 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
I agree that the sweep and flourish heard at the end of the "Air Supply" is a rousing way to finish that side of the album. I love that hero theme for the movie and the previously unreleased cue "For the Money / A New Man" on the LLL has a similar crescendo.
Air Supply (No Messenger) is a better ending (IMHO) because the whole track flows better as the last track. It has a tension and release that A New Man doesn't have.
I'm always fascinated how albums used to be put together. It's like having a Lego kit poured out in front of you and you manage to build something different but still wonderful.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Years ago now LLLR suggested/hinted a re-issue was coming, but after all these years I suspect maybe that fell apart.
Maybe Amblin Entertainment isn't as cooperative as it used to be.
|
|
|
|
|
|
|
|
|
|
That's no bad thing, John.
I couldn't get through GREMLINS 2 recently due to Goldsmith's obnoxious silly synth-phonies.
I get that the film (G2) was pitched at that level anyway, but a lot of JGs synth shenanigans seriously hamper and date his scores to me.
They may have sounded experimental and fun at the time, but my oh my, a lot of them sound clutzy and cheesy now
Actually I think those synth sounds create great atmosphere for the Gremlins mayhem.
Yep. I never had any "problem" with any of the synthesizers Goldsmith used; for me, they are like any other instrument, be it a recorder or a tambourine or whatever. Gremlins 2 is a lot of fun.
|
|
|
|
|
|
|
|
|
|
Rewatched this recently and it holds up quite well. It's funny, touching and action packed. Some of the action scenes with Martin Short hanging off the back door of that truck are like, WHAT THE??!!!???!!!
And of course Jerry's score is again a home run. Thanks LLL for releasing this great score.
|
|
|
|
|
|
|
 |
Posted: |
Mar 26, 2024 - 10:17 AM
|
|
|
|
By: |
Thor
(Member)
|
That's no bad thing, John.
I couldn't get through GREMLINS 2 recently due to Goldsmith's obnoxious silly synth-phonies.
I get that the film (G2) was pitched at that level anyway, but a lot of JGs synth shenanigans seriously hamper and date his scores to me.
They may have sounded experimental and fun at the time, but my oh my, a lot of them sound clutzy and cheesy now
That's interesting, because GREMLINS 2 is one of the FEW synth scores by Goldsmith in the period that I can stand behind. I even prefer it over the original. I'm obviously talking about the OST.
I have a very close and nostalgic relationship to INNERSPACE -- an early cinema memory -- and even talked to Dante about it in an interview some 10 years ago. Alas, the score never did that much for me. Kinda wanders aimlessly a bit, so I sold off my CD (but have since reacquired it in digital format -- again the OST, of course, I probably don't need to specify that all the time).
|
|
|
|
|
|
|
|
|
|
|
