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Starting a new thread so we don't trigger people every time the LLL thread gets bumped!
When they eventually do a redo of Innerspace wonder if there will be any unreleased music
I wonder if it'll be remixed so that the synths and percussion are as prominent in some tracks ("State of the Art/The Charge" and "Optic Nerves") as they were on the original album.
Is there enough difference between the two for the original tracks to be included?
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This is one of the few score where I listen to the original (album side) as much as the expanded. Truth to tell, it took me a while to get into the expanded.
The original is a super brief suite (only one - GLORIOUS - statement of the love theme) but wow it's great. OTOH the expanded has the Cowboy theme.
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I would have separated the 'used' cue from the 'alternate' cue on Track 3, "Tell Me About It" instead of joining the used and unused versions together, but that is a very minor, minor quibble, and just my personal taste.
Well, there's two tracks combining alternate and used bits. Just to quibble more.
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I think it was Micael J. Lewis, who once said you can't beat a tradional full orchestra ( or words to that effect). It was in reference to a badly dated synth sound in one of his own scores( North Sea Hijack, I think).
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Posted: |
Oct 23, 2022 - 2:33 AM
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By: |
Thgil
(Member)
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Michael J. Lewis is certainly entitled to his opinion, but I have a different one. Limiting yourself to a traditional orchestra is, well, limiting. Whether you want to augment the timbre by adding electronics, non-traditional instruments, things that aren't traditionally instruments at all, or alter the color of a work by focusing only on certain instruments, there's something to be said for mixing it up.
I love Herrmann's scores for bassoon ensembles as much as I love Williams' purely orchestral scores and Goldsmith's scores for orchestra, electronics, and choir. There's no wrong way to go about it and they all have their place in my opinion. Then again, I'm not big on saying a sound is "dated" as if it's a bad thing. There are plenty of entirely orchestral scores that are extremely dated simply by way of their composition. It's unavoidable.
But don't take my word for it. I miss when synths were almost as prevalent as woodwinds. Now they both seem to be less favored. What a terrible time to be alive...
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Innerspace is an interesting case because it has both Goldsmith's silly synths and his serious ones. I can't figure out which category to put his Cowboy music in. It's clearly ridiculous but it's also legitimately a cool Morricone riff.
In any event the synths are far more part of the orchestra than, say, Hoosiers. (I love Hoosiers.)
I'd argue that this is Dante's most effective film. It has room for his zany appetites but it manages to frame it in a really exciting and genuine setting. The score follows suit.
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I'd argue that this is Dante's most effective film. It has room for his zany appetites but it manages to frame it in a really exciting and genuine setting. The score follows suit.
Nailed it!
And I adore this score, every extended note of it. One of my favorite Goldsmiths of the 80s.
I do hope it gets released again, everybody should have a chance to pick it up. I mean, you can say that about most things, but especially this one!
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I dearly love InnerSpace, the score and the film. My only regret is that Goldsmith never wrote a proper end credits suite for this one.
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True about the end credits miss. But I always thought the movie used songs well, so I understood the choice.
Felt right for the movie, but not the album. One way the suite on the original album was more satisfying. (That was a crackerjack suite!)
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True about the end credits miss. But I always thought the movie used songs well, so I understood the choice.
Felt right for the movie, but not the album. One way the suite on the original album was more satisfying. (That was a crackerjack suite!)
Well, it was probably decided early on, as was the style in the 80's and 90's, to close the movie with a pop song. And that "suite" at the end of the original Geffen album was several of the climactic action cues of the movie put together into one 9 minute track. Certainly a highlight track!
It's just the two. Gut Reaction = The Womb + Stop the Car, right?
Then Air Supply ends the album with such a perfect finale to the side that you don't even realize that it isn't the actual end of the movie!
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