Intrada Soundtrack Forum

I posted this at FSM as well since I don't know how many who venture here also venture there. To those who visit both forums, forgive the duplication...
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Having now listened to Intrada's 2-CD set, I decided to start a thread to talk about the music itself rather than the controversy that surrounds limited releases. Those discussions are fine and dandy, but discussion of the music once we get our hands on it often drifts away and stays focused on other issues.

So what do ya think of the album? For me, it's clearly a case in which I like the score(s) because I like the film (with the exception of the main title as heard in the film, which is outstanding in and out of context). The atmospheric electronica from Young and Storrs is probably not something to listen to often, yet it's enjoyable when in the mood for that kind of tone and texture, and it's fun to visualize the film when doing so. It was very, very effective in the film, particularly when in the Martians' lair.

My bottom line though, was to get Young's Main Title (track 4 on disc 1), and Storr's eerie martian theme used several times in the film (disc 2, track 2). I actually freaked a bit when I started listening to the album (before reading the liner notes) and didn't hear that main title on track 1. I started whining and worrying to myself, only to be overjoyed upon discovering that the main title is actually track 4 and was intended for an action scene in the film! The Goldsmithian theme has been a longtime favorite of mine, and it's awesome to finally have it to treasure!

Storrs' subtle yet effective industrial-sounding martian theme always intrigued me (disc 2, track 2, starting at 1m 40sec-ish). If you know the film, you know the bit of music I'm talking about (think sand-suckers). Yeah it's simple, but I dig it.

As for Young's 34-minute "collage"...whoah. Interesting listen, but not probably something I'll revisit. Nevertheless, it's good to have to get a full picture of all the creative effort that went into scoring the film.

I've noticed some bashing of the music to INVADERS FROM MARS as "clanging noise", etc., which I suppose much of it is. But those familiar with the film and any of the music at all should have expected that, right? It's good stuff for what it's intended to be. But again, for me, it's all about that main title music as heard in the film. That's a dream come true!

Unleash your commments, but please let's keep it focused on the music/film.

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I´VE COME HERE TO DRINK COCONUTS AND *censour*...AND I´M ALL OUT OF COCONUTS...

I´m a dirt merchant and a figure of your imagination

I really find Young's work to be very compelling stuff. I'm generally not a big fan of synth scores, but Young does a lot of neat stuff in the score. The orchestral material is certainly nice, too! Plus, the 34-minute suite is a really cool new take on the material.

I'm glad the other score was included for the sake of being able to compare two different methods... but honestly, Young's music runs circles around the David Storrs material.

Back at ya later

I originally bought the Storrs LP back in '87.
Saw the film (on cable sometime later) which credits Christopher Young,
and after getting Young's CINEMA SEPTET learned all about the rejected score controversy.

The main reason for this limited release is the world premiere of Young's actual electronic score. Honestly, it's a great experiment in sound design... way ahead of its time. In fact some of Young's score would have been great in MISSION TO MARS underscoring the sandstorm sequences.

But I digress,
Young's orchestral effort is unfortunately tainted because he was forced to emulate Goldsmith's RAMBO cues. Storrs' score is a nice new age listen, but the revelation is how much of the best material I remember from his score was edited from the final cue for the original LP release.
Including the INVADERS suite was just gravy topping off a great CD release.

I remember during the time of the CINEMA SEPTET's release most collector's despised electronic scores and Hans Zimmer. Ironically, this complete score is far more interesting than much of the new stuff coming out today, for sure.

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Jerry Goldsmith conducting the Detroit Symphony and nearly knocking me through the back wall with Air Force One....priceless.

Is there any way to find out which cues ended up in the movie without my having to sit through the movie again?

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"Now I don't wanna kill you and you don't wanna be dead!"

Finally I received my copy today.

I’ m very happy but… ehm… anyone noticed a couple of “click” at the beginning of “Invaders From Mars” - track 1 - CD2, at 0:02 and 0:03 ?
Please check carefully with headphones the left channel and let me know.

After The Day Time Ended, it is becoming a malediction!

Many thanks



Nicola

So, now I have listened to David Storrs' part, too. Interesting, that they would replace most of Young's score with this, since, while it is smoother music and therefore perhaps more readily accessible than Young's work, it's not all that much a different direction in music from what Young delivered. Less outlandish, sure, but nevertheless pushing the envelope of electronic scoring and avoiding comfortable harmonies and melodies. I remember some of the parts, like the Martian theme, indeed from the movie, so they must have made an impression on me back then. (I haven't seen the film in over twenty years.) In the end, the producers had two or three scores (depending on how you're counting) and plenty of music that they apparently then used somewhat like library music, inserting parts of all three scores in various places. Would be intersting to see a list of which of the music on this 2CD set actually made it into the movie.