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Very happy to see LOVE FIELD released properly, now I will buy it. I never picked up the previous OST release, as I always hoped it would get a better release one day. That day has now come.
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Thanks to liner notes writer Tim Greiving, I’ve got some exciting/interesting news to share: “Lost Luggage” from the old album is actually “The Accident” on the new album. So “The Accident” is in fact a previously released cue… but the entire 10:33 long “Lost Luggage” cue on the new release is *entirely* new, here! One of Goldsmith’s longest cues out of his entire career is now being premiered.
Yavar
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I much prefer it to the thin, badly-dated "orchestral pop" themes for NOT WITHOUT MY DAUGHTER or ANGIE.
I prefer any non-Angie Goldsmith score to ANGIE.
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"Whoa whoa the Bill Payne cues! Shocked, pleasantly, to see those cues. I get that premiere tracks from Goldsmith are the main draw here (for me too) but these Payne cues have been on my grail list since I first happened on the end credits for this many years ago."
***
"That is annoying, (that = se Mr. Jack's post above)
but not as annoying the Payne music was in the movie. IMO."
***
Clearly, one person's grail is another person's annoying. Hi ho, as I'm often fond of repeating: Mark Twain said it's a difference of opinion that makes horse races.
My own personal horse in this race? No one here has loved Jerry G. longer or more enthusiastically than I have, but for me the Payne pieces are the main event/attraction in this welcome new release. When the original CD was released, I was crestfallen to discover that they weren't included. And now my days of sorrow are finally over. Three cheers!
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it seems it's cheaper for EU customers to purchase it directly from USA (32€+customs) than from the UK site (35€+customs). So, back to square 1
great move, Varese!
Love Field is £16.48/€19.23(+ p+p+ customs)
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I hope that this score's rep improves with this release. The complete "Lost Luggage" (for the getaway scene) has a lot of vigorous, Bartok-ian material that sounds more like the Goldsmith of 1961 than 1991. True, the theme is simple and sappy, but it's also winning and affirmative (the b-section sounds almost like a gospel tune) and reflects the music of the American South, an idiom rare to post-70s Goldsmith scores. I much prefer it to the thin, badly-dated "orchestral pop" themes for NOT WITHOUT MY DAUGHTER or ANGIE.
So I've now heard the expanded program twice and it's a revelation IMO. It is pretty much everything I hoped it would be, fleshing out this score into a varied and well-developed work which flows well, unlike the original album. I'd probably have rated the original album a 6/10 or 6.5/10 on a good day. Thanks to the expansion this probably lands around an 8.5/10 for me now -- I love it.
"Lost Luggage" at 10:33 is absolutely a highlight of the score -- the action music is mostly what made it into the film, but there's actually a lot of variety over the journey of this cue. It was in fact not released on the original album at all; as I previously noted the cue by that name on the 28.5 minute program was in fact "The Accident" -- no idea why it got the other cue's name but it does have a similar mix of action and non-action so I can kinda understand it just being a mix-up perhaps.
All of the other shorter cues (most under 2 minutes long) are absolutely WONDERFUL. Most of them are *not* "variations on the same" stuff as the original album, but unique developments of material. There's a bit more action, a bit more of that charming bluesy motif (especially in the new cue "On the Bus"), and more than anything there's good development of the two themes for the two primary characters of Lurene (delicate stuff, not cloying like that "main theme" can be) and Paul (the latter especially gets some good new action material). One of my favorite new cues is the kinda playful "The Map" which really isn't like anything else in the score and it's a pure delight with some great flute writing. Honestly almost every new cue is a unique gem which brings something fresh to the score.
Spinmeister, that theme you don't like very much? I only noticed it once in the new 26+ minutes of material, appearing briefly in the cue "First Words" -- it's actually my favorite version of this theme, playing much more subtly that it does at the beginning and end of the film. And speaking of that finale which some might consider too over-the-top sweet... well, IT even plays better now, IMO, because it feels earned after a longer musical journey with more development and uncertainty/adversity reflected. It feels more like a warm relief rather than something trite that comes sort of out of nowhere.
You folks are in for a treat; I can't wait for more people to hear this important expansion. While some parts remain familiar of course, it almost plays like a whole new score, IMO.
Watched the film yesterday. I don't recommend it. What Goldsmith score was left intact is entirely superfluous and wouldn't have been missed if it had been excised entirely.
I watched the film yesterday too. It's...okay. I think that Haysbert's character and performance were the highlight. I think he much more deserved a best supporting actor nomination than Pfeiffer deserved the best actress Oscar nomination she received. I'm a fan of hers in general but her character in this... among the (generally very positive) IMDb reviews for this film, somebody titled theirs "Driving Miss Crazy" and it made me chuckle. Apart from being played by the obviously attractive Ms. Pfeiffer, I just can't buy Haysbert having romantic feelings for her; it doesn't ring true so much to me. Best parts of the film are him having to put up with her, and at one point giving her a piece of his mind. Some parts of the film are honestly quite well done while others feel trite/pat/too easy and there's an awkward superficial Hollywood White Guilt going on...I can understand why Denzel Washington had an issue with it and backed out of starring.
Yeah, Goldsmith's score fares poorly...this is probably the most unused a Goldsmith score has ever been outside of something that was outright rejected. Alien and The Blue Max have nothing on this. Over half an hour of the score went unused in the film -- and it's really good stuff! That's why the new album will be such a pleasant surprise to people I think...
Oh! The Bill Payne stuff is perfectly nice and I'm glad it was included since it would otherwise I'm sure never see release.
Yavar
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White savior? Did we see the same film? She’s the complete opposite if anything — practically the bane of his existence! She gets him in trouble with the police, then gets him on the run from the FBI(!!!), is directly responsible for bringing him to the attention of some white racists who double back to beat him up… it’s insane how much she ruins his life, and all she does for him is cover for him at one point which just postpones him being caught. She means well I guess, but she does almost nothing for him the whole time except get him into worse and worse trouble.
Yavar
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