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Comments about the soundtrack for Timeline (Brian Tyler)
Jerry's rejected score is far superior than this!, really

Tomek
<Send E-Mail>
(pb138.glucholazy.sdi.tpnet.pl)


  Responses to this Comment:
Nate
Jerry's rejected score is far superior than this!, really   Tuesday, August 17, 2004 (4:11 a.m.) 

I had a chance to get Jerry's rejected score from 'Timeline' and hearing both this and Tyler's one the only conclusion that could come to mind is that Tyler must yet learn so much... I found Tyler's score very tiresome. The first few tracks were so loud and powerful that I wasn't sure if I'll be able to get to the end of album (what actually wasn't far from thruth...). Anyway, this score is a mindless action with over-the-top, bold orchestrations that actually has no sense of excitement of adventure-feel. Tyler must know that utilizing huge orchestral sound (especially these days) isn't enough way for score to becoming enjoyable or intersting. What is ironic, is the fact that Tyler tries to copycat both Goldsmith and Elliot Goldenthal not mentioning he's trying to achive the exciting edge of Don Davis' Matrix scores. Unfortunately, this is not yet the level of complexity and greatness of the a/m composers. For most of the score this music reminded me a noise, really. The only cue I really liked and was a kind of a break from all this bombast was great romantic theme for Marek and Lady Claire - the only great stuff there.

As for Goldsmith's bootleg, yes, of course the editing of the tracks is awful (there are almost 40 of them), but what were You expecting from bootleg? Anyway, the music is the thing that counts and in this case it's one of the Goldsmith's best efforts in this a bit over-used genre this time. There are to be found some not-so liked by me syncoped rhythms known from his late-90's scores (US Marshalls, Along Came a Spider and others), but generally the music is highly enjoyable, especially the powerful are few final tracks. What I mostly loved in this partiture was the use of intriguing (someone could also call it silly), probably muted trumpet solos, which remind me a bit of magnificent soundscape of my favorite Goldsmith score, 'Legend'. The opening cue "The Dig" is especially worth a mention. Also the moments when Goldsmith uses the in majestic and monumental way the power of horns are definite highlights there. The romantic/love material is quite good here with subtle, elegant orchestral passages. Some electronics reminds very much of mysterious chords of "The 13th Warrior". And there is use of kazoos in the most frenetic action material. Personally, I think it works great but probably it could have been one of the reasons this score was rejected, because they sound veeery silly and if the film was trying to be pathetically serious then just imagine, this couldn't work in film... We won't find here some sophisticated, strong themes, just some a bit silly motifs in action material but they're for my money simply swashbuckle

Overall, skip the tiresome Tyler score and watch out for very fine and final score of the Jerry's career.

Tomek

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Nate
(pcp06586504pcs.nrockv01.md.comcas
t.net)

  In Response to:
Tomek

  Responses to this Comment:
MB
Goldsmith's work was weak.   Friday, September 3, 2004 (9:31 p.m.) 

> I had a chance to get Jerry's rejected score from 'Timeline' and hearing
> both this and Tyler's one the only conclusion that could come to mind is
> that Tyler must yet learn so much... I found Tyler's score very tiresome.
> The first few tracks were so loud and powerful that I wasn't sure if I'll
> be able to get to the end of album (what actually wasn't far from
> thruth...). Anyway, this score is a mindless action with over-the-top,
> bold orchestrations that actually has no sense of excitement of
> adventure-feel. Tyler must know that utilizing huge orchestral sound
> (especially these days) isn't enough way for score to becoming enjoyable
> or intersting. What is ironic, is the fact that Tyler tries to copycat
> both Goldsmith and Elliot Goldenthal not mentioning he's trying to achive
> the exciting edge of Don Davis' Matrix scores. Unfortunately, this is not
> yet the level of complexity and greatness of the a/m composers. For most
> of the score this music reminded me a noise, really. The only cue I really
> liked and was a kind of a break from all this bombast was great romantic
> theme for Marek and Lady Claire - the only great stuff there.

