Well, damn. I guess the real issue is whether I'm allowed to use tracks from my film music collection, which is pretty much where my headspace is right now. This is actually very strange, as I usually listen to a lot more rock in the summer, but only one of the tracks I've been really taken with lately has been rock at all.
So, here goes:
- Iggy and the Stooges - Gimme Danger
(from the album Raw Power)
This was introduced to me on suitboyskin's Voids mix, which he put together to listen to for while he's working on Ecology, and I took to it immediately. Yeah, it's perfect for our film, but it's also a pretty raw song. I love it.
- John Williams - The Chamber of Secrets
(from Harry Potter and the Chamber of Secrets)
I really liked this track from the end credits suite of this film, but since I incorporated it into the body of my Lumos Musica! CD, I've been digging it even more. It's a dark and bloody fugue, with a terrific slam at the end.
- Jerry Goldsmith - Break Out (LP Imitation)
(from Capricorn One)
Intrada has always been a great label, but they've topped themselves with the recent release of Capricorn One. And I'm not just talking about the fact that they've finally made available the original recordings for this fantastic action-packed score. No, what they did that was so fantastic on this particular record is that they created this track. The Capricorn One album was a more lush re-recording made with the National Philharmonic Orchestra, and it is a very different listening experience to the sparer, harsher original soundtrack. But the original soundtrack has more balls. "Break Out" was one of the set-pieces of the original album, but it was an arrangement of music from several different cues edited together. The producers of the original soundtrack album re-created this track by mocking it up using the original soundtrack cues and then they placed it as a bonus track at the end of the CD. The result is outstanding. What makes this so wonderful was that they anticipated correctly something that a dyed in the wool Goldsmith fan such as myself would want out of a release like this.
- Edward Shearmur - Field Attack
(from Reign of Fire)
This is one of my favorite cues on this album. It is a straight-up action cue, non-thematic in nature, but what makes it work is the momentum and dynamic that Shearmur creates in the cue, a wall of sound that his transparent orchestrations made it instantly accessible to me.
- Thomas Newman - The Vast Continent
(from The Horse Whisperer)
I had been reviewing my Thomas Newman mixes because of a project that I was working on, and this track leapt out at me, and I quickly incorporated it into another mix CD, Grace: More Songs of the Heavens.* There are few pieces of music that live up to a track title like that one, but this one does. Its intimate beginning pulls me in, and when it opens out at the end, it somehow maintains that closeness; it's one of the best Americana pieces I've ever heard. Great score for a mediocre film.
- John Williams - The Tusken Camp and the Homestead
(from Star Wars Episode II: Attack of the Clones)
While I have no further interest in the Star Wars prequels after the total disaster that was Revenge of the Sith, I did think that Williams really did a great job in creating the scores for the prequel trilogy. While it wasn't really apparent until the Sith score, he was using the prequels to "form" the thematic material over the course of the new trilogy that would be the basis for the music heard in the familiar trilogy. Quite a lofty goal, and one in which he, for one, succeeded admirably. This particular cue is one of the most pivotal, being the first appearance of Darth Vader's theme as directly related to Anakin's actions. It is operatic and grand, and hints at some of the musical language that would be heard "later."
- Howard Shore - Moria
(from The Lord of the Rings: The Fellowship of the Ring)
This track is one of the ones that I found online that somebody had ripped off of the DVD. It isn't perfect, as one can hear faintly Gandalf's voice echoing through the halls of Moria, but the music is gorgeous. It is the first and most intimate appearance of the "Hymn" theme, which is heard towards the end of all of the Lord of the Rings films (in "The Breaking of the Fellowship" in FOTR, "Samwise the Brave" in TTT and a much more light-hearted variation in "The Return of the King" from ROTK). I can't wait until this box set comes out.
So, there it is then. Make of that what you will.
Tagging: suitboyskin, aerolyndt, jenvargas, rhakka, whosamama, waystone, dotificus. No backing out.
* The cover artwork of which I saw printed out for the first time on Sunday when I was making a copy of this disc for waystone. I have to change what I did for it, it looks like one of those horrid faith-based compilations. Ick. This will not stand, so hopefully only waystone will ever see that particular version of the front cover art.