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After listening to the choir only track (disc 2, track 17) I must conclude that the choir is NOT from "Waxing Elizabeth", but from "Rame Tep" (disc 2, track 2).
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Great news this release, this is a fabulous score and as Clark says, why did Broughton not become a hugely in-demand composer?
Hard to figure! His melodies are magnificent, his composing is nuanced and complex -- I'd rank him with JW as far as sophistication goes, and add points for accessibility and warmth. It may be that a lot of film execs see him as chiefly a TV composer, or maybe it's that other thing...that his mastery of the orchestra disqualifies him because they mostly all want droning soundscapes rather than rich, melodic, cleverly written orchestral scores...
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Posted: |
Apr 6, 2014 - 4:27 PM
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By: |
SchiffyM
(Member)
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His talent is big but a lot of other film composers of his generation had (or have, for those still alive) a talent much bigger (Horner, Kamen, Elfman, Silvestri etc.)
I would put Broughton above most of those (I won't mention who, because that's not important -- it's all opinion), but whatever your opinion, it seems fairly clear that Broughton -- to some extent just through dumb luck -- never wound up attached to a true blockbuster, or in a long-term working relationship with a James Cameron, Tim Burton, or Robert Zemeckis. He might have with Lawrence Kasdan, but they couldn't see eye-to-eye on the direction to take the score for "The Accidental Tourist."
That said, Broughton has had a very substantial career, with quite a few very big (if not quite huge) films, an Oscar nomination, nine Emmy wins, a solid following among our core group, and music that still plays at Disney theme parks. We fans may regret that he wasn't even bigger, but this is nothing to sneeze at.
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One of the all-time-great soundtrack releases. Immensely satisfying and worth the wait. Thanks, Intrada!
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Posted: |
Apr 7, 2014 - 12:08 AM
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By: |
Josh
(Member)
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Regarding YSH, I've listened to the new release all the way through a few times and A/B'd several tracks between it and Intrada's 2002 promo, and the new mix is noticeably different. Which is "better" is, of course, a matter of opinion. The choir is not as prominent in the new mix, and in other places certain instruments seem to be subdued (dialed down), which in my opinion waters down some of the more climactic portions of the score and renders them less intense, despite the improved clarity of the recording (the slight tape hiss that pops up now and then on the promo is absent here, as far as I can tell).
I'll be the first to admit that my ears aren't the best, so take my words with a grain of salt. So far, overall, I prefer the punch and cacophonous bombast of the mix in the promo release over the clarity and balance of the new release, but like I said, it's all a matter of opinion, and this being one of my all-time favorite scores, I am happy to have it either way (and both ways), and the bonus cues on the new release are a real treat.
If you don't already have the Intrada promo, it's a no-brainer. You absolutely must buy this new release. If you do have the promo and you're a big fan of the score like I am, it may be worth it to you to check out the new mix to see if it's more to your liking, and even if it turns out it's not, you have some cool unreleased bonus tracks to feast your ears upon.
Good show, Intrada.
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One of the all-time-great soundtrack releases. Immensely satisfying and worth the wait. Thanks, Intrada!
My thoughts exactly, such an enjoyable score. Played it non-stop over the weekend.
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