Seeing as there were no edits, recording sessions, or bootlegs of anykind for this score, I took it upon myself to create one.
Star Trek IV: The Voyage Home
Composer(s): Leonard Rosenman
Released in: 1986
Country: United States
Format : CD
Country: United States
Release Date: 1986
Tracklist:
0: Prologue
1: Logo/Main Title
Contains TV Theme by Alexander Courage
2: Klingon Trial
3: Sarek Defends Kirk/Vulcan/Probe Interlude 1
4: The Probe
5: Probe Interlude 2/Parting Words
6: Takeoff/The Probe Advances
7: Presidential Address/Kirk Learns of Probe
8: Time Travel
9: Market Street (Film Version)
Composed by Leonard Rosenman, Russell Ferrante and Jimmy Haslip – Performed and Arranged by The Yellowjackets
10: Chekov’s Run (Film Version)
11: Gillian Seeks Kirk
12: Hospital Chase
13: The Whaler
14: Crash/Whale Fugue (Film Version)
15: Home Again
16: NCC-1701-A/End Credits
Contains TV Theme by Alexander Courage
17: Main Title (Alternate)
Contains TV Theme by Alexander Courage
18: Market Street (Album Version)
Composed by Leonard Rosenman, Russell Ferrante and Jimmy Haslip – Performed and Arranged by The Yellowjackets
19: Chekov’s Run (Album Version)
20: Ballad of the Whale
Composed by Leonard Rosenman, Russell Ferrante and Jimmy Haslip – Performed and Arranged by The Yellowjackets
21: Crash/Whale fugue (Album Version)
Disc 1 Duration: 00:57:15
Disc 2 Duration: 00:57:20
Total Duration: 01:??:??
Size: 282/??? MB
CD produced by Faleel
Music ripped and edited by Faleel
Released by Big Fish Film Records
Special Thanks: Gene Roddenberry, Alexander Courage, Leonard Nimoy, Leonard Rosenman, FilmScoreMonthly,
Ford A. Thaxton, Bernard Kyer (BrachioInGen/GoodMusician),
Alexander Willems (StarWarsFan786),
Patrick Vanderpool (WitchkingAngmar6),
Jayce79, Isaac Vail, Audacity and Youtube.
Dedicated to: Gene Roddenberry, DeForest Kelley, James Doohan, and Leonard Rosenman.
Big Fish Film Records, 2011
Complete Score: includes Booklet and covers
Bonus Trek, I Hate You – Edge of Etiquette: [url=]http://www.megaupload.com/?d=78YIXQY1 (]http://www.multiupload.com/4ONJF7TE80[/url)
oh and the abrupt edits are fixed in this edit also.
Blame Nimoy for hiring Rosenman with his "music by numbers" where Horner might have been the better choice to finish the trilogy of Trek movies 2-4 – and given a first chance to score a comedy, which he can.
I’m not saying that I consider Rosenman a bad composer – his score for Fantastic Voyage is great. But just the wrong choice.
(Although, in recent years I have also come to accept Alex North’s score for DRAGONSLAYER – which would have been a MASSIVELY different movie with a score by Horner. Well, at least the EARLY, innovative Horner.)
Same feeling here with Rosenmans score to Star Trek. He completely ignored the sound of the franchise and as such the score would be nice to any other movie, but not one that is part of a series. He did the same with Robocop … :/ The score is nice, but would have been great to hear a take on Poledouris’ theme.
I know what its from, but Rosenman is rumored to have written an arrangement of Courage’s Star Trek theme but Nimoy rejected it in favor of a new composition, which is why there is that really noticable edit in the album, I have a theory that the arrangement the CSO used is in fact, Rosenmans arrangment and they just added the intro from the original Courage arrangment.
In other words It was intentional, and for good reason.
This is a great score and Alex North is a very underappreciated composer – these days. I wasn’t very happy about Filmtracks’ review:
Filmtracks: Dragonslayer (Alex North) (http://www.filmtracks.com/titles/dragonslayer.html)
But Clemmens most certainly is more oriented towards modern compositions of the Spielberg/Lucas-era. And North is very different indeed from those!
(This also reminds me of the review of The Ice Pirates on DVDTalk. The reviewer there just wasn’t in the mood and didn’t get the film at all. Bad luck for him as this IS one of the best SF-comedies of the 1980s and superior in most aspects to Spaceballs.)
