One of my favorite game scores is Crysis 2. I have never played the game, but I like the music. What I will be focusing on are the songs by Hans Zimmer. You can hear them below:
I like the theme that Zimmer composed. It is unique, and it represents the chaos well in the world of Crysis. In case you didn't know, New York is destroyed in this game. I have actually listened to the song Epilogue more than the others above. For some reason I just love the violin in it. The beginning starts out very strange, then it fades into the main theme heard in the beginning. At 1:32, the feel changes to a nice resolving end. The violin in it reminds me of Trevor Rabin's theme from his score on the sequel of National Treasure. What do you think?
Wednesday, October 29, 2014
Tuesday, October 21, 2014
Favorites?
If you were to pick five composers that are your favorite, which ones would they be?
Now pick ten different albums composed by those top three that are your favorite.
Lastly, pick fifteen songs/tracks that are your top favorites within those albums.
This is a very hard exercise. There are so many different composers out there, some very popular, some you have never heard of. I think that composers for videogame scores have the strangest names compared to film of trailer composers. Not all of them are strange; some are normal.
Below are two artists that I personally enjoy, even though their names may be a little...odd.
Here is Borislav Slavov on New York Memories from Crysis 3
And here is Joris de Man on The Second Helghan March from Killzone 2
These are just some examples. These two tracks are two of my favorites, if I were choosing them from the videogames category. What are your thoughts? Do you prefer film scores? What are your favorites?
Now pick ten different albums composed by those top three that are your favorite.
Lastly, pick fifteen songs/tracks that are your top favorites within those albums.
This is a very hard exercise. There are so many different composers out there, some very popular, some you have never heard of. I think that composers for videogame scores have the strangest names compared to film of trailer composers. Not all of them are strange; some are normal.
Below are two artists that I personally enjoy, even though their names may be a little...odd.
Here is Borislav Slavov on New York Memories from Crysis 3
And here is Joris de Man on The Second Helghan March from Killzone 2
These are just some examples. These two tracks are two of my favorites, if I were choosing them from the videogames category. What are your thoughts? Do you prefer film scores? What are your favorites?
Into The Score now live!
Our new station Into The Score is now live! Visit the Radio tab for the link and the schedule. I am currently waiting for TuneIn Radio to add it, then you will be able to listen to it through them. I also created a new site: http://joshuarh97.wix.com/soundtracks-gizmo
I think that it looks neat. I know, it's a free website! Anyway, expect a "real" post here soon.
I think that it looks neat. I know, it's a free website! Anyway, expect a "real" post here soon.
Monday, October 20, 2014
Broadcasting On The Radio
I have started a radio station, and I think that I will kind of move SG over to there. I will continue to post once a week. The station is called Into The Score, and you can listen to it one any operating system. To listen to it now on your computer, go to this link: http://www.radionomy.com/en/radio/intothescore/index
I will have nothing but music playing at the moment, but while I get used to the interface, you will soon hear my voice. I will have a few short talks scheduled, and maybe other things but the main focus is on scores.
I will have nothing but music playing at the moment, but while I get used to the interface, you will soon hear my voice. I will have a few short talks scheduled, and maybe other things but the main focus is on scores.
Thursday, October 16, 2014
A Tribute To Jerry Goldsmith
Jerry Goldsmith is an iconic legend in film score history. He has scored for over 100 films including hits like Alien, Air Force One, and The Mummy. I would like to commemorate him today.
Here is two of my favorite quotes, and they happen to be his:
"The function of a score is to enlarge the scope of a film. I try for emotional penetration - not for complementing the action. For me, the important thing about music is statement. I can't describe how I arrive at the decision to make a statement, I simply feel it and react to it."
"If our music survives, which I have no doubt it will, then it will because it is good."
Do you remember the Universal Studios theme? Jerry Goldsmith was the one who composed it. It runs a short 25 seconds, but that doesn't take away the epicness of it. Let's hear it again. Ready...take two!
Jerry Goldsmith also had a good career with Disney. He Scored the music for Mulan and one of my all-time favorites: from the Walt Disney World EPCOT Center, Soarin'
In the two albums that I have fore you below, Jerry Goldsmith perfectly combined themes that brought both "emotional penetration" and a great amount of action. They would always begin with a soft theme, then plunge into the intensity of the action. Soon after, you were soothed by a return to the calmness that was presented to you in the beginning. Jerry Goldsmith was easily one of the best film composers of all time. Wouldn't you agree?
