(https://vk.com/doc185053571_438007958)
(http://textuploader.com/d5hoq)
TRACKLIST:
26 / 01:18:38
01. Rose Creek Oppression [01:55]
02. Seven Angels of Vengeance [03:25]
03. Lighting the Fuse [01:22]
04. Volcano Springs [02:57]
05. Street Slaughter [03:23]
06. Devil in the Church [02:07]
07. Chisolm Enrolled [03:11]
08. Magic Trick [02:38]
09. Robicheaux Reunion [01:48]
10. A Bear in People’s Clothes [02:02]
11. Red Harvest [02:03]
12. Takedown [05:51]
13. Town Exodus – Knife Training [02:11]
14. 7 Days, that’s all You Got [01:50]
15. So Far So Good [04:33]
16. Sheriff Demoted [01:59]
17. Pacing the Town [03:54]
18. The Deserter [04:53]
19. Bell Hangers [01:44]
20. Army Invades Town [03:35]
21. Faraday’s Ride [04:04]
22. Horne Sacrifice [02:43]
23. The Darkest Hour [04:29]
24. House of Judgment [05:26]
25. Seven Riders [02:59]
26. Elmer Bernstein – The Magnificent Seven [01:50]
*click, click, click* !! 🙂
THANK YOU!
Thank you very much.
———- Post added at 10:55 AM ———- Previous post was at 10:54 AM ———-
his last film music album, but not his last release
There’s still Collage, a classical album, coming out later this month, and Living In The Age of Airplanes, a docu score that was completed before TM7 but is not being released til October. Three Horner albums within a month of each other, one last delicious feast 😀
Collage will be on the next week !
I’m really enjoying this score so far. I wonder how much of it is Horner?
Next Week, Collage and in October, Living In The Age Of Airplanes, the final coda of a legendary career…so much feels.
Seriously, this is amazing!!
———- Post added at 04:09 PM ———- Previous post was at 03:51 PM ———-
~original
Many thanks
TC
All of them. He completed the score before he died. Simon Franglen is his long-time music editor. He had to piece it all together and cut it to the film, hence why he’s credited.
Anyway, thanks for sharing!
I’m sorry, but that is factually incorrect and terribly misleading.
James Horner did not finish anything on this film. In fact, he never even saw a single frame of film.
Simon Franglen is not, in fact was never Horner’s long-time music editor. He’s not a music editor at all.
Franglen did not cut anything together, piece anything together.
James Horner wrote several piano sketches to get a headstart on this film since he had quite a few projects lined up, two of them known: Hacksaw Ridge (scored by John Debney, who was replaced by Rupert Gregson-Williams) and The Great Wall (scored by Ramin Djawadi). He was also going to write a piece for strings for a musical education foundation.
James Horner died not even a week after writing those initial sketches, and never got started on any of those upcoming projects.
MAG 7 was the film Horner was most excited to get to first, and once he died, Simon Franglen (Horner’s long-time electronic music arranger, synthesizer programmer and song producer) and Simon Rhodes (Horner’s long-time recording engineer and occasional music arranger) took the piano sketches left behind, hired an orchestra and turned them into seven cues to present to director Antoine Fuqua.
Fuqua then commissioned Franglen to WRITE a score BASED on Horner’s sketches-turned-orchestral cues, but had to flesh them out, write his own material in Horner’s voice which he was obviously very familiar with, and make a proper film score out of what was obviously a limited amount of material.
The score was orchestrated, recorded and conducted by Horner’s entire team – Horner was obviously the only member not present. The score was conducted by Horner’s long-time orchestrator JAC Redford and occasional orchestrator Carl Johnson.
Simon Franglen is a record producer, occasional composer, electronic music arranger, synthesist and all-around cool guy who loves the tech and has worked with so many of the big name artists out there over the past few decades, but his most fun was with film scores….in fact anything electronic you hear in Horner’s music starting with Titanic, and continuing after that with Avatar and every Horner score that followed Avatar, you’re hearing Franglen’s work. Horner always gave him complete freedom to write and paint all the electronic colors he wanted.
