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Release Date November 19, 1990
Allegedly inspired by a visit to the city of Rome, this is an interesting album at the least.
In my mind it evokes a day in the existence of an unspecified major city, with its daily traffic rush, the clashing of many different cultures and subcultures, to seemingly small things like a man buying a sandwich on his way to work, or a woman on the phone with a friend or relative, chatting away...
Just as his phenomenal Blade Runner album evoked the near-future world of LA, "The City" is similar albeit set in contemporary times.
Release Date November 17, 2003
This fine compilation is effectively a sampler of recently released albums from well known names in the light classical field, some of them from the "new wave" of singers and performers whose style and arrangements are blatantly aimed at the "crossover" market, people who would not normally buy classical music.
Fortunately some restraint has been excercised by the compilers, so we are spared, with one or two exceptions, the worst excesses of the genre that feeds Classic FM-TV's video jukebox. So this is a collection that is relaxing without being soporific, and is varied enough to cover most of the bases - from the shiny new Hayley Westenra to a 50-year old recording of the late Maria Callas, and from the gorgeous Angela Gheorghiu's ... Read More:
Release Date November 11, 2002
I've heard all the soundtracks so far, but the theme from Chamber of Secret is the one that still sends shivers up the spine. Yes, Hedwig's Theme, Harry's Wondrous World and others stand out and are quintessential Williams at the top of his form, but Fawkes may be the melody he is remembered for in a century's time. I am looking forward to the Half-Blood Prince almost more to hear if there will be a variation on the theme played as a pavan at the death of Dumbledore as to seeing what is, I think, my favourite book in the series. Wonderful, humbling, but wonderful
Release Date October 01, 1999
He again shows the power of one man and his guitar with the stunning covers of Get Rhythm (by Johnny Cash) and the overwhelming 13 Question Method (originally by Chuck Berry). If you want to know what Ry was doing before the Buena Vista Social Club, make this your first port of call.
Release Date August 31, 1998
The original soundtrack was so disappointing as it missed out so much of the music that made the film so great. This album makes up for it: or was it a ploy to sell more cds and make more money? Whatever, its great music.
Release Date April 01, 1985
This album appeared a couple of years after the Bladerunner film,and you can hear elements of Vangelis's soundtrack on this album,however it is'nt son of Bladerunner,far from it.Vangelis blends his usual synthesiser sound round a choral soundtrack.He brings in repetitive motifs to the tracks,all called Movements,1 to 6,however some of them are achingly beautiful,at end of Movement 3,4 and 5,just wish he would give credit to the vocalists on this album,they certainly contribute to the enjoyment of the pieces.If you enjoy Vangelis with a certain amount of darkness you will love this.I feel that this album and Soil Festivities are two of his most under-rated works.
Release Date August 31, 1993
I was pretty disappointed with this disc. To be fair, I'm a hi-fi buff and therefore rather critical on sound quality issues, but this recording just left me cold. One example - on "The Man with the Harmonica" the choral parts should be loud and powerful. What they actually are is flat, muted, and dull. It sounded better on the TV than on this disc. I'll be looking for another recording.
Release Date April 02, 2007
Composed for the 1931 "Dracula" by Tod Browning. In this CD the music has been arranged for solo piano by Michael Riesman. Listening to that music gives an amazing feeling. It is composed to accompany and follow a film and yet, without the film we follow the dramatic tension of a drama behind, beyond. The music can stand by itself. And the first characteristic of film music is obvious here. It cannot be well-tempered because it has to follow the rhythm of the film, of the editing, and the tempo is constantly changing from one sentence to the next even when the theme is the same, when it is a variation on the previous sentence. Film expressivity for music means that ill-tempered aspect, especially a thriller of any type because such a film has to break the ... Read More:
Release Date February 25, 2002
"Appropriate" is the word best suited to James Horner's composition for this big hit movie. The music caught my attention mid-way through the movie as events started to go dreadfully wrong for the troubled mathematical genius. Up until this point it was typical enough of the gendre. This change in tone is the "secret weapon" within, conveying the slow disintegration of the protagonist's mind. What follows from tracks 6 to 10 is, for all intents and purposes, the same tune rearranged in many different ways. It is extremely menacing, allowing us to feel the pain of one man's inability to grasp reality. Eventually the mood changes to one of redemption and defiance as this man overcomes many of his inner demons. Despite the desperate tones this CD makes great ... Read More:
Release Date May 23, 1988
The secret to enjoying this album is to skip the first track (UFO...), which is a bit of a turkey, and for which I've deducted a star! The rest of the disc is well up to the expected standard, featuring phenomenal musicianship (Keltner, Hiatt etcetera) and pin-sharp production. From a rootsy take on "Blue Suede Shoes" to the closing track, "That's the Way..." A brilliant album. If you have a soul, buy it!
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