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6/22/00 - Still waiting for U-571... Questions are still
spilling in about the status of U-571 on album. Richard Marvin's
score for the submarine thriller is largely orchestral, will bold brass
themes and a melodic style similar to that of Jerry Goldsmith's Star
Trek: First Contact. The score fits well in the film, with
extended sequences of riviting percussion and brass. As for an album
release, monetary complications prohibited a commercial release, and with every
passing week, a widespread album is less and less likely. However, given
the scope of the effort and the popularity of the film, don't be surprised
if a promotional release of U-571 appears someday. We'll keep an
eye out for one if that should occur.
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6/21/00 - When will it sink? As much as people might try to
put the whole fiasco behind them, James Horner's Titanic continues
to sail on. Despite a backlash against that score in the past year, the original Titanic
album from Sony Classical has
now sold over 28 million times (not including used-CD transfers), and the
subsequent sequel album Back to
Titanic has sold over 4 million times. Although there may be a
significant drop-off between the first and second albums, keep in mind
that the typical soundtrack score release sells less than 20,000
copies worldwide.
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6/17/00 - Emerging as the hottest soundtrack of the year
so far, the positive comments about Hans Zimmer's Gladiator
keep rolling in. One fan wrote, "I am always inspired greatly by film
music - but I have to say, since Horner's Braveheart and Zimmer's
The Prince of Egypt scores, this has a record for the amount of
times listened to a CD in one day!" Another fan wrote: "Not everybody
likes the electronic styles he uses, but that's just what makes his music
special. Gladiator doesn't match the genious of The Prince of
Egypt, but it is still a must have soundtrack for any soundtrack
collector." And the quote of the day is definitely this: "I am so
enthralled with the soundtrack of Gladiator that I purchased two
copies, fearing I might wear out my original from overuse." Read the expanded
reviews of Gladiator...
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6/15/00 - Filmtracks is moving its street address from
Seattle to Missoula, Montana, today and tomorrow (and most likely for a
very long time). If there is a pending transaction you have with
Filmtracks, or if you are attempting to supply promotional materials, be
sure to send an e-mail to verify the new address -- Otherwise, Filmtracks
will be in contact with you over the weekend to alert you of the change.
We'll have no phone for a week or so, but e-mail will work normally.
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6/12/00 - On the horizon! Starting tomorrow, the next six
weeks will yield major releases by Hollywood's hottest four composers.
Tomorrow, Mission: Impossible 2 by Hans Zimmer will be released by
Hollywood Records. On June
20th, Sony Classical will
release James Horner's The Perfect Storm. A week later, Hollywood Records will
also release John Williams' The Patriot. In July, Decca will debut Williams' expanded
Jaws on the 11th, and Varese Sarabande will
release Jerry Goldsmith's The Hollow Man on the 25th.
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6/11/00 - Gladiator: (Hanz Zimmer/Lisa Gerrard) "The
digital influence adds a much needed edge to the string and french horn
dominated orchestration that would otherwise be just so much lush-mush
music. Having said that the score is, from a musical perspective,
undermined by it's highly derivative nature. The main theme of the Mars
section in Holst's The Planets makes one to many appearances for comfort.
The contributions of Gerrard are, for the most part, totally uninspired
melisma ramblings that could just have well been lifted from any new age
contribution. The orchestrations in these pieces show as certain apathy...." Read
the entire donated review.
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6/10/00 - Keeping the Faith: (Elmer Bernstein) "Extending
his career into yet another decade, Elmer Bernstein continues to produce
scores saturated with his well-known, jazzy styles. Bernstein's music has
a distinct, 1970s loungey appeal to it. The majority of score is performed
by a small jazz ensemble, and Bernstein's themes are a very lazy
throwback. Galloping along at softly vibrant pace, his piano performances
are the heart and soul of the score. Bernstein's music only occupies 20+
minutes of time, and the style of the songs is noticeably different..." Read the entire
review. ** Available at Amazon.com.
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6/9/00 - Electric Shadows - Film Music by Zhao Jiping:
(Conducted by Hu Bing Xu) "It is rare that I enjoy a film music compilation
to the degree that I enjoy Zhao Jiping's music. There is a certain quiet
beauty within all the tracks. Many are quiet and contemplative; others may
soar to enormous heights of orchestral beauty as the whole orchestra
performs lyrical, haunting themes. Zhao Jiping has written scores for many
acclaimed Chinese films... He was the only composer from an Asian country
to attend the Second International Discussion Forum on Film Music in 1995.
Listen to this CD and you will be moved." Read
the entire donated review.
