A somewhat underrated Goldsmith score from the early 90s. There's some good extra material that didn't make it on to the original release, including an outstanding cue for Pfeiffer and Co. fleeing a bus station. It features some delightfully expressive, exciting and almost playful writing. Best cue in the movie... and Jerry didn't put it on the album! Why Jerry? WHY?
Hey, I'm sure he had his reasons at the time - tone balance of material for a 29 minute CD etc.
Anyway, there are other fine extra moments in the score. I'd love to see an expansion.
This is one that I rarely ever listen to. Maybe an expanded version could change my mind, but it's not high on my list. I always welcome more Goldsmith though!
This was tv the other day, caught the end of it and the great finale action was so butchered and it sounded as though many musical lines we're missing. The mixing i heard while watching the scene was bad. It was heavy on the piano and timpani pounding (which were so muffled and pinched) and light on the brass and strings (rather it sounded like those sections were dialed way down).
The album opens this cue with a wonderful thunderous twist on the jazz motif and it was cut out in favor of lower metallic stabs coupled with sustained wavery synth pads. Then as the actors fall on the bed and Michelle Pfeiffer and the kid flee do we hear the glorious end to the original thunderous opening (the rising notes leading into the even more awesome fleeing music which sounded kind of flat and seemed to be missing therhythm repetitive synth rhythm). The cue morphs into the slow synth and string layering build like the album cue does but the metallic bass/paint synth motif is hardly audible.
I was so disappointed with how this cue sounded in the movie. Ironically, the trailer for the film uses the last half of the fleeing music and it sounded better mixed in that trailer than it did the final film.
I would love for this score to receive a proper treatment and if possible include the other cues by the other composer.
A somewhat underrated Goldsmith score from the early 90s. There's some good extra material that didn't make it on to the original release, including an outstanding cue for Pfeiffer and Co. fleeing a bus station. It features some delightfully expressive, exciting and almost playful writing. Best cue in the movie... and Jerry didn't put it on the album! Why Jerry? WHY?
Hey, I'm sure he had his reasons at the time - tone balance of material for a 29 minute CD etc.
Anyway, there are other fine extra moments in the score. I'd love to see an expansion.
That cue is a great cue and it almost 5 minutes long of wonderful .and playful music for a scene about stealing a car and making a quick getaway.
This was tv the other day, caught the end of it and the great finale action was so butchered and it sounded as though many musical lines we're missing. The mixing i heard while watching the scene was bad. It was heavy on the piano and timpani pounding (which were so muffled and pinched) and light on the brass and strings (rather it sounded like those sections were dialed way down).
The album opens this cue with a wonderful thunderous twist on the jazz motif and it was cut out in favor of lower metallic stabs coupled with sustained wavery synth pads. Then as the actors fall on the bed and Michelle Pfeiffer and the kid flee do we hear the glorious end to the original thunderous opening (the rising notes leading into the even more awesome fleeing music which sounded kind of flat and seemed to be missing therhythm repetitive synth rhythm). The cue morphs into the slow synth and string layering build like the album cue does but the metallic bass/paint synth motif is hardly audible.
I was so disappointed with how this cue sounded in the movie. Ironically, the trailer for the film uses the last half of the fleeing music and it sounded better mixed in that trailer than it did the final film.
I would love for this score to receive a proper treatment and if possible include the other cues by the other composer.
Most Goldsmith scores are always better in a larger more complete composirional form. Not all of his works work well in complete form but few ever get old in complete form. Most of the 90s scores by Goldsmith from Varese I felt suffered at a 30 minute mark. Many judge his compositions strictly off the album. His work is better enjoyed and makes better com positional sense when heard in an expanded or complete form. He was telling a story with his music.
People who did not like Chain Reaction grew to like it more when it was expanded. Same can be said for many of his other film scores. Love Field while on album is wonderful but there is more music in the film (besides the other composer) and it could use an expansion. And there may even be more music not in the film and not on the album that is even better than whst we have come to know. Imagine Sleeping With the Enemy with only a third of it's beautiful theme and dark music present.
This was tv the other day, caught the end of it and the great finale action was so butchered and it sounded as though many musical lines we're missing. The mixing i heard while watching the scene was bad. It was heavy on the piano and timpani pounding (which were so muffled and pinched) and light on the brass and strings (rather it sounded like those sections were dialed way down).
The album opens this cue with a wonderful thunderous twist on the jazz motif and it was cut out in favor of lower metallic stabs coupled with sustained wavery synth pads. Then as the actors fall on the bed and Michelle Pfeiffer and the kid flee do we hear the glorious end to the original thunderous opening (the rising notes leading into the even more awesome fleeing music which sounded kind of flat and seemed to be missing therhythm repetitive synth rhythm). The cue morphs into the slow synth and string layering build like the album cue does but the metallic bass/paint synth motif is hardly audible.
I was so disappointed with how this cue sounded in the movie. Ironically, the trailer for the film uses the last half of the fleeing music and it sounded better mixed in that trailer than it did the final film.
I would love for this score to receive a proper treatment and if possible include the other cues by the other composer.
This has always been one of my favorite Goldsmith scores from that era, and I've pulled it out this week to listen again, and the Varese CD is great. Yeah it's a shorter album but it plays well, with a lovely theme and some great trademark JG action/ suspense.
And by "a shorter album", the whole damn thing is 28 minutes. TWENTY EIGHT ! I mean, damn, Varese We know you guys had to keep albums shorter back then but.. even 3 more minutes woulda been nice.
Who knows if this would ever be expanded, but I'd take one, please.
I seem to remember that film had only a small portion of Goldsmith score used in it. Wasn't quite a lot of it source music by another composer?
There are some really lovely solo piano pieces composed and performed by Bill Payne that I've always wanted. If an expansion includes those I'd buy it in a heartbeat.
If it can be expanded, I hope, considering how the movie handled Goldsmith's score (I saw it on TV after I got the album, and I did not care for the music you get over the end titles).
Given how poorly Goldsmith's score was treated in the film over all (with many album cues not appearing in it), I wonder how much more score he may have written and recorded for the film which also didn't make it onto the album, which was brief out of necessity. There could potentially be a longer Deluxe Edition of this than we would expect.
I'd certainly buy it!
We know you guys had to keep albums shorter back then but.. even 3 more minutes woulda been nice. 
