When I listened to FEMME FATALES and THE WAY OF THE GUN for the first time I was reminded so much of the style of the late Jerry Goldsmith; there were little nuances and a style of composing and orchestration present in both scores which reminded of some of his work from the late 1970s but the music had a more contemporary twist that evoked memories of Goldsmith’s later triumphs such as LA CONFIDENTIAL and BASIC INSTINCT. Like Goldsmith, Kreamer has the ability to create music having a core theme which is not melodic but is just as powerful and still sounds great and works wonderfully. From the offset, Joe Kraemer’s exciting and superb soundtrack to JACK REACHER had exactly the same effect and evoked that same feeling within me. The composer has created a score filled with strong action-driven thematic material overflowing with dramatic and exciting passages underlining Continue reading Jack Reacher
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Panu Aaltio is a young composer who, in a relatively short time period, has established himself amongst his peers and film music collectors and critics as a music-smith of considerable talent and worth. His music for film and television and even games is infectious, emotive and original. One of his scores for a feature length documentary was recently issued on CD by the ever industrious record label Movie Score Media. METSAN TARINA or TALE OF A FOREST is a delightful work, containing so many themes, that it is hard to believe all of this comes from just one movie. The composer has created a sweeping score that gets straight to the listeners’ emotions; its poignant and delicate themes are haunting and refreshing with effective use made of solo piano and strings. Woodwind is in abundance as we hear plaintive, mischievous and intricate tone poems that seem to skip, hop and run Continue reading Metsän Tarina
Movies about sport have often inspired composers to create great musical moments. The majority of these have not only enhanced the films they were written for but in have sometimes had a life of their own away from any images on screen. In most cases the scores within this category, whether based on fictional or true events, are upbeat, anthem-like and full of energy and vitality. But many have yielded a wealth of more intimate and emotional thematic material. One only has to listen to past triumphs where the subject matter of sport in a film has been given a crescendo-filled score, as in Goldsmith’s high octane but at the same time poignant and hopeful sounding HOOSIERS (aka BEST SHOT) and Randy Newman’s highly acclaimed, stunning soundtrack for THE NATURAL and Bill Conti’s uplifting and infectious music for the ROCKY films, which have become film music classics. Continue reading The Mighty Macs
For a long time now I have always had the opinion that James Horner had reached his peak in composing and creating original sounding themes and melodies. In fact I have gone as far as to give some of his scores negative reviews in the past saying that they were repetitive and sounded like many other soundtracks that he has produced. FOR THE GREATER GLORY, is for me a breath of fresh air, or maybe it is simply a return to the James Horner I knew and loved from a few years ago. This score has a richness, an inventiveness and an emotion which I have not heard in Horner’s work since the days of KRULL, LEGENDS OF THE FALL, or WILLOW and although it contains many of the usual Horner musical trademarks i.e. growling brass, strident and fully emotive strings underlined by various percussive elements; on this occasion the composer does not wear them out or over use them. He instead utilizes them and interweaves them with romantic and patriotic themes Continue reading For Greater Glory
L’UOMO L’ORGOGLIO, LA VENDETTA was originally released on LP in 1968 with a total time of around 36 minutes and replicated on CD as part of the CAM Soundtrack Encyclopaedia series. It’s a dramatic and interesting reworking of the story of CARMEN starring Franco Nero, Klaus Kinski and Tina Aumont. When the LP was first released dealers advertised it as a spaghetti western and catalogued it accordingly, knowing full well that spaghetti western fever was sweeping through the film music world which would make it irresistible to collectors. However, Carlo Rustichelli’s music is more Spanish flavoured and he was not a composer who was part of the Italian western score fraternity; his style being always more classically infused as opposed to being filled with trills, shrieks and whistles. MAN PRIDE AND VENGEANCE contains a number of themes which accompany the three central characters and on this expanded version of the score there are Continue reading L’uomo, l’orgoglio, la vendetta