 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Does anyone have a hi-rez image of the alternate cover for Helix that I can download? It's on the backside of the booklet. I like options in iTunes 
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
The Rocketeer is Disney / Intrada territory, not La La Land.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
I've never heard the Band score before. I'm listen to what I guess is the opening or closing cue and it sounds wonderful:
https://www.youtube.com/watch?v=JkG5WfjNDq4
I posted that video years ago. It is indeed the end title. The old Intrada two-fer of this and THE ALCHEMIST (another theme you must hear: https://www.youtube.com/watch?v=7FtNOra9vnA) was one of my first film score CD purchases while in high school, and is still one of my cherished CDs.
SORORITY ROW's action set pieces are fantastic, almost like horror-movie ballet music. Band had the London Philharmonic (!!!) at his disposal on this little horror film and milked the opportunity. It's an amazingly classy and evocative work, and unlike many of Band's other orchestral works from this time, it doesn't lift music from others (nor Band's other scores) wholesale, as he unfortunately often was guilty of early in his career.
Wonderful music from a composer whose career sadly went nowhere fast and never rebounded. MUTANT is a must own action/horror score with superb thematic development, stellar action cues and one of the most gorgeous end titles you'll ever hear in a horror film.
The fact that Richard has since gotten an Emmy nomination for "Masters of Horror" is hardly what I would call "nowhere"
|
|
|
|
|
|
|
|
 |
Posted: |
Jul 20, 2015 - 9:16 PM
|
|
|
|
By: |
bobbengan
(Member)
|
The fact that Richard has since gotten an Emmy nomination for "Masters of Horror" is hardly what I would call "nowhere"
Yea, but he hasn't written a score of the might displayed in MUTANT, ...SORORITY ROW, THE ALCHEMIST, GHOST WARRIOR, etc. in almost 30 years. For my money, his last truly good score was THE CALLER, a very interesting and "psychological" score. He SHOULD have had the career Horner, Young, and others who emerged around the same time went on to lead - But didn't, for whatever reason. And that sucks, because he had the chops.
|
|
|
|
|
|
My knowledge of Band's work in the past 25 years is spotty. But The Resurrected from 1991 is in my estimation a very great score, one of the best horror scores of the last quarter century at least. And Band did some very strong work for Stargate early on, one piece of which from the first season is on the best-of disc, for a lovely, heartbreaking story.
House on Sorority Row is a tremendous listen. The old pairing with The Alchemist was a perfect Halloween listen. If you love horror music with both beauty and thrills it's a must have, as much as Krull is for lovers of fantasy adventures.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Agreed, Basil. A wonderful score. How is the extra music?
Yavar
|
|
|
|
|
|
|
|
|
|
|
|
|
Posted: |
Jul 21, 2015 - 7:24 PM
|
|
|
|
By: |
bobbengan
(Member)
|
How is the extra music?
Yavar
Nothing special. Mostly atmospheric rumblings and tinklings. Only listened to the bonus tracks once but I didn't hear anything that made me think I'd want to add it to the main program for regular listening. The sound of the bonus tracks (mono) is very good and there's no jarring drop in sound quality to preclude them being programmed into the main stereo program if one so wishes.
Having recently seen the film, I'd have to agree that the old Intrada two-fer had a great program. I always assumed that there was a lot of missing music from the short runtime of Sorority Row's contribution to that CD, just as the Intrada CD of MUTANT had about twenty minute of missing music, but indeed an assessment of the music in the film (in which his music works brilliantly and enhances the film immeasurably, especially in the last reel where things get all hallucinogenic and Band's music responds with ALTERED STATES-esque "eloquent" musical schizophrenia) reveals that it's actually just very carefully spotted for maximum effect.
ALTERED STATES and the non-choral bits of AMITYVILLE HORROR are a good comp for the body of the score, though I don't detect any temp-track adherence in this one (sadly plaguing much of Band's early work, even my personal favorite of his like MUTANT, which borrows from the aforementioned Altered States rather liberally and even Donaggio's PIRANHA during the otherwise breathless finale cue).
It really is an outstanding work - Muscular and vigorous but almost balletic at times, even during the action set pieces. Along with MUTANT, it's his best action-horror writing by far. I so wish he'd continued writing in this vain.
If you haven't heard it, check out this suite from GHOST WARRIOR and prepare to be blown away from 3:15 onward:
https://www.youtube.com/watch?v=WdsB9DXfVmo
Why "Hollywood" didn't scoop this guy up will forever remains a mystery to me.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
