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For some reason, Jerry Goldsmith decided to bring is A-Game to this thing. I mean, it's f'n insanely good work and he could have farted in a tape recorderd and still would have been just fine.
No, no, no.
Just like Jerry used tuned angklungs, Jerry would have calculated when to eat and what to eat to produce certain tuned farts, and then practice holding in and releasing, to create musical genius straight from his ass.
And somebody would still complain it was missing mixing bowls.
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Gee... should I remind that a CD isn't meant to be ripped out, converted to digital files on your computer and thrown away after.
It's a physical product that's supposed to be enjoyed as what it is, put in a player and, well... played.
We love you thank you lol
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I saw this film once and actually enjoyed it, though my taste in movies was “evolving” at that time.
I can’t remember a note of the score.
But really, is this level of production and MQA really appropriate? How good is this as music? I doubt Botnick and Bulk would’ve put this effort into a lesser Goldsmith score.
Let me cut to the chase: How does it stack up to The Boys from Brazil?
A blind-buy is in the balance here, Goldsmith-ers.
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Great release! Hopefully this indicates further WB releases are possible and forthcoming from LLL.
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I saw this film once and actually enjoyed it, though my taste in movies was “evolving” at that time.
I can’t remember a note of the score.
But really, is this level of production and MQA really appropriate? How good is this as music? I doubt Botnick and Bulk would’ve put this effort into a lesser Goldsmith score.
It is very good, top drawer Goldsmith.
Let me cut to the chase: How does it stack up to The Boys from Brazil?
A blind-buy is in the balance here, Goldsmith-ers.
It can stand next to BOYS FROM BRAZIL and easily hold its own. THE SWARM is more aggressive in tone, among his most aggressive horror writing really, and you'd never know how silly the movie is from the score. In 1978 Goldsmith, only turned out masterpieces.
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Posted: |
Mar 3, 2020 - 12:15 PM
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By: |
rompolompo
(Member)
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At least it plays on a regular player, so it seems it's like a betamax-tape that also fits in VHS recorders. I yet have to see it confirmed I can rip the cd – 'cause who plays cd's right? – if it's possible also unpacking the additional resolution.
It can be ripped and played in your music player of choice. I use roon, which can also do the first unfold of MQA and can output 88.2/24-bit. Full disclosure, roon currently has a bug that prevents it from recognizing every track as MQA. This is repeatable and I've sent them the tracks with this issue. They are aware of the problem. Audirvana can also decode MQA. But I also use iTunes and these play just fine as 44.1/16-bit ALAC files. The samples, when they go live, are mp3s I had no trouble creating.
And yes, you can put them into an audio editor and cut them, but why would you want to tamper with my beautiful, beautiful work?
Neil
Even if you rip the CD, you still lose resolution as some bits (out of the 16) are used for MQA. You don't have this in regular Red Book CDs. It serves no purpose to use MQA.
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THE SWARM is more aggressive in tone, among his most aggressive horror writing really, and you'd never know how silly the movie is from the score. In 1978 Goldsmith, only turned out masterpieces.
Look, I am as much a fan of Goldsmith's music as anyone here. But his score for The Swarm, for all its excitement, aggression, and occasional poignancy, is also damn silly.
The trilling "swarm of bees" sound is so on the nose that it is almost joyously ridiculous. But it is ridiculous.
Nobody could have done it better, but that doesn't make it a good idea. It's cheesy and so obvious it's kinda stupid. Just like the movie. Except unlike the movie, for me at least, it's also enjoyable and a must buy if you love Goldsmith and don't have this (or aren't satisfied with earlier releases).
I love the dry sound of the Prometheus release, but I am wondering about that darn album version. Takes me back to my first purchase, on a used cassette back around 1988 (a wonderful surprising find with the Outland OST).
And boy would it be fun to take advantage of the Goldsmith sale, except I already bought everything!
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Posted: |
Mar 3, 2020 - 12:29 PM
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By: |
miguel
(Member)
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THE SWARM is more aggressive in tone, among his most aggressive horror writing really, and you'd never know how silly the movie is from the score. In 1978 Goldsmith, only turned out masterpieces.