Would have been interesting to hear Horner’s take on that, if there were one that is.
I don’t think so. Dragonslayer was an effort by Disney to produce a different movie and that’s what it most certainly is. Unfortunately, it came at the wrong time when most people wanted to see simple tales of the good guys winning and not some complex (sometimes even depressing) storyline with complex characters and a (sometimes gory) Monty Python-quasi realism.
Keeping with the directors wishes for a modern score, I can imagine something along the lines of Wolfen mixed with some of his fantasy material. Would have been nice.
I’d say full frontal heroic Horner as in Krull! 😉
Same feeling here with Rosenmans score to Star Trek. He completely ignored the sound of the franchise and as such the score would be nice to any other movie, but not one that is part of a series.
Nimoy wanted to make a different movie with a different tone. Fine with me. But if it belongs to a trilogy there should also be more CONTINUITY towards the scoring. And Horner would have delivered a good score for a more comedic Star Trek-film, that’s for sure.
He did the same with Robocop … :/ The score is nice, but would have been great to hear a take on Poledouris’ theme.
I must say that I really hated Rosenman until I came across Fantastic Voyage. But that was MUCH later and when I had taken some more educational interest towards filmmusic.
Hehehe that actually made me laugh, even though it was uninentional. The early innovative Horner? You mean the one who plagiarised Goldsmith, Khachaturian and the like, and then reused his own music and arrangements for almost every score he did. Listen to Battle Beyond the Stars, Star Trek II/III, Aliens and they all sound the same. Of course there are differences, but Horner gives new meaning to the word "consistency". A lot of Aliens sounds like Star Trek III, the lovely theme over the shuttle drifting at the start is a blatant rip from Khachaturian’s Gayane Ballet Suite (used in 2001: A Space Odyssey). Some people say Horner has an identity, an identifiable style. I think he does, but not for the same reasons.
Calling the early Horner "innovative" WAS intentional. Stealing with style is called "homage". 😉
You mean the one who plagiarised Goldsmith, Khachaturian and the like
Don’t forget that Jerry also learned a lot from Rozsa, Newman, Steiner and many contemporary jazz-influences! And you can hear it! Would you call that "stealing" too?
and then reused his own music and arrangements for almost every score he did.
I don’t disagree. Basically it is sufficient to collect Horner’s scores up to 1990 – everything beyond that is mostly repetition.
On the other hand… ever heard scores from Rosenman? Zimmer’s style is also VERY repetetive – and somewhat virulent if you see how many third grade composers seem to be "inspired" by his style.
Listen to Battle Beyond the Stars, Star Trek II/III, Aliens and they all sound the same.
Oh, dear. BBTS is one of Horner’s FIRST scores. So calling that repetetive is plain old WRONG. Trek II and III are of one series, so do you call the Star Wars-scores also repetetive in this regard? Aliens most certainly uses a lot of Horner’s previous scores but it also works very well on its own. And Goldsmith also repeated elements of his scores in following scores (the idiotic drumroll in Rambo III can also be heard in Not Without My Daughter).
Of course there are differences, but Horner gives new meaning to the word "consistency".
Also check: Silvestri and Broughton. Not as blatantly though.
A lot of Aliens sounds like Star Trek III
Very well. Compare Goldsmith’s Link The Butler with Runaway and then with Rent-A-Cop.
the lovely theme over the shuttle drifting at the start is a blatant rip from Khachaturian’s Gayane Ballet Suite (used in 2001: A Space Odyssey).
THAT is actually an homage! (And the use of one piece of Aliens in Die Hard was the idea of the director!)
Some people say Horner has an identity, an identifiable style. I think he does, but not for the same reasons.
The very same can also be said about Hans Zimmer. 😉
And, on a positive note, Miklos Rozsa.
The point about Horner is that he really doesn’t come up with ANY new stuff. He’s basically doing the same shtick for some 20+ years now. But, as said above, the very same applies to Silvestri.
Pretty much the same problem. Some excellent scores in the 1980s and that’s it. Same with Bruce Broughton. Horner’s at least doing some bigger productions. Though I’m sometimes wondering why they still employ him without stepping more on his toes.
And come on, homage is not what Horner was doing with Khachaturian. Know the difference between homage and plagiarism.