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6/9/00 - The newest Star Trek album is here! The GNP Crescendo label has releasing
the second of its "Best of Star Trek" CDs of music from the famed TV
shows. Highlights include "Way of the Warrior" from Deep Space
Nine, "All Good Things" from The Next Generation, "Bride of
Chaotica" from Voyager, and various suites from The Original
Series. You can order the album directly from GNP Crescendo's site for
a reasonable price. Comments about the CD are beginning to roll in at the ScoreBoard Forum.
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6/8/00 - Today's ScoreBoard Forum topics include a variety of
discussion about upcoming album releases and some opinions on what scores
need a "complete" album release. The first sound clip is available for
James Horner's The
Perfect Storm. There's talk about expanded albums includes Jerry Goldsmith's Papillon
and Basil Poledouris' Starship
Troopers. Also: who should score the upcoming Spider-Man?
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6/7/00 - Kikujiro: (Joe Hisaishi) Winning the Japan Academy
Award for the second year in a row with Kikujiro, Joe Hisaishi has
no doubt become the most prominent Japanese composer of today. Milan's
album for the score, released today, provides 40 minutes of Hisaishi's
music for the delicate and family-oriented film. The score consists of
rumbling piano solos with strong string accompaniment. Its title theme is
adorable, and as with Princess Mononoke last year, the theme
repeats almost constantly for the duration of the album. Mixed in various
interludes, however, are a number of electronic sound effects which
conflict with the otherwise pleasant nature of the album. A very mellow,
if not too repetitive, listening experience. Hisaishi fans will be most
delighted. *** Available at Amazon.com.
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6/6/00 - Filmtracks has received two queries this week
about where a copy of James Horner's Pelican
Brief can be found. After a rush of decent film score releases in
the early 1990s, the Big Screen Records label (on which many Horner scores
appeared) is gone and its CDs are difficult to find on the market. If
you're interested in finding them, try soundtrack collectors' outlets such
as Moby Disc, which currently stocks
Pelican Brief for about $20.
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6/5/00 - Filmtracks announces its newest feature: "On Cue."
Located right here on the Filmtracks homepage, On Cue is a area in
which soundtrack enthusiasts can quickly and reliably read about what's
new in the film music world, as well as this site. Included in On Cue are
capsule reviews of score albums, updates about the newest donated
reviews, links to the hottest new topics at the ScoreBoard Forum,
selected and insightful feedback from soundtrack enthusiasts, and news
and announcements in our genre of the music industry. Read more about On Cue and
how it will be featured and archived in the future.
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6/5/00 - The Thin Red Line: (Hans Zimmer) "As a whole, I
feel this score represents Zimmer's best work to date, it is both
emotionally compelling and brilliant in its structure... For a long time
Hans Zimmer has done what is best for the films he works on, creating a
score that flows in sequence with what has been presented before him,
showing off and making the films, sometimes better than they actually
are. The Thin Red Line, for me, is a perfect example of doing what
is in the ideals of the film, its director and its presentation on
screen." Read
the entire donated review.
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6/5/00 - Chapter III is preparing to release the first four
albums of their upcoming series of classic film music scores, named
"Double Features" and "Main Events." The first four albums will be double
features, released on July 11th, containing The Dirty Dozen/Dirty
Dingus Magee, Guns for San Sebastian/Dark of the Sun,
Logan's Run/Coma, The Last Run/Wild Rovers. The latter two
all-Goldsmith albums are a great treat for his fans; Logan's Run
especially, because of its previously rare status. Wild Rovers
consists of one of Goldsmith's very best Western themes. The Chapter III
label is excited about these CDs, and so is Filmtracks. Their sound
quality is superb, and the albums are very attractive. Full reviews will
appear in early July. In the meantime, visit Chapter III Records.
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6/4/00 - For Your Eyes Only: (Bill Conti) Released in late
April, the Ryko series of Bond scores continues (and concludes?).
Certainly one of the most disappointing Bond scores of the past two
decades, Conti's music makes me scratch desperately through my shelves
looking for an 80s Bond score by John Barry. Conti's soft, loungey
electronic music simply isn't a good fit with the Bond genre, and with
exception to the fugelhorn solos and decent title song, For Your Eyes
Only is an unfortunate mishap. As usual, though, Ryko's album treatment of the score is
top rate, and some of the better score material is that which appears here
for the first time. ** Available at Amazon.com.
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6/4/00 - Debate about Bicentennial Man and its relation to
previous works by James Horner continues... In recent feedback: "When I
saw Bicentennial Man in the theater, I started whistling along
with the music playing in the movie, and went perfectly with what was
being played. My friends I was with asked how I knew the music already. I
was whistling the theme I knew from Braveheart. This was the exact
same melody and theme. Most of the times people say Horner is doing a
rip-off of himself, it is slightly different, and has at least a little
new texture to it. Not this one." More on Bicentennial Man.
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6/4/00 -- On Cue is
born!
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