiana Jones is probably my favourite series of movies and scores.

But the music to the fourth movie doesn't really work for me either.

Best bit is the unreleased ending to The Jungle Chase ("Ugh, Vines!").

 

There's something about the brass that sounds 'off' too.

That seems to apply to most modern Williams adventure scores.

But it bothers me the most in Indy.

It kind-of sounds alien instead of earthy like it used to.

(I'm no fan of the alien angle to that story. At all...)

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23 minutes ago, Pieter Boelen said:

But the music to the fourth movie doesn't really work for me either.

 

 

Me too. I've tried so hard to love Indy 4 (the score, not the movie), but... I dunno, it seems for me that there is an amazing score hidden in an ocean of dullness.

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6 hours ago, Brundlefly said:

Based on the OST, one should be able to determine, whether a score is auto-pilot or not, don't you think. I mean, it's not like you need every single cue in order to be able to say something about the main characteristics of the music.

 

I'd say it all depends on the selections and length of the OST in relation to the complete score.

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On 3/23/2020 at 1:06 PM, Brundlefly said:

That is why it is so low on my list. I will still buy the new set and maybe that changes my mind about it being the autopilot score of that decade. Every decade of John Williams' career has one:

1970s: Midway

1980s: Always

1990s: Far and Away

2000s: The Patriot

2010s: The BFG

 

These are all scores that I love (well except for The BFG as I haven't yet listened to it).

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I'm just curious how this partnership between JW and Ron Howard came to be. 

 

Howard always worked with A-list composers, from Horner to Zimmer to Thomas Newman and now John Powell, but with Williams it was just once. And the two of them certainly should've worked more.

 

How a JW score for Cinderella Man would be like? Or A Beautiful Mind? The Da Vinci Code? Angels and Demons? As good as these scores are, one can't help but wonder what JW would've done.

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10 minutes ago, Edmilson said:

I'm just curious how this partnership between JW and Ron Howard came to be. 

 

Howard always worked with A-list composers, from Horner to Zimmer to Thomas Newman and now John Powell, but with Williams it was just once. And the two of them certainly should've worked more.

 

How a JW score for Cinderella Man would be like? Or A Beautiful Mind? The Da Vinci Code? Angels and Demons? As good as these scores are, one can't help but wonder what JW would've done.

 

Maybe Tom Cruise was involved with choosing him. JW has done a few TC movies.

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Probably was that, indeed. Williams had already scored Born on the Fourh of July by then, and Cruise used his clout to get JW to score his sweeping romantic epic.

 

Afterwards, Howard probably thought that Horner's and Zimmer's fee were smaller than Williams'... lol.

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41 minutes ago, Edmilson said:

I'm just curious how this partnership between JW and Ron Howard came to be. 

 

Howard always worked with A-list composers, from Horner to Zimmer to Thomas Newman and now John Powell, but with Williams it was just once. And the two of them certainly should've worked more.

 

And "Solo A Star Wars story"?

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3 hours ago, Pieter Boelen said:

What are the highlights according to you?

 

Indiana Jones is probably my favourite series of movies and scores.

But the music to the fourth movie doesn't really work for me either.

Best bit is the unreleased ending to The Jungle Chase ("Ugh, Vines!").

 

There's something about the brass that sounds 'off' too.

That seems to apply to most modern Williams adventure scores.

But it bothers me the most in Indy.

It kind-of sounds alien instead of earthy like it used to.

(I'm no fan of the alien angle to that story. At all...)

 

If I were to make an EP out of the soundtrack, this is what I’d pick:

 

Raiders March

Call of the Crystal
The Adventures of Mutt
Irina's Theme
The Snake Pit
The Journey to Akator (0:00-1:15)
Finale

 

Now that’s a perfect Indy-playlist right there!

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11 minutes ago, rough cut said:

 

If I were to make an EP out of the soundtrack, this is what I’d pick:

 

Raiders March

Call of the Crystal
The Adventures of Mutt
Irina's Theme
The Snake Pit
The Journey to Akator (0:00-1:15)
Finale

 

Now that’s a perfect Indy-playlist right there!

Hopefully the actual concert version Irina's theme and not the edit from film cues on the OST.

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