What are you listening to now?
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I have the old Cinema Septet CD by Young, which also has the first two on that disc, if memory serves. I’m guessing they reused that? (THE TOWER, I have on its own digital album….great score).
Cinema Septet I missed back then. Since that’s long out of print I think BSX is basically re-issuing. THE TOWER I have as well but I haven’t listened to it in ages and don’t remember how it is. Never really disliked any Young though.
I recently listend to another early Young compilation:
https://www.discogs.com/release/2529918-Christopher-Young-Def-Con-4-Original-Motion-Picture-SoundtrackRanges from Goldsmith like (DEF CON 4) some action stuff that reminds me a bit of Horner’s 48 HOURS (AVENGING ANGEL) some light Jazz (TELEPHONE) to atonal (TORMENT). Remember I bought that one probably in the late 90s for a few euros (back then even “Mark”) 2nd hand.
I have the old Cinema Septet CD by Young, which also has the first two on that disc, if memory serves. I’m guessing they reused that? (THE TOWER, I have on its own digital album….great score).
That’s right, both VIETNAM WAR STORY and THE MINSTREL’S SONG are on Cinema Septet, but on that release they were one each long track; now both have been split into six or seven separate cues. The liner notes also say that VIETNAM WAR STORY has been “revised”, but I’m not sure if that means anything more than the division into tracks (I haven’t compared them).
Ranges from Goldsmith like (DEF CON 4) some action stuff that reminds me a bit of Horner’s 48 HOURS (AVENGING ANGEL) some light Jazz (TELEPHONE) to atonal (TORMENT).
Yes, that release sure covers a lot of styles!
RVW is maybe my favourite classical composer, mostly due to the pastoral beauty of things like Greensleeves/Thomas Tallis/Lark Ascending etc. So when people went on and on about his ANTARCTIC film score, I eventually decided to check it out a few years ago, in its Gamba performance. Well, there is only a fragment of that pastoral beauty in it, but it’s pretty good for what it is, with all its dramatic highs and lows. Largely tonal and “English” (a lot of RVW’s modern stuff alienates me a little bit), there’s still about 10 minutes of non-stop, Rozsa-ian brooding at the end there, though, which is pretty heavy on the ear.
Randy Miller is perhaps best known as an orchestrator, but he’s a fine composer in his own right (there’s an interesting topic idea, btw), and this promo from 1994 displays some of that. Most of it is taken up by the rambunctious western music for DREAM RIDER. Big, full, orchestral sound throughout (plus some synth).
Ennio Morricone’s scores for the Italian Western could be quirky or idiosyncratic, but this one, The Guns for San Sebastian, is among his more conventional, but also simply beautiful. This is a lush, romantic and epic score by the Maestro.
Or course, one may rightly point out that it is neither really a western (it takes place in Mexico in the 18th century, so time an place are slightly off) nor Italian (it’s actually a French film), but who cares, it’s often on Morricone Italian Western compilations. At least parts of it. But the whole score is beautiful worth listening to.
Some more Chris Young. This is Intrada’s expanded 2 CD release (sorry, Thor 😉 ) from last year.
It’s less dense than you might expect from a “creature” horror score by Young, and while there is some dissonance and angry orchestral and electronic outbursts, a lot of it is actually quite beautiful and haunting.
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