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I do agree with this score being a little bit of a letdown (though I have yet to see it in the context of the film itself) a bit and wholeheartedly agree with the reason being a lack of proper organic evolution of the score through the narrative.
I will say though I will take this over some of the derivative mega summer blockbuster synthetic faux orchestra cello army Remote Control/Zimmer scores any day.
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Well, I for one love this score and I think it is better then the previous one. The mix sounds a whole lot better as well. The 2009 score always sounded kind of muted or muffled to my ears but this one has a lot more punch and just makes it more fun to listen to IMO. Can't wait for the deluxe edition!
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Its rather frustrating that the wonderful "Ode to Harrison" cue that the composer played during the radio broadcast preview, and incorporated into his suite performed by the GSPO in the Varese 35th anniversary concert, is not included in the 40+ minute cd.
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I definitely share your frustration.
I broke down and got it on iTunes, though the physical CD is also pre-ordered.
I love the Harrison Theme arrangement in Brigadoom. Shows how the theme works in a more quite mode.
Frankly, if the score warrants it (and to me it sounds like it might), a Deluxe Edition would be most welcome.
On the 18th, I'll have a better idea as to the score when I see the movie.
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I only bought one track..."The San Fran Hustle". That ought to tide me over until the CD comes out.
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Its rather frustrating that the wonderful "Ode to Harrison" cue that the composer played during the radio broadcast preview, and incorporated into his suite performed by the GSPO in the Varese 35th anniversary concert, is not included in the 40+ minute cd.
It is better than 2009 and the mix is tremendously better, but still a little bit of a letdown.
As for ode to Harrison, it's mostly on the album just chopped up and sprinkled all throughout
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From what I have heard so far, I also have to say I´m a bit disappointed.
But I know why.
Not because Giacchino´s score is bad. In fact it is miles ahead of the competition.
However, it can only pale in comparison with Jerry Goldsmith´s or James Horner´s work for STAR TREK.
Which might be due to the fact that movies these days are so different from those earlier ones. Today, a movie is cut faster and features more action sequences. The whole rhythm is different and does not leave as much room for all those lyrical parts I loved in Goldsmith´s and Horner´s scores.
I bet Goldsmith would be forced to score in a very different way today, as well. And lots of his 90´s work already showed the way scores would (have to) change.
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BTW, here is some information on "The Growl", taken from the digital album PDF
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