FSM HOME MESSAGE BOARD FSM CDs FSM ONLINE RESOURCES FUN STUFF ABOUT US  SEARCH FSM

LOG IN Forgot Login? Register General Discussion • Trading Post • Non-Film Score Discussion  Profile • Preferences • Community Rules • Help/Contact • Search Board Search Terms:  Search Within:  topics posts since 2019 2018 posts 2017 posts 2016 posts 2015 posts 2014 posts 2013 posts 2012 posts 2011 posts 2010 posts 2009 posts 2008 posts 2007 posts 2006 posts 2005 posts 2004 posts 2003 posts 2002 posts 2001 posts 2000 posts users  search tips  You must log in or register to post.   Go to page:  1 2 3      General Discussion: Authors of CD Liner Notes?     1 2 3    NEXT   LAST   Last Post   Posted:   Oct 21, 2009 - 12:34 PM     By:   Stefan Miklos   (Member) What are your favourite authors of CD liner notes and why? Do you notice any patterns in their perspective?    Posted:   Oct 21, 2009 - 12:42 PM     By:   Misanthropic Tendencies   (Member) Jeff Bond used to use 'bucolic' a lot! Who's this Julie Kirgo who does a lot of Varese ones now? Bob Townson is very sycophantic and full of hyperbole. Unimpressed by most of Paul Tonks' notes, his Rambo ones seemed to have been written on the back of a fag (British colloquialism for cigarette) packet for all they were worth.    Posted:   Oct 21, 2009 - 12:51 PM     By:   drivingmissdaisy   (Member) I'm a huge fan of Daniel, OntheScore. The way he writes is exactly what I want to hear. I play cello so I know all the musical terms etc., but Dan writes from within, he doesn't spend a lot of time, telling us, okay, then the composer did a 4/4 time then went to minor key to develop this theme. NO, he writes from what the music did in that scene and how he felt etc. He's great and also a lovely guy. Man, this sounds like I fancy him, don't worry Dan, I don't fancy you in that way. And by the way, if I ever use the word FANCY again, shoot me!!    Posted:   Oct 21, 2009 - 12:54 PM     By:   Mark Ford   (Member) Jeff Bond and Jon Burlingame. Jeff's interests and opinions are very much like mine most of the time so it's probably a kindred spirit sort of thing. He clearly has a great interest in the subject matter and writes intelligently and with care about it. Jon's liner notes are written usually from the standpoint of his being one of the acknowledged experts on the subject he's writing about. His affection and enthusiasm for the subject matter is always evident to me. He and I also share many of the same interests, especially TV shows and TV music of the 60s. If it comes down to common factors, it's probably the mutual interests thing and affection for the subject matter.    Posted:   Oct 21, 2009 - 12:56 PM     By:   Stefan Miklos   (Member) Who's this Julie Kirgo who does a lot of Varese ones now? She writes on Aleph (see "Sky Riders") and Intrada (see "Last Embrance"). As you, I wonder who is she?    Posted:   Oct 21, 2009 - 12:57 PM     By:   rickO   (Member) Douglas Fake and Jeff Bond rock my world!    Posted:   Oct 21, 2009 - 12:57 PM     By:   rickO   (Member) Douglas Fake and Jeff Bond rock my world! Douglas Fake's liners are very economically written, and he references a lot of musical terms that add a lot of flair. His writing style holds a special place in my heart given my love of the Poltergeist II score, which his company released. Jeff Bond's notes are similarly intelligent and well rounded. Maybe a little more emotionally tinged than Fake's, and overall very informative. Townsend's are generally sickly sweet and over the top and not always that informative. -Rick O.    Posted:   Oct 21, 2009 - 12:58 PM     By:   Stefan Miklos   (Member) I enjoy Nick Redman's approach on Jerry Fielding's soundtracks, especially "The Mechanic" (Intrada) because of the musical references.    Posted:   Oct 21, 2009 - 1:33 PM     By:   Thor   (Member) I'm afraid I haven't yet found any liner note authors that I've really liked. Unfortunately, the majority of them subscribe to an ideology I do not share - the introductory "info" segments are often an assault of names, connections, years, CV's etc. while the track-by-track walkthrough consists of a pure description of the music we hear and then a summary of whatever happens in the scene. Nowhere to be found is the effort to INTERPRET and ANALYZE what the music does. What it symbolizes; what its function is. It's basically just a summary of what we could have heard or seen ourselves if we'd had the film in front of us. I wish some liner authors would go the extra mile and don't cave in to collector issues or superficial descriptions. That would make my day.    Posted:   Oct 21, 2009 - 1:40 PM     By:   LRobHubbard   (Member) I'm afraid I haven't yet found any liner note authors that I've really liked. Unfortunately, the majority of them subscribe to an ideology I do not share - the introductory "info" segments are often an assault of names, connections, years, CV's etc. while the track-by-track walkthrough consists of a pure description of the music we hear and then a summary of whatever happens in the scene. Nowhere to be found is the effort to INTERPRET and ANALYZE what the music does. What is symbolizes; what its function is. It's basically just a summary of what we could have heard or seen ourselves if we'd had the film in front of us. I wish some liner authors would go the extra mile and don't cave in to collector issues or superficial descriptions. That would make my day. Thor, have you ever read any of the liner notes that Royal S. Brown used to do? His work sounds like what you're looking for.    