Now sit back and relax as I proudly present to you:
(I apologize in advance for any mixed up track listings)
Here is a live orchestra playing the song "The Sand Volcano".
Ah, and for Jerry Goldsmith's amazing score for the 1997 film Air Force One. Randy Newman originally composed the music that was expected to be featured in this film, but instead, it was rejected. His music was rather disrupting to the hearing and seemed to not fit the film at all. I think that he should stick with A Bug's Life. Jerry Goldsmith took the job with an impossible deadline approaching very fast. He successfully completed his incredible score in just one week! Jerry Goldsmith said that he "would never take another last minute job again."
Here is two of my favorite quotes, and they happen to be his:
"The function of a score is to enlarge the scope of a film. I try for emotional penetration - not for complementing the action. For me, the important thing about music is statement. I can't describe how I arrive at the decision to make a statement, I simply feel it and react to it."
"If our music survives, which I have no doubt it will, then it will because it is good."
Do you remember the Universal Studios theme? Jerry Goldsmith was the one who composed it. It runs a short 25 seconds, but that doesn't take away the epicness of it. Let's hear it again. Ready...take two!
Jerry Goldsmith also had a good career with Disney. He Scored the music for Mulan and one of my all-time favorites: from the Walt Disney World EPCOT Center, Soarin'
In the two albums that I have fore you below, Jerry Goldsmith perfectly combined themes that brought both "emotional penetration" and a great amount of action. They would always begin with a soft theme, then plunge into the intensity of the action. Soon after, you were soothed by a return to the calmness that was presented to you in the beginning. Jerry Goldsmith was easily one of the best film composers of all time. Wouldn't you agree?
Now sit back and relax as I proudly present to you:
(I apologize in advance for any mixed up track listings)
The Mummy
Here is a live orchestra playing the song "The Sand Volcano".
Air Force One
Ah, and for Jerry Goldsmith's amazing score for the 1997 film Air Force One. Randy Newman originally composed the music that was expected to be featured in this film, but instead, it was rejected. His music was rather disrupting to the hearing and seemed to not fit the film at all. I think that he should stick with A Bug's Life. Jerry Goldsmith took the job with an impossible deadline approaching very fast. He successfully completed his incredible score in just one week! Jerry Goldsmith said that he "would never take another last minute job again."
Monday, October 13, 2014
Game Of Thrones Main Theme by Ramin Djawadi
One of the most memorable television themes that I have heard is definitely Ramin Djawadi's from Game of Thrones. He gave this massively popular TV series a truly epic sound. There are some who say that this score didn't quite reach "what is could have been" (Richard Buxton of Tracksounds).
What are your opinions of this?
What are your opinions of this?
Friday, October 10, 2014
What Do You Think?
So I have evolved from using YouTube videos in order to share with you my music to using the 4Shared audio embed feature. It looks much better, but I want to hear from my readers. Do you like it better, are you able to see it?
I am also thinking about giving away a brand new soundtrack to one of you guys! If you have an idea for one, please let me know!
You can text me at: 302-715-1667
OR
You can email me at: soundtracks.gizmo@tech-center.com
I am also thinking about giving away a brand new soundtrack to one of you guys! If you have an idea for one, please let me know!
You can text me at: 302-715-1667
OR
You can email me at: soundtracks.gizmo@tech-center.com
The First Victim from Jaws (John Williams)
Have you ever seen any of the Jaws films?
John Williams composed the music for the first two films. I haven't gotten the chance to listen to the entire score for the first film, but I have listened to track 1 in the 25th Anniversary Edition.
This song is the epic, terrifying theme that everyone thinks of when they hear "shark attack!" The music to the popular 1975 thriller was a masterpiece. The slow beginning, hinting to something bad about to happen while injecting fear into the listener as intensity rises and the violins scream.
The First Victim
John Williams composed the music for the first two films. I haven't gotten the chance to listen to the entire score for the first film, but I have listened to track 1 in the 25th Anniversary Edition.
This song is the epic, terrifying theme that everyone thinks of when they hear "shark attack!" The music to the popular 1975 thriller was a masterpiece. The slow beginning, hinting to something bad about to happen while injecting fear into the listener as intensity rises and the violins scream.