Look, classic music has been plundered for scores EVER since someone decided to have a film accompanied by a piano. It’s VERY common. And the Gayne Ballet Suite section in Aliens fits perfectly – it was used in another epic SF-production so why consider it stealing? Besides, ever listened to Gladiator?
Stealing with style indeed.
At least it fits perfectly and it’s not as blatantly obvious as what Zimmer did for Gladiator.
And while some of Goldsmith’s work is similar, he is fantastically more varied throughout his career than Horner has been or ever will be.
A composer’s life can be divided in periods. You can always tell from which period a piece of music by Goldsmith is. Some pieces influence the following ones. Compare Salamander with The Final Conflict. Especially obvious when synthesizers came into play. Listen to Link and Rent-A-Cop.
The difference between Horner and Goldsmith is that the latter has a LOT more talent and variation to offer. But, nevertheless, it’s not that unusual to quote yourself. Classic composers (most notoriously Haendel) did it all the time. (Because they also got paid per piece and it saves time to be creative.)
Goldsmith did Legend and Runaway in the same year.
As well as Link and Rent-A-Cop. I guess it also has to do with how much time and budget he had to work with. Certainly a big difference between him and Horner – Horner’s music sounds the same no matter what the budget. ON THE OTHER HAND, Krull was a VERY rushed effort and it is considered to be Horner’s BEST score! Whereas Troy, which was also put together in a couple of months is rather mediocre. Oh, well.
I can’t think of many, if any, other film composers who did such different consecutive work.
Don’t forget for how many years he composed! On the other hand check out Rozsa. Much of his later stuff sounds very much the same. Or Barry, which was a reason why they wouldn’t hire him – they considered his style outdated.
And you miss my point about Battle Beyond the Stars, I was saying that the other scores all sound like it.
OK. It sounded like you started the blame with that one already. 😉
Although some say the woodwinds he uses were "stolen" from Goldsmith’s Klingon theme.
I have no problem with one composer being inspired by another, that is something replete across all arts, but I see a massive difference with that example from Aliens.
Give Richard Band’s Prison-score a try! 😉
It’s a rip off.
Looks more like you’re mistaking Horner’s limited repertoire of action cues as "rip-off". I’d say Aliens is still varied enough to stand on its own. But anyway, Aliens is still within Horner’s "creative" phase. If we move beyond the 80s you’ll find better examples.
And neither is it the same as using the music from the end of Aliens in Die Hard, that was a straightforward re-use of the exact same track, as was the track that follows it from Man on Fire.
Just pointing it out as many people claimed back then that Kamen had "stolen" the track from Horner.
It’s not the same thing. I just don’t rate Horner.
Yes you did!
Sure, he’s really an accessible composer and I understand why he had mainstream popularity, but I just find him unoriginal, repetitive and at times a downright plagiarist.
Let me put it that way… I have a lot of scores of Horner flying around my collection. But I’m listening only to THREE of his scores EVER. Not because the others are that bad, but because there isn’t much variation going on. I can’t remember EVER listening to the complete score of The Wishmaster. Although Casper was rather nice. But Avatar, on the other hand, bored the cr*p out of me! (OK, pretty much like the film did.)
Filmtracks: Dragonslayer (Alex North) (http://www.filmtracks.com/titles/dragonslayer.html)
But Clemmens most certainly is more oriented towards modern compositions of the Spielberg/Lucas-era. And North is very different indeed from those!
I remember that review from filmtracks. Read it a long time ago. Didn’t like it too much either but I could relate a bit to the point he made by saying, that the film needed transparency in the soundtrack so that the audience could relate to the characters and settings better. I really like North’s score but that point has some validity as the score is really great when it comes to the unsettling ambience of a land being ravaged by the dragon, but it has it’s shortcomings during the romantic parts. Don’t get me wrong, the score as a whole grew on me after a couple of listens, but I can understand that for some people it just doesn’t work. Especially those seeking a rousing fantasy which Dragonslayer in some parts is, but in some parts isn’t.
I don’t think so. Dragonslayer was an effort by Disney to produce a different movie and that’s what it most certainly is. Unfortunately, it came at the wrong time when most people wanted to see simple tales of the good guys winning and not some complex (sometimes even depressing) storyline with complex characters and a (sometimes gory) Monty Python-quasi realism.
