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Just got this with my copy of The Touch, and it's going into the CD player next. BSX had it on sale for $9.99. How can you go wrong with John Scott for a mere $10 bucks?
Greg Espinoza
John's score is great, it's just too bad the orchestra wasn't quite up to it and it shows here and there.
When we did this one, he really wanted to RE-RECORD IT, but that just wasn't in the cards.
Ford A. Thaxton
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I ordered this when it was releases, without listening to samples. It was one of the more pleasant surprise of that year for me. Unfortunately I have too few John Scott scores in my collection, but theme from Yor deserves its place in my Maestro Folder.
On an unrelated subject, what do you folks suppose would be the best way to contact a person, namely Kari Tuhkanen, just in case he might be interested in connecting and communicating with other Finnish film music aficionados?
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Hey!
YOR is right here!!
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Posted: |
Aug 3, 2018 - 3:01 AM
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By: |
bobbengan
(Member)
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This was a John Scott score I initially dismissed as too thin and chintzy for my liking, and the overt similarity to the final movement of Beethoven's 6th (as mentioned by a previous poster) always bugged me. Giving a closer look now reveals that it's really actually a highly enjoyable, creative little romp that packs a lot of variety and typical John Scott creativity into its lean 40 minute runtime.
Of special note is the always-excellent woodwind writing on display, the evocative flourishes of shimmering string writing in "Death Rules This Land" and "Queen Roa" (evoking his COUSTEAU scores to my ears), the pastoral interludes of the main theme (strongly similar to his SWISS FAMILY ROBINSON score of 15 years later) and of course that bad guy march - which, though goofy and thin-sounding, is infectiously fun and instantly memorable; I particularly love its baroque-inspired fugue setting in "Mysterious Island" - one of those outside-the-box touches that only Scott can bring to a film this utterly dire.
It's gotta be said that the orchestra not only sucks and lets the composition down quite a bit, but even worse for me is the shrill, irritating quality of the recording (not a knock on the BSX release, which probably sounds as great as it can given the circumstance) that does the music no service.
It's no ANTONY AND CLEOPATRA or HAREM or KING KONG LIVES or whatever - and there's sometime a Richard Band-like flavor of a composer clearly knowing what he's scoring is dreck and thus treats the material a little more tongue-in-cheek than he should have - but it's still tuneful, versatile and consistently entertaining, with enough of Scott's harmonic creativity and orchestrational finesse to win me over.
I once asked John why he chose to utilize the Beethoven tune as a jumping off point for such a dire film, he said he could no longer recall but he recalls that it was definitely a conscious act on his part about which he feels no need to hide his head in the sand.
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