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Posted: |
Oct 27, 2014 - 9:36 PM
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By: |
CindyLover
(Member)
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INTRADA
Announces:
ROBO WARRIORS
Composed and Conducted by RICHARD BAND
INTRADA Special Collection 291
Robo Warriors is without question one of my 10 favorite scores.
-- Richard Band
The soundtrack to the 1996 Robo Warriors finally makes its premiere release, courtesy of Intrada. Composer Richard Band was thrilled to release this score, as the composing experience allowed him to combine all the elements for which he loved to compose, all wrapped up in a single package. It has an epic quality, it features huge action and battle sequences, it has romance, and the story is told through the eyes of youth. As a result, Band was tasked with bringing out the gravitas, pathos, adventure, love and honor musically in a single score. The score is composed for large brass section (including 6 French horns!) and synth, giving this sci-fi score a muscular and heroic, yet distinctive futuristic sound. Intrada presents the complete score from the original sessions elements.
In 2036, Earth has been conquered by the Terridaxx, a race of half-human, half-reptile beings. But a 12-year-old boy named Zac (Kyle Howard) ignites a revolution when he finds the last great Robo Warrior (James Remar) and convinces him to fight again— setting the stage for the ultimate battle to destroy the invaders and save the Earth.
INTRADA Special Collection Vol. 291
Retail Price: $19.99
Available NOW
01. Main Title And Battling The Terridaxx (8:03)
02. Zak’s Computer And The Terridaxx Pursuit (4:34)
03. Zak On The Run (2:36)
04. Zak Joins The Resistance (4:00)
05. Gibson Goes To Rescue Zak (2:46)
06. Finding The Earth Bot (3:59)
07. The First Robo Encounter (6:18)
08. Gibson Returns Zak To Mom (0:21)
09. Gibson’s Change Of Heart (4:57)
10. The Challenge Is Set (2:08)
11. Kinto Vs. Gibson (1:41)
12. Gibson Returns To Molly (0:21)
13. The Past Brings Gibson & Molly Closer (1:36)
14. To The Arena Montage (1:50)
15. Test Run (0:28)
16. Their Robo Warrior Revealed (4:22)
17. Zak Returns To Terminal For Battle (1:39)
18. Darius’s Robot Revealed (0:52)
19. Robo Warriors – The Battle For Earth (12:53)
20. Earth Wins! (1:24)
21. End Titles (3:05)
http://store.intrada.com/s.nl/it.A/id.9142/.f
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Posted: |
Oct 27, 2014 - 11:00 PM
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By: |
bobbengan
(Member)
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Eek. Love Richard's symphonic output (MUTANT, THE ALCHEMIST, HOUSE ON SORORITY ROW, GHOST WARRIOR, DAY TIME ENDED, TROLL, FROM BEYOND) but I think the direction his music took in the 90's was sad and disappointing to say the least. It almost sounds like music from two different composers.
Yes, the brass is live but everything else here sounds incredibly cheap and that main title is a pretty bad PREDATOR aping. I think it's such a shame he didn't soar the way his contemporaries emerging at the time, like Horner and Young, did despite also starting in the chintzy B-movie arena. All his 90's output is incredibly trite and flimsy sounding, this included.
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Posted: |
Oct 28, 2014 - 1:03 AM
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By: |
Josh
(Member)
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Eek. Love Richard's symphonic output (MUTANT, THE ALCHEMIST, HOUSE ON SORORITY ROW, GHOST WARRIOR, DAY TIME ENDED, TROLL, FROM BEYOND) but I think the direction his music took in the 90's was sad and disappointing to say the least. It almost sounds like music from two different composers.
I know, it's weird, like he lost his mojo or his contract with the devil was prematurely terminated or something. ROBO WARRIORS isn't bad, but it pales in comparison to those previous works you mentioned. Nevertheless, it has some exciting moments that still make it a worthwhile purchase for Band fans (like me) and those who don't mind watered-down nods to Silvestri's PREDATOR.
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Yes! This is MY kind of CD.
I love you, Intrada!
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Posted: |
Oct 28, 2014 - 8:21 AM
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By: |
SBD
(Member)
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Eek. Love Richard's symphonic output (MUTANT, THE ALCHEMIST, HOUSE ON SORORITY ROW, GHOST WARRIOR, DAY TIME ENDED, TROLL, FROM BEYOND) but I think the direction his music took in the 90's was sad and disappointing to say the least. It almost sounds like music from two different composers.
I know, it's weird, like he lost his mojo or his contract with the devil was prematurely terminated or something.
