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Posted: |
Jan 25, 2017 - 5:01 AM
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By: |
bobbengan
(Member)
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Now how oh HOW did I miss a John Scott thread from you, Kev!?!?
I love this album, though almost exclusively for the John Scott bits. I love this new, slower take on KING KONG LIVES, with the incredibly sumptuous, impressionistic and Ravelian middle portion of the end title being especially decadent and "luxurious" at this slower tempo presented here. The GREYSTOKE suite is also really nice and the later portion of it has a lush string bridge that, as far as I know, is no where present in the original composition. The FINAL COUNTDOWN suite is just awesome, with an exciting new coda/send-off that Scott wrote just for this performance. Rockin' stuff.
I love his RED AND WHITE concert work. There's a lot of percussive and wind-based dissonance, but the actual melody at the heart of this piece - Introduced around the three-minute mark on English horn - is just a fabulous, long lined, inventive and instantly memorable melody, and it's numerous variations throughout the rest of the piece are fan-freaking-tastic. If you like Lee Holdridge's WINTERHAWK, Merril Jenson's WINDWALKER or that tuneful Native American theme Goldsmith wrote for POLTERGEIST 2, you'll love this.
Scott's ability to craft instantly evocative, memorable melodies hasn't waned one damn bit after all these years, and that's just remarkable. A lot of "the masters" wane with age - Even Williams, while still an amazing musician, doesn't *quite* have that spark now as he did thirty years ago - But if you listen to this or his TRIP TO THE MOON concert work, you can hear Scott is still firing on all cylinders, while also exploring new facets of his voice.
Damn, I can't get this film he's attached to score moving fast enough!
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