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I've been a fan of this score since I first heard it in the film, so I had the advantage (and frustration) of knowing which pieces were missing to fill in the considerable gaps on the OST. Others who only became acquainted with the score from the OST might have been (understandably) baffled, so I hope for them the DE was more of a musical revelation than it was for me.
New highlights are definitely "Duffy Nukes/Robo In Pain/Duffy Gets Diced", "Goodbye Angie", and "Elevated And Depressed".
While reading the liner notes, I was thrilled to see that the author identified the commonality between "Robo Gets Faxxed" and "Creating The Monster"; musically, "Creating The Monster" sounds like a twisted inverse of the former cue, in keeping with Faxx's plan to sabotage Robocop. Great stuff!
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Maybe for the hatters of the Ro-bo-Coooop chorus (I’m not one of them) a bonus track of the “Overture” without chorus should have been included. But I really love that theme (but not as much as I love Poledouris original theme).
As I wrote early on in the other thread, I'm just loving this release. Listened to it over and over. I'm hot and cold on expansions generally, but this one really works for me. The liner notes are excellent, even made me reconsider watching the movie, which I despise, almost more so every time I watch it. So I've resisted that temptation.
By the way, since the chorus (of just four singers, really more like a jazz vocal ensemble) were sitting with the orchestra in the recording, there is no way to separate them out. It's really kind of moot. And should be - they are part of the conception, like the electronics, and they belong. Plus they're a hoot!
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Posted: |
Apr 10, 2019 - 9:53 PM
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By: |
GoblinScore
(Member)
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Maybe for the hatters of the Ro-bo-Coooop chorus (I’m not one of them) a bonus track of the “Overture” without chorus should have been included. But I really love that theme (but not as much as I love Poledouris original theme).
As I wrote early on in the other thread, I'm just loving this release. Listened to it over and over. I'm hot and cold on expansions generally, but this one really works for me. The liner notes are excellent, even made me reconsider watching the movie, which I despise, almost more so every time I watch it. So I've resisted that temptation.
By the way, since the chorus (of just four singers, really more like a jazz vocal ensemble) were sitting with the orchestra in the recording, there is no way to separate them out. It's really kind of moot. And should be - they are part of the conception, like the electronics, and they belong. Plus they're a hoot!
I've never had a problem with the soprano quartet....its very comic-book, but...hey look at the source material! It's great to see others share the joy of this oft-maligned score. I thought there would be a backlash, the way most detest this one. Great notes too, hi Deniz! Too bad Townson didnt relinquish half of the ubiquitous color photos for more of your text. Oh well.
For some reason the vocal colors never occured to me, how important they are to the score, beyond the use in the Overture. Getting a different view on an old warhorse (for me), always a treat.
-Sean
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Always liked the drive of the main theme, even that part where it sounds as though it's about to break into the theme for STAR TREK IV.
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Glad people are reappraising this score. I always thought the hatred of the chorus was a little unwarranted.
Now we just need a release of ROBOCOP: THE SERIES and I can consider this franchise officially sorted.
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Posted: |
Apr 11, 2019 - 5:26 PM
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By: |
William R.
(Member)
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If you listen to one Rosenman score, you're going to hear bits from other Rosenman scores therein. The rapid, five-note vamp that opens the Overture and that serves as a signature for RoboCop is a phrase that he had been using for at least twenty years prior (you can hear it in the chase scenes in The Car and in "Helm's Deep" from LOTR). It often felt like each of his scores were all of a piece instead of standing as separate works, but he had such a singular and fascinating voice that I cherish them all.
I love the wordless voices in the score. I think Rosenman was correct in saying that they added an emotional resonance to the score that nothing else could achieve. They contribute an achingly human resonance, and in "Creating the Monster," a real bone-chilling eerieness. The farcial, controversial "ROBOCOP!" chant in the Overture has always been a bit more puzzling. My best guess is that Rosenman was aiming for a bit of Adam West-Batman styled camp, but it seems an odd choice to introduce that in a piece that is otherwise complex, serious, and worthy of a concert performance.
Favorites of the new tracks are those dealing with the robot fight scenes; Rosenman at his wildest and his best. I especially liked that snaky bassoon motif in "Monster Cleans House," which got buried in the sound mix.
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My friend Pete played Robo’s son on that show! He’s still getting residuals!
Tell him that he should've known it was a bad idea to join the CAP Crew!
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My friend Pete played Robo’s son on that show! He’s still getting residuals!
Gotta love the Union!
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Glad people are reappraising this score. I always thought the hatred of the chorus was a little unwarranted.
Now we just need a release of ROBOCOP: THE SERIES and I can consider this franchise officially sorted.
It took me a long time to come around, but I finally "got it" about a decade ago. The themes and the voice quartet are spot on and in particular that clanging mechanical swagger in the overture. Pure swag!
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"Nuke Lab" is such a great cue; I must have rewinded the first 14 seconds at least a hundred times on VHS just to hear that riff play as the cop cars arrive.
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I preface this by saying that I am very happy for the people who like this score. My life is in no way diminished by this score being expanded.
I remember seeing this film opening night with friends. One of them said after the film "I never notice music in movies and I know that you do. This sounded terrible. That must have been awful for you."
Also another friend in the group and I started humming the Poledouris theme during the movie. (I admit, I want time travel so I can slap 21 year old me around for that.)
I like Rosenman. I'm one of the few people (it seems) who really enjoy Star Trek IV.
So convince me to like this score.
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