The First Victim
Tuesday, October 7, 2014
Introduction: Disney Music
When I refer to Disney music, I am talking about the music for both the films and the resorts. This subject is a big one, not only because I love the music but because there is so much of it. It is incredibly difficult to come by much of the resort music. Disney has locked it all up in their vault, carefully releasing only bits and pieces of it. The Official Album Of Walt Disney World and the Four Parks - One World albums are great additions to any collection, but both have very similar tracks and they left out a lot. The music heard in EPCOT is one of my favorites. Thanks to the many contributions, I have been able to present to you The Music Of Disney!
In these posts in the future, I will cover one film score and some music from the resorts. Sometimes I may only do one score, but I will aim at including both in most of them.
The Score for Tangled was composed by Alan Menken. It sounds like very traditional Disney music: light and happy, not too intense, and very memorable. I will be discussing the expanded edition of the score, so you may not be able to find some of these tracks in the original soundtrack found for sale on the common market.
Alan Menken also composed the score for The Little Mermaid back in 1989, so his scoring reputation with Disney is good. He took the same feel from that previous work and brought it into Tangled. I believe Disney has very high expectations when it comes to film music. It stands out from much of the other music that it out there. It all sounds very similar, yet each score still manages to bring something new and exciting into the world.
Alan Menken created a brand new theme and threw magical pixie dust over the top. The Prologue in the beginning of the album nicely introduces these themes with a neat combination of slower tip-toe sounding music and medium paced action.
Stealing The Crown introduces Flynn Rider in a great chase. It creeps along until the end when he is suddenly faced with danger.
Let Down Your Hair, Look In That Mirror, and It's My Birthday are introductions to the character that this whole movie is about: Rapunzel. These all take their own turn at the magical and fun girl up in the tower. It's My Birthday introduces you to her greatest want while briefly playing a version of the main theme.
Wanted brings you back into Flynn Rider's adventure as he is being chased. This is mostly filled with fast action, but it lightened with a comedy sound. The thing with Disney music is that it doesn't stay serious for very long, in most circumstances. Since it is aimed mostly towards children, it needs to lighten up the mood every now and then.
Much of this music has a tip-toe sound to it. Refer to the beginning of Fit To Be Tied to understand what I mean. This song introduces what sounds like danger coming at one point, but then calms down very fast after learning that there isn't any.
The Lantern Thing is where you learn about Rapunzel's greatest desire: to see the lanterns. She still isn't quite sure about Flynn, though. This plays a nice combination of both quick and slow music.
A New Life is short and sweet, but is very bright and exciting. This is where Rapunzel finally is introduced into the real world.
Horse With No Rider is the first song to this point to show such a high level of intensity. This whole scene isn't a happy one in any way, so there is no reason to lighten it up.
Snuggly Duckling begins happy, but rapidly turns the feel to that of absolute danger. Escape Route changes mood again, introducing something that sounds like the Mission Impossible theme. It finally comes to an end with smooth jazz music.
Cavern Chase is a great track of high intensity that sneaks a heroic theme that hints towards a successful getaway. Water Rising combines a chaotic and intense theme coming from a fear of danger (or in this case, death) and a sense of calmness. Around the 2:12 mark, Rapunzel's hair glows and sends the music soaring above again until it explodes in triumph.
Campfire is a relaxing and emotional piece that slows down the mood a bit, until you reach the end and it hits the note where you know that something isn't right.
To The Kingdom and Kingdom Dance are when Rapunzel is in the kingdom having a blast. These two bring into light some new instruments while it energizes the mood. It almost makes you jump up and start dancing!
A nice, calming guitar and piano play under the moonlight in Waiting For The Lights. When the lights finally show up, it changes the mood again, making you feel much joy.
Kiss Interupted sounds mysterious, kind of like the theme when you see the Lucasfilm LTD logo on some of their more recent titles.
Realization And Escape is a long track that is part of the overall wrap up of the story. It's slow beginning gradually fades into a happy mood before exploding into a huge, joyful realization. This happiness is soon killed, sending you into a dark mood that continues throughout most of the song, speeding up and lightening up a few times here and there. At the 5 minute mark, it sounds more victorious, and at 5:22, it plays the jazzy theme of the mime. The heroic mood to this continues to the end, gradually increasing.
