Forum Replies Created
- Posts
You forgot the Rabbit & Rogue Ballet, and also the fact that we finally got to hear his singing voice again in “Corpse Bride”, “Charlie & The Chocolate Factory”, and of course the boingo-reminiscent “Little Things” for wanted !
Pretty good decade if you ask me
Well, Spiderfan, I agree with you on Giacchino’s good choices. There’s no doubt his music fits the movies, and specially the disney ones… But still, there’s something about his melodies that I don’t like.
As for the SPACE MOUNTAIN scores, I was talking about the ones in Paris, which are totally different versions.
The atmosphere of the space mountain there is everything BUT sci-fi. That’s why they called they didn’t call the land “tomorrowland” but “Discoveryland”. It’s all about the way old visionnaires like Jules Vernes, Wells or DaVinci used to see the future. So, the music used to be in the same atmosphere.
It was the first ride EVER to have a fully synchronized orchestral score. Sensors, under the tracks, would sync every twist and turn with the music. It was amazing (check out the old Bramson score http://www.magicsparks.com/dlp/discoveryland/SpaceMountainTheme.mp3 and also the area music http://www.magicsparks.com/dlp/discoveryland/SpaceMountainLoop/04%20SpaceMountainImpressions.mp3 )And here’s what Giacchino has done : http://www.magicsparks.com/dlp/discoveryland/SpaceMountainMission2.mp3
Well, yes, I guess I am a monster… Even though I didn’t say I hate it. I just don’t like it.
Maybe it is because I’m from Europe and I’ve heard way too many musics that sound like this. He tries to imitate that traditionnal French sound, but doesn’t succeed making it memorable and touching. It simply doesn’t have any effect on me. Sorry… But that’s just my opinion.I’ve listened carefully to each and every Michael Giacchino score that’s been officially release, and I really can’t even name ONE single score that I liked. Maybe they sound good in the movies (which is good because this is what they’re composed for) but I really dislike his music in the albums.
And I don’t say that because I love Elfman, because I must say I didn’t like “Milk” that much…
For people who like Disneyland rides music, Michael Giacchino is hated for what he has done for the “Mission 2 Space Mountain” music in Paris. The whole ride was based on Jules Vernes’ universe and the original epic music by Steve Bramson (very inspired by James Horner & John Williams) was absolutely amazing.
Giacchino’s approach sound like a technoïd “Alias”-like music, that is really out of place in that ride.I really don’t understand why everybody loves his work that much… Can anybody help me understand?
Wait a minute Ryan… When you say “SCROOGED”, you mean : The suite on MFADT ?
Or you’re talking about an advanced copy of the upcoming release ? (By tha way, I was hoping it would be out for Christmas… Any information on this???)Hmmmm. Interesting, I had never heard that song before. Wow, the guitar chords at 0:05 remind me of the Boingo song “Vultures”. Very elfman-esque indeed. Or maybe elfman was beatl-esque
Well,
I heard, from a pretty good source, that something was going to happen, regarding some 80’s unreleased x-mas score… I don’t know when, and how, but I think this person can be trusted
THOR : “I’m sure we would have heard something if it was an upcoming reissue.”
Well, Thor, sometimes we have very pleasant surprises, like the Mars Attacks Reissue, that was totally unexpected… And trust-me, we can expect another VERY VERY pleasant surprise soon, regarding an unreleased score that every Elfman fan has been dreaming of, for a loooong time now
Just finished listening to the “9” cd, and it’s AMAZING !
There are at least two major indentifiable themes, and Lurie really captures the Elfman sound, while adding her own ideas. There is one very heroic 10 notes theme, and another quiet theme. There is also a very elfman-y succession of chords that is used during the whole cd.
I can’t really tell more, for now, because I have to hear it again, but trust me, if you like Elfman, you’ll be more than happy with this cd! I already loooove it !
