laohu
12-27-2014, 02:50 AM
Cliff Martinez & VA - Traffic (2000, FLAC)
1 �Cliff Martinez Helicopter 2:55
2 �Cliff Martinez No Swinging The Club In The Car 2:35
3 �Cliff Martinez Immunity 1:25
4 �Cliff Martinez What's Your Daughter On? 3:51
5 �Cliff Martinez You Two Don't Like Me
Bass � Flea
Percussion � Alex Acuna*, Paulinho Da Costa
Piano [Electric] � Herbie Hancock
1:32
6 �Cliff Martinez La Cagaste 2:56
7 �Cliff Martinez The West End 2:38
8 �Cliff Martinez I Know She's In There 3:07
9 �Cliff Martinez La Pura Verdad 2:35
10 �Cliff Martinez Just Shoot Him 3:05
11 �Cliff Martinez Loading The Plane 1:50
12 �Cliff Martinez I Can't Do This 1:46
13 �Cliff Martinez The Police Won't Find Your Car
Bass � Flea
Percussion � Alex Acuna*, Paulinho Da Costa
Piano [Electric] � Herbie Hancock
3:55
14 �Wilhelm Kempff Beethoven's Piano Sonata No. 1 In F Minor 6:32
15 �Morcheeba On The Rhodes Again 7:01
16 �Fatboy Slim Give The Po' Man A Break 5:50
17 �Rockers Hi-Fi Going Under (Evil Love And Insanity Dub)
Remix � Kruder & Dorfmeister
4:33
18.1 �Brian Eno An Ending (Ascent) 14:33
18.2 �Cliff Martinez (Film Dialogue) 0:12
https://mega.co.nz/#!GxhnACZI!h7cM6bJaoaUYMuv_SNsACQJ8_aNQZJV1a7bhR4G Y5E0
http://s07.flagcounter.com/count/Ty3/bg_FFFFFF/txt_000000/border_CCCCCC/columns_4/maxflags_180/viewers_0/labels_1/pageviews_1/flags_0/ (http://s07.flagcounter.com/more/Ty3)
Traffic: (Cliff Martinez) Adapted from a highly acclaimed British television series from 1990, Steven Soderbergh's 2001 version of Traffic remained loyal enough to the source to gain its own rounds of praise, including significant Academy Award recognition. The general overarching story of drug trades and their effects on different groups of people are well acted and balanced against each other in the picture, painting perhaps one of the most realistic portrayals of that industry ever to exist. The film would inspire a 2004 mini-series in America in the USA network as well. The director had already made his name by helming moody suspense, drama, and action films involving the law, and, aside from Thomas Newman's Erin Brockovich for Soderbergh just prior, Cliff Martinez, the Red Hot Chili Peppers' former drummer, had been his regular composer for those projects. The two had already collaborated on such films as Sex, Lies and Videotape and Out of Sight, and not only was Martinez serving the director with the minimalistic, ambient tones of his liking, but he was also accumulating a following of fans who enjoy this electronically atmospheric style (which would extend in tone and subject matter to Narc not long after). Working closely with composer Jeff Rona, who himself was garnering attention at the time for his interesting musings about the scoring industry, Martinez wrote music for Traffic that was a stylistic offshoot of the Media Ventures group of composers, the pioneers of the modern, synthesized genre of scoring. Regardless of what veteran film score collectors thought of this sound (and its consequent album), the general population greeted it rather warmly, with initial banter about award nominations and hefty sales figures. Most editorials outside of the film music industry referred to the score as highly evocative and rich with subtle texture. It's no surprise that the ears of traditional film score scholars interpreted the same music as simplistic noise, however. There is no doubt that Traffic raises the age-old debate about the merits of typical film score constructs versus the ambient sound design that is preferred for some contexts on screen. It's easy to say that this style of music will appeal mostly to a crowd of listeners familiar with either the film or Martinez himself.
While low-key sound design has its place in the industry, there are several different ways of approaching its detractions. Even the less expensive synthesizers of the day could be programmed to create the kind of slightly dissonant ambience that this score offers to effectively provide the film with a tense and distraught mood. The music has an undeniable edge of unease to it. But when you boil it down to its underlying construction, Martinez's music for Traffic lacks most of the basic characteristics of a film score. It disregards changes of scene, elaboration of moods, and singular events of the film. Not only does it feature no hint of thematic material, the score establishes no motif, no particular aspect with which to distinguish itself from the aimless ramblings of a synthesizer. While some would say that this kind electronic ambience requires careful and amplified attention in order to appreciate its subtleties, several full listens to the 35-minute score will yield absolutely nothing of interest in terms of continuity of structure. Occasionally, a rhythm will establish itself with a bit of regularity, but even these percussive hints of life fade away into the muddled wash of synthetic undertones. The most interesting track on the album, "The Police Won't Find Your Car," picks up the tempo with heavier drum loops and an active attitude. It should be no surprise that with this change of emphasis on finally building a sense of style, the cue was ultimately left out of the film. The album presentation wanders badly in its second half. The Beethoven piano piece does not fit at all in conjunction with the Morcheeba and Fatboy Slim performances thereafter (score-like songs that seem to carry on indefinitely). The final track is a reprise of Brian Eno's "An Ending" theme, which features a more angelic and contemplative tone than Martinez's music. This Eno entry is very much as you would expect from him, and Dune fans could insert it easily into his short contributions to that film and would never know the difference. Overall, the album for Traffic is an example of film scoring at its most low-budget, minimalistic levels. It is the type of music that absolutely requires placement in the film, because its nature on album is so dull that there is really nothing notable to mention outside of the mood it generates. Rona's material for the 2004 mini-series would begin to rectify some of these problems of anonymity.