Let Me Save Him continues this joyful theme, but it quickly declines as Flynn is stabbed after realizing Rapunzel is tied up. This launches the listener into the lat bit of high intensity that is left in this score.
The Tear Heals begins very sad, and this is perfected with the guitar and piano. Soon, the resolving sequence occurs and the music reaches a new high of jubilee which the listener is able to deeply feel emotionally.
This doesn't compare to the Kingdom Celebration, which is just exploding with happiness and nothing less. This introduces many different themes until finally hitting the finale.
To conclude this film (and this post), I included the End Credits for your enjoyment. This long song is a basic summary of what what heard throughout the film, covering some action sequences, magical moments, and finally ending with a second fantastic finale.
Though I did not cover the complete album, you can find that I covered most of it. I hope you enjoyed this!
Joshua
Soundtracks Gizmo
soundtracks.gizmo@tech-center.com
In these posts in the future, I will cover one film score and some music from the resorts. Sometimes I may only do one score, but I will aim at including both in most of them.
The Score for Tangled was composed by Alan Menken. It sounds like very traditional Disney music: light and happy, not too intense, and very memorable. I will be discussing the expanded edition of the score, so you may not be able to find some of these tracks in the original soundtrack found for sale on the common market.
Alan Menken also composed the score for The Little Mermaid back in 1989, so his scoring reputation with Disney is good. He took the same feel from that previous work and brought it into Tangled. I believe Disney has very high expectations when it comes to film music. It stands out from much of the other music that it out there. It all sounds very similar, yet each score still manages to bring something new and exciting into the world.
Alan Menken created a brand new theme and threw magical pixie dust over the top. The Prologue in the beginning of the album nicely introduces these themes with a neat combination of slower tip-toe sounding music and medium paced action.
Stealing The Crown introduces Flynn Rider in a great chase. It creeps along until the end when he is suddenly faced with danger.
Let Down Your Hair, Look In That Mirror, and It's My Birthday are introductions to the character that this whole movie is about: Rapunzel. These all take their own turn at the magical and fun girl up in the tower. It's My Birthday introduces you to her greatest want while briefly playing a version of the main theme.
Wanted brings you back into Flynn Rider's adventure as he is being chased. This is mostly filled with fast action, but it lightened with a comedy sound. The thing with Disney music is that it doesn't stay serious for very long, in most circumstances. Since it is aimed mostly towards children, it needs to lighten up the mood every now and then.
Much of this music has a tip-toe sound to it. Refer to the beginning of Fit To Be Tied to understand what I mean. This song introduces what sounds like danger coming at one point, but then calms down very fast after learning that there isn't any.
The Lantern Thing is where you learn about Rapunzel's greatest desire: to see the lanterns. She still isn't quite sure about Flynn, though. This plays a nice combination of both quick and slow music.
A New Life is short and sweet, but is very bright and exciting. This is where Rapunzel finally is introduced into the real world.
Horse With No Rider is the first song to this point to show such a high level of intensity. This whole scene isn't a happy one in any way, so there is no reason to lighten it up.
Snuggly Duckling begins happy, but rapidly turns the feel to that of absolute danger. Escape Route changes mood again, introducing something that sounds like the Mission Impossible theme. It finally comes to an end with smooth jazz music.
Cavern Chase is a great track of high intensity that sneaks a heroic theme that hints towards a successful getaway. Water Rising combines a chaotic and intense theme coming from a fear of danger (or in this case, death) and a sense of calmness. Around the 2:12 mark, Rapunzel's hair glows and sends the music soaring above again until it explodes in triumph.
Campfire is a relaxing and emotional piece that slows down the mood a bit, until you reach the end and it hits the note where you know that something isn't right.
To The Kingdom and Kingdom Dance are when Rapunzel is in the kingdom having a blast. These two bring into light some new instruments while it energizes the mood. It almost makes you jump up and start dancing!
A nice, calming guitar and piano play under the moonlight in Waiting For The Lights. When the lights finally show up, it changes the mood again, making you feel much joy.
Kiss Interupted sounds mysterious, kind of like the theme when you see the Lucasfilm LTD logo on some of their more recent titles.
