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Next to Cutthroat?? Hell no
• Posted by: Blair   <Send E-Mail>
• Date: Sunday, July 6, 2003, at 10:41 a.m.
• IP Address: 24-56-230-216.mdmmi.voyager.net

This sounds like a Disney\cartoon score... not one that has to support two real wooden pirate ships. Itís conservative, not testing the boundaries of its musicians or score writers; a pirate ship with plastic cannons. Yes it has a few great moments (ruined by distortion and bad American 'lets see how well we can destroy dynamics, and how loud we can get it' compression-not kidding the spectrum graphs on SpectraLAB are FLAT at loud parts) but its style is more contemporary than Cutthroat Island, with a more direct sound than reverberant. The horns and trumpets sound distant like they should be, however the rest of the orchestra including the random sound effects are not stylistic towards the typical pirate sound. Being a percussion major, I think the timp and cymbals are way to direct unlike Cutthroat; we won't talk about the syth percussion. As Mr. Clemmensen points out in his review of Cutthroat, percussion never overwhelms the orchestra in the recording, which was a mixing and musical marvel, however Sinbad has NONE to compare with. Besides the digital sounds, itís missing the select instruments that just give the feel of a pirate of the period, such as the harpsichord http://www.s-hamilton.k12.ia.us/antiqua/harpsich.htm for you non music majors-its sounds like Cutthroat track 3, second half. Whereís the 100 member choir? How about the 80 inch base drum rumbles with accompanying cymbal crashes? Pirates were the epitome of Darwinís biggest and strongest theory, and the music has to be its catalyst in a picture. Also the softer themes in Sinbad are much simpler and more Disney\little kid and this might have been the intention, but in turn sets the score apart from the more mature Denby score. Sinbad has more cord progressions (melodic) and very common melodies. I do feel the energy in the few opening passages with a dry middle, but a sense of emotion only comes out toward the end. The music has to tell the story, which is what feeds Williamsí popularity. Sinbad is moving score, but not as complex as Cutthroat was. If only the entire score was written like the end.




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