COMPLETELY WORK SAFE
Okay, these samples of the new Varèse Sarabande recording of North by Northwest sound outstanding! "The Wild Ride" sounds as close to the original performance as I've ever heard, and the other samples have that thick Herrmannesque sound that seems to be very difficult to reproduce. I can't wait to have this disc in my grubby hands, the low quality of these samples don't do this score the justice it deserves! Now I really regret missing the theatrical showing last week.
Nice cover art, too.
My co-worker Charlie was going through my iPod. Naturally, he gravitated first to the Seattle stuff I had on there, playing a couple of Soundgarden tracks... then he started playing Marco Beltrami's score from 3:10 To Yuma. I don't know what was more shocking, that he even bothered to select it, or that he really enjoyed it.
It is strange, but film music is something that most people dismiss because it often doesn't sound like what they would prefer to listen to. I also sometimes wonder if it is as inaccessible as I often kind of assume it must be; I've found that giving the film music some sort of context - such as with my game scoring for Jenga and Risk - often allows people who wouldn't necessarily listen to it on their own a way to connect with the idiom.
I've often wondered what is different about film music fans versus fans of other musical forms. Obviously there is the element of the dramatic, which of course occurs in other genres, but in none is quite as functional as it is in film music. In putting music on the iPod, I have been thinking about what it is that I listen to film music for versus other types of music, and have noticed that with respect to the rock & roll that I like that I gravitate towards a harder-edged sound such as Led Zeppelin, Black Sabbath and Jimi Hendrix, all of whom were the springboard for the heavy metal subgenre... one which I don't really care much for by itself.
However, I do draw a parallel between the rush I get from listening to a real balls-to-the-wall action cue like the ones heard in Goldsmith's Total Recall, Beltrami's Blade 2, Poledouris' Conan the Barbarian or Talgorn's Heavy Metal 2000 (or Herrmann's North by Northwest for that matter) to the hair-flipping kind of reaction you often see people listening to heavy metal have. For example, on the way to work this morning I was listening to Return of the King and noticed that I was tapping my finger on the handrail and moving my body in time to the mounting beat of "The Battle of Pelennor Fields." It was an identical reaction as one which somebody really getting into Metallica, Megadeth or Pantera.*
It is an interesting correlation because for a very long time I have wondered whether or not film music enthusiasts were, in fact, somehow wired differently from everybody else. However as Crassus from Spartacus (Laurence Olivier) would say, it is a matter of taste, and taste is not the same as appetite.
More excellent news! Dan just e-mailed me to inform me that due to my connection with Charged by the System I am on the guest list to see ...and you will know us by the trail of dead at the Bowery ballroom on Friday night! This is turning out to be a rare Monday!
Hmmm... there is a significant delay with respect to comment notifications. I know it's not my mail system this time partly because I've rerouted LJ notifications to my GMail account, but also because the comments do eventually show up, just later... and appear in my Message Center until at about the same time.
* Not Slayer, though... they're their own breed:
We had a TicketMaster at the Tower Records, and we sold tickets for all kinds of crazy shit, including Slayer. The absolute worst, though, were the old Jewish ladies coming in for Barbra Streisand tickets. I still have nightmares.