Realization And Escape is a long track that is part of the overall wrap up of the story. It's slow beginning gradually fades into a happy mood before exploding into a huge, joyful realization. This happiness is soon killed, sending you into a dark mood that continues throughout most of the song, speeding up and lightening up a few times here and there. At the 5 minute mark, it sounds more victorious, and at 5:22, it plays the jazzy theme of the mime. The heroic mood to this continues to the end, gradually increasing.
Let Me Save Him continues this joyful theme, but it quickly declines as Flynn is stabbed after realizing Rapunzel is tied up. This launches the listener into the lat bit of high intensity that is left in this score.
The Tear Heals begins very sad, and this is perfected with the guitar and piano. Soon, the resolving sequence occurs and the music reaches a new high of jubilee which the listener is able to deeply feel emotionally.
This doesn't compare to the Kingdom Celebration, which is just exploding with happiness and nothing less. This introduces many different themes until finally hitting the finale.
To conclude this film (and this post), I included the End Credits for your enjoyment. This long song is a basic summary of what what heard throughout the film, covering some action sequences, magical moments, and finally ending with a second fantastic finale.
Though I did not cover the complete album, you can find that I covered most of it. I hope you enjoyed this!
Joshua
Soundtracks Gizmo
soundtracks.gizmo@tech-center.com
Wednesday, October 1, 2014
The Marvel Craze
Marvel Studios has fed an audience of people who are crazy hungry for these superhero movies. I think that it would be a good idea to start talking about the already released music while we all are sitting in anticipation for The Avengers: Age of Ultron, Captain America 3, Guardians of the Galaxy 2, and such future releases.
Lets start all the way back to the beginning: Iron Man. I like this score, though I can't say I do enough to listen to it very often. I'm giving it extra points because of how well it fits the film. After all, that's why it was made, right?
Here's some interesting quote that I found on Wikipedia:
AllMusic awarded the soundtrack three stars out of five stating that composer Djawadi "treats the superhero with a predictably heavy hand, resulting in a soundtrack that takes the slow-build menace of Hans Zimmer & James Newton Howard's work on Christopher Nolan's Batman franchise and dials an industrial army that utilizes crushing percussion, huge strings, and a symphony of distorted guitars that echo Metallica's concerts with the San Francisco Symphony minus the vocals.
I think that this describes this music very well. The heaviness of the electric guitar suits the theme of this film perfectly.
Ramin Djawadi took time to share what he thought people would expect from this score:
"I'm sure people will be surprised with this score because we did do something different. I'm sure there will be some purists that will expect the typical, lush, orchestral score. Some people are going to love it and some people are going to hate it."
Driving With The Top Down
The heavy sound and feel of this sets up the overall theme of the film quite well. I like how it doesn't emphasize the electric guitar too much or too long, turning to just the classical strings at certain points. The perfectly balanced and blended guitar and classical strings sounds truly great. I believe the electric guitar should be an addition for intensity, like here, but not the main instrument because it so easily overpowers all the other instruments.
Iron Man: 2008 Version
This song is actually the theme from the old marvel cartoon show. This significantly lightens up the mood.
Trinkets To Kill A Prince is a bit mysterious because that is when Stark is captured. It gradually gets louder as Stark's progress on his Arc Reactor continues.
Mark 1 is a great song with more intensity. The creation of the revolutionary suit of armor is happening!
Firearm provides the listener with more of an intense action packed song. This one sounds really good. It brings back the sounds that were introduced in the beginning with Driving With The Top Down. The chaos of cymbals may not appeal to everyone, but I think that they sound fine when they are controlled.
Vacation's Over, Golden Egg, and Extra Day, Extra Olives
Vacation's Over calms down things and dampens the intensity of the guitar in the previous tracks. I like how absolute calmness is reached to give the ears a rest. The problems aren't yet solved, but we need a short break.
Golden Egg continues this shortly in the beginning. It sounds more mysterious and gradually increases in tension and speed. It makes you feel the unrest, something is hidden and the story goal isn't reached.
Extra Day, Extra Olives takes on a new sound that is completely different when compared to the other music.
Iron Man
This devotes just about 3/4 of its time to quietly mysterious before exploding once again into the crazy cymbals and guitar.
Gulmira
The electric guitar had its rest, now it's time to invite it back in. Gulmira sounds interesting as it switches from the guitar, to almost silence, to classical strings, and then again. I think that throughout the other tracks that I have gone over so far, this one includes the most guitar.
