I couldn't find a dedicated thread for this score, which would make thematic sense as it was written at a time where Kamen was much more famous for working with Joel Silver. To wit, I'm just listening to it all the way through for the first time now, but I have to say I'm blown away. It actually fits in perfectly with scores like LETHAL WEAPON, DIE HARD, and LICENCE TO KILL in that it favors atmosphere over exposition and features the kind of instrumental textures, harmonics, and percussive quirks that were hallmarks of his writing at the time.
I have to admit, his style wasn't always a fit for me. Sometimes exploratory, sometimes meandering; all well and good but not always propulsive in a way that connected with me. CRUSOE checks a unique box because it's all of those things at once. It's totally beguiling and I was riveted start to finish. Surprises like this are what keep me drawn to this medium despite all the other bullshit.
Some samples:
(his low-end writing is particularly fascinating here)
Anyone else dig this score? Quartet put this out in 2013 but I believe it's sold out. I just got a copy from moviemusic.com
I know there was a previous thread on it, but I can be arsed to look at the moment.
I found the score offputting the first time I heard it (surprisingly stark, bleak and dissonant at times -- contrary to what you expect a Crusoe film to be). It was certainly no CAST AWAY, with its warm colours. It has more in common with Kamen's THE DEAD ZONE. But it has grown on me, and I now consider it excellent.
This was another slow-burner for me too. I first became aware of the music via the suite on that Michael Kamen/Decca compilation album. I really liked that cue and bought the Quartet edition right away, but never quite got into the whole score at first. It's not as cut n thrust or in-your-face as other, more accessible Kamen scores. It's more akin to his low-key, UK based scores that he would often tackle, away from the Hollywood blockbusters and action epics. But I have grown steadily more into it with each subsequent play. It's such a contemplative listen. Not always easy...there's some tension and unease never far from the surface. I love the tracks where you can hear a slight refrain of his HIGHLANDER theme buried into their DNA. Much like I associate the Ondes Martenot with Elmer Bernstein & Maurice Jarre scores, the Kurzweil sound will forever be associated with Michael Kamen to me. I generally love the various sides of Michael Kamen's music (even his gorgeous orchestral backings for Pink Floyd, Kate Bush, Tom Petty et al). He was such a talent.