I kind of agree, but I think they only succeded in part. I remember from an interview with the director, that he intended to put all these social commentaries in the picture, which are there, but they are very hidden and obscured. It’s like he was a bit too cautious, because that way the movie get’s accross as something that wants to achieve more, but then doesn’t have the courage. On the other hand I can understand that going totally wild was impossible cause of the studio and the era, so it is excusable.
I’d say full frontal heroic Horner as in Krull! 😉
Hm, mabye. But when I listen to Brainstorm and Wolfen, maybe not. Director Mathew Robbins was very much into modern music, so even if Horner would have been approached and gotten the job I can’t imagine Robbins totally changing his mind.
Nimoy wanted to make a different movie with a different tone. Fine with me. But if it belongs to a trilogy there should also be more CONTINUITY towards the scoring. And Horner would have delivered a good score for a more comedic Star Trek-film, that’s for sure.
Aye, indeed Horner would have been totally capable of scoring that movie and should have done it. Going the route of using a different tone is fine, especially since the fourth is set in a completely different time, but as you said, it’s part of something bigger. So Rosenman completely ignoring the sound of the two movies before (like he did when he dismissed Poledouris work for robocop as "some cheesy music by a greek guy") comes accross as pretty arrogant.
I must say that I really hated Rosenman until I came across Fantastic Voyage. But that was MUCH later and when I had taken some more educational interest towards filmmusic.
I don’t think that appreciating Rosenman has something to do with learning more or not. I liked his scores to The Lord of the Rings and Fantastic Voyage right from the start, like i did with both movies when I watched them as a kid. It’s more like if you can connect to them on an emotional level. Like with all music.
He’s certainly right about that. But then again the movie’s trying a different approach and the music is an aspect of it. If this had been a "pure" action movie his criticism would have been more appropriate. (Or simply see what Universal did to Brazil when they recut it.)
it has it’s shortcomings during the romantic parts.
And the action parts as well. Though back then we simply expected something more along the lines of Star Wars.
Don’t get me wrong, the score as a whole grew on me after a couple of listens, but I can understand that for some people it just doesn’t work.
It’s most certainly not one that I listen to very often. Same for the movie where some of the latter parts now SERIOUSLY hurt my nerves – e.g when the hysteric girl tries to destroy Galen’s amulet. "Just SMACK her, Galen!"
Especially those seeking a rousing fantasy which Dragonslayer in some parts is, but in some parts isn’t.
Yeah, the movie doesn’t really fit into any category. Which pretty much sums up the problems those "brave" Disney-films of this era had. Same thing goes for Tron – considered "too geeky" and with "cat’s music" – and The Black Hole – "too dark", "depressing and gothic" and "transcendental" (regarding the passing through the black hole).
On the other hand I can understand that going totally wild was impossible cause of the studio and the era, so it is excusable.
All of these movies – including Something Wicked This Ways Comes and up to The Black Cauldron – are considered "classics" now. Certainly not perfect movies but interesting and unusual.
(And now certainly another cash cow for Disney who after almost 30 years basically "rediscovered" Tron to be a "classic"… and then ruin it by producing this lackluster and over-commercialised sequel/remake.)
Director Mathew Robbins was very much into modern music, so even if Horner would have been approached and gotten the job I can’t imagine Robbins totally changing his mind.
The point is of what he wanted to achieve in the end. More of an art piece with social commentary or an epic legend. In a way if this had ACTUALLY been done by Monty Python it could have been a real success! Well, at least over here in Europe.
So Rosenman completely ignoring the sound of the two movies before (like he did when he dismissed Poledouris work for robocop as "some cheesy music by a greek guy") comes accross as pretty arrogant.
Problem is he had an excellent reputation and was still very highly regarded in Hollywood at that time. But look what else he did in the 1980s! No much.
I don’t think that appreciating Rosenman has something to do with learning more or not. I liked his scores to The Lord of the Rings and Fantastic Voyage right from the start, like i did with both movies when I watched them as a kid. It’s more like if you can connect to them on an emotional level. Like with all music.
Same with Goldenthal. I hated it when they hired him instead of Elfman to score the Batman-movies. These days I like his music and consider it very good.