Are Those Bullet Holes?
Once again, the score slows down almost to a rest. A relatively sad emotion is used here.
Section 16
It sounds a bit eerie here in section 16. It reminds me somewhat of one of the Dead Space scores, but much toned down on the creepiness.
Iron Monger
This continues the eerie sound from Section 16, but quickly adds the guitar and cymbals back in to add intensity. It brings the theme from the first song back in as the victory is nearing.
Arc Reaktor
This sounds quite like Driving With The Top Down. It brings the theme back very clear with the usual instruments that cause the slight disorderly sound. This song sound very victorious, though it ends with a slight sad feel to it. The hero won, but just barely.
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Email: soundtracks.gizmo@tech-center.com
Lets start all the way back to the beginning: Iron Man. I like this score, though I can't say I do enough to listen to it very often. I'm giving it extra points because of how well it fits the film. After all, that's why it was made, right?
Here's some interesting quote that I found on Wikipedia:
AllMusic awarded the soundtrack three stars out of five stating that composer Djawadi "treats the superhero with a predictably heavy hand, resulting in a soundtrack that takes the slow-build menace of Hans Zimmer & James Newton Howard's work on Christopher Nolan's Batman franchise and dials an industrial army that utilizes crushing percussion, huge strings, and a symphony of distorted guitars that echo Metallica's concerts with the San Francisco Symphony minus the vocals.
I think that this describes this music very well. The heaviness of the electric guitar suits the theme of this film perfectly.
Ramin Djawadi took time to share what he thought people would expect from this score:
"I'm sure people will be surprised with this score because we did do something different. I'm sure there will be some purists that will expect the typical, lush, orchestral score. Some people are going to love it and some people are going to hate it."
Driving With The Top Down
The heavy sound and feel of this sets up the overall theme of the film quite well. I like how it doesn't emphasize the electric guitar too much or too long, turning to just the classical strings at certain points. The perfectly balanced and blended guitar and classical strings sounds truly great. I believe the electric guitar should be an addition for intensity, like here, but not the main instrument because it so easily overpowers all the other instruments.
Iron Man: 2008 Version
This song is actually the theme from the old marvel cartoon show. This significantly lightens up the mood.
Trinkets To Kill A Prince is a bit mysterious because that is when Stark is captured. It gradually gets louder as Stark's progress on his Arc Reactor continues.
Mark 1 is a great song with more intensity. The creation of the revolutionary suit of armor is happening!
Firearm provides the listener with more of an intense action packed song. This one sounds really good. It brings back the sounds that were introduced in the beginning with Driving With The Top Down. The chaos of cymbals may not appeal to everyone, but I think that they sound fine when they are controlled.
Vacation's Over, Golden Egg, and Extra Day, Extra Olives
Vacation's Over calms down things and dampens the intensity of the guitar in the previous tracks. I like how absolute calmness is reached to give the ears a rest. The problems aren't yet solved, but we need a short break.
Golden Egg continues this shortly in the beginning. It sounds more mysterious and gradually increases in tension and speed. It makes you feel the unrest, something is hidden and the story goal isn't reached.
Extra Day, Extra Olives takes on a new sound that is completely different when compared to the other music.
Iron Man
This devotes just about 3/4 of its time to quietly mysterious before exploding once again into the crazy cymbals and guitar.
Gulmira
The electric guitar had its rest, now it's time to invite it back in. Gulmira sounds interesting as it switches from the guitar, to almost silence, to classical strings, and then again. I think that throughout the other tracks that I have gone over so far, this one includes the most guitar.
Are Those Bullet Holes?
Once again, the score slows down almost to a rest. A relatively sad emotion is used here.
Section 16
It sounds a bit eerie here in section 16. It reminds me somewhat of one of the Dead Space scores, but much toned down on the creepiness.
Iron Monger
This continues the eerie sound from Section 16, but quickly adds the guitar and cymbals back in to add intensity. It brings the theme from the first song back in as the victory is nearing.
Arc Reaktor
This sounds quite like Driving With The Top Down. It brings the theme back very clear with the usual instruments that cause the slight disorderly sound. This song sound very victorious, though it ends with a slight sad feel to it. The hero won, but just barely.
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Email: soundtracks.gizmo@tech-center.com
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