And what does this mean: "the new cues are sourced from reference material?"
Varese's product description are as vague as their clues!
The best notes for releases on a website are from Intrada, specific track details, production nitty gritty, and mastering notes. As well as sometimes personal recollections.
I hear Explorers and Poltergeist (even some ST:TMP) in this score. It doesn't sound original or unique. Not like ST:TMP or The Secret of NIMH which are more complex and unique sounding.
I'd be amongst the last one to call "Lionheart" a masterpiece or any other outlandish superlative someone might want to throw at it, but it's a robust adventure score with a really compelling theme and endowed with the composer’s usual flair for the dramatic:
Perhaps if Goldsmith had the National Philharmonic at his disposal and not that cheapo, lackluster Hungarian orchestra (backed by electronics) “Lionheart” might share the same lucid, expressive writing of, let’s say, “Baby” or “Total Recall”.
Not familiar with the score. Samples sound like Jerry in his 90's autopilot mode.
I would consider what you call "autopilot" mode to be things like U.S. Marshals Executive Decision or Sleeping with the Enemy - which means "really good music but not memorable." Lionheart, for me, is actually excellent. It's a really exciting and romantic score that makes for a great overall double album.
I always thought the music for this film sounded "small", as if some of the orchestra didn't show up on the day. At the time, this was a rarity in terms of being a Goldsmith score I didn't enjoy. But there were plenty more of those to come, thanks to more and more synth.
It dose sound "small". Maybe it was a budget thing.
I hear Explorers and Poltergeist (even some ST:TMP) in this score. It doesn't sound original or unique. Not like ST:TMP or The Secret of NIMH which are more complex and unique sounding.
I'd be amongst the last one to call "Lionheart" a masterpiece or any other outlandish superlative someone might want to throw at it, but it's a robust adventure score with a really compelling theme and endowed with the composer’s usual flair for the dramatic:
Yeah, not saying its "bad". Just a score I haven't heard before and instead of being an undiscovered gem kinda sounds familiar.
Thanks, Jason. Where were you when I was trying to add the volume 2 tracks not on the epic edition to iTunes? It took me forever to get clear on which was which.
I've always found this a fun and involving score, but then there aren't many Goldsmith scores I don't enjoy. Can't pass up a couple extra cues....
When I saw him live in 1993, he conducted the main theme (the Children's Crusade) as a tribute to Franklin J. Shaffner - it was a sweet moment. (And, um, the Colorado Symphony played it better than it's played on the soundtrack!)
I hear Explorers and Poltergeist (even some ST:TMP) in this score. It doesn't sound original or unique. Not like ST:TMP or The Secret of NIMH which are more complex and unique sounding.
um, I agree that TMP and Nimh are masterworks, but I do not hear either of those other scores in Lionheart. It is actually, by design a more spare work to me, somewhat more of a chamber music sound in sections. Which is quite different than his works of that era.
What I meant was TREK and NIMH sound more original, their own thing. I hear Explorers and Poltergeist (and a little bit of the Klingon theme) , among many other Goldsmith thematic material in this score.
I'm playing the whole score on YT as I write this. Its a fine score, just nothing that overly excites me.
