Anyway, just thought I'd let you guys know what's heard in the first track (that's all I've finished thus far).

The construction is extremely similar to "River Crossing" on Enemy at the Gates -- IE main theme performed by lush strings (and even some trumpets) followed by several minutes of action, including a lot of snare drums and the wonderful 4 note "danger" motif, though more of a brooding feel.

But here's the best part -- the theme is an alteration of the 2nd (or 3rd) theme in Braveheart... You know, that very slow, 5 note motif (oft performed by a choir)? That's it.

Anyway, after I've given a whole listen I'll be back a 'postin.

Horner fans will likes, me thinks.

Enjoyable from what I've heard, but still completely unacceptable.

It's funny, because Horner's score's beginning and ending moments feature those Thunderheart-esque vocals. In between those few moments, they can't be found anywhere.

I just finished up my first listen, and must say that thus far, I'm disappointed. There isn't too much emotional material outside of the first and last (2) tracks from what I caught, and the action cues are less than steller as well. The orchestrations aren't as busy as Enemy at the Gates, and overall just not as exciting.

Still, there are some vintage moments of great Horner -- many including the sakauhachi -- it's just that, for the most part, it sounds uninspired. Go figure, eh?

I stated that the theme was a rip from Braveheart, but now I don't think it is...

It's something else, that coincidentally happens to be very similar to that Braveheart theme...

quote:

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Originally posted by Hasta:
Hopefully it grows on me with future listens.

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It probably will..... and it probably works better in the film...

See, I thought Thunderheart was a very inspired score and its somewhat comforting that the score begins with it. Does Horner cover any of the Japanese elements to the film, like Hans and Pearl Harbour? Hasta, is there any chance I could score a CDR of this off you? Thanks!

quote:

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Originally posted by Hasta:
I stated that the theme was a rip from Braveheart, but now I don't think it is...

It's something else, that coincidentally happens to be very similar to that Braveheart theme...

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Like what? Holst's The Planets?

Sorry Hornet fans, this is how I feel. However, Horner is one of the composers which brought me to the soundtrack universe. I do not respect most of his work because he reuses most of his work from other films. In my mind he is more of a reworker than a composer.

quote:

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Originally posted by Donovan448:
In my mind he is more of a reworker than a composer.

DON

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To me, Horner's an arranger with his own orchestrator.

--Brian

Think of the most bland, cliche war score from Horner possible, and you have a good idea of how it sounds.

It's like a far inferior Enemy at the Gates, and if that's not a damnening statement, I don't know what is.

Oh yes, the the theme is a rip off The Perfect Storm.

quote:

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"Shouted with glee..."

"Enjoyable from what I've heard...but still completely unacceptable."

"Hopefully it grows on me with future listens."

"Heard it three times in full..."

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Holy cow, three full times? Three?

[Message edited by Bladeisback on 04-27-2002]

Keep at it, Lancey, you're getting better!

The album runs at a near 67 minutes which, as with a lot of Horner's scores, proves to be too long.

As for good moments, yes -- there are a few. Problem is, they're short and only mildly impressive; as much as people complained about Enemy at the Gates, it featured two or three absolutely stunning tracks, yet Windtalkers features none.

What you must remember is that I'm a huge fan of James Horner, and always have been -- I've yet to turn my back on the man. This score doesn't help that position.

I'm actually writing up a review right now, so 'll post the link when it's up and running.

quote:

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Originally posted by Hasta:
Hornerfan --

The album runs at a near 67 minutes which, as with a lot of Horner's scores, proves to be too long.

As for good moments, yes -- there are a few. Problem is, they're short and only mildly impressive; as much as people complained about [b]Enemy at the Gates, it featured two or three absolutely stunning tracks, yet Windtalkers features none.

What you must remember is that I'm a huge fan of James Horner, and always have been -- I've yet to turn my back on the man. This score doesn't help that position.

I'm actually writing up a review right now, so 'll post the link when it's up and running.

~Farcone (first time I've signed with my name... Seems to be becoming a trend, lately, and god knows I'm one to hop 'board a hip trend!)[/B]

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Thanks for the info. Even with what you've said, I'm still going to get the CD when it comes out, as I do with all of Horner's stuff. I'll reserve my own judgement for then.

Oh yeah...I've always signed my name when I've posted. What took you so long?!

Finished up the review -- http://www.soundtrackcinema.com/windtalkers.html

**/***** for those of you too lazy to look.

quote:

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Originally posted by Hasta:
Mike,

Finished up the review -- http://www.soundtrackcinema.com/windtalkers.html

**/***** for those of you too lazy to look.

Now back to Donnie Darko, which is more bizzare than I thought it was going to be.

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Hahaha. I didn't think Horner would be so lazy to use the exact same track titles from Enemy At The Gates in Windtalkers. You might want to check that out on your review page.

Mike

But as for the score, it wasn't grating to me, for the most part. That variation on the theme from Braveheart or The Perfect Storm or whatever wasn't prevalent, but I did easily pick up some lifts from percussion parts of Titanic and a brass bit from The Mask of Zorro (when Captain Love is stabbed). Other than that, the action music was pretty good and slightly new.

what in the world is wrong with you. You ripp Lancelot apart for his supposedly negative sarcasm while your whole review is littered with it. What is wrong with you dude?

Scott

Scotty

Head over to www.dictionary.com will ya?

Even if it were laced with sarcasm, however, my comments, if remembered correctly, were something along the lines of "it has its place, but too much isn't a good thing".

But here's the best part -- the theme is an alteration of the 2nd (or 3rd) theme in Braveheart... You know, that very slow, 5 note motif (oft performed by a choir)? That's it.

By the way, when I said "best part", I meant most sickening...

God damnit, when you've got 160 themes in your head, and roughly 50% of them sound identicle to each other, how am I supposed to remember which is which? That's the beauty of Horner's music, I suppose; he can rerip themes without you even remembering what the rip was originally from.

Keep at it, Lancey, you're getting better!

Sarcasm <GR sarkazein, to tear flesh
1.a tounting or caustic remark, generally ironic 2.the making of such remarks

Webster's New World Dictionary baby.

Scott

Most of those cues have small moments of inspiration, and the tracks are a little long (some reaching more than 7 minutes). But, and I might hate myself later for this, I liked listening to it. That four-note motif that Hasta talked about is one of my favorite parts (it's used about three times outside of the main title).

And I don't think the action music was typical war music. It had some different orchestrations (though the notes were familiar), which helped the emotion in the scenes in the movie.

I figured the score would go hand in hand with the film, as uninspired as the composition is itself. Horner's proved over the past three years that regardless of whether he writes fresh or recycled material, it usually comes off as genuinely effective in the films the scores were written for.

Oh Tim, best score recently? I, for one, find it to be a whole notch below Enemy at the Gates and A Beautiful Mind, and two notches below Iris. To each his own, though.