R. J. Teed | Dearborn, MI United States | 12/05/2000
(4 out of 5 stars)
"This is a good CD to buy especially if you don't want to buy all 3 soundtracks. As far as the original ALIEN, the original soundtrack is hard to come by, however the DVD has the complete score with great sound. This CD favors the first movie's score, with 7 tracks including "Main Title" and "Hypersleep" which were not included on the original soundtrack. Jerry Goldsmith's score is atmospheric and avante-garde and Cliff Eidelman(a great composer himself), does a superb job of recapturing this classic score. In my opinion, this recording exceeds the original. It is well performed by the RSO and mixed perfectly by Bruce Botnick. The original wasn't mixed properly, especially the End Title(which is not in the film)where the trumpet solo wasn't loud enough. Here, all the instruments are in perfect unison and at the right volumes. ALIENS(tracks 8-10) is by James Horner(TITANIC)and is influenced by the first ALIEN with a the main title mimicking parts of the original movie's opening. Part of "Bishop's countdown" sounds like Horner's own Klingon theme from STAR TREK 3. Horner does have a tendency to quote the work of others and himself often in his scores. ALIENS is not one of his best efforts(partly due to time restrictions James Cameron imposed on him). The film itself was great especially for a sequel. ALIEN 3 by Elliot Goldenthal is probably one of the best and underrated scores of the 90's. It deserves a better presentation here(only 3 tracks)but Eidelman handles the material capably. It's not exactly uplifting music but serves the film well and is approprietely atmospheric and dramatic at times. Unfourtunately, as with almost all RSO recordings, the sound quality is distant. You have to turn your volume way up to really hear the music fully. Otherwise, this is a great recording and sampling of the 3 scores and helps you relive the first 3 ALIEN movies."
Loved It
Finnius McArbuckle | OakTown | 02/02/1999
(4 out of 5 stars)
"If you have watched and enjoyed (at all) any of the films in the Alien Trilogy, you will love this soundtrack. Though a re-recording, which alot of times are too self-induldgent to as good as the originals, this one is as good if not better. It makes available Jerry Goldsmiths Great score and re-visits James Horner and Eliot Goldenthals excellent scores. The conducting of Cliff Eidleman is not only unintrusive but quite good (BUY STAR TREK 6 if you like this recording) My only gripe is that it only has three tracks from Aliens and Three tracks from Alien 3, both worthy of better treatment."
A peek at the infamous score...
Jeffrey Arnold | Lemoore, ca United States | 08/25/2005
(3 out of 5 stars)
"God bless them , the Royal Scottish Orchestra... no matter how hard they try, they can never quite get it right. All of their reproductions (Jaws, Superman,etc) always come out sounding too "concertish," and thus never quite sound right to those of us who've always wished for complete versions of the music and had in the meantime heard it only in the context of the film. And without fail, any time that Varese Sarabande releases these repros, the "real-deal Holyfields" are dusted off and presented to the public, thus nullifying their efforts (Superman, Jaws, and please God.... please.... Alien?).
Goldsmith's score to Alien has a notoriously sticky backstory... many of the cues you hear in the film were actually intended for use with other scenes, and in some cases, the music you're hearing wasn't even originally recorded for Alien, but was from a past film score. Even the end credits cue, "Symphony #2 (Romantic)" by Howard Hanson, wasn't originally meant to be the end credits music!
I have the actual original Alien score on vinyl, and I can tell you that in the end, as much as I love Jerry Goldsmith (RIP), this score benefitted from Ridley Scott's tampering. Much like in Citizen Kane, when, after the heavy dramatic wave of music by the great Bernard Herrmann brings the film's revelation to bear and closes the film, and then very quickly a peppy tune is played with the cast spouting lines as their names are plastered on the screen (as if to say, "Aw, it's only a show!"), Ridley Scott used Hanson's beautiful, simple piece to magnify just what an awful experience we'd just been through, trying to escape from Giger's wickedly designed ALien. It also reflected the peaceful sleep that Ripley was entering after the death of the beast.