There was a recut version by the studio? It was a long time ago I saw this, being not the biggest fan of Terry Gilliam, only a couple of his films. I remember that there was all this anger with some producer, the same guy who wanted all these silly changes to Legend, but I thought Gilliam had ruined every try at recutting it by saying he would destroy all the negatives if someone touched his movie.
And the action parts as well. Though back then we simply expected something more along the lines of Star Wars.
It’s most certainly not one that I listen to very often. Same for the movie where some of the latter parts now SERIOUSLY hurt my nerves – e.g when the hysteric girl tries to destroy Galen’s amulet. "Just SMACK her, Galen!"
The main problem I have with it, when listening to it entirely, is that it doesn’t really move to a satisfiying finale. With that I don’t mean something large and grand, but harmonious. Sure it has this dance-like quality at the end, but it’s still a complex elegance. Doesn’t really give me the feeling of coming to a close. More of still stuck inbetween things. Sorry for my english here, it’s hard to really explain this.
Yeah, the movie doesn’t really fit into any category. Which pretty much sums up the problems those "brave" Disney-films of this era had. Same thing goes for Tron – considered "too geeky" and with "cat’s music" – and The Black Hole – "too dark", "depressing and gothic" and "transcendental" (regarding the passing through the black hole).
Nice comparison. Well Tron is a great movie, but not really deep in terms of story, which I think is ok. It could have, but it doesn’t need to. Today you have so many movies, claiming to be deep, spiritual and phylosophical that it sometimes gets ridiculous. The music by Wendy Carlos is also a great "out there" experience, troubling in parts, because it feels more like a sort of concerto than a film score, but still great (and much more adventurous than what Daft Punk did).
The Black Hole was one of my childhood favourites, also I loved the John Barry score and spent years finding it as by the time it was completely out of print. The movie wants to achieve much and is simply gorgeous to look at, but lacks depth in parts. The ingredients are all there, but not used as effectively as they could have been. In the end it’s like your comment about Dragonslayer. Still I consider it to be a wonderful movie and I hope they won’t remake it!
All of these movies – including Something Wicked This Ways Comes and up to The Black Cauldron – are considered "classics" now. Certainly not perfect movies but interesting and unusual.
(And now certainly another cash cow for Disney who after almost 30 years basically "rediscovered" Tron to be a "classic"… and then ruin it by producing this lackluster and over-commercialised sequel/remake.)
Every movie is a child of it’s time. That applies to basically all movies, except a group of selected few (2001 comes to mind) and it’s all i’m going to say about this recent sequel.
The point is of what he wanted to achieve in the end. More of an art piece with social commentary or an epic legend. In a way if this had ACTUALLY been done by Monty Python it could have been a real success! Well, at least over here in Europe.
That would have been a real treat! I’m not really sure tho if the story would have been their cup of tea. The way it is now, Dragonslayer is something very unique. Done by Monty Python, it would have been Monty Python’s Dragonslayer. Succesful? Probably so. Unique? In their way yes, but not in the same way the movie is as it is now.
Problem is he had an excellent reputation and was still very highly regarded in Hollywood at that time. But look what else he did in the 1980s! No much.
I heard an interview with him over at archive.org and I was really impressed by his knowledge and honesty. But on some opinions he utters I can only say they are his opinions, but not that I really share or relate to them. Especially what he said about Poledouris. His robocop is a nice film noir score (except for that stupid chanting of the name "Robocop") but it doesn’t really fit the movie. It’s more like Rosenman brought the whole concept into his comfort zone. Kind of what Mr. Z… does with movies nowadays. Rosenman had the ability to make some interesting creative choices in his film scores, like using all these speciality instruments in Lord of the Rings, or the surgical precision of his writing in Fantastic Voyage (at least the score feels like that to me) but you could always hear his "voice" as if he had no interest in extending his musical language. I have the feeling that from the end of the 70s onwards he had some kind of system of what progressions to use for what instruments and in what circumstances and stayed with his formula.
Same with Goldenthal. I hated it when they hired him instead of Elfman to score the Batman-movies. These days I like his music and consider it very good.
Took me some time to get used to Goldenthals Batman music too. It’s much more schizophrenic than Elfman’s that’s for sure and sometimes I feel he tries to achieve too much, instead on keeping it focused. That may be a strong point of Goldenthal’s approach but it can also be annoying sometimes as very often every track becomes it’s own entity instead of remaining with the rest. I find his soundtrack to Batman to be ok all around and very good in some parts, but I like his other soundtracks much more.
