laohu
09-14-2013, 02:42 AM
James Horner - Aliens (Deluxe Edition) (2001, FLAC)
(http://imageshack.us/photo/my-images/834/aqnw.jpg/)
Tracklist:
01. Main Title (5:11)
02. Bad Dreams * (1:22)
03. Dark Discovery / Newt's Horror * (2:07)
04. LV-426 * (2:03)
05. Combat Drop * (3:29)
06. The Complex * (1:34)
07. Atmosphere Station (3:11)
08. Med. Lab. * (2:03)
09. Newt * (1:14)
10. Sub-Level 3 (6:39)
11. Ripley's Rescue (3:19)
12. FaceHuggers * (4:26)
13. Futile Escape (8:26)
14. Newt Is Taken * (2:06)
15. Going After Newt (3:18)
16. The Queen * (1:45)
17. Bishop's Countdown (2:50)
18. Queen To Bishop * (2:31)
19. Resolution And Hyperspace (6:30)
20. Bad Dreams (Alternate) * (1:25)
21. Ripley's Rescue (Percussion Only) * (3:18)
22. LV-426 (Alternate Edit - Film Version) * (1:13)
23. Combat Drop (Percussion Only) * (3:24)
24. Hyperspace (Alternate Ending) * (2:09)
* - Previously unreleased
Time Sharing Ended
---------- Post added at 02:42 AM ---------- Previous post was at 02:42 AM ----------
Biography by Jason Ankeny
Famed for his lush, sweeping scores for films including Braveheart, Apollo 13, and Titanic, the prolific composer James Horner was born in Los Angeles on August 14, 1953. Educated at London's Royal College of Music as well as local universities USC and UCLA, he landed his first motion picture assignments during the 1970s, scoring B-movies like The Lady in Red, Humanoids of the Deep, and Battle Beyond the Stars for producer Roger Corman's New World organization. By 1982, Horner had moved on to major studio fare including 48 Hrs. and Star Trek II: The Wrath of Khan, and four years later he notched his first Academy Award nominations for his score to the science fiction classic Aliens as well as for the song "Somewhere Out There," from the animated picture An American Tail. In 1989, Horner earned a second Oscar nomination for his score to Field of Dreams, that same year winning a Grammy for his work on the Civil War drama Glory; in 1995 he was honored with two more Academy Award noms, for Braveheart and Apollo 13. Horner finally struck Oscar gold in 1997, taking home statuettes for his score to the blockbuster Titanic as well as the film's original song "My Heart Will Go On," a hit for Celine Dion. After writing scores for movies like Commando and New World, Film Music Masterworks: Original Soundtracks, which contained pieces from some of Horner's best-known work (Apollo 13, Braveheart, Willow, and of course, Titanic, among others), was issued in 2006.
Review by Evan Cater
When James Horner accepted scoring duties for James Cameron's sci-fi epic Aliens, the composer was an inexperienced action specialist best known for two unremarkable Star Trek sequel scores that owed much and added little to Jerry Goldsmith's famous theme for Star Trek: The Motion Picture. Aliens, too, was a sequel to a Goldsmith scored blockbuster. But this time Horner's efforts stood firmly on their own, borrowing little more than general mood from Goldsmith's Alien score. The dense ambient orchestrations and inventive electronic percussion used in Aliens were so well received in the film music community that many of the film's cues have become action flick clich�s. Aliens also brought Horner his first Academy scoring nomination despite the fact that dissonant sci-fi action compositions by no-name newcomers are not often recognized. (Horner may have benefited from weak competition; ironically, Leonard Rosenmann was also nominated that year for boldly going where Horner had gone twice before: another Star Trek sequel.) Though highly effective in the context of the film, the Aliens score is far from Horner's most listenable. There are some compelling melodies particularly in the opening and closing credits, but the bulk of the CD is dominated by jarring strings and driving percussion that don't work very well as background music. Film music buffs and Aliens diehards may enjoy Varese Sarabonde's 2001 "Deluxe Edition," which contains 16 previously unreleased cues. But casual listeners will probably be more than satisfied with the original version.
