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I wouldn't want to be denied one of James Horner's key early works, but I still would have been interested to hear Goldsmith's take on it. Yeah. I used to think like that myself, but after the giddy first few years the writing was pretty much on the wall, or rather on the score sheet. Unfortunately, and I say this as someone who was really rooting for this guy in the early to mid to late 80's, the more I became familiar with Horner, other film composers and the classical repertoire, the more it became painfully obvious that Horner was more or less of a "quilter", stitching various disjointed parts into larger units. A Frankenstein method of scoring of sorts. Over time, I could deconstruct every single one of his cues into their component parts. In those cases where I wasn't able to do so, I would inevitably stumble upon a piece I'd never heard before and sure enough; more source material for Horner. I sometimes wonder if Horner ever composed an entire cue with a beginning, a middle and an end that wasn't built upon some other (not his) work(s). This, as far as I know, is unique to James Horner.
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SANDS of IWO JIMA - victor Young
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HATARI - Henry Mancini
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@ Mr. Jack: hahaha! Dennis Franz, so classy!
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Elgar symphony no.3 . It came today.
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Just a shame that the wonderful cue for Nancy Allen describing her dream to Michael Caine wasn't on Intrada's otherwise-terrific CD. Agreed, but as with NIMH, I'm tickled pink that the labels have preserved these scores in fabulous sound.
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A NIGHTMARE ON ELM STREET 2 - music by Christopher YOUNG
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HIDER IN THE HOUSE - music by Christopher YOUNG
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JENNIFER 8 - music by Christopher YOUNG
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MAX AND HELEN* - music by Christopher YOUNG * Including the incredible Masses and Black Dragon.
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FANT4STIC FOUR - john ottman
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