"Did even the synth sound improve a bit for you as it did for me, when heard in good sound quality? Or are you just getting this for all the cues sans synth?" --------------------- Haha...yes...and no. They still kinda annoyed me slightly (with their quack quack) but mixed in much better with Goldsmith's prowling/growling orchestral work, they sounded way more palatable. And the other tracks sounded so much more thematic and fuller too. Quite a nuanced and varied score on the way. Most certainly a game of two halves about this score
First impression, CAR RADIO SOURCE is Awesome! All 19 seconds of it! I'm doing "The Funky Chicken" dance over here.
I will share my honest thoughts of the music as a CD listening experience. But first I wish to thank and express kudos to Doug and Roger and INTRADA Team for this much appreciated release. You all did a wonderful job with it. Sounds great and the Booklet is Amazing! Great job guys and gals! Thank you all so much for your always wonderful work!
And now, more thoughts on the music and Maestro Goldsmith.
I'm not a fan of the synth in this. It just gets old real fast for me. Of course I can understand it's use in the movie for the "creeping around in garages" feeling Doug talked about on Yavar's Podcast. As for a CD listen, not my thing. I'm digging the more lyrical elements of the score which are the Italian Theme and Love Theme. Definitely my favorite parts to listen to. Fave cue so far is "No Trouble #2" which is basically the "Italian Theme". Wish there was more of it and longer variations of it. The music itself brings to my mind Goldsmith's THE BRIDE WHO DIED TWICE score from the THRILLER TV SERIES. It just has that tone and feeling of Latin beauty. Here being a tad more Italian, but still a sense of old world passion and beauty. Anyone else hear it? What a gorgeous cue by Maestro Goldsmith. And played so gently.
In a few cues I'm hearing intense PAPILLON sounding music especially around 0:35 in "Final Meeting" and there's definitely a PLANET OF THE APES lost cue feeling I get with the "The Confession" and "The Beating".
The synth gives me the feeling of old radio shows that went for a Sound Design or Sound Patterns approach as opposed to using musical scoring. Of course Goldsmith mixes them here. The parts of the Main Title that have lower mixed/limited synth are actually quite engaging and appealing, but then like in so many of the score's cues, here comes those turned up synth farts again. I think Jerry was having fun furthering his synth experimenting with this score.
