 |
|
|
|
|
|
|
|
|
|
|
|
 |
Posted: |
Jun 7, 2014 - 10:01 PM
|
|
|
|
By: |
Rexor
(Member)
|
Actually worked better than the film did, IMO. I don't mind some off-color stuff, but this was so self-consciously obscene and intentionally gross-out that it was a less-satisfying comedy (for me) than it might have been had McFarlane taken his foot off the pedal just a bit. A tip of the hat to McNeely for a job well done, anyway.
I also liked the score more than I did the film. Boy, it was exhilarating to hear the Main Title music, and the chase music. Parts of the film is funny, but, overall, the film seemed like it was running short on material... Too much, sex, fart-jokes, and religion-bashing.
-Rex
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Yes, despite Al Kaplan's sour-graping in the latest FSM On-Line editorial. McNeely is the man who SHOULD have scored COWBOYS & ALIENS.
|
|
|
|
|
|
|
|
|
Posted: |
Jun 18, 2014 - 6:39 PM
|
|
|
|
By: |
John Mullin
(Member)
|
Well, the thing with that (meaning the COWBOYS & ALIENS scenario) is that whomever the composer is, they still have a boss - or bosses - that they need to answer to. Harry Gregson Williams is perfectly capable of writing big swash-buckling music, but it really does not appear that that's what Jon Favreau wanted from the score. Any composer who might have gotten the job in an alternate universe would have to contend with the same thing. COWBOYS AND ALIENS would still be a pretty awful movie and an enormous financial bomb for the studio if McNeely had scored it.
Whenever one of these "this guy should have done this movie" threads come up, I always think about the four Harry Potter movies that David Yates directed. People were quick to throw sand at Nicholas Hooper for how he approached the movies, but then Alexandre Desplat took over for last two, and his contributions, I would argue, are just a sedated and nondescript as Hooper's were. In many ways, I think Hooper got away with writing more memorable music for his movies than Desplat was able to get away with on DEALTHY HALLOWS PART 2, the blandest of the eight by far. Why do you think that is? Because David Yates was the guy that both composers were trying make happy on the films, and it seems that he very deliberately pushed the music in a particular direction.
|
|
|
|
|
|
|
|
|
|
|
There's going to be a deluxe edition of the soundtrack available exclusively on iTunes to coincide with the digital release of the film (This is according to the film's home video press release). The digital version streets on September 9th. No link yet but I bet there will be one in a week or two from now.
I loved the movie a lot but I loved the score even more. The Main Title music is a blast and the rest of the album is practically a flat-out joy. It's probably the best score I've heard this year. I probably would've waited if I had known a deluxe edition was coming but I can't complain. The score's been getting a lot of play on both my iPod and iPhone over the summer. It's a great return to form for Joel McNeely, whose work I've been enjoying since he composed the score for Radioland Murders twenty years ago.
|
|
|
|
|
|
double post
|
|
|
|
|
|
|
|
|
|
The expanded edition of this soundtrack is now available on the iTunes store, with 20 more minutes of McNeely's score. Perhaps the most amazing addition is an expanded end titles suite which is absolutely stunning. McNeely explained on his Facebook page that when the end titles crawl ran long, Seth Macfarlane asked him to revise his composition and record it anew, rather than simply cut-and-paste from the score. Imagine that?
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
I highly recommend the Itunes release of the complete score. It has around 20 additional minutes compared to the CD. It`s really worth it. The additional music gives the score even more variety. And it features the original end credits suite which was recorded in a different studio than the rest of the score and thus has a slightly different sound.
Overall I was pleasantly suprised by the warm and rich sound of the Itunes tracks which for whatever reason didn`t have that typical mp3 sound.
Still one of my favorite scores of the year.
|
|
|
|
|
|
|
|
|
|
The complete "end credits" suite is one of my favorite pieces of film music. What a fabulous score!
|
|
|
|
|
|
|
|
|
|
|