Without a doubt, if you can, get a hold of the Alien Legacy DVD version of the film. It has two alternate audio tracks. One has Goldsmith's original score, with cues where they were intended, plus a pile of others that thankfully were excised, and the other audio track contains what can be called the actual soundtrack, complete with the Hanson piece and the eerie, lonely main title music from the film. As a curiosity, if you listen closely, you'll even hear Lionel Newman's baton cueing the orchestra to begin and stop, and even some comments from the conductor. For now, until a 30th anniversary version is perhaps released (maybe after Goldsmith's death, they will contemplate a rerelease), that is THE best source for music from the long lost Alien Soundtrack.
"
A Great Sampling of ALIEN Soundtrack Music
Hob Hayward | 07/20/2008
(5 out of 5 stars)
"ALIEN is my favorite of the film trilogy. The soundtrack plays a large part in Ridley Scott's horrific depiction of first contact with the alien species. The representative choices for this compilation made by composer Cliff Eidelman convey the heart of each film's message. I bought the soundtrack on compact disk.
The CD booklet cover shot of the three explorers discovering the fossilized alien pilot sets the tone nicely. Inside, there are technical notes and comments on each track and a few photographs from each film. Additionally, brief sketches of Jerry Goldsmith, James Horner and Elliot Goldenthal, (composers of ALIEN, ALIENS and ALIEN3, respectively) are provided. The CD is divided into three sections:
I. ALIEN
1. Main Title (3:16) Very atmospheric. Faithful reproduction of the film's opening sequence, unfortunately without the spooky moan heard in the film as the shot of the planet dissolves into the shot of the space refinery. This track is my favorite because of the eerie use of woodwinds.
2. Hyper Sleep (2:45) Shimmering woodwinds announce the crew's reawakening and subsequent recovery from their long sleep. Horns play lightly like a distant rooster's crow. The horror awaiting the crew is foreshadowed by the use of gentle understated strings.
3. The Landing (4:33) Lumbering, heart-pounding sequence depicting the crew's systematic landing procedure, relentlessly building to a shattering climax as the Nostromo lands on the planet.
4. Breakaway (3:11) Not included in the film but an excellent action/suspense piece. Includes a romantic sequence at the end.
5. The Droid (3:46) Goldsmith's use of strings and percussion convey the surrealism of the crew's discovery that Ash is not human.
6. The Door (1:28) A brilliant use of brass, percussion and strings to convey Ripley's emotional and physical struggle to blast the Alien out of the shuttle.
7. End Title (3:27) Ripley's relief and emotional turmoil after defeating the Alien are portrayed with haunting horns and strings, ending with definitive percussion.
II. ALIENS
8. Main Title (6:21) Here again, a main title captures a film's heart. The track invokes images of the salvage of the Narcissus, as well as the cautious wonder at seeing the shuttle adrift in the void. Woodwind rumblings foretell of the frightening creatures we'll eventually meet.
9. Futile Escape (5:45) A percussive whirlwind, with strings and horns illustrating the frenzy of Ripley's desperate attempt to rescue the Colonial Marines. Trumpets sound a rallying cry as she drives them through the labyrinth of aliens, obstructions and her own horror to an explosive escape of crashing cymbals.
10. Bishop's Countdown (3:21) You can feel the feverish hope of Ripley, Newt, Hicks & Bishop as the score builds to a climactic drum roll. Shimmering cymbals seque into woodwinds for a moment of peaceful repose before Ripley's final showdown with the Queen Alien.
III. ALIEN3
11. Lento (5:23) The gloominess of the mining complex is conveyed through this piece. In the liner notes, composer Goldenthal explains at length why he used the Agnus Dei to depict the spiritual and emotional state of the inmates.
12. Candles In The Wind (4:16) Hands-down the scariest sequence of the entire film, made so by this moody track. The terror and confusion of the inmates is exposed in the dissonant whine of strings. Ghostly horns and shrieking woodwinds herald the demise of the Alien's unsuspecting victims.
13. Adagio (4:15) Ripley, a pessimistic and disillusioned character with whom we have come to love, respect and empathize, reaches her journey's end in this track. Believing that she holds in her own hands the power to destroy the alien once and for all, she sacrifices her own life for the safety of the entire human race. The joy and triumph she feels are expressed with dashing cymbals, soaring brass and rumbling