And for the record, although it isn’t very Star Trek, I do like a lot of the score to Star Trek IV. It suits the tone they were going for, and it compliments the more accessible movie they were trying to make, as was reflected in its box office success (biggest Trek movie till First Contact, I think). I find the Hospital Chase track particularly fun.
They basically took the movie away from him and recut it into a very crude and simple Hollywood yarn. This cut is (in some ways) as fascinating as the Star Wars Holiday Special and certainly as gruesome.
It was a long time ago I saw this, being not the biggest fan of Terry Gilliam, only a couple of his films.
I like Giliam’s movies. He belongs to the same category of unusual directors that Tim Burton does. And most of his movies are great. OK, except for Brothers Grimm. But then again, Burton also did Planet of the Apes. 😉
I remember that there was all this anger with some producer, the same guy who wanted all these silly changes to Legend, but I thought Gilliam had ruined every try at recutting it by saying he would destroy all the negatives if someone touched his movie.
Legend? The one starring Tom Cruise? That one’s directed by Ridley Scott.
The main problem I have with it, when listening to it entirely, is that it doesn’t really move to a satisfiying finale.
In some ways the same can be said about the movie. I somewhat expected to be a coda of sorts (or an extra scene) AFTER the end credits. Just like a nice (or nasty) punch line. But this really isn’t a Monty Python-film.
More of still stuck inbetween things. Sorry for my english here, it’s hard to really explain this.
I understand. And that’s the problem with the whole movie. TONE, ATTITUDE and COHERENCE. It doesn’t seem to know what it wants to achieve. And I think that North is a composer of such calibre that his score reflects this dilemma – be it conscious or subconscious.
The music by Wendy Carlos is also a great "out there" experience, troubling in parts, because it feels more like a sort of concerto than a film score, but still great (and much more adventurous than what Daft Punk did).
When they created this movie they wanted to do something different. And that also includes the composer. And Carlos IS very different from any composer out there (ok, maybe except for Gabriel Yared). And the music adds ambience in a way that no contemporary score of that time could have achieved. Tron may feel outdated in regard to hardware etc. on OUR side – but once it’s on the OTHER side it’s timeless.
The Black Hole was one of my childhood favourites, also I loved the John Barry score and spent years finding it as by the time it was completely out of print.
I remember seeing this in the cinema and then venturing out to get the album. Unfortunately, I missed the chance to get the audio cassette, as this would have offered the opportunity to get a scratch free-source in optimum analogue quality. Oh, well.
The movie wants to achieve much and is simply gorgeous to look at, but lacks depth in parts.
It was done by people who wanted to emulate Star Wars without having ANY idea about Science Fiction and what the audience expected. This movie comes in some regards VERY left field and then again it’s soo Disney-cliche, naive and childish, that you can only shake your head in disbelief.
The ingredients are all there, but not used as effectively as they could have been.
I’d say there simply wasn’t a strong director around to make it more coherent.
In the end it’s like your comment about Dragonslayer. Still I consider it to be a wonderful movie and I hope they won’t remake it!
Let’s hope for the best!
Every movie is a child of it’s time. That applies to basically all movies, except a group of selected few (2001 comes to mind) and it’s all i’m going to say about this recent sequel.
I just say Tron: Legacy will NOT become a classic in 20-30 years from now. Wayyy to conventional, over-hyped and merchandised.
The way it is now, Dragonslayer is something very unique.
In a good AND in a bad way.
Done by Monty Python, it would have been Monty Python’s Dragonslayer. Succesful? Probably so. Unique? In their way yes, but not in the same way the movie is as it is now.
Watch Jabberwocky! But that’s also NOT a Monty Python-movie but an early one from Terry Gilliam.
[Rosenman]
Especially what he said about Poledouris.
Very arrogant! And if you ask the younger collectors who’s the more famous composer they will most certainly NOT name Rosenman.
It’s more like Rosenman brought the whole concept into his comfort zone.
And that’s what he ALWAYS did. Even his best epic score – Lord of the Rings. And I actually like that one a lot.
Kind of what Mr. Z… does with movies nowadays.
