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I picked this up at Amoeba today, but my coy doesn't have the DEDICATION part under the ORIGINAL MOTIN PICTURE SOUNDTRACK at the bottom. I know Sony Classical added a dedication to Horner, but was that just for online retailers or digital? Were the CD's already pressed so they couldn't add the dedication or were some made with it and some without it. Anyone else have this with or without the dedication?
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A.O.Scott wrote in his review of the film for The New York Times:
"With a new Eminem song tucked into one of the montages, an old-style melodramatic score by James Horner (one of his last, sadly; he died in June and the film is dedicated to his memory) and plenty of muscular brawling, “Southpaw” is effective without being terribly convincing."
From what I've heard of the score on Youtube I find it hard to believe it can come across as "old-style melodramatic" in the film.
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Posted: |
Jul 28, 2015 - 12:11 AM
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By: |
Avatarded
(Member)
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Is someone with the physical album able to post the tech-credits? The iTunes album did not come with an e-booklet. Thanks!
I picked up the album today (no dedication copies available) and the music production credits are very sparse:
Score Produced by JAMES HORNER, SIMON RHODES and SIMON FRANGLEN
Recorded and Mixed by SIMON RHODES
Additional Arrangements by SIMON RHODES and SIMON FRANGLEN
Assistant Engineer HANNAH PARROTT
Music Editor JOE E. RAND
Soundtrack Album Producer RICHARD GLASSER
Music Legal DAVID HELFANT
Soundtrack Music Coordination by SIENNA JACKSON
Publisher: Weinstein Company Music (ASCAP) / Music In Motion (ASCAP)
Booklet Design: WLP Ltd
Sony Classical Licensing: MARK CAVELL
Sony Classical Product Development: KLARA KORYTOWSKA
The Weinstein Company would like to thank:
BOB WEINSTEIN, HARVEY WEINSTEIN, DAVID GLASSER, ANTOINE FUQUA, JAMES HORNER, ERIK LOMIS, TOM PRINCE,
ADRIAN LOPEZ, STUART BURKIN, COLLIN CREIGHTON, BRENDON BOYEA, RYAN BRASNO, JERRY YE, GILLIAN ZHAO, CARY CHENG, JONATHAN GARRISON
"A special thanks to both Antoine Fuqua and John Houlihan for working with me so closely, giving me the freedom to try out some pretty modern textures of music working with film, that other filmmakers might not have let me try...
JAMES HORNER"
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Posted: |
Jul 30, 2015 - 2:11 PM
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By: |
c8
(Member)
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Is someone with the physical album able to post the tech-credits? The iTunes album did not come with an e-booklet. Thanks!
I picked up the album today (no dedication copies available) and the music production credits are very sparse:
Score Produced by JAMES HORNER, SIMON RHODES and SIMON FRANGLEN
Recorded and Mixed by SIMON RHODES
Additional Arrangements by SIMON RHODES and SIMON FRANGLEN
Assistant Engineer HANNAH PARROTT
Music Editor JOE E. RAND
Soundtrack Album Producer RICHARD GLASSER
Music Legal DAVID HELFANT
Soundtrack Music Coordination by SIENNA JACKSON
Publisher: Weinstein Company Music (ASCAP) / Music In Motion (ASCAP)
Booklet Design: WLP Ltd
Sony Classical Licensing: MARK CAVELL
Sony Classical Product Development: KLARA KORYTOWSKA
The Weinstein Company would like to thank:
BOB WEINSTEIN, HARVEY WEINSTEIN, DAVID GLASSER, ANTOINE FUQUA, JAMES HORNER, ERIK LOMIS, TOM PRINCE,
ADRIAN LOPEZ, STUART BURKIN, COLLIN CREIGHTON, BRENDON BOYEA, RYAN BRASNO, JERRY YE, GILLIAN ZHAO, CARY CHENG, JONATHAN GARRISON
"A special thanks to both Antoine Fuqua and John Houlihan for working with me so closely, giving me the freedom to try out some pretty modern textures of music working with film, that other filmmakers might not have let me try...
JAMES HORNER"
Thanks! Horner's thanks was very interesting. He saw it as an experiment. Makes you wonder what else he had wanted to try.
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From what I've heard, read ,and seen, Harvey Weinstein must be among the most unpleasant people in Hollywood (which, Hollywood being Hollywood, should cover a lot of ground).
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This is not the 'harsh' score I was expecting after reading the reviews. I think a lot of it is pretty subdued and in its own modern way even touching. As far as I'm concerned it's his best and most versatile synthesizer score (I never warmed to 'Thunderheart' or 'Unlawful Entry' etc..). He was on a roll, that's for sure. So sad...
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Posted: |
Aug 24, 2015 - 2:18 PM
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By: |
GoblinScore
(Member)
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This is not the 'harsh' score I was expecting after reading the reviews. I think a lot of it is pretty subdued and in its own modern way even touching. As far as I'm concerned it's his best and most versatile synthesizer score (I never warmed to 'Thunderheart' or 'Unlawful Entry' etc..). He was on a roll, that's for sure. So sad...
Beat me to it, Luc, thanks a lot! :-/
Just kidding, but honestly, I felt the same way - I was expecting a harsh atonal listen, and its
very much in the neighborhood of Unlawful Entry, Extreme Close Up, The Forgotten. It's a good listen, I thought, just long enough with hints of tonality. The only slightly experiemental stuff shows up in what I'm assuming is the final fight, the penultimate cue running 8 1/2 minutes. That piece isn't truly harsh either.
I was on the hate wagon in the 90's for Horner straying from the orchestra to ensemble, but in hindsight, its aging pretty well, I've changed my tune about it, and I think Southpaw will endure rather well. RIP JH....
-Sean
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Posted: |
Nov 24, 2015 - 4:36 PM
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By: |
DeputyRiley
(Member)
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Man I am just loving this score. It is really wrapping itself around my heart. Kind of surprising, actually.
I've been listening to it on a loop a lot at work. That is very rarely how I listen to a score I'm not very familiar with. It's sometimes how I'll listen to scores I'm extremely familiar with, to have it playing as background noise at work while doing menial tasks. With Southpaw, I hadn't heard it enough times to know the intricacies of it yet, but I began to play it on a loop at work anyway and have it in the background and the repetitious method of listening and haunting quality of the music really ingrained itself in me in a very special way, in a very unusual way. I've come to regard the score extremely highly now, very quickly. The notes, the melodies, the textures have seeped into my subconscious and my listening pleasure center and although not how I ordinarily listen to a new album, I've kind of fallen in love with this Horner score. It really is quite wonderful.
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