What are you listening to now?
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One of my top 10 scores of 2022. Haunting is an over-used word, but it fits here. Mysterious and warm at the same time, describing the turmoils of youth.
Hands down one of the greatest compositions Ennio Morricone ever wrote. One of his longest scores, it’s about 90 minutes (without “alternates”), composed through, with many great set pieces and developed themes. I’ve never seen NOSTROMO (a four part TV miniseries), and it’s probably not one of Morricone’s more famous works, but it’s up there with his all time greatest work.
I had heard so many scary things about NOSTROMO and how challenging it was, but when I got to it, I was gobsmacked by its beauty. What on earth were people on about?
Interneting, Never heard people call this a “challenging” score. I agree. NOSTROMO is a classic, epic score, very approachable. Morricone has written his share of “difficult”, unmelodic or atonal music, but this is no such case.
A film score album that exemplifies everything I love about film music. A lyrical 12-tone composition with echoplexed electronics and warped synth sounds.
It’s an album I put only on when I have the time to really listen to it beginning to end.
Film music doesn’t get any better.
I had that on an LP-to-CD-R once. Don’t know what happened to it. Fascinating score.
Are you listening to music on your portable telephonic device?
I’m listening on my home stereo, sitting on my couch; the image I posted is a reduced screenshot from my phone’s remote app
It’s really a delightful score, this, which I got as a “bonus” on the Chapter III release of Williams’ PENELOPE. Smooth, breezy, loungey. Beyond this, THE ADDAMS FAMILY and the SUITES AND THEMES compilation that was put out on FSM (I think), that’s about it as far as my Mizzy knowledge is concerned. Some day, I need to explore more.
Impressive score, one of the top 10 of 2013 for me (it was featured in the very first top 10 of the year podcast episode that I did). Only 33 minutes, and Reyes’ original piano concerto, which plays a central, diegetic part in the thriller, takes up 90% of it. I know it’s one of Sigbjørn’s favourites too – one of the rare times he speaks about a score that isn’t LADY JANE and STAR WARS! 😉
Great Goldsmith that gladly got an official release!
Never actually heard Reyes’ GRAND PIANO but heard a lot good about the piano concerto.
There aren’t a lot of Goldsmith soundtracks I’ve never heard, but THE REINCARNATION OF PETER PROUD is one of them. Without going all YouTube bonkers, what’s the style, in your words?
If I had to compare the score and put it in relation to other Goldsmith scores: it does have a dose of THE ILLUSTRATED MAN and THE MEPHISTO WALTZ, if the MEPHISTO WALTZ were restrained score (which it isn’t). THE REINCARNATION OF PETER PROUD is 70s Goldsmith, he wrote some quite inventive and experimental works. It belongs to the type of music that originally drew me to film music. It’s orchestrated for a chamber orchestra, piano, percussion, and synthesizers. THE REINCARNATION OF PETER PROUD is for the most “dark melancholy”, more subdued suspense. It’s more melodic than the other two scores I mentioned, many cues seem slow and nostalgic, but there are often electronics that slinker menacingly through the music.
This is a great 2CD set, but it’s also become somewhat of a “cushion” to me, as it’s made me postpone a PROPER exploration of Cosma’s enormous catalogue (with some odd exceptions, like LES MONDES ENGLOUTIS – a TV series and score that is very special for many Norwegians my age). But really, it’s hard to know where to start or stop with his work, which is extremely eclectic.
Yeah, THE STAND.
Never watched the miniseries, never picked up the OST. When Varèse Sarabande released the Deluxe Edition, I picked it up. Listened once to it, and loved it. Just never got around to listen to it a second time. Yet.Currently listening to:
Yeah, nice score, from the early years of John Williams career, and also from my earliest days as a film score collector. I got the LP way back when I started collecting film scores.
There isn’t much music in the film, and the score is more a series of some nice lounge cues with a very few dramatic pieces of score.
Did they take out those speaker-hazardous sound effects for the new release? I obviously only have the Varese CD that came out in the 90s.
Yes, the Lalaland Disaster box does have it clean and also the actual film version as thte Varese is an album version as you surely know. Sadly I never got around to buy that expensive box as always other stuff getting in the way…
To be honest, I never really cared much about film versions vs. album versions. That’s an area where I’m defintely NOT a moth! As long as it plays well on album.
But good to know there’s a version without those rumbling sound effects. I never understood why they did this. Same with those (otherwise brilliant) Kunzel albums from the 90s, with earshattering sound effects between tracks.
The La-La Land Box set features both the film recording of EARTHQUAKE, as well as the album recording of EARTHQUAKE, and the latter both with and without the sound effects of the LP, remixed and remastered, it does sound better than any previous release of the music that I know.
To be honest, I never really cared much about film versions vs. album versions. That’s an area where I’m defintely NOT a moth! As long as it plays well on album.
I assumed that 😉 I only sampled it but some tracks, especially the source tracks are quite different as Nick surely can confirm.
I don’t always care but sometimes if the film versions are different. For MISSOURI BREAKS and EIGER SANCTION the difference is that the film versions have a much more rougher sound which I actually like. Not as huge as with Goldsmith’s CAPRICORN ONE though.
But good to know there’s a version without those rumbling sound effects. I never understood why they did this. Same with those (otherwise brilliant) Kunzel albums from the 90s, with earshattering sound effects between tracks.
Well, we were not the target audience 😉
Walden trying to out-do Ry Cooder with twangy, moody Americana. Dig this score.
I had Waldens THE STAND once but it was one of the few CDs I ever sold (and regretted, just to repeat that). The main title was great. That it sounds a bit like COoder is no much of a surprise since Walden is also primarily a guitarist.
While some CDs sell out way too soon, others linger and become clearance items. Unjustly in this case, definitely. A wonderful anthology with some very creative and atmospheric scores.
I know Intrada’s TWILIGHT ZONE 80s revival 3CD set bombed big time, so big that it will never be re-printed or get a sequel, which is a shame, because that one featured wonderful short scores by the likes of Basil Poledouris and Christopher Young and Craig Safan, among others.The same fate will likely meet this wonderful anthology set of scores by composers such as Bear McCreary and Mark Isham, among others. Which is a shame. It seems these short scores tickle the creative bones of composers, and perhaps they are allowed more free reign, as less is on the line when you compose a score the length of Debussy’s “Prelude de l’apres midi d’un faune” for an original TV episode than when you composer a score the length of a Brucker Symphony for a feature film.
Anyway, I’m glad I have this.
That’s a pretty decent set, actually.
Yes, I love these anthology show soundtracks, with different identities for each episode. Same with BLACK MIRROR, although the episodes here get their own soundtrack releases, mostly.
Also, Moviescore Media has released a number of albums featuring a selection of short film scores; serves kinda the same purpose.
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