We’ll get flames, I can feel it already! 😉
I have the feeling that from the end of the 70s onwards he had some kind of system of what progressions to use for what instruments and in what circumstances and stayed with his formula.
Yep. He became lazy and/or was uninspired. Very bad!
Took me some time to get used to Goldenthals Batman music too.
It took me 10 years. And I must also say that while I appreciate most of Schumacher’s films (Falling Down, Tigerland) I really hate his Batman-movies. To this day.
I feel he tries to achieve too much, instead on keeping it focused.
I’d say there is an attempt to emulate Elfman’s style which works to a certain degree but then it gets more and more chaotic. But that could also be related to the movies themselves. Demolition Man may be his best score (apart from the more experimental Titus).
I find his soundtrack to Batman to be ok all around and very good in some parts, but I like his other soundtracks much more.
I say I have forgiven him the fact that he really wasn’t Elfman when I wanted it the most. 😉
Legend? The one starring Tom Cruise? That one’s directed by Ridley Scott.
According to the liner notes of legend’s score album, both Legend and Brazil suffered from having the same executive producer, a guy named Sidney Sheinberg, demand significant recuts so the movies would work better with younger audiences. Scott complied but Gilliam threatened to completely destroy his movie.
It was done by people who wanted to emulate Star Wars without having ANY idea about Science Fiction and what the audience expected. This movie comes in some regards VERY left field and then again it’s soo Disney-cliche, naive and childish, that you can only shake your head in disbelief.
I’d say there simply wasn’t a strong director around to make it more coherent.
Unfortunately so. The idea itself has so much potential and I really like the ending, with it’s vision of what the other side might look like. Totally unplausible and the build-up to that climax is rushed and naive, but an impressive ending. The beginning also has some effective and haunting moments, starting with the flyby over the derelict Cygnus and Maximilian Schell gives a very haunting performance, but the middle part of the movie is so focused on serving that sci-fi-action clich�.
I just say Tron: Legacy will NOT become a classic in 20-30 years from now. Wayyy to conventional, over-hyped and merchandised.
Haven’t seen it and as yet I have no interest in doing so. A friend told me it was great and visual, but I have seen great visual movies so often, that the idea of just seeing something that has great visuals no longer get’s me excited. I have grown to like the score tho. It does stick a lot to the formula and I don’t feel it is a great classic (maybe it is, don’t know and only time will tell), but it does deviate from the norm here and there.
Watch Jabberwocky! But that’s also NOT a Monty Python-movie but an early one from Terry Gilliam.
I have and I enjoy it to this day, every time I watch it.
And that’s what he ALWAYS did. Even his best epic score – Lord of the Rings. And I actually like that one a lot.
Yep. He became lazy and/or was uninspired. Very bad!
It’s strange, since his output was never really big to begin with. So, I can’t really understand, why he became so narrowed down to his set of ideas. It’s not that he had to write and produce scores by the dozen each year. But it’s really easy to tell, when you are listening to a Rosenman score.
We’ll get flames, I can feel it already! 😉
Not my intention, but it is my opinion. I have no problem with the guy and his music, I just can’t see why he always get’s that kind of overhyped reactions to basically repeating his formula over and over again (and for the last years one can’t be really sure what parts he wrote or what parts his army of people over at his studio wrote). Also, I don’t understand why he needs so many orchestrators, it’s not that the music is insane in it’s orchestral use or counterpoint.
I’d say there is an attempt to emulate Elfman’s style which works to a certain degree but then it gets more and more chaotic. But that could also be related to the movies themselves. Demolition Man may be his best score (apart from the more experimental Titus).
I think their respective styles can be very close together. Goldenthal also applies this kind gothic quality to some of his compositions. Demoltion man and Titus are fine scores, highly disjointed but very entertaining. In terms of cohesion I greatly enjoyed his Final Fantasy score which was sadly mixed down in the movie. The composition as it is, is so powerful, but the way the put it behind everything, make it sound like it’s playing at a stereo in the background sometimes.
Disc 1 Front Channels Edit: MEGAUPLOAD – The leading online storage and file delivery service (http://www.megaupload.com/?d=K5XMI6VY)
Disc 2 Rear Channels Edit: Coming Soon
Faleel, thank you for this, much appreciated!!:)
Well its a bit outdated know, I was able to get hold of two more cleaner cues.
