New link up! Sorry for the delay in re-upping those of you who have been patient enough to wait. Been a bit pre-occupied and in between planes these last few months but I’m slowly coming back. This score (along with Willard) is one that I have a particularly fun time listening to and I really enjoyed what I did with the suite (not to sound cocky at all). I still hold out hope that Final Destination 3 FINALLY gets leaked or gets an official release. I’d pay for both either way it went. For those who have the FD3 (excluding JustinBoggan) I don’t care if it’s eventually gonna leak nor do I care of the exclusivity of its status for trading because it’s one score I wouldn’t trade. If anyone has it, I’d actually consider handing over my left nut for it (though what you do with it is your own thing) but in the end, I’d probably just settle for paying for it with cash money. Though the film is laughable, the FD3 score is another matter entirely. I care not that it doesn’t introduce much new material from the other 2 films, it’s the SOUND I go for, not the musical significance. That’s for another guy entirely. The idea of a Gross-o-meter was an awesome original concept at the time to drive the intensity level of her music for the various build-ups and eventual percussive orchestral crashes as each victim brutally meets their end. Sometimes her music will accompany a death while sneaking away right at the moment of death all leading to an intense and enthralling set of finale pieces which are trademarks of the original FD trilogy that I’ve always been rather fond of. FD3 was presented in a style that I would’ve LOVED to hear utilized again in her last score, Black Christmas, but I found the synth worked to an enjoyable degree although the cheese factor was piled on to the point of disappointment. It fit the even cheesier material but it’s just not what I’m used to hearing from Mrs. Walker. I hold no qualms with her work for that film at all though because shortly after recording it she sadly passed away so the decline in quality I assume is from that. Her death really saddened me. I remember getting introduced to her music from the isolated score track on the DVD of the original FD and following pretty much everything she’s been working on since. The fact that she orchestrated with other such great composers as Burton-regular Danny Elfman and the now "great" Hans Zimmer, it really causes you to go back and re-evaluate not only her works but the other works she had a hand in bringing to life including that sorely disappointing 2nd Tales from the Crypt sequel simply entitled "Ritual." Nor can I forget her legendary sound work alongside Carmine Coppola for THE ULTIMATE Vietnam War film ever committed to celluloid: "Apocalypse Now." It really caused me to appreciate Elfman’s Batman score A LOT more than I previously did. Her orchestrations were superb though due to the technical faults of the original source, the music just doesn’t sound as crisp and clear to better showcase her orchestrations but the fact that the complete work is available (OFFICIALLY at that, remember when everyone had given up hope and resorted to DVD/BD rips before LLLR blew us out of the water with their news of an official expanded collector’s set? I nearly shit an anvil.) is more than acceptable for me. Anyway, I’m done jaw flappin’ for now. Enjoy this sequel score to the franchise about death that just won’t die…now in 3D for those who like to be so close to death they can almost touch it; you sick freakin’ weirdos :P.
By the way, I used this in Symphony No. 2: The Incident at Goose Creek and Dead Letter Mail.