Horner is actually one of the main reasons this film even got made – he essentially told Fuqua while they were working on Southpaw together to basically stop whining and make the damn movie, which is how Fuqua tells the story. Fuqua really considered Horner a close friend and the two of them would have enjoyed a long, fruitful partnership going forward.
Tried and tried to like it but I’m afraid it’s just not doing anything for me…:(
each to their own I guess but this is one which will be archived very quickly I’m afraid.
This is really sad 🙁
This is really sad 🙁
His amazing score to The Age of Airplanes is coming in October 🙂
James Horner did not finish anything on this film. In fact, he never even saw a single frame of film.
Simon Franglen is not, in fact was never Horner’s long-time music editor. He’s not a music editor at all.
Franglen did not cut anything together, piece anything together.
James Horner wrote several piano sketches to get a headstart on this film since he had quite a few projects lined up, two of them known: Hacksaw Ridge (scored by John Debney, who was replaced by Rupert Gregson-Williams) and The Great Wall (scored by Ramin Djawadi). He was also going to write a piece for strings for a musical education foundation.
James Horner died not even a week after writing those initial sketches, and never got started on any of those upcoming projects.
MAG 7 was the film Horner was most excited to get to first, and once he died, Simon Franglen (Horner’s long-time electronic music arranger, synthesizer programmer and song producer) and Simon Rhodes (Horner’s long-time recording engineer and occasional music arranger) took the piano sketches left behind, hired an orchestra and turned them into seven cues to present to director Antoine Fuqua.
Fuqua then commissioned Franglen to WRITE a score BASED on Horner’s sketches-turned-orchestral cues, but had to flesh them out, write his own material in Horner’s voice which he was obviously very familiar with, and make a proper film score out of what was obviously a limited amount of material.
The score was orchestrated, recorded and conducted by Horner’s entire team – Horner was obviously the only member not present. The score was conducted by Horner’s long-time orchestrator JAC Redford and occasional orchestrator Carl Johnson.
Simon Franglen is a record producer, occasional composer, electronic music arranger, synthesist and all-around cool guy who loves the tech and has worked with so many of the big name artists out there over the past few decades, but his most fun was with film scores….in fact anything electronic you hear in Horner’s music starting with Titanic, and continuing after that with Avatar and every Horner score that followed Avatar, you’re hearing Franglen’s work. Horner always gave him complete freedom to write and paint all the electronic colors he wanted.
Horner is actually one of the main reasons this film even got made – he essentially told Fuqua while they were working on Southpaw together to basically stop whining and make the damn movie, which is how Fuqua tells the story. Fuqua really considered Horner a close friend and the two of them would have enjoyed a long, fruitful partnership going forward.
1.) The article (or articles) I read were wrong, then. They were published mere days after his death so maybe it’s a bunch of hogwash they threw together just to have a story to tell
2.) Thanks for clearing this up. It’s very useful information, I hope everyone reads your post (and my quote of your post). I was gonna PM you about it and ask you all the details, but it’s better to have been publicized.
3.) You wouldn’t happen to have proper credits for each cue, would you? I doubt it’s known at this time, but I figured I’d ask.
2.) Thanks for clearing this up. It’s very useful information, I hope everyone reads your post (and my quote of your post). I was gonna PM you about it and ask you all the details, but it’s better to have been publicized.
3.) You wouldn’t happen to have proper credits for each cue, would you? I doubt it’s known at this time, but I figured I’d ask.
It’s not like all the Hans Zimmer scores out there. In this score every cue is officially credited to both James Horner and Simon Franglen.
Ah cool. That makes things easier.
Of course the closing track is fully Elmer Bernstein and its credited as such, but you get my meaning.
0_0
😀
Unfortunately, this soundtrack is a shame.