00 – Prologue
15 – Home Again
EDIT: Updated! http://www.megaupload.com/?d=PTEU0LZ6
"Well, this score is about 31 minutes long, and that’s probably the shortest big-picture sci-fi score on record"
"Well, this score is about 31 minutes long, and that’s probably the shortest big-picture sci-fi score on record"
Almost complete, but there are alternates, like the arrangement of the Alex Courage theme for the original main titles
Disc 2 Rear Channels Edit: MEGAUPLOAD – The leading online storage and file delivery service (http://www.megaupload.com/?d=REEWPG0T)
you put the numbers -100 or -900 on what channel you want to remove.
to get the media player to play it, you must go to options, external filters, and then add filter, and click AC3filter, then when you open a DVD it should come up automatically.
Media PLayer classic is free by the way, there does not seem to be anything for WMP unfortunately.
RS and LS for rears.
Temporarily 😉
I accidently gave you wrong directions in the post above, You want to have -900 for voice and LFE, then you want to have -900 for all the channels EXCEPT LS and RS.
One more thing: How were you able to keep the bass of the music?
did you reset all of the matrix settings? and if you did, try reversing the channels that have -900, instead of SL SR having 0 and L and R having -900, switch that around and have SL and SR have -900 and the L and R have 0.
oh and depending on how the film/show is mixed sometimes you will hear vocal echo.
Your welcome! I might just arrange all my reply’s into a sort of tutorial lol.
Yes, L, C, R, and LFE for the Rear Channel edit (Disc 2), and SL, C, SR, and LFE for CD1
Unfortunately, you will get that from time to time, for example, the track in my STIV score "Market Street (Film Version)" is also missing instruments, sadly there is no way around this, if you can get a 7.1 rip from the blu-ray version (if there is one) you may have a better chance of getting it with no instrument loss, if you cannot, then you will have to settle for putting -999 for all the channels except L and R
FSM and JWfan.
01. Logo/Main Title† 2:52
02. Starfleet Command/On Vulcan/
Spock/Ten Seconds of Tension 1:40
03. The Probe 1:16
04. The Probe—Transition/The Take-Off/
Menace of the Probe/Clouds and Water/Crew Stunned 3:08
05. Time Travel 1:28
06. Market Street* 4:38
07. In San Francisco 2:01
08. Chekov’s Run 1:21
09. Gillian Seeks Kirk 2:42
10. Hospital Chase 1:14
11. The Whaler 2:00
12. Crash/Whale Fugue 8:38
13. Kirk Freed 0:44
14. Home Again†/End Credits 5:39
Total Score Time: 40:06
THE EXTRAS
15. Ballad of the Whale* 4:59
16. Main Title† (alternate) 2:56
17. Time Travel (alternate) 1:29
18. Chekov’s Run (album ending) 1:19
19. The Whaler (alternate) 2:05
20. Crash/Whale Fugue (album track) 8:15
21. Home Again† and End Credits (alternate) 5:16
22. Main Title† (album track) 2:40
23. Whale Fugue (alternate) 1:05
24. I Hate You** (contains explicit lyrics) 1:59
Total Extras Time: 32:32
*Performed by The Yellowjackets, Composed by Leonard Rosenman, Russell Ferrante and Jimmy Haslip.
**Performed by Edge of Etiquette, Written by Kirk Thatcher, Arranged by Mark Mangini.
†Contains “Theme From Star Trek (TV Series)” by Alexander Courage
Yes it is indeed very nice, I cannot wait to whatever other alternates exist.
———- Post added at 07:43 PM ———- Previous post was at 07:42 PM ———-
I am so happy that they corrected those AWFUL edits in the main/end titles.
———- Post added at 07:43 PM ———- Previous post was at 07:42 PM ———-
I am so happy that they corrected those AWFUL edits in the main/end titles.
Yeah, I’m glad they corrected the edits as well – now just have to wait until it ships in "late December" – whenever that is…
I guess no – here is the answer from the forum whose name we shall not mention (nor the person who answered the question):
"re: The European prologue — all of that music is on the CD in one place or another. The prologue was not actually scored, it was a "track job" by a music editor."
I am assuming that was tracked from the alternates (and the film versions of course) from Disc 2.
My edit in the OP with added material from the samples on Intrada’s page for temporary listening.
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