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Originally posted by TV's Frank:
Holy crap, you got yours already! You must live right around the corner from Varese!! That is record delivery time, I tell ya.

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The only thing that would make me want to purchase this is the fact of Goldenthal's 20th Century Fox Fanfare. But that still doesn't weigh enough for me to purchase it.

A little late for this release, isn't it, Varese?

People have been bitching and moaning about Varese releasing this since the club restarted nearly two years ago. Every release of titles produced cries of “Where’s Predator. When are they going to release Predator?” It seems like it just about the only title that everyone could agree on. Oh man, the whining when Romancing the Stone was released was extremely intense. So, no, I don't think it's too late and I expect that Predator will sell out in short order.

As for not replacing your bootleg, well, that’s your choice. You obviously liked the music enough to buy the boot, but not enough to pay Mr Silvestri and the performers for it, huh? Oh well, we have the ethics we can afford I guess.

I guess that many who bought the boot will now have to put up or shut up about unreleased music.

Anyone who said:

“I wouldn’t buy the boot if it was available as a legit release.”

“I’d replace the boot in a heartbeat if it was ever released legitimately.”

“I’d love to support the composer of this score, if only it was available as a legitimate release instead of a bootleg.”

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Originally posted by MWRuger:
Joe,

As for not replacing your bootleg, well, that’s your choice. You obviously liked the music enough to buy the boot, but not enough to pay Mr Silvestri and the performers for it, huh? Oh well, we have the ethics we can afford I guess.

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I didn't buy a bootleg.

Your being pretty ignorant. How do you know I didn't get a copy of the score from Alan himself?

Joe: As for it being late for this release -- what silliness. It's never too late, a bit late, or simply "late," for a great score to have a legitimate release from the master elements.

As for the bootleg being "equally" as rare, the bootleg is pariah. It cannot be legally sold in any venue like FSM or MM.com or eBay (yes, I know boots are slogged on eBay...and every time I find one, I reveal it for what it is to eBay AND I alert the copyright holder, if possible) to the listing.

I don't care who it pisses off. They don't deserve HUGE profits for bootlegged materials. And it's AGAINST THE LAW.

If Alan Silvestri gave you a copy of the master tape, that's one thing. I'm sure he wouldn't find you very amusing, or worthy, fot that matter, by suggesting that this release is "too late" or somehow on a par with the bootleg. (And this coming from someone accusing another of making an "ignorant" statement).

Finally, nobody cares if someone doesn't want to buy a copy of "Predator." The demand for this title far outweighs the pettiness of those who pooh-poo it!

This is a MAJOR film score release.

NO ONE will be disappointed.

Ditto "Justine" -- the original tracks are gorgeous.

"The Story of Ruth" -- spectacular Waxman -- a very interesting take on the Biblical genre.

Just FYI, I did the same thing with Young Sherlock Holmes. I kept both versions of that also.

On the boot, sometimes, not all, when the orchastra got loud and heavy the sound distorted momentarily.

Does this happen on the official release?

I ask this cuase I want to know was this some stupid bootlegging guy setting the sound level to high, or was this on the masters? I really really hope not.

On the boot, sometimes, not all, when the orchastra got loud and heavy the sound distorted momentarily.

Does this happen on the official release? [B]<HR size=1></BLOCKQUOTE>

A loud and resounding NOOOOOOOOOOOOO!

The sound on this CD is impeccable, and there is no overmodulation. Plus, it has full portions of cues. Example, Blain's Death has the three second part leading UP to the explosion that starts the boot. The sound...the sound...here's my full review.

After years of waiting, here it is: Predator- By Alan Silvestri. An interesting score to say the least, its lack of a release really gave it much more attention than it could have seen coming. However, thanks to the folks at Varese...here I am, reviewing a legitimate version of this very popular sci-fi score.

Utilizing an array of different percussion and electronic effects, Silvestri also employs a full orchestra. This creates some truly pounding and forceful action cues which do not let up in their power or sometimes over bearing style. One of the more recognizible qualities about the score is the militaristic main theme. But! This release does not start out with the 'Main Titles'. In a gesture of true generosity, we are given the Twentieth Century Fox Fanfare by Alfred Newman, arranged by Elliot Goldenthal. This arrangement, from 1992 was used in conjunction with Alien3. Personally, I think it works wonders here. Its the usual fanfare, until towards the end, everything sort of "melts" into a very dissonant and screeching close. Its a perfect segue way into the now famous main titles.

The Predator theme is well remembered. Its heavy, and quite militaristic. In terms of quality, its a competant piece and never loses sight of itself. The relentless pace and attention getting synths just are a complete blast to listen to. However, I think Silvestri could have done better. This was two years after 'Back To The Future', so there is a similar sound to this one with his arrangements and playing styles. This is not a good thing considering the differences in tone for each respective film. I enjoy the score immesnely, but the theme he uses just doesn't seem to be that of an invisible alien hunter. Something more spacey and perhaps emphasizing evil would have worked. Or, a less pinched orchestration could have sufficed. However, you could argue that this theme is more for the commandos and the Predator is somewhere in the middle thematically (although the theme is reprised in the sequel). This is more where I lean as the soldier's arrival in the beginning is perfectly complimented by the theme. Now, on to the rest of the score.