> As for Goldsmith's bootleg, yes, of course the editing of the tracks is
> awful (there are almost 40 of them), but what were You expecting from
> bootleg? Anyway, the music is the thing that counts and in this case
> it's one of the Goldsmith's best efforts in this a bit over-used genre
> this time. There are to be found some not-so liked by me syncoped rhythms
> known from his late-90's scores (US Marshalls, Along Came a Spider and
> others), but generally the music is highly enjoyable, especially the
> powerful are few final tracks. What I mostly loved in this partiture was
> the use of intriguing (someone could also call it silly), probably muted
> trumpet solos, which remind me a bit of magnificent soundscape of my
> favorite Goldsmith score, 'Legend'. The opening cue "The Dig" is
> especially worth a mention. Also the moments when Goldsmith uses the in
> majestic and monumental way the power of horns are definite highlights
> there. The romantic/love material is quite good here with subtle, elegant
> orchestral passages. Some electronics reminds very much of mysterious
> chords of "The 13th Warrior". And there is use of kazoos in the
> most frenetic action material. Personally, I think it works great but
> probably it could have been one of the reasons this score was rejected,
> because they sound veeery silly and if the film was trying to be
> pathetically serious then just imagine, this couldn't work in film... We
> won't find here some sophisticated, strong themes, just some a bit silly
> motifs in action material but they're for my money simply swashbuckle

> Overall, skip the tiresome Tyler score and watch out for very fine and
> final score of the Jerry's career.

> Tomek

Listening to Jerry's final score I can sum it as a good score but not a great score. It sounds like a regurgitation of Air Force One with the Legend synths thrown in. Brian Tyler's score was far better because of powerhouse orchaestration that sounded medival. Jerry's music doesn't have this and thus seems less serious work. I love and respect the work of Jerry Goldsmith but his Timeline score is a bit overrated while Tyler is unfairly being ridiculed. While they are entitled to their opinions, it is time for Goldsmith fans to drop the childish tantrums and move on with life.



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MB
(82-37-209-233.cable.ubr06.dudl.bl
ueyonder.co.uk)

  In Response to:
Nate

  Responses to this Comment:
Nate
Re: Goldsmith's work was weak.   Monday, October 4, 2004 (4:17 a.m.) 

> Listening to Jerry's final score I can sum it as a good score but not a
> great score. It sounds like a regurgitation of Air Force One with the
> Legend synths thrown in. Brian Tyler's score was far better because of
> powerhouse orchaestration that sounded medival. Jerry's music doesn't have
> this and thus seems less serious work. I love and respect the work of
> Jerry Goldsmith but his Timeline score is a bit overrated while Tyler is
> unfairly being ridiculed. While they are entitled to their opinions, it is
> time for Goldsmith fans to drop the childish tantrums and move on with
> life.

They aren't childish tantrums and in my un-proffesional review at the start of this year, which can be found on the comments page. I found that Tyler had used music he had composed for all of his other scores. This is my opinion of course but as a fan of both composers, Goldsmith's score really is the superior of the two but Goldsmith is also guilty of re-using his own well walked on teritory, he just happened to re-use it more successfully to at least make it sound brand new again. That doesn't mean I'm dissing Tyler, I'm not. It just means I connected to Goldsmith's score in particular.

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Nate
(pcp06586504pcs.nrockv01.md.comcas
t.net)

  In Response to:
MB
Re: Goldsmith's work was weak.   Monday, October 11, 2004 (2:05 p.m.) 

> They aren't childish tantrums and in my un-proffesional review at the
> start of this year, which can be found on the comments page. I found that
> Tyler had used music he had composed for all of his other scores. This is
> my opinion of course but as a fan of both composers, Goldsmith's score
> really is the superior of the two but Goldsmith is also guilty of re-using
> his own well walked on teritory, he just happened to re-use it more
> successfully to at least make it sound brand new again. That doesn't mean
> I'm dissing Tyler, I'm not. It just means I connected to Goldsmith's score
> in particular.

That's understandable as my criticisms were directed at you. I was speaking of some of the fans on the online petitions and Goldsmith websites who behaved ratherly obnoxious. I too like both composers and plan to own both scores.


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