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If you liked his score for The Dark Crystal, then I think you'll enjoy Nate & Hayes,
With all due respect they're night and day. The Dark Crystal is far richer and varied. IMHO of course.
Dark Crystal is by far the better score - in that it's one of the maybe 3 greatest scores for a high fantasy film, period - but I don't know how you can hear the Nate and Hayes overture and not hear a kissing-cousin-level similarity to Jones's score for the Henson film (as well as the swashbuckling theme he wrote for Martin Short's character in Merlin). I'm looking forward to the complete release because while I understand why it had to be that way, the previous release always felt weirdly edited and disjointed to me, with great highlights but little sense of a larger narrative arc (which might be why so many people found it repetitive). It might be that the score is just like that, but I'm hoping the complete score turns out to be more coherent listening experience.
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Also, who in their right mind decided to title a period swashbuckler adventure, "Nate and Hayes"?!
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It was actually released in the UK under the title SAVAGE ISLANDS.
Not sure that's much better though.
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It was actually released in the UK under the title SAVAGE ISLANDS.
Not sure that's much better though.
At least “Savage Islands” tells me islands will be involved! Nate and Hayes sounds like an urban buddy cop movie, like “Tango and Cash” or “Turner and Hooch” or “Beverly Hills Cop and Judge Reinhold.”
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Posted: |
Aug 8, 2018 - 11:28 AM
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By: |
JSDouglas
(Member)
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In 1983 my dad wrote movie reviews for the local paper. When new films rolled in, he would attend screenings held Friday mornings or earlier so as to be able to have the review appear during the film's opening weekend. I would generally be allowed to tag along. This was how I first encountered NATE AND HAYES.
The title gave me no clue as to the nature of the film and the poster was no better. I went to the screening anyway because it was the only thing going that day! As the film's opening sequence unfolded two things became apparent - the movie was largely inspired by RAIDERS OF THE LOST ARK (it had that tongue-in-cheek attitude with movie serial-type action set-ups - plus it began in a jungle setting) and the music was by the guy who did THE DARK CRYSTAL. A new movie with a Trevor Jones score was exciting to me as I loved THE DARK CRYSTAL and my LP of its soundtrack.
Perhaps due to my lowered expectations, I found NATE AND HAYES to be an enjoyable romp. I liked the music a lot, which indicated to me that Trevor Jones was going to be a composer whose career would be worth following. While I hoped a soundtrack album would emerge, I was not surprised when nothing appeared as the film dropped swiftly from sight.
Years later, the End Titles appeared on a re-recorded compilation called "Best of Adventure" under the film's alternate title SAVAGE ISLANDS. Much, much later the "album that never was" finally appeared from La-La Land. That brings me to this new release from Intrada some 36 years later!
I rejoice that this score has persevered through the years to find its way to this deluxe presentation. I'm surprised that there is so much irritation caused by this release. To me, NATE AND HAYES falls in with a group of fun scores like THE SWORD AND THE SORCERER, THE BEASTMASTER, CUTTHROAT ISLAND, SHOGUN MAYEDA, KING SOLOMON'S MINES or (dare I say) CONAN THE DESTROYER. Yes, there are scores that are better (and films that are better) but we return to these fun, energetic and maybe TOO over-the-top adventure scores precisely because they are infectious and lively.
We put a lot of onus on the repetitive nature of some film scores as well - forgetting that it is the nature of the beast and that one fan's film score joy is another fan's repetitive slog. For me, NATE AND HAYES is in the joy camp. Sorry if this new release harshes your mellow, but I'm sure you will eventually receive satisfaction - even if it takes 36 years to happen.
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Good for you JSD and everyone else who can't wait to get their mitts on lots and lots of new music from SAVAGE ISLANDS!!
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In 1983 my dad wrote movie reviews for the local paper. When new films rolled in, he would attend screenings held Friday mornings or earlier so as to be able to have the review appear during the film's opening weekend. I would generally be allowed to tag along. This was how I first encountered NATE AND HAYES.
The title gave me no clue as to the nature of the film and the poster was no better. I went to the screening anyway because it was the only thing going that day! As the film's opening sequence unfolded two things became apparent - the movie was largely inspired by RAIDERS OF THE LOST ARK (it had that tongue-in-cheek attitude with movie serial-type action set-ups - plus it began in a jungle setting) and the music was by the guy who did THE DARK CRYSTAL. A new movie with a Trevor Jones score was exciting to me as I loved THE DARK CRYSTAL and my LP of its soundtrack.
