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Posted: |
Jul 25, 2014 - 3:27 PM
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By: |
GoblinScore
(Member)
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As Young is in my top 5 composers, I also sought out the movie. It's a dog,
which is too bad, since I'm very fond of the score. I have the LP framed on my
'wall of fame' actually. Very nice score, with some fun Close Encounters references in the music
and I hope some label gets to it as well.
Pranks is also a bad film, from
the same directors, but more watchable, and a bit of fun old 80's horror in the end.
I always wonder what Young would have done with the next Osbrow/Carpenter
epic THE KINDRED, which David Newman did a fantastic job on, but....it would have
been cool to get an early Young monster movie score. Wonder why the collaboration
stopped?
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https://www.youtube.com/watch?v=u6RBf_j5Y7A
I love Saint-Saens! One of my 5 favorite classical composers, and easily my favorite from France! The guy wrote 5 symphonies, 10 concertos, and 12 operas among other pieces and sadly he's most known for Carnival of the Animals (Aquarium is the best part of it) which he only wrote as a joke and only allowed one number from it (The Swan) to be published in his lifetime.
Yavar
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Posted: |
Jul 27, 2014 - 5:50 AM
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By: |
Graham Watt
(Member)
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That's funny, bobengan, because I always thought that Menken's BEAUTY AND THE BEAST prologue was influenced by that bloody Herrmann score I'm thinking of...
Fahrenheit 451 I assume you mean?
https://www.youtube.com/watch?v=36_zm6JkIJI
And Yavar, that's an EXCELLENT version of Aquarium! I love it, never heard it before. Love the orchestrational embellishments w/ the vibraphone.
Cheers bobengan, but I'm still not sure if that's the precise Herrmann piece I was reminded of when hearing Francis' first YouTube clip. Not important - Chris Young always said that it was really listening to Herrrmann's music which made him choose his career path, didn't he? Something like that.
Oh yeah, I now see that it's definitely the Saint-Saens piece which inspired the Menken cue, and not Herrmann, but they all kind of share the same aural universe.
Sounds like a great score. Wish I had bought when I had it in my hands 30-odd years ago.
P.S. - Something funny's happening when I "reply", quoting the previous threads. Not all of it comes out in italics, so you might get the impression it's me saying things that someone else said. First world problem Number 7,846.
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Posted: |
Jul 27, 2014 - 4:01 PM
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By: |
Graham Watt
(Member)
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P.S. - Something funny's happening when I "reply", quoting the previous threads. Not all of it comes out in italics, so you might get the impression it's me saying things that someone else said. First world problem Number 7,846.
Graham, this board recognizes quoted text only when its between a 'startquote' and 'endquote' code (hit 'edit' on your original post to see this). So when you quote a post with a quote already in it, it will only do italics till it encounters a first endquote, thinking it needs to stop there. So if you want it to display properly, make sure there's only one startquote at the start, and one endquote at the end. Hope that make sense.
Thanks Francis. I'm now experimenting with "startquotes" and "endquotes". Let's see how this turns out...
Anyroad, further to Kev's irrelevant rabbit, I shall state that I am quite interested in Chris Young's early career. Not "obsessively", coz I ain't got loads of his stuff neither old nor recent, but just in a kind of observational "man looking at trees" way. Kev, you mention THE FLY II. That, and HELLBOUND are both interesting in that they are very good scores "but" (see the inverted commas) with a heavy influence of James Horner as channeled through Jerry Goldsmith. I always found it interesting that Young seemed to start out with a Herrmann influence and a Goldsmith influence, then when Horner was channeling Goldsmith in the early '80s (the climactic neon-lit climax of 48 HOURS for example is very ALIEN), Christopher Young di d NIGHTMARE ON ELM STREET II, with the opening scene (the school bus on the pinnacle thing) sounding very like Horner's WOLFEN based on Goldsmith via Charles Ives. And THE FLY II is a bit like that.
Not much to do with THE POWER admittedly, but you started it Kev.
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Posted: |
Jul 28, 2014 - 12:40 PM
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By: |
Hurdy Gurdy
(Member)
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Aye Graham, I always thought of him as the 'unlucky' Horner.
They came from the same closet - started out writing inspired/cheap/rip-off scores for Corman, moved onto low-budget horror scores channeling Herrmann and Goldsmith, had some distinction in their own music voices - but Young never seemed to get that break (or breaks) that Horner got and as a result, it felt like Young started mimicking the Horner style too in his music.
I love some of Young's early scores (Fly II, Bat 21, Flowers In The Attic, Haunted Summer) but have trouble getting through many of his other scores (and those musique concrete things he's done).
I really like Swordfish and Drag Me To Hell of his latter-day scores.
And I've never heard The Power or seen the film. I remember holding the LP for it (and Pranks) many times in my hands when I was a sperm, but never went through with buying them...Lord knows why? (and trust me, I bought some shit in those days) 
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