Anyway- Anyone heard this score- how can WC be BAD??

"He's fallen....... burning in the twiight!"

(yep, Wang Chung on The Breakfast Club)

PS Does Gary Chang *REALLY* pst here?

You saw Wang Chung for REAL!!!!???? Damn, you are lucky- I take it that it was in the 1990s though, right? shame.............. I love pop synth- I wouldve killed to see them circa 1984

SONGBIRD- What did you think of FIRE IN THE TWILIGHT for The Breakfast Club? I am very interested to hear your opinion.

That song Fire in the Twilght is just kick ass http://www.filmscoremonthly.com/board/smile.gif"> I love playing it in the car at high speeds

TLADILa is a great score, and makes for a nice album http://www.filmscoremonthly.com/board/wink.gif">

Jack Hues also scored THE GUARDIAN in 1989 for William Friedkin, although that score is written for gnarly string quartet and doesn't sound like their pop work at all...

Morricone's RAMPAGE is another great score,although many fans don't seem to like it....the composer and director communicated on what that score would be like by playing Stravinsky and some other modern classical music for each other...

Best,
Sean
[This message has been edited by OHMSS76 (edited 20 February 2001).]

[This message has been edited by SjONGBIrD (edited 20 February 2001).]

I don't usually like Tangerine Dream, but their MIRACLE MILE score is a favourite.

Haven't played TO LIVE AND DIE IN LA recently (I have it on cassette), but I've been thinking about digging it out.

NP: EXECUTIVE DECISION (Jerry Goldsmith)

I have mxed feelings about the Keep- the intro stuff when the jeeps roll into the Romanian mountainside is TERRIBLE,totally misplaced and anachronistic- It felt like Britain's AUF WIEDERSEIN PET TV show.

Later on the Golem themes were so netherworldish and bringing in Blakes The Snowman was also a curious yet mysteriously successful choice-certainly one to uplift the humanityof the film at that point- in fact, the image of Ian McKellen regaining his old age really kicked in as nerve-aching afterthought once the credits were in motion.

Having this fresh pop-synth youth electronica band amid all of this pseudo goth-toture imagery realised a Neil Gaiman styled quality to the film, as though it was the thoughts of a naive art student obsessed with death and destruction.

The most effective, ambient synths I have heard are those used for the SWAMP track for FLASH GORDON. They sound so timeless and elsewhere-

[This message has been edited by SjONGBIrD (edited 20 February 2001).]

Btw : FIRESTARTER is good too.

William Friedkin's liner notes to SORCERER observe that if he'd known about Tangerine Dream at the time he was shooting THE EXORCIST, he'd certainly have chosen them to score it. I like Tangerine Dream more than I don't, but can't imagine them scoring THE EXORCIST. On the other hand, I didn't know what Mike Oldfield's "Tubular Bells" even WAS when I first saw it, so who knows.

Whatchall think of James Horner's score to William Friedkin's JADE? I sometimes wonder if Friedkin asked Horner to build the whole thing around the (quite lovely) song -- not Horner's -- that plays over the end title.

Rocco, I really liked James Horner's score to Jade. In fact, I really wished it was released because it was definetly the best part of the film. How much score was there is the question. The Main Titles are one of the best Horner had written in a long time to that point next to both Braveheart and Apollo 13. I only have a three minute plus suite on a bootleg called Screen Themes 2, which i highly recommend because it has a lot of unreleased music from Die Hard With A Vengeance, I.Q., Pretty Woman and a ton more.

P.O.
Rollecoaster (Lalo Schifrin, expanded) ***

quote:

---

Originally posted by H. Rocco:
Re Tangerine Dream and LEGEND (their score of which didn't need to exist, but which happens to be one of their best) -- not only did the group see the film before tackling it, they saw the Goldsmith-scored version! Probably shown to them as an object lesson as to what the studio DIDN'T want. One of the members later admitted, "We really loved that opening Jerry did," but what could they do? A job is a job.

In the liner notes for TD's late 90's album TURN OF THE TIDES, among the many varied artists the band gives special thanks too, Jerry Goldsmith is included http://www.filmscoremonthly.com/board/biggrin.gif">

William Friedkin's liner notes to SORCERER observe that if he'd known about Tangerine Dream at the time he was shooting THE EXORCIST, he'd certainly have chosen them to score it. I like Tangerine Dream more than I don't, but can't imagine them scoring THE EXORCIST. On the other hand, I didn't know what Mike Oldfield's "Tubular Bells" even WAS when I first saw it, so who knows.

---

They would have done a great job on THE EXORCIST, probably pretty close to the music that is currently in the film. Any doubters should check out their albums ATEM,ZEIT,ALPHA CENTARI,ELECTRONIC MEDITATION from that period. Much of that music is largely atonal,but makes for interesting listening....although it's very drone oriented so be warned!
And THIEF is a great one IMO....the CD loses the Craig Safan cue(Dammit! Now I have to keep my LP forever,since that piece has some great guitar,which sounds EXACTLY like Edgar Froese's playing!) and adds the 7min. "Beach Scene" which really just expands on "Beach Theme" the first cue.
Now the album doesn't resolve properly, since the final cue IGNEOUS(previously heard on the 1979 album FORCE MAJEURE)sort of.....just ends http://www.filmscoremonthly.com/board/frown.gif"> http://www.filmscoremonthly.com/board/frown.gif">

Best,
Sean