The first few cues are atmospheric and all sort of lead up to the first kill by the Predator. 'Payback Time' is a catchy cue that prepares the men for a raid on a guerilla camp. 'Jungle Trek' gets to use the commando/Predator theme a bit towards the end. But, it all culminates on the eigth track 'The Girl's Escape'. Signifying the first kill of the Predator, the one minute mark begins a sequence of PURE fun and action scoring greatness. The action just moves along seamlessly and works quite well. Although, its put to better use in a recent Batman fan film (IMHO). After the body is gone and the commandos search for it, Blain (Jesse Ventura) is killed. The best action piece on the score takes place for this sequence. 'Blain's Death' is chaos. First, the psychotic breakdown of Mac as he sees the Predator (relentless percussion and brass here). and the men as they lay waste to an entire section of forest. Then, the revelation afterwards that they hit nothing has a more evil and slow pace. 'He's My Friend' uses a very militaristic solo trumpet as Mac says goodbye to his friend Blain.

After this, the score kind of degenerates. The following cues are mostly build up and just work in the film. The remaining men set a trap and wait for the Predator (and the accompanying cue gives hope for what's to come). After a failed attempt to stop it, things kick back into high gear and almost return to the style of the first half. A main stand out cue of the second half is 'Battle Preperations'. Going hand in hand with the two warriors preparing for a final showdown, a very suspenseful build up follows to a HUGE finish as Dutch (Schwarzenegger) lets the Predator know its time. A very effective cue in the movie, it loses somehting here, but its still very good.

The battle between the two is more of the suspense and action material presented above. All good mind you, just rehashed and tweaked a bit. A favorite moment of mine is the lead in to the mask of the alien being removed. For the End Credits, we get to hear them in a form NOT from a VHS copy. The bootleg originally just used a hissy and poorer quality rip as this cue. Essentially just a reprise of the main theme after the use of the solo trumpet, it works just as well as a close.
I'm glad that the quality is better for this release too. The bootleg had good quality, but was over modulated at parts and tampered with the bass. Here, its all in pristine and resonating sound quality. The score itself is one I grew up with so naturally, I'm a bit biased. But, after a few listens, I do see its shortcomings. Silvestri would evolve to using a more dynamic sounding orchestra arrangement and style, but here, its the same sound as his other work from that time. this detracts from the jungle setting which would seem larger, and deep. Still, a great and fun listen, it should be snatched while you can get it as its Silvestri's most requested soundtrack (next to the ill-fated 'Back To The Future' score). Plus, he didn't have the same frenetic energy for the sequel. Here, its all out action scoring bliss! Back To The Future needs to be next...please Varese!
Rating- 4 out of 5 (3 if you omitted the theme)

Good stuff all around...blows the sequel's score away. It was never a decent alternative, just a continuation

EDIT-This also should replace your boot for the new cue "Building a Trap". Magnifico.

So, for my money, this score loses nothing away from the picture. I have also had the, ahem... prior album version and I have always marvelled at its complexity in terms of the 1/2 dozen lietmotifs and themes Silvestri bounces between. The rhythmic quality is infectious, the orchestration I find crisp (instead of 'tinny') and the action is exhilerating at all points.

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Originally posted by TV's Frank:
I don't think the main title theme was ever meant to represent the Predator. That military march only represents the commandos and then, eventually, Dutch himself. The Predator itself does get themes both "spacey" and evil. The very opening of "Billy's Last Stand" is the main Predator theme - very evil, methodical, as the liner notes, much like the 'Dies Irae' tune used by Berlioz, Goldsmith and others. The low horns in conjuction with bells is quite menacing. The Predator also gets his "spacey" theme, heard in the Main Title in the mid-strings, right after the big title crash. This more mysterious theme pops up from time to time, but notably in the final scene between Dutch and the Predator as they stare at each other and remark "What the hell are you?".

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Yes, there is definitely a theme for the Predator after listening to Battle Preparations and Billy Stands Alone (again ). I was just surprised that in comparison to the Main Title theme, that there wasn't such a strong one to compliment the Predator. Also, I think Silvestri was still new to scoring on such a grand scale (he did a fantastic job regardless) so there was still similar orchestrations as heard in BTTF. Not that I'm complaining, its just more a case where the composer developed some much more finely tuned styles within the next few years.

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Originally posted by rkeaveney:
What's this crazy talk about Silvestri's inexperience the reason for the way PREDATOR sounds? This score is smaller in scale intentionally! I think a lot of folks' tastes have been wasted by the "100-piece orchestra" idea that they think every action blockbuster needs. The fact is that PREDATOR is a jungle-set action movie, it's essentially a slasher movie. It doesn't need a "big" sound. One of the things that has always attracted me to the score over the years is just how tight and sparse it is -- that's what makes it great!

Ryan

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I had no idea that was intentional. This is both interesting and embarrasing at the same time...

Sorry Al!

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Originally posted by rkeaveney:
What's this crazy talk about Silvestri's inexperience the reason for the way PREDATOR sounds? This score is smaller in scale intentionally! I think a lot of folks' tastes have been wasted by the "100-piece orchestra" idea that they think every action blockbuster needs.

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Originally posted by Dinko:
You so ygnorant! You no know? Good composer use 100-person orchestra. He allways gud compozer eef use 100 orqestra folkses. Composser uze only 60 people play muisc, he syuck! he no good composter!
all composser use 100+ player orketsra = GOD!
efenm if orckesta dronon in unison. he steel God of composin! no mather how lame muzik, if 100+ orchestra: composer = GOD!
it no mater composer wnats that small orcestra on purpose. if he want dat, it becoze he bad, he no can composse for good 100 person orhcestra.

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IMHO fo cuorse,

I just received my PREDATOR cd from Varese. This one deserves full marks!!!

And delivery within 10 days to Pakistan is not bad at all.

Amer