 |
|
|
|
|
|
|
|
|
|
|
QP.
Too late for clues!
|
|
|
|
|
|
"By 2001, the composer had modernized and refined his suspense style to the point where there was not a single wasted note."
So Goldsmith's earlier and infinitely better suspense scores were relatively unrefined and consisted of wasted notes?
What a bizarre statement to make. Written by one of Hansies' henchmen?
I wrote that ad copy for Varese so you can all blame me. I was trying to characterize Goldsmith's late-period style.
And you make a good point, apologies!
Lukas
|
|
|
|
|
|
I'd say something about the score but The Mutant already said everything I would say. Good on you!
Very happy to have another great late thriller score expanded - thrilled that so many have been released, even if the numbers keep shrinking (only 1500 this time).
May not be a pinnacle of Goldsmith's career, but I love this era too - and so funny that we will be able to pick up one of his very earliest scores in just a few days from Intrada! Talk about the gamut.
|
|
|
|
|
|
We forgive you. Unless you're secretly working for Naxos, in which case we'll have to get pitch forks and fire.
|
|
|
|
|
|
Wait, there was one thing I wanted to say about the score.
I just love the solo piano cue "Alone" - actually reminds me of some of the quieter passages in Leonard Bernstein's Anniversaries for piano.
Really wish Goldsmith would have done more of this kind of thing, not so much in this score, but in general, because it's such a simple but typical piece.
Which is all the evidence I need to stop dissing a composer who had learned how to work with current film sensibilities while still staying true to himself.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
"By 2001, the composer had modernized and refined his suspense style to the point where there was not a single wasted note."
So Goldsmith's earlier and infinitely better suspense scores were relatively unrefined and consisted of wasted notes?
What a bizarre statement to make. Written by one of Hansies' henchmen?
I wrote that ad copy for Varese so you can all blame me. I was trying to characterize Goldsmith's late-period style.
And you make a good point, apologies!
Lukas
The person you'd least suspect. 
|
|
|
|
|
|
"By 2001, the composer had modernized and refined his suspense style to the point where there was not a single wasted note."
Just realised that it's a paraphrase from the film Amadeus. 
|
|
|
|
|
|
I was working in Halifax at the time
Grim! 
It was great! I was smoking weed with Han Solo and getting paid per diem!
And the seafood... oh baby
Sounds great! Still Halifax though.
|
|
|
|
|
|
Ordered!
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Yes, yes, yes!! Along Came a Spider Complete!!
I haven't been so happy since the release of U.S. Marshals Complete.
Thanks a million to Varese Sarabande for this!!
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
I've warmed to this score over the years so it's an immediate buy. The Last Castle, Sum of All Fears, Timeline, Nemesis and Looney Tunes were all would-be blockbusters and/or part of big franchises and/or part of some longstanding Goldsmith relationship, and those scores all seem kind of fragmentary to boot despite great moments.
But what I kind of like about Along Came a Spider is that it's the last movie-of-the-week piece of crap that Goldsmith scored in a career full of such scores, and it also has a sort of sleek and coherent sound. (I know I'm generalizing and exaggerating a bit, but you get my point.)
|
|
|
|
|
|
26. Not My Partner/The Ransom (End Credits from the motion picture Along Came A Spider) (10:38)
I hope this is an actual composed piece of music and not a music editor-created end title piece pasted on the end of the genuine finale cue (like Intrada did on The Mummy). No issue with these non-composed end titles being included when they're indexed separately (like on Varese's US Marshals and Air Force One) but not a fan of these pasted-together things being put at the end of "proper" cues.
|
|
|
|
|
|
|
|
|
|
|