Look, I am as much a fan of Goldsmith's music as anyone here. But his score for The Swarm, for all its excitement, aggression, and occasional poignancy, is also damn silly.
The trilling "swarm of bees" sound is so on the nose that it is almost joyously ridiculous. But it is ridiculous.
Nobody could have done it better, but that doesn't make it a good idea. It's cheesy and so obvious it's kinda stupid. Just like the movie. Except unlike the movie, for me at least, it's also enjoyable and a must buy if you love Goldsmith and don't have this (or aren't satisfied with earlier releases).
I love the dry sound of the Prometheus release, but I am wondering about that darn album version. Takes me back to my first purchase, on a used cassette back around 1988 (a wonderful surprising find with the Outland OST).
And boy would it be fun to take advantage of the Goldsmith sale, except I already bought everything!
Obvious doesn't necessarily have to mean ridiculous or stupid. I suppose Rimsky-Korsakov would agree. And we have to start redefining what we mean by cheesy.
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Look, I am as much a fan of Goldsmith's music as any fan here. But his score for The Swarm, for all its excitement, aggression, and occasional poignancy, is also damn silly.
The trilling "swarm of bees" sound is so on the nose that it is almost joyously ridiculous.
It's a great score, completely independent from the movie, and the over-the-top "joyously ridiculous" bee swarm music would have made Richard Strauss proud in tone poetry. It's fantastic as music. And much more gripping than anything actually happening in the movie. Rimsky-Korsakov scored "Flight of the Bumblebee", Goldsmith "Fright of the Killerbee". As a tone poem, it's terrific.
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I'm not going to go on and on, since all we are doing is trading opinions. But a couple of points:
Never said obvious = ridiculous and stupid. Just that it does here. No requirement you have to agree, but in my heart I know I'm right.
The Swarm is as good a definition of cheesy as we have in movies. The score is not exempt.
And here's the thing about comparing to the guy Victor Borge called that great pair of composers, Rimsky and Korsakov. The Flight of the Bumblebee was an interlude in an opera where a character actually turns into an insect - the music doing the work of carrying the plot, the transformation, the very essence of the scene.
The Swarm isn't a tone poem (though, yeah, I sure listen to it as divorced from the movie). The "bee sound" in the score is overkill at best, since there is an actual buzzing swarm of bees on screen. So not a useful comparison. The music simply doesn't need to do the work it's doing in the film.
And that's why it was written, not because Goldsmith said, I think I'll write a tone poem about killer bees. So it carries the film with it like toilet paper trailing from the bottom of his shoe.
Ok. I'm done being a buzz kill.
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Oops I didn't notice the extra length on the first CD - gotta have it!
And ouch, Jackfu, that's a pain that'll linger.
(I love this score, no matter what I said. One of my favorite guilty pleasures.)
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The Swarm is as good a definition of cheesy as we have in movies. The score is not exempt.
Oh, yes it is. For sure. :-)
The Swarm isn't a tone poem (though, yeah, I sure listen to it as divorced from the movie). The "bee sound" in the score is overkill at best, since there is an actual buzzing swarm of bees on screen. So not a useful comparison. The music simply doesn't need to do the work it's doing in the film.
The film needs all the work it can get, but I agree that it cannot help overcome the sillier aspects of the film. As pure music, it works great though. I first heard the score some time in 1983 or so, when I got the original soundtrack LP, years before I saw the movie, so I heard it as pure music first. As such, it works terrific.
And that's why it was written, not because Goldsmith said, I think I'll write a tone poem about killer bees.
Yeah, but I am not talking about why or what Goldsmith wrote it for, but how well it holds up as pure music. The answer is: very well.
So it carries the film with it like toilet paper trailing from the bottom of his shoe.
Works wonders in the film too, but more in the same way Elmer Bernstein's score worked in AIRPLANE. :-)
Ok. I'm done being a buzz kill.
We'll see. :-)
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