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Posted: |
Dec 22, 2013 - 5:30 AM
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By: |
Mink
(Member)
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I was surprised by the amount of music dropped from part 2. Especially the first Leo Getz scene. That's great stuff !
Oh yes, I totally agree! The orchestra part seems like right out of an exotic adventure movie or something ;-) Really wonderful!
For me as an uber Kamen fan this set is beyond words. The sheer amount of unreleased AND unused, ergo NEVER heard before music is purely amazing. It's almost like having some new Kamen scores to listen to. And that's really the most wonderful thing to me.
But of course also having all cues in complete form now for the first time is awesome. "The Desert" for example. The cut off ending always bothered me so it's great to have it finally complete. Not to mention LW2...
And there's just so much great new action music (Chase the Red BMW, Mulholland Chase, Out of Container, Fire Battle, Freighter, Freeway Chase, Riggs on Table, etc, etc...).
Also LW4s "House Fight" is purely breathtaking (especially from 2:17 on). The music at the end of that scene when Ku makes this "flying kick" and reaches for the gun is just nailing that moment so hard musically.
Like Gold Digger said, why can't modern film scoring be this engaging...
@Gold Digger
I'm 99% sure that the Sax in "The General's Car" is just tracked in from an earlier cue. Probably "Meeting Martin Riggs/Roger's Daughter". I'd have to check though.
It's interesting that even in a "family project" like the LW series, like so often with Kamen's scores, there were a lot of changes made to the music in post production.
The "film version" of LW2s "Ballet Fight" for example drops Clapton after half way through the track and uses material from 1:05 to 1:12 (minus the guitar) as overlay for the section from 1:12 to 1:21 where the guitar is again dialed out.
I have to admit that the track sounds a bit "unfamiliar" with the guitar in it, especially in the build up just before Riggs drops the container on Vorstedt. But nevertheless I like it a lot as it makes very much sense concept wise to have Riggs trademark instrument heard in those moments.
Some cues in LW 1 have been altered too, like the synth from the end of "Yard Fight" (overdubbed with "Graveyard" in the LALA release but clean in the BACCHUS edition) is tracked in when Joshua enters Roger's house at the end of the movie.
Also "The Hunsacker Story" and "Hummingbird Treatment" are slightly different in the movie. The first one having some (I guess) synth overlays in it and "Hummingbird Treatment" has some drums heard when Riggs breaks Endo's neck.
The only things I personally would have preferred to be on the set as well are a sax free version of "Stilt House Fight" (since it was used so prominently in two scenes in LW3) and the film version of "Underwater Fight Concludes" from LW4. I always loved the percussion in this one.
Have to stop typing now or I'll blow up the FSM servers ;-) I could go on forever about how amazing this set is.
Thank you SO much LALALAND! You guys are great!
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Thanks for that lengthy post Mink! You bring forth a lot of things I hadn't thought about or that hadn't occurred to me and I always dig this kind of specific commentary on specific aspects and moments of cues. I agree it is an amazing set and I enjoyed reading your in-depth comments. Keep 'em comin! 
How'd you end up taking to Lethal Weapon 4?
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Keep playing the fight at the Stilt house and Mulholland Chase. Fab to finally have that.
Can't get enough. Why can't current modern film music be this engaging?
Because modern film composers like Brian Tyler and Marco Beltrami are way better than Michael Kamen ( no disrespect to the man ).
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Yea it is, I always heard similarities in the styles of the scores too.
And I told ya about Lethal Weapon 4, although all of his scores are great, it's like the music kept maturing with each film, growing stronger, and more heart felt.
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Keep playing the fight at the Stilt house and Mulholland Chase. Fab to finally have that.
Can't get enough. Why can't current modern film music be this engaging?
Because modern film composers like Brian Tyler and Marco Beltrami are way better than Michael Kamen ( no disrespect to the man ).
Hmmmmm.... Is this just OnlyGoodMusic or GoldsmithRulez posting from a different name?
Sure sounds like it.
Its called having a different opinion than your own.Live with it.
Again, no disrespect to the man but Kamen in my opinion was a very hit and miss composer.His scores for the Die Hard and Lethal Weapon series were only adequate at best.
I did really like his scores to Highlander and Robin Hood though.
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Again, no disrespect to the man but Kamen in my opinion was a very hit and miss composer.His scores for the Die Hard and Lethal Weapon series were only adequate at best.
Well, no disrespect to you... but this part of narcissism on the internet baffles me. Why are even in this thread? Why the hell would you enter the Lethal Weapon discussion thread (for scores you found adequate at best from a composer you found very hit and miss) and think your "different opinion" was wanted, needed, or necessary? Do you also go to weddings of people you don't care for and stand up in the middle of the ceremony to proclaim how ugly the bride is?
There's times when differing opinions and debate is necessary and constructive. And then there's times when a differing opinion doesn't actually contribute anything and is just someone who refuses to believe no one could live without their every thought. The skill is learning one from the other.
Its just my opinion dude.No need to get your panties in a twist over it.
I make my comments in this thread because the LW set is getting a lot of attention lately.I dont have to buy it to partcipate in the discussion.Im a fan of the movies but never thought the music was that special.Just not to my taste.
Its a change from ' Oh i love this set why cant modern film music be more like this? ' which gets old very quickly.
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Are you kidding???, Marco Beltrami is is the most boring composer he never has any thematic material (ever) compare the two Wolverine movies, first one has a great theme that is used and builds up and the new one by Beltrami has nothing but his usual generic boring scoring.
The Die Hard scores are amazing, Michael Kamen was so good at creating such tension and suspense like the moment in Die Hard 2 as Bruce Willis is trying to get free from that grate he opens as the plane is heading towards him and in Die Hard 3, the climax just before he shoots the cables that kill Simon is my favorite cue of his.
Now Lethal Weapon's unique scoring with mixing rock/guitar elements with an orchestra was pure brilliance and all 4 scores are exactly like Zimmer these days, as the films go on in they re-orchestrate previous cues while creating many new themes and exciting moments like gun battle and the climax of Lethal 3 and I also found it interesting after listening to all of Lethal 1 how many idea's are there but finally get fleshed out completely in Lethal 4.
on a little side note, finally found that amazing bit from Lethal 4 when jet li dies and riggs swims to the surface in suicide (alternate).
Disagree.I much prefer Beltamis Die Hard scores to Kamens.A Good Day To Die Hard ( despite being actually the worst entry in the series ) is one of the best action scores i have listened to in a long long time.
As for ' no thematic material ', you really need to check your ears, as there is some great thematic material in Die Hard 5, from the russian villain theme and the father/son theme that is fully developed at the films climax.
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I'm just floored by LaLaLand's attention to detail and pursuit of quality with the LW box set. Finally--finally!--these scores can take their place among the best action scores of the 80s and 90s and can be heard in a presentable, available form.
I'd like to echo a lot of the other comments about hidden gems in the LW3 and LW4 scores that had never seen the light of day prior to this set--"Lorna's First Fight," "Chinatown Chase," etc.
Also interesting to me is that the film mixes of the LW1 cues are different from the album mixes--the jingle bells are mixed higher in the album version of "Amanda" and the sax intro to "Meeting Martin Riggs" has some light chorus effect in the film version that's not in the album mix.
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