Horner? He is nowhere to be found in this music, I’m afraid. 76 minutes and not a single theme. And, when it comes to something "Epic" (The Darkest Hour), it sounds exactly as a marvel movie, with a cheap melody I couldn’t link to James Horner. For a good comparison, listen to the track "Cristeros" on his late album "For Greater Glory" and the development of this incredible piece of music…
Unfortunately, this soundtrack is a shame.
Horner? He is nowhere to be found in this music, I’m afraid. 76 minutes and not a single theme. And, when it comes to something "Epic" (The Darkest Hour), it sounds exactly as a marvel movie, with a cheap melody I couldn’t link to James Horner. For a good comparison, listen to the track "Cristeros" on his late album "For Greater Glory" and the development of this incredible piece of music…
I’m sorry, but that is factually incorrect and terribly misleading.
James Horner did not finish anything on this film. In fact, he never even saw a single frame of film.
Simon Franglen is not, in fact was never Horner’s long-time music editor. He’s not a music editor at all.
Franglen did not cut anything together, piece anything together.
James Horner wrote several piano sketches to get a headstart on this film since he had quite a few projects lined up, two of them known: Hacksaw Ridge (scored by John Debney, who was replaced by Rupert Gregson-Williams) and The Great Wall (scored by Ramin Djawadi). He was also going to write a piece for strings for a musical education foundation.
James Horner died not even a week after writing those initial sketches, and never got started on any of those upcoming projects.
MAG 7 was the film Horner was most excited to get to first, and once he died, Simon Franglen (Horner’s long-time electronic music arranger, synthesizer programmer and song producer) and Simon Rhodes (Horner’s long-time recording engineer and occasional music arranger) took the piano sketches left behind, hired an orchestra and turned them into seven cues to present to director Antoine Fuqua.
Fuqua then commissioned Franglen to WRITE a score BASED on Horner’s sketches-turned-orchestral cues, but had to flesh them out, write his own material in Horner’s voice which he was obviously very familiar with, and make a proper film score out of what was obviously a limited amount of material.
The score was orchestrated, recorded and conducted by Horner’s entire team – Horner was obviously the only member not present. The score was conducted by Horner’s long-time orchestrator JAC Redford and occasional orchestrator Carl Johnson.
Simon Franglen is a record producer, occasional composer, electronic music arranger, synthesist and all-around cool guy who loves the tech and has worked with so many of the big name artists out there over the past few decades, but his most fun was with film scores….in fact anything electronic you hear in Horner’s music starting with Titanic, and continuing after that with Avatar and every Horner score that followed Avatar, you’re hearing Franglen’s work. Horner always gave him complete freedom to write and paint all the electronic colors he wanted.
Horner is actually one of the main reasons this film even got made – he essentially told Fuqua while they were working on Southpaw together to basically stop whining and make the damn movie, which is how Fuqua tells the story. Fuqua really considered Horner a close friend and the two of them would have enjoyed a long, fruitful partnership going forward.
I didn’t expect very much from it, and unfortunately I was right…
But let’s be honest: the golden times for James Horner were long over, when this tragic accident happend. And I say this as Horner fan!
I’ll always remember James Horner as one of the first composers, who brought me to my love for filmmusic in the early 80’s, and who’s music accompanied me for more than 2 decades!
But somewhen it stopped to be excited about a new Horner. Somewhen it was too much to listen to his repetitions again and again.
I truely miss him. But I also missed him years before…
Rep. Added
"Bart Oss has exceeded their stored private messages quota and cannot accept further messages until they clear some space."
🙁
oops, corrected
D_D
+ Thanks !
Within a few days, hundreds of my links have been banned! Because of him, hard to use mega.
Remember powa, when you will share, any your account on this forum will be banned. You already merit this. You do bad only for people !
bart you’re so funny, how powa can get your links banned since he’s banned???
"when you will share, any your account on this forum will be banned. You already merit this. You do bad only for people !"
how he can be banned because he’s already, you’re so stupid poor bart and i don’t even understand your poor english. lol 🙂
for Christ sake how can you accuse somebody (who’s not even there) to be responsible of your poor problems?!
i think it’s you who wants him banned cause you’re jealous maybe!
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