Posted:   Oct 21, 2009 - 1:41 PM     By:   Tobias   (Member) Some months ago I was offered to write some liner notes but I guess the guy who asked me either regret asking me or found someone else that have more experience than me. Even if it never (or at least so far) got realized it still was fun that he thought of me and even if I never done it I at least once got asked to do it.    Posted:   Oct 21, 2009 - 1:47 PM     By:   Thor   (Member) Thor, have you ever read any of the liner notes that Royal S. Brown used to do? His work sounds like what you're looking for. I haven't no. I do indeed think that would be more up my alley, as I love his writing in other arenas ("Overtones & Undertones" is a cornerstone book in film music literature that I've referenced many times in my own writing). Which booklets did he do?    Posted:   Oct 21, 2009 - 1:50 PM     By:   Misanthropic Tendencies   (Member) Thor, have you ever read any of the liner notes that Royal S. Brown used to do? His work sounds like what you're looking for. I haven't no. I do indeed think that would be more up my alley, as I love his writing in other arenas ("Overtones & Undertones" is a cornerstone book in film music literature that I've referenced many times in my own writing). Which booklets did he do? He did the SCSE edition notes for High road To China but I found them to be very disappointing, I could have done better!    Posted:   Oct 21, 2009 - 1:52 PM     By:   Thomas   (Member) Jon Burlingame, hands down. He really is an authority. I was also always pretty impressed with Geoff's notes on the early JB compilations Silva put out. Whatever happened to the great packaging and notes Silva used to do anyway? Now its a couple of pages with no photos or anything on their CDs, if you're lucky!    Posted:   Oct 21, 2009 - 1:55 PM     By:   LRobHubbard   (Member) Thor, have you ever read any of the liner notes that Royal S. Brown used to do? His work sounds like what you're looking for. I haven't no. I do indeed think that would be more up my alley, as I love his writing in other arenas ("Overtones & Undertones" is a cornerstone book in film music literature that I've referenced many times in my own writing). Which booklets did he do? He did notes for JANE EYRE (Adriano, conducting), and the Howard Shore scores for David Cronenberg, DEAD RINGERS (inc. Scanners & The Brood). And the LP's for THE BEST YEARS OF OUR LIVES, RAINTREE COUNTY, SUMMER AND SMOKE, SISTERS (Entre'acte releases).    Posted:   Oct 21, 2009 - 1:59 PM     By:   Thor   (Member) Thank you.    Posted:   Oct 21, 2009 - 2:37 PM     By:   Mr. Jack   (Member) A few things I've always wondered about liner notes... -How much does this gig pay per CD? -Does the liner notes author get free copies of said CD in addition to their pay? As for the best, Jeff Bond usually is the most informative without the gratuitous fawning and butt-kissing of a Robert Townson (love your CDs, Bob, but the notes on most Varese CDs stink and you need to use a fucking SPELL-CHECKER!).    Posted:   Oct 21, 2009 - 2:38 PM     By:   David Sones (Allardyce)   (Member) Schweiger, Kendall, Fake, Bond.    Posted:   Oct 21, 2009 - 2:43 PM     By:   Stephen Woolston   (Member) Jon Burlingame is my favourite and I've got a lot of time for Lukas K and Jeff B. Cheers    Posted:   Oct 21, 2009 - 3:29 PM     By:   Jeff Bond   (Member) Thanks for the kind words, this is nice to hear. I'm sorry I'll have to live my life without ever pleasing Thor. But I do think there's more analysis in some of these booklets than he gives credit for (and I don't mean just mine). When you've written about dozens and dozens of action scores you are often hard pressed to find anything the music does other than drive the action and hit certain emotional points. Goldsmith himself has a great quote about this in his discussion of The Blue Max and I'll paraphrase: "The composer's first rule is 'I will not duplicate the action on the screen with my music'--but this rule is quickly thrown away because of the lack of underlying meaning of the action onscreen.' When you have a score like Patton, there is plenty to talk about in terms of meaning and symbology. When it's a modern day action film that is basically a collection of action set pieces, there is little to discuss besides what's playing and what's happening onscreen (and believe me, some of these kinds of projects can be VERY frustrating and difficult to write about). I can certainly recall writing about how the electronics in Logan's Run perform the job of sound effects and through melodic phrases actually create a sense of personality for the city's central computer, or the way the night snow battle cue in Patton converts battle footage (without sound effects) into a hypnotic, disassociated moment in the film...maybe I take it personally but this blanket condemnation of ALL liner notes as lacking any analysis is just annoying. You're reading the wrong liner notes. And this from someone who thinks Fanboys is funny!     General Discussion: Authors of CD Liner Notes?    < 1 2 3  > >>  Go to page:  1 2 3   First Post    General Discussion • Trading Post • Non-Film Score Discussion  Profile • Preferences • Community Rules • Help/Contact • Search Board You must log in or register to post.   Go to page:  1 2 3

© 2024 Film Score Monthly. All Rights Reserved. Website maintained and powered by Veraprise and Matrimont.