Ten Tracks Today – 18th June 2011
Posted by Alan Rogers on June 19, 2011
Trying out some new headphones on the PC: a pair of Sennheiser HD 205 cans. Not sure if it is the cans themselves (most reports say they are good though are a bit muddy with classical music) or the processing of my Dell Inspiron with its SRS Premium Sound process, but they don’t sound nearly as good as my older JVC cans. But anyway…
I enjoy the Tyler sound and the prominent percussion of this track. There are some great tracks on the album as a whole. It’s is nothing too memorable but when it is playing it is great!
A beautiful track for solo piano. I love how the melodic line and the counterpoint are good on their own and even better together. The composer manages to add a certain level of sadness to the cue without making it too obviously sad.
Nice! There’s a great vibe with the repeating guitar motif. Great vocals. And I am a sucker for songs that have an element of the orchestral in them so the string passages get a thumbs up also. I find this song just as infectious as the theme from Shaft.
A nice relaxing track this one. Very familiar even though I have never seen the TV show this was used in. As with most full versions of these TV themes, I don’t really enjoy the filling middle bridge section between the main and ending iteration of the theme.
There are a couple of Vivaldi’s scores that I know that are definitely worth checking out. And this is one of them. This relentless onward drive of the track (for the first minute or so) segues to a quieter sequence that means the track ends disappointingly.
After hearing Cleopatra Jones earlier it’s good to hear Isaac Hayes’ Shaft theme get an airing from Pate. The the rest of the cue can’t live up to the level of the familiar theme.
Hearing this now after having heard Pirates of The Caribbean, the jaunty theme from this score seems somehow influenced by the more successful film until you check the dates: Shearmur’s movie released in 2002 rather than 2003. I’m just saying.
A quite and tender track this one. I like some of the wacky use of instruments the composer uses in these scores, but these tender passages are a highlight. No idea what it all means though.
There’s some excellent music associated with the series of NFL Films and this is a fine example. Great percussion mixed with acoustic guitar. Synth orchestra I believe though.
I always think of this theme as a theme of two halves. There’s the typical delicate Morricone theme on wind (clarinet?) backed by strings, and then we’re into the great trumpet fanfare and vocals of the music you usually associate with guys riding through the landscape. The track seems to be obviously spliced together at the meeting of the two styles which doesn’t help. But it doesn’t take away the fact it’s a great summary of what Morricone’s great at doing.