Oui, " guette ", et la suite du texte entre dans les détails en pointant tout ce qu'il y a de bon dedans. Vous savez lire, ou pas ? " musique de fond " ? Qui utilise ce terme ? Personne. Et " scherzo ", oui, je sais, merci. C'est mon travail, de savoir employer les termes adéquats.
The tone of your review is colloquial and ambiguous and gives a negative shade. Nobody use "underscore" in France too. It's a technical word only use in the Anglo-American world. Please don't spoil the French language with some jargon and please make the effort to find the equivalent. You don't help the Fielding cause. Thank you.
The fact that you don't understand what you read doesn't necessarily means a review is " ambiguous ". And... "colloquial " ? I repeat : I don't need you to teach me how to write (and by the way I know many people in France who use the term " underscore ", or " bonus tracks", or " track-listing", or " entertainment"). But I guess you looove to be a troll. Oh, by the way : a seller told me a few hours ago that he sold three CDs of the score today thanks to my review. Not helping the Fielding cause, mmm ?
I read this negative review and the author had a conventional mindset and prefered Williams.
I know French and I can tell you that this review is actually not negative! On the contrary is very flattering towards Fielding as much as to Williams. I like it for sure.
I don't need you to explain me how to write. It's my job, not a hobby.
How great for a professional writer to call one of his readers a "troll". (Member) has a long history here in forum and blog postings about the "Fielding cause" and especially vintage TV series (for some of which Fielding did outstanding scoring). So there's no need to insult somebody only because he has a different opinion. IMHO.
I don't need you to explain me how to write. It's my job, not a hobby.
How great for a professional writer to call one of his readers a "troll". (Member) has a long history here in forum and blog postings about the "Fielding cause" and especially vintage TV series (for some of which Fielding did outstanding scoring). So there's no need to insult somebody only because he has a different opinion. IMHO.
I don't like his condescending tone and his " mauvaise foi ". He has a long history in forum ? Good for him and for what he writes about. I've read some of his posts and his knowledge is undeniable. But that's another story.
This score was one of the few good things about the movie. I remember seeing the film as a kid in the early 90s and recording the title music onto cassette from a video to listen to, over and over again.
Reminds me somewhat of 'Gray Lady Down', another enjoyable and engaging Fielding score.
I've just dipped my toe into the waters of this score for the first time today. The listen got interrupted but from what I've heard so far, it's bloody great! That 7 minute cue early on (They Go Aboard) is just ace. Sombre, atmospheric with a hint of tragedy, it blows away pretty much anything I've heard from most recent/current scores. Tex is a lovely short cue and the start of They're With Me is also a beaut. I'm dying to get back into it. I also grabbed a sneak peek at the booklet/notes and they too seem exceptional. I don't know if it has anything to do with LK, but since he stopped FSM releases and started helping out at Intrada (?), their booklets and notes have improved mightily. Not that they were bad to start with, but lately they seem to pack a lot more punch. This one, with terrific score/film info by Jeff Bond and what looks like a lovely tribute by Nick Redman (I ain't read it yet), is five star stuff and harkens back to the FSM booklet days. Another thing for me. Back in 1979, early 80, I was just really getting into film scores having discovered John Williams via Jaws and Star Wars. My collection was growing, with CE3K and Superman The Movie. This film probably came out just as I was adding Jerry Goldsmith to my list of Soundtrack Gods, having been blown away by Star Trek TMP. Plus, John Barry with The Black Hole and Elmer Bernstein too. Anyway, I can see how I was far too dazzled by all those other shiny lights to pick up on someone like Fielding, who was far more cerebral at that time. I guess I wasn't ready for him. But boy am I ready now!
Does Witold Lutoslawski's estate get royalties for tracks 10 and 18? Compare the second movement of Lutoslawski's Concerto for Orchestra to "Gun Fight":
I don't really care whether or not the estate gets the royalties. It was just a sarcastic way (guess I should have included an emoticon to get that tone across) of saying that Fielding more or less cut-and-pasted these two tracks (plus other parts of his score) from Lutoslawski's Concerto for Orchestra.
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GRAY LADY DOWN got deleted from Intrada's catalogue about 2.5 years ago and now this; seems as though Fielding's music for ships and submarines produces less customer interest than the other Fielding album sell-outs.
