What are you listening to now?
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I must say, I prefer Steiner’s KK sequel score “Son of Kong” over King Kong. It’s Stromberg album paired with The Most Dangerous Game is probably my favourite Steiner album.
PRINCE AND THE PAUPER is a great score as almost all Korngolds. I don’t know this album – isn’t this series a bit cursed by too much reverd on the recording?
There is quite a bit of reverb, but done rather tastefully, I think. Spacious sound for spacious music.
There is quite a bit of reverb, but done rather tastefully, I think. Spacious sound for spacious music.
I heard a few from that series although I only had one with music by Chaplin which sold many years ago. Recoding was okay but I could not stand that reverb.
I must say, I prefer Steiner’s KK sequel score “Son of Kong” over King Kong. It’s Stromberg album paired with The Most Dangerous Game is probably my favourite Steiner album.
For sure a good album and a suprising good sequel score I expected to be more a rehash than it is. Another Steiner score I like very much is THE ADVENTURES OF DON JUAN. The complete Tribute is nice but here I also find the Gerhardt suite beats it. Maybe because I knew it first…
Lots of live “musique concrete” currently over the day for about 1.5 weeks as the flat right above mine is renovated right now 😉
Tell me about it. It’s been TWO WHOLE YEARS of outside noise where I live, with three nearby houses apparently deciding to renovate all at once. And they usually start at 07:00. Plus the usual noise of a mad, non-stop barking dog nearby, and the guy above me staying up and rummaging all night long, every night. As if the tinnitus inside my head wasn’t bad enough. 🙁
Good grief, that sounds so much worse than here… Even the new roof the house right next to me (I live in a house block with three houses) was not that loud… I have one of the biggest constructions site on whole Hamburg around the corner half a kilometer where they build a new underground line. Gladly don’t notice much of it all… Some direct residents where offered hotels at some heavy phase even though…
Hopefully the at some time arriving new neighbour(s) above me are not that rumaging type…
Neighbours….what an annoying breed! 😉
Michael Brook is, much like Mychael Danna, an expert in weaving local folk colours into attractive, moody landscapes (some synth, some orchestra). This 2009 effort is one of my favourites by him (as is JERUSALEM from 2015, which I’m about to listen to next, but given the situation in the world, I found this more suitable for a Now Playing post).
Convertino continues to be one of the biggest mysteries in the film score world. Quite prolific in the 80s and 90s, but completely absent in the last 10-15 years. He never gives interviews, and there’s barely even a photo online. There’s an early 80s video on YouTube where he performs with his band The Insects (with his pal and bandmate Thomas Newman). He could do semi-abstract, tentative figures much like his famous composer friend, but also far more overt orchestral stylings, like this comedy from 1994. Exuberant and classical are good keywords.
I know him by name and certainly saw some of the movies he scored but he is really a few blank spot to me. I think one of the composers I have nothing of.
I also recommend WRESTLING ERNEST HEMINGWAY and THE SANTA CLAUSE. People always go on about CHILDREN OF A LESSER GOD, but that doesn’t do much for me.
Whenever there is a thread about underrated composers on any given forum, people always mention Michael J. Lewis. And I mean, even though that may be true, I also hear some limitations in his work that may account for some of it — for example rather simplistic writing, with very little dynamic range (it’s usually full-on), and cymbal crash punctuations aplenty. But by all means, it’s good stuff. This 2CD set covers the best of it, plus YES, GIORGIO, which is not represented.
I remember that according to James Horner, Michael Convertino didn’t write any music at all, he realized his scores by performing them on a synthesizer and then turned it to orchestrators to write down the actual notes.
Must not be bad thing and depends how much he has already composed on synthesizers and how much he was involved in the orchestration observing it. Even back then you didn’t need to “write” in classic notation if using sequenzers.
Yes, I have some “promos” of Lewis digitally. I generally like him but it never clicked that much to become an actual fan. There is always this mysterious “rejected GoldenEye score” that was said to be by him but apparently he clarified himself it’s not his.
Oooh, Mezzoforte! Now there’s a blast from the past!
I can’t remember what my first CD was, but I have three candidates – Dire Straits’ COMMUNIQUE, Jean Michel Jarre’s CONCERTS IN CHINA 2CD set or the THE COMMITMENTS soundtrack. I think it was the Dire Straits CD, since (sadly) sold off, as is the COMMITMENTS CD. CONCERTS IN CHINA the sole survivor. 🙁
Always been a sucker for pastoral writing, and Legrand is as good as any. WUTHERING HEIGHTS and JANE EYRE are two works, by the respective Brontë sisters, that have nothing but good scores written for them.
I am a fan of this one.
But the Newman rerecording is great, too.
I wish the album was still available physically, too. I just own an cheap copy of Newman’s original soundtrack album and the quality is really bad.
To a large degree inspired by the very good Tron Legacy, but in contrast doesn’t include an orchestra and doesn’t reach the same heights.
To a large degree inspired by the very good Tron Legacy, but in contrast doesn’t include an orchestra and doesn’t reach the same heights.
I like it (the film is okay too…saw it last week), but one needs to whittle. Writing a few words about it at the moment, plus some other new releases…will get back with more soon.
Looking forward to reading it.
Regarding the Sakamoto WH, my initial impression was that it’s too repetitive, but I should give it another listen.
Looking forward to reading it.
Not that much to look forward to, but my two cents on that and a few other titles here. 🙂
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