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Posted: |
Apr 30, 2009 - 12:57 AM
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By: |
12-tone
(Member)
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This is probably the best Goldsmith album you can get this year (at least so far), and I've been sticking to it for a whole week.
The sound on this release, in my opinino, is superior to the Warner Germany release, though sometimes the LP arrangement delivers a better listening experience. (Hey, don't forget that this FSM release is designed carefully, so you can programme it as the 1983 album. )
However, there is one thing I don't like on the original LP programme - ends the piece with Constant's Twilight Zone theme.(No offence to the theme itself. In fact, I even enjoy this theme to Jerry's score to Segement 1) It should be left out as a single cue to finish the album, in my opinion. (Hey, but who cares? We are given the complete score, aren't we?) So, a really fair reason to own it, isn't it?
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Superb reissue.
Probably the best of the year so far.
What sound! Great notes!
A big thank you!!
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Posted: |
Feb 12, 2011 - 6:03 PM
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By: |
Grecchus
(Member)
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I've been soaking this up for the last 3 days. Seeing the film on it's initial theatrical release (at the Odeon, Leicester Square late night show) then maybe a couple of times on TV and video over a number of years left me with a pretty good impression of the main themes. I really wanted that TZ theme in clear and crisp sound (Jerry put alot of effort into getting that deceptively simple intro just right.) The other piece of music was the end title roll which always had something grand about it. Having the CD means that not only do I have those main themes, but everything in-between as well. The mix is a unique, sympathetically tuneful Goldsmith listening experience quite unlike anything else I can think of that he composed.
The detailed liner notes provide quite alot of information that emphasize some important historic aspects to the scoring. The input provided by Bruce Botnick was an interesting read. One noteworthy aspect is the way synths were blended in organically with the orchestra, so Jerry could have complete control over the way he wanted the music to sound, along with some of the problems inherent in the arrangement. Bruce describes the microphone placement strategy and other things besides. For once I actually tried to envisage all these technically involved soundstage aspects and how they fuse together.
My favourite segment is Nightmare At 20,000 Feet. Larry Cedar's gremlin and the Don Quixote performace by John Lithgow made for an unforgettable combination. Together with Jerry's music the result is dazzling film magic. Track 18, Hungry Monster/Engine Failure is ace. The signature motif for the gremlin, an agitated fiddle, is cleverness and subtlety incarnate. That motif was apparent the very first time I saw the film so I never could forget it. The gremlin admonishing Valentine is one of THE iconic moments in cinema IMHO.
The rest of the score has it's moments. Time Out is darkly reflective with notable synth, percussion and piano playing. I particularly like track 3, The KKK, Yellow Star with mixed drumbeat and bell chimes. Kick The Can provides the unforgettable upbeat, soaring sound that is inseperable from the TZ project and is perhaps its most strongly identifying feature. The other theme associated with TZ is from It's A Good Life and is a joy to hear with it's perfect balance of synth and orchestra. Cartoon Monster is a literal hoot - love it.
The additional and alternate cues are prolific. Indeed, they alone could have constituted the complete listening experience for Twilight Zone: The Movie. Squeezing them all onto the disc provides true value, and not just for money. They simply complement the whole in the best of artistic and technical ensembles possible. The two songs from Time Out are there too. 'Anesthesia' is sung by Joseph Williams, son of maestro Williams.
FSM has produced one hell of a fantastic CD for this score. This is how film scores were meant to be.
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