Ten Tracks Today – 3rd September 2011
Posted by Alan Rogers on September 3, 2011
An enjoyable track that features predominantly solo acoustic guitar that has some low synth textures washing around. Just after the halfway point in the track the guitar becomes more aggressive and is supported by bass guitar. It’s a great little background piece. This track is part of a 2 CD showcase of the composer’s work.
Quite a hesitant-sounding piano solo before the track really starts with a piano/orchestra playing of the theme proper. It may be a bit over the top to feature in a Top Ten of love themes but is pleasant enough. The orchestra does sound a bit synthy in parts.
A great melody from Morricone. Prominent twangy guitar, lovely strings and typical Maestro vocals (though I have no idea what they are saying).
Tyler builds this track up nicely with his agitated strings and the percussion. The score has some great thematic material that the composer builds up and then it just fades before the final statement of the theme in full. Aaaagh!
This has a bit of farce feel to it: a bit comedic with some unusual orchestration than makes it sound a bit “thin”. I have no idea what this movie is about but the score as a whole does have some quite dramatic music. But not here! Some light-hearted relief before the next cue…
No light-relief required in the end. It’s The Waltons but not quite. Harmonica, banjo and Americana in spades here.
Howarth’s music (along with John Carpenter’s) is very much dependant upon the synths he uses as well as the melodies or suspense music composed. Here in this track the composer uses some great synths to give an interesting track.
iTunes somehow knows that it is almost 1.30 in the morning and has decided to pull out a long track – but what a track it is! Interesting from start to finish, Davis melds orchestra and a techno-style (?) delivers an awesome track.
I just love Horner’s music at this time in his career. Bold and brassy. It’s a great theme with some dodgy playing (as many know), I have not yet been tempted by the recent re-release of the score.
A composer at his best, it has all the hallmarks of the man’s style. And I wish I knew music well enough to describe it! Ben-Hur has some of the most enjoyable music in film music from this period (1959). This track is a great summary cue of the score’s main themes.