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Posted: |
Mar 13, 2018 - 2:27 PM
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By: |
leagolfer
(Member)
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Flowers is the perfect accompaniment for the dark gothic style that the filmmakers used & with Young's great combination of orchestra & haunting vocals, I first watched this film as a late teenager & it felt a little scary back then.
Today I listen to it grown-up feeling its brilliance & beauty its almost tranquil, therapeutic, some of the songs are beautiful, relaxing.
I bought this score in the late 90s & not long ago I went to the 2nd annual in London, I had Flowers signed by Chris, such a nice guy signed over a dozen scores that made me happy well worth the trip.
If there is any outstanding material unused then I would jump at another copy, but if not, I'm happy with what I've got, the sound is nice & crisp, the booklet may only be basic but its signed by the maestro. 
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The local library had a copy of the Intrada CD years back. I took it out and listened to it nonstop but never thought to rip a copy (me and my morals ya know).
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Well put, Kev. This is the score that really got me into Chris Young (the LP version) in the same few years that he also did Bat 21, Hellraiser, The Fly II. These four scores got some seriously heavy play from me at that time - late 80s, early 90s - which still remains my favourite period in Young’s career. That “heart sadness” you mention infuses a lot of his music from that time, although Flowers is the absolute zenith in this regard. So much so, it’s almost hard to listen to sometimes.
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I've always thought Young's score for Flowers in the Attic was an unsung masterpiece. It wasn't a million dollar blockbuster (in fact the film, while touting merits, is nonetheless a bit of a lull - all the "good" stuff that was barely alluded to in the final cut, was excised), but like Jerry's scores for Swarm, Inchon, King Solomon's Mines, et al his score lifts the film to a high level. It's such a complex, and patented score, that everyone previous in this thread has rightfully flown. Glad to see that people still respect it.
And I am on board with that period of his career being probably his best. His scores for Hellraiser and Hellbound: Hellraiser II are other masterpieces, full orchestra and choral rides into the depths of emotional turmoil. So vividly and masterfully done. The Fly II and Haunted Summer were also feats of glory. And I purchased his Stranger in the House score and am enjoying that one as well.
It also helps, that if one ever gets to meet him, he's a real teddy bear of a hugger!
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Listened to this one a couple of times the last days and it is still a terrific score with one of the most melancholic and sad themes ever composed. The whole atmosphere is dreamlike and mysterious. Wonderful! Such a pity, that a new release seems to be complicated...
By the way: The Offering is one of Chris scariest scores and I recommend it wholeheartedly!
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