(http://imageshack.us/photo/my-images/834/aqnw.jpg/)
Tracklist:
01. Main Title (5:11)
02. Bad Dreams * (1:22)
03. Dark Discovery / Newt's Horror * (2:07)
04. LV-426 * (2:03)
05. Combat Drop * (3:29)
06. The Complex * (1:34)
07. Atmosphere Station (3:11)
08. Med. Lab. * (2:03)
09. Newt * (1:14)
10. Sub-Level 3 (6:39)
11. Ripley's Rescue (3:19)
12. FaceHuggers * (4:26)
13. Futile Escape (8:26)
14. Newt Is Taken * (2:06)
15. Going After Newt (3:18)
16. The Queen * (1:45)
17. Bishop's Countdown (2:50)
18. Queen To Bishop * (2:31)
19. Resolution And Hyperspace (6:30)
20. Bad Dreams (Alternate) * (1:25)
21. Ripley's Rescue (Percussion Only) * (3:18)
22. LV-426 (Alternate Edit - Film Version) * (1:13)
23. Combat Drop (Percussion Only) * (3:24)
24. Hyperspace (Alternate Ending) * (2:09)
* - Previously unreleased
Time Sharing Ended
---------- Post added at 02:42 AM ---------- Previous post was at 02:42 AM ----------
Biography by Jason Ankeny
Famed for his lush, sweeping scores for films including Braveheart, Apollo 13, and Titanic, the prolific composer James Horner was born in Los Angeles on August 14, 1953. Educated at London's Royal College of Music as well as local universities USC and UCLA, he landed his first motion picture assignments during the 1970s, scoring B-movies like The Lady in Red, Humanoids of the Deep, and Battle Beyond the Stars for producer Roger Corman's New World organization. By 1982, Horner had moved on to major studio fare including 48 Hrs. and Star Trek II: The Wrath of Khan, and four years later he notched his first Academy Award nominations for his score to the science fiction classic Aliens as well as for the song "Somewhere Out There," from the animated picture An American Tail. In 1989, Horner earned a second Oscar nomination for his score to Field of Dreams, that same year winning a Grammy for his work on the Civil War drama Glory; in 1995 he was honored with two more Academy Award noms, for Braveheart and Apollo 13. Horner finally struck Oscar gold in 1997, taking home statuettes for his score to the blockbuster Titanic as well as the film's original song "My Heart Will Go On," a hit for Celine Dion. After writing scores for movies like Commando and New World, Film Music Masterworks: Original Soundtracks, which contained pieces from some of Horner's best-known work (Apollo 13, Braveheart, Willow, and of course, Titanic, among others), was issued in 2006.
Review by Evan Cater
When James Horner accepted scoring duties for James Cameron's sci-fi epic Aliens, the composer was an inexperienced action specialist best known for two unremarkable Star Trek sequel scores that owed much and added little to Jerry Goldsmith's famous theme for Star Trek: The Motion Picture. Aliens, too, was a sequel to a Goldsmith scored blockbuster. But this time Horner's efforts stood firmly on their own, borrowing little more than general mood from Goldsmith's Alien score. The dense ambient orchestrations and inventive electronic percussion used in Aliens were so well received in the film music community that many of the film's cues have become action flick clich�s. Aliens also brought Horner his first Academy scoring nomination despite the fact that dissonant sci-fi action compositions by no-name newcomers are not often recognized. (Horner may have benefited from weak competition; ironically, Leonard Rosenmann was also nominated that year for boldly going where Horner had gone twice before: another Star Trek sequel.) Though highly effective in the context of the film, the Aliens score is far from Horner's most listenable. There are some compelling melodies particularly in the opening and closing credits, but the bulk of the CD is dominated by jarring strings and driving percussion that don't work very well as background music. Film music buffs and Aliens diehards may enjoy Varese Sarabonde's 2001 "Deluxe Edition," which contains 16 previously unreleased cues. But casual listeners will probably be more than satisfied with the original version.