in Filmtracks
1 �Cliff Martinez Helicopter 2:55
2 �Cliff Martinez No Swinging The Club In The Car 2:35
3 �Cliff Martinez Immunity 1:25
4 �Cliff Martinez What's Your Daughter On? 3:51
5 �Cliff Martinez You Two Don't Like Me
Bass � Flea
Percussion � Alex Acuna*, Paulinho Da Costa
Piano [Electric] � Herbie Hancock
1:32
6 �Cliff Martinez La Cagaste 2:56
7 �Cliff Martinez The West End 2:38
8 �Cliff Martinez I Know She's In There 3:07
9 �Cliff Martinez La Pura Verdad 2:35
10 �Cliff Martinez Just Shoot Him 3:05
11 �Cliff Martinez Loading The Plane 1:50
12 �Cliff Martinez I Can't Do This 1:46
13 �Cliff Martinez The Police Won't Find Your Car
Bass � Flea
Percussion � Alex Acuna*, Paulinho Da Costa
Piano [Electric] � Herbie Hancock
3:55
14 �Wilhelm Kempff Beethoven's Piano Sonata No. 1 In F Minor 6:32
15 �Morcheeba On The Rhodes Again 7:01
16 �Fatboy Slim Give The Po' Man A Break 5:50
17 �Rockers Hi-Fi Going Under (Evil Love And Insanity Dub)
Remix � Kruder & Dorfmeister
4:33
18.1 �Brian Eno An Ending (Ascent) 14:33
18.2 �Cliff Martinez (Film Dialogue) 0:12
https://mega.co.nz/#!GxhnACZI!h7cM6bJaoaUYMuv_SNsACQJ8_aNQZJV1a7bhR4G Y5E0
http://s07.flagcounter.com/count/Ty3/bg_FFFFFF/txt_000000/border_CCCCCC/columns_4/maxflags_180/viewers_0/labels_1/pageviews_1/flags_0/ (http://s07.flagcounter.com/more/Ty3)
Traffic: (Cliff Martinez) Adapted from a highly acclaimed British television series from 1990, Steven Soderbergh's 2001 version of Traffic remained loyal enough to the source to gain its own rounds of praise, including significant Academy Award recognition. The general overarching story of drug trades and their effects on different groups of people are well acted and balanced against each other in the picture, painting perhaps one of the most realistic portrayals of that industry ever to exist. The film would inspire a 2004 mini-series in America in the USA network as well. The director had already made his name by helming moody suspense, drama, and action films involving the law, and, aside from Thomas Newman's Erin Brockovich for Soderbergh just prior, Cliff Martinez, the Red Hot Chili Peppers' former drummer, had been his regular composer for those projects. The two had already collaborated on such films as Sex, Lies and Videotape and Out of Sight, and not only was Martinez serving the director with the minimalistic, ambient tones of his liking, but he was also accumulating a following of fans who enjoy this electronically atmospheric style (which would extend in tone and subject matter to Narc not long after). Working closely with composer Jeff Rona, who himself was garnering attention at the time for his interesting musings about the scoring industry, Martinez wrote music for Traffic that was a stylistic offshoot of the Media Ventures group of composers, the pioneers of the modern, synthesized genre of scoring. Regardless of what veteran film score collectors thought of this sound (and its consequent album), the general population greeted it rather warmly, with initial banter about award nominations and hefty sales figures. Most editorials outside of the film music industry referred to the score as highly evocative and rich with subtle texture. It's no surprise that the ears of traditional film score scholars interpreted the same music as simplistic noise, however. There is no doubt that Traffic raises the age-old debate about the merits of typical film score constructs versus the ambient sound design that is preferred for some contexts on screen. It's easy to say that this style of music will appeal mostly to a crowd of listeners familiar with either the film or Martinez himself.
While low-key sound design has its place in the industry, there are several different ways of approaching its detractions. Even the less expensive synthesizers of the day could be programmed to create the kind of slightly dissonant ambience that this score offers to effectively provide the film with a tense and distraught mood. The music has an undeniable edge of unease to it. But when you boil it down to its underlying construction, Martinez's music for Traffic lacks most of the basic characteristics of a film score. It disregards changes of scene, elaboration of moods, and singular events of the film. Not only does it feature no hint of thematic material, the score establishes no motif, no particular aspect with which to distinguish itself from the aimless ramblings of a synthesizer. While some would say that this kind electronic ambience requires careful and amplified attention in order to appreciate its subtleties, several full listens to the 35-minute score will yield absolutely nothing of interest in terms of continuity of structure. Occasionally, a rhythm will establish itself with a bit of regularity, but even these percussive hints of life fade away into the muddled wash of synthetic undertones. The most interesting track on the album, "The Police Won't Find Your Car," picks up the tempo with heavier drum loops and an active attitude. It should be no surprise that with this change of emphasis on finally building a sense of style, the cue was ultimately left out of the film. The album presentation wanders badly in its second half. The Beethoven piano piece does not fit at all in conjunction with the Morcheeba and Fatboy Slim performances thereafter (score-like songs that seem to carry on indefinitely). The final track is a reprise of Brian Eno's "An Ending" theme, which features a more angelic and contemplative tone than Martinez's music. This Eno entry is very much as you would expect from him, and Dune fans could insert it easily into his short contributions to that film and would never know the difference. Overall, the album for Traffic is an example of film scoring at its most low-budget, minimalistic levels. It is the type of music that absolutely requires placement in the film, because its nature on album is so dull that there is really nothing notable to mention outside of the mood it generates. Rona's material for the 2004 mini-series would begin to rectify some of these problems of anonymity.
in Filmtracks