Or, perhaps, the money wasn't there anymore to invest in full orchestra like it was in the Empire days. (Still not sure why people are down on Band's synth music. SHIVER is a very enjoyable score.)
The clips didn't grab me, but I'll likely pick it up eventually.
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Posted: |
Oct 28, 2014 - 8:42 AM
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By: |
bobbengan
(Member)
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Eek. Love Richard's symphonic output (MUTANT, THE ALCHEMIST, HOUSE ON SORORITY ROW, GHOST WARRIOR, DAY TIME ENDED, TROLL, FROM BEYOND) but I think the direction his music took in the 90's was sad and disappointing to say the least. It almost sounds like music from two different composers.
I know, it's weird, like he lost his mojo or his contract with the devil was prematurely terminated or something.
Or, perhaps, the money wasn't there anymore to invest in full orchestra like it was in the Empire days. (Still not sure why people are down on Band's synth music. SHIVER is a very enjoyable score.)
The clips didn't grab me, but I'll likely pick it up eventually.
It's not just that the scores were performed by synths. There are composers who creatively overcame limited budgets in horror films around this time and did inventive and original stuff that utilized limited resources effectively. Daniel Licht is an excellent example of this in his early 90's scores.
The bigger problem is the COMPOSITION. Listen to the big, muscular action/horror writing in MUTANT and HOUSE ON SORORITY ROW. It's music of massive scope and bite and puch; You could needle drop MUTANT in particular into a RAMBO-type action film and never know it was written for a toxic waste zombie nonsense movie.
That says nothing of the amazing thematic material he was able to conjure for those films. For a long time, the end title cue from MUTANT was one of my most played cues in iTunes when I first started collecting. It's two minute of rich, Delerue-esque lyrical splendor. You'd think it was a love theme from a sweeping period piece or fantasy film, not a movie called... MUTANT. Nevermind the GORGEOUS themes from THE ALCHEMIST, HOUSE ON SORORITY ROW, the stunning and evocative finale of THE DAY TIME ENDED and the heartbreakingly beautiful, magnificent, swirling theme from GHOST WARRIOR or the modern, brilliant and challenging music of FROM BEYOND or the lyrical, utterly magical title theme from TROLL.
THAT is the Richard Band I love. 90's Richard Band hasn't the faintest trace of that earlier, distinct sound. It shows vast REGRESSION as opposed to growth. It's like he threw out his entire musical vocabulary circa 1988 or so and replaced it with a far inferior one laden with trite, thin, awful themes, banal synth orchestrations, etc.
It's incredibly irritating and baffling and a unique "problem" in that I can't think of any other composer whose career trajectory is so singularly sad: An early demonstration of immense talent and then a dismissal of that talent altogether in lieu of childish-sound amateurish work.
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I would say that had more to do with producers wanting theme-less filler music as the new "in" style, than any reflection on Band's talent. The 90's (up to the current year), saw a reversal of thematic and memorable music from everyone; John Williams and Jerry Goldsmith included. Every once in a while something would stand out from the crowd but for the most part, the producers wanted bland.
One need only listen to Stuart Gordon's commentary on DAGON ( an excellent movie that still would have been made immeasurably better by a more robust score), to hear this sentiment verbalized.
It's gotten to the point where I can't tell if a new composer has the chops or not. It's all a swirling, churning, theme-less rumble. Maybe they're good. Maybe they're not. I can't tell from their current output.
For every JOHN CARTER and BONE EATER of the last decade, there's a hundred titles you can't recall as having anything close to memorable in the score. In the decades prior to the 90's, the opposite was true. It seemed like score after brilliant score emanated from every genre, and every composer, and at every budget. They were the custom rather than the exception.
NOW YOU MADE ME SOUND LIKE MY FATHER !
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I would say that had more to do with producers wanting theme-less filler music as the new "in" style, than any reflection on Band's talent. The 90's (up to the current year), saw a reversal of thematic and memorable music from everyone; John Williams and Jerry Goldsmith included. Every once in a while something would stand out from the crowd but for the most part, the producers wanted bland.
It's this very trend that helped me enjoy the Robo Warriors score. I didn't know the movie and only heard the score when working on the project, but I was pleasantly surprised by the overall sound, grand, melancholy and heroic for a movie about giant battling robots ;-). The live brass mixed with synths is a lot richer than the typical "soundscape with percussion" score we're all too familiar with today---and Band is always game to meet the demands of his genre projects, however cheesy that may be. This is been my favorite "blind" soundtrack of the year, a nice surprise.
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