What are you listening to now?
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The sound quality of this bootleg is really excellent.
But you do have the commercial albums separately, Alex?
As for RED SONJA, it’s a fine score. But I prefer the OST, obviously. Organized in two neat suite tracks of about 20 minutes each. It has some action in it, but it’s not CONAN II. It’s its own thing.
But you do have the commercial albums separately, Alex?
Nope! The ‘official’ Cinderella Liberty seems to have 2 tracks more.
As for RED SONJA, it’s a fine score. But I prefer the OST, obviously. Organized in two neat suite tracks of about 20 minutes each.
I remember the suites, and they were fine, though not really suites but basically just the same tracks without individual cue tracks. Don’t recall if the order was much different, but it’s not really as if the suites were truly developed (like the Boys from Brazil suites, for example).
So whether one listens to the suites or the release with individual cues, the musical experience is essentially the same. The Quartet has clearer sound though.Probably true. Same as Poledouris’ LES MISERABLES or Zimmer’s K2. But somehow, just seeing them as suites is tantalizing to me.
I’m fairly sure you could easily recreate the suites from the Quartet release, as there weren’t any specific edits AFAIR in the Varèse Suites releases.
I don’t have that album anymore though, one of the few I traded away when I replaced BLOODLINE/RED SONJA with newer releases.I recently stumbled upon this Youtube channel by a German composer and producer named Tim Heinricht. I had never heard of him before and he is apparently not primarily doing film music but a lot of advertising and other media music.
The videos are very technical often but he has some interviews with some German film composer interviews who often in detail show how they work. It’s very technical often up to what software and plugins they are using as of course all work digitally.
I recently watched a href=”https://www.youtube.com/watch?v=wzTFRr_0YC0″>this episode with one of the current lead composers of the long running TV action series ALARM FÜR COBRA 11 (the Germans over here may have heard of that as it is on since 1996). It’s funny that even the composer says several times mention that there is not that much happening musically often and its all about sound. He even mentions Goldsmith and that he actually would love to just write for orchestra all day but currently synths are what is wanted currently.
The theme was by someone else. The original 1996 one was a Zimmer orchestra style – actually I would say Mancina’s SPEED was the actual inspiration – https://www.youtube.com/watch?v=ZAhbL9tHqTQ. Not following it but the theme is still used in probably changing arrangemens of each season and is now more synthy.
Enjoyable and well-produced 1984 CD from Duval. Great sound on it. Some orchestral elements on it too. Some of it is from DERRICK.
It entered the Top 10 in Norway.
Yes, it belongs to Warner now. At least, Warner has re-issued a lot of the Teldec back-catalog in nice box sets for very good prices.
This was way back one of the first electronic film scores scores I ever became interested in.
Never found it on LP back then. I even bought a “wrong” vinyl that was just called “The Terminator”.
I return to it tonight and it holds up remarkably well. Incidentally, I have three CDs of this soundtrack. I should trade one day…Certainly a highlight of 2021, Gordon’s score is the type of consonant, 80s orchestral music that is relatively rare these days.
A nostalgic favourite for me, this series. But Gunning’s music is also excellent. So much good stuff here, I’ve struggled to whittle it down (it’s a lot of episode suites). 84 minutes, still too much. But for now, it will have to do.
The talk about Tiomkin’s CYRANO in the other thread made me go back to this other CYRANO. A fine score, despite the heavy BATMAN lift in “La porte de Nesle”.
1989 album from German ethnic new age band Cusco, lead by Kristian Schultze and Michael Holm.
You know that Michael Holm otherwise is a rather famous “Schlager” (light pop music) star 🙂
The talk about Tiomkin’s CYRANO in the other thread made me go back to this other CYRANO. A fine score, despite the heavy BATMAN lift in “La porte de Nesle”.
I had that one time, no idea why I parted with it. Have the main title still and that is nice.
I remember Christopher Gordon die MASTER & COMMANDER and ON THE BEACH (TV adaptation). I’ll check out Buckley’s Chance.
A little bit of Django Reinhardt, a little bit of Yann Tiersen, this quirky and charming drama score was a nice surprise in 2019. Atli had relocated to Iceland then, and he got to do a lot of local productions.
I remember Christopher Gordon die MASTER & COMMANDER and ON THE BEACH (TV adaptation). I’ll check out Buckley’s Chance.
Also good ones are MOBY DICK, SALEM’S LOT and MAO’S LAST DANCER.
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