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Posted: |
Apr 17, 2018 - 9:53 AM
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By: |
bobbengan
(Member)
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This arrived yesterday and, in a turn of events that an only be called a distinctly 21st century conundrum, realized I presently have no way to rip it to my computer and don't have a CD player anywhere in sight! Curse you, Apple products - !
In lieu of that, I've been listening to this in the car as I've been going about my day and it is wonderful indeed. That main title alone was worth the price of admission, even though I technically already own most of the highlights from the CD thanks to the DeWolfe album where Talgorn pulled excerpts from. That main theme, similar to William's HOME ALONE though it may be, is just to die for, and the way Talgorn harmonically develops it throughout the score is a testament to his tremendous skills as a composer. He truly is one of the "real deals".
In addition to the huge lush washes of the Munich Symphony here we also get beautiful harmonica solos (a VERY "hit or miss" instrumental choice for my money), harpsichord, a one-off use of choir, even a solo male vocalist humming in one cue. Disparate ingredients all mixed and recorded beautifully with the orchestra.
Now I'm off to explore FORTRESS, MOLIERE and LE PETIT PRINCE (which I found inexplicably streaming in full on the music production company's website) and a few of his other French scores that I can't recall by name right now.
I've been a huge fan of Talgorn's ASTERIX, ROBOTJOX, LA BRASIER, THE TEMP, his fantastic array of library music and other odds and ends (like that amazing unreleased debut score of his, EDGE OF SANITY) for some time and it's great to see I still have plenty to discover - I long-thought his career was more threadbare than it actually is.
I assume his YOUNG INDIANA JONES music has never seen the light of day, correct?
And as for the Monty Spinnerratz CD itself and all the goofy pop songs, packaging and so forth... Can't really add much more to what's already been said except that it seems like such an odd curio to my sheltered American eyes and ears. I want to see this weird looking movie now for sure!
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Posted: |
Apr 18, 2018 - 7:01 PM
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By: |
bobbengan
(Member)
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Man, it'd be amazing to get his INDY scores alongside ANGELS IN THE INZONE, EDGE OF SANITY and any other unreleased gems of his. RED NEEDLES eludes me still, those three amazing Youtube clips aside, but I'll find her yet!
I've been listening to HEAVY METAL 2000 all days and I must say it's quite a feat. Outside of that terrific space opera cue "Julie & Kerrie" with its fanfare and swooning romanticism, cues like "Tyler Awaits His Wench" and "Hospitality" have incredibly decadent, almost bleating string writing that's absolutely to die for - seductive and alluring but weirdly off-kilter at the same time. It's really effective and evocative. In general this score's filled with interesting timbers, colors and brooding ideas that are really compelling and demonstrate a really high degree of craft. It's not as instantly rewarding as ASTERIX, ROBOTJOX, etc. but it's a very absorbing and original listen, especially the second half of the album.
While I also didn't connect with FORTRESS as much as some of his other scores, that big redemptive explosion of strings and brass at the end of "Freedom" is great - A burst of 100% pure Talgorn after a dark and exhaustive musical journey (man, those adulatory strings are just SO Williams). I wish there were more moments like this to be found elsewhere in the score, but the (dull) movie obviously doesn't really allow for such material, alas. Somewhat dull-muted sound quality don't really help the proceedings either.
Gotta say I'm just loving this guy's music more and more , and it's always rewarding when, even after years of knowing a composer by a handful of strong scores, you discover there's vastly more to their pedigree than you first realized. Talgorn, like my beloved John Scott, is one of the unheralded "real deals" and I greatly look forward to diving deeper into his back catalogue of work (damn hard to find though some of it is).
It's fun finding certain key modulations, phrasings and harmonic tendencies that comprise the musical signature of a great composer and Talgorn's language is consistent and deeply appealing to my ears.
Anyone know where his Olympics music can be found? Apparently that one's the mother of obscure CD's...
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Hey Kev, can you tell me if those three Youtube clips from RED NEEDLES constitute the highlights of the score? I would very much like to pick this one up on CD but it seems exceedingly rare, and I imagine I won't be finding it for cheap. But if those three cues are the absolute best the score has to offer, I'll suffice with the lossless rip I made of those pieces from YT...
I know this score well. The score gets more serious and complex and is punctuated with those themes. I did a podcast years ago and dissected a highlight, nine-minute cue from the score that deconstructed the theme and build it up. Someday I'll do another, but here you go:
http://www.cinematicsound.net/popup/filmmusicmix10.html
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