Perhaps due to my lowered expectations, I found NATE AND HAYES to be an enjoyable romp. I liked the music a lot, which indicated to me that Trevor Jones was going to be a composer whose career would be worth following. While I hoped a soundtrack album would emerge, I was not surprised when nothing appeared as the film dropped swiftly from sight.
Years later, the End Titles appeared on a re-recorded compilation called "Best of Adventure" under the film's alternate title SAVAGE ISLANDS. Much, much later the "album that never was" finally appeared from La-La Land. That brings me to this new release from Intrada some 36 years later!
I rejoice that this score has persevered through the years to find its way to this deluxe presentation. I'm surprised that there is so much irritation caused by this release. To me, NATE AND HAYES falls in with a group of fun scores like THE SWORD AND THE SORCERER, THE BEASTMASTER, CUTTHROAT ISLAND, SHOGUN MAYEDA, KING SOLOMON'S MINES or (dare I say) CONAN THE DESTROYER. Yes, there are scores that are better (and films that are better) but we return to these fun, energetic and maybe TOO over-the-top adventure scores precisely because they are infectious and lively.
We put a lot of onus on the repetitive nature of some film scores as well - forgetting that it is the nature of the beast and that one fan's film score joy is another fan's repetitive slog. For me, NATE AND HAYES is in the joy camp. Sorry if this new release harshes your mellow, but I'm sure you will eventually receive satisfaction - even if it takes 36 years to happen.
Can I just thank you for being the first person to finally introduce “harshing your mellow” into the FSM lexicon?
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Posted: |
Aug 10, 2018 - 10:08 AM
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By: |
The Mutant
(Member)
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In 1983 my dad wrote movie reviews for the local paper. When new films rolled in, he would attend screenings held Friday mornings or earlier so as to be able to have the review appear during the film's opening weekend. I would generally be allowed to tag along. This was how I first encountered NATE AND HAYES.
The title gave me no clue as to the nature of the film and the poster was no better. I went to the screening anyway because it was the only thing going that day! As the film's opening sequence unfolded two things became apparent - the movie was largely inspired by RAIDERS OF THE LOST ARK (it had that tongue-in-cheek attitude with movie serial-type action set-ups - plus it began in a jungle setting) and the music was by the guy who did THE DARK CRYSTAL. A new movie with a Trevor Jones score was exciting to me as I loved THE DARK CRYSTAL and my LP of its soundtrack.
Perhaps due to my lowered expectations, I found NATE AND HAYES to be an enjoyable romp. I liked the music a lot, which indicated to me that Trevor Jones was going to be a composer whose career would be worth following. While I hoped a soundtrack album would emerge, I was not surprised when nothing appeared as the film dropped swiftly from sight.
Years later, the End Titles appeared on a re-recorded compilation called "Best of Adventure" under the film's alternate title SAVAGE ISLANDS. Much, much later the "album that never was" finally appeared from La-La Land. That brings me to this new release from Intrada some 36 years later!
I rejoice that this score has persevered through the years to find its way to this deluxe presentation. I'm surprised that there is so much irritation caused by this release. To me, NATE AND HAYES falls in with a group of fun scores like THE SWORD AND THE SORCERER, THE BEASTMASTER, CUTTHROAT ISLAND, SHOGUN MAYEDA, KING SOLOMON'S MINES or (dare I say) CONAN THE DESTROYER. Yes, there are scores that are better (and films that are better) but we return to these fun, energetic and maybe TOO over-the-top adventure scores precisely because they are infectious and lively.
We put a lot of onus on the repetitive nature of some film scores as well - forgetting that it is the nature of the beast and that one fan's film score joy is another fan's repetitive slog. For me, NATE AND HAYES is in the joy camp. Sorry if this new release harshes your mellow, but I'm sure you will eventually receive satisfaction - even if it takes 36 years to happen.
Such a well written, genuine post. A rarity around these parts. As soon as I have the funds, I’m going to snap this up.
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Agreed. Great post.
Very excited about getting my copy. Thanks Intrada. Keep the Joneses coming
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