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This Youtube clip of "The Rec Room" has been altered (and ruined), with arbitrary alterations in speed and pitch, and doesn't really reflect what Goldsmith originally wrote and recorded.
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This Youtube clip of "The Rec Room" has been altered (and ruined), with arbitrary alterations in speed and pitch, and doesn't really reflect what Goldsmith originally wrote and recorded.
I have to admit that I didn't even look at the video... all I had to do was see the title and know that I like it. Maybe I should see(Or HEAR!) what the person did to Goldsmith's music!
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This is one of the few Goldsmith tracks I can't stand.
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This is one of the few Goldsmith tracks I can't stand.
That's because you never mastered dancing in the 101/92 measure. It's easy: first you stick your left leg in, then your left leg out, then your right leg in- *CRACK* ow! Ssssssss-aaaahh! Sssssss-dammit! Medic!
The Rec Room >>>>>>>>> Love Shop.
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This is one of the few Goldsmith tracks I can't stand.
I second that!
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This is one of my favorite uses of polyrhythm in Western music. Love the heartbeat that carries through all the changes in meter and melody. Neat how Jerry integrated his stylistic predilections into future-past electropop.
But yeah, the video version has sped up the bridge (and thus raised the tone) to the detriment of the original. Ah, well....
(I like the Boddicker tracks too.)
PS - I love the whole score, even though it clearly is Alien II (as was the opening of the film, which I found a bit ridiculous at the time). It's darkness is almost gothic, kinda like the Omen films, more so to me than Alien, which always felt a bit more clinical and simultaneously primitive.
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OUTLAND is one of my favorite Goldsmith scores. Goldsmith was of course a master when it came to scoring science fiction movies, but OUTLAND is by far his darkest action score. It's in some ways of course a companion piece to ALIEN, which is another equally dark science fiction score, but that one is more a horror sci-fi score, whereas OUTLAND is action driven. "The Message" (unused cue in the film) is such a gentle poignant cue, a small glow of warmth (and the only one in the entire score), it makes the surrounding music seem all the more bleak.
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