Hehe, pretty interesting. You can hear a sample of it on Amazon. Listen to the first few seconds of the 24th track :
http://www.amazon.com/Monster-Music-Film-Classics/dp/B000004644
I’d say SCROOGED, it’s for sure one of Elfman’s scores I love the most. Can’t wait for it to be released, by the way
Or, I’d choose NIGHTBREED. I think this one would have a nice and pretty interesting commentary
Is this Elfman’s music, at the end or the trailer (2) :
I couldn’t agree more… Why Spiderman 3?!? And I still can’t figure out why they honor Chris Young by starting to play someone else’s theme. For example, if I wanted to honor John Ottman’s music, why would I start by playing John Williams’ Superman theme?!!?
There are TONS of Oingo Boingo songs that work perfectly when you adapt them to play accoustic versions.
All you need is some work on the adaptations. Of course, the songs will not have the same energy and speed the originals have, since it’s accoustic, but it will show another side of theses lovely melodies.I adapted a few Boingo songs that I played at my last concert, only with a piano… Maybe this selection can give you an idea…
-Eric
Deborah Lurie!!! Of course, how is it possible that I forgot to mention her ?!!!!
She would be perfect!Ottman would be an awesome pick. I don’t agree when you say he ripped off Elfman. I’d say he’s been inspired by Elfman’s style, but he never copied anything. That’s why I respect this composer so much.
I totally agree with Michael Giacchino as well. Of course, Steve Bartek could do an amazing job. There’s also the guy who did the Darkman 2 and 3 soundtrack. I don’t remember his name, but he’s been very faithfull to Elfman’s themes and atmosphere.
As for Coraline’s composer Bruno Coulais, I don’t even want to hear from this guy… Everytime I hear one of his scores, at first, I’m surprised I like the melodies, and then I realize that the only thing I like about it , is the fact that it sounds like other composers. Only, his orchestrations are bad, and the man is way too proud of himself…
Hi TJ,
Thank you so much for taking time to review these videos. I’m always happy to hear opinions, critics and advices. And your comments are really constructive!
About the context of the concert… Well, I’ve been playing concerts of my own music and songs in Geneva for 12 years now (I started when I was 17). I always wanted to do a concert dedicated to the music and songs of Danny Elfman, but I never thought there would be enough people that would be interested. Last year, I did a John Williams concert that really attracted a big audience. With time, more and more people started to come to my concerts, and I realized that a lot of people kept asking me about my inspirations. So, I thought maybe it was time to organize this dream concert I had in mind since I was 12.
Hopefully, a lot of people showed up, and almost all of them left the concert with the decision of buying a few Elfman and Boingo albums, which really made me happy! I take that as a success!I’m happy you like the selection. I had prepared other pieces, like Sleepy Hollow, Mars Attacks, Dick Tracy and others, but the program was way too long…
You’re totally right, I must admit I cut the BeetleJuice theme, mainly because there were too many wrong notes in my opinion. I made two MAJOR mistakes during the concert : the first one was to hide behind the pedal. As you noticed, I keep it down too long, and it made everything sound a little to heavy, and nonchalent. The second mistake is that I played all the main themes Up Tempo. Everything was too fast, maybe because I was worried the concert would be to long for the audience… I don’t know… But it ended up being too fast, and too hard to keep precise without wrong notes…
It’s always a lot easier to play my own music and songs… But the stress and pressure is higher when you play someone else’s music, specially when you respect that artist that much!I adapted all the pieces myself for the piano. I refused to use the available piano sheet music, because they’re so simplified that you can’t hear more than two seperate melodic lines.
So, I decided to adapt sometimes 3 to 4 seperate orchestral lines, it ended up being pretty hard to play and maybe I didn’t have enough time to practice it properly.Anyway, I think a lot of your commentaries are right, maybe the sound quality doesn’t help either… The rehearsals were more precise, with less pedal and better tempos…
Hopefully, I will do this concert again in another hall, and I will have the opportunity to progress, and correct these few issuesThank You so much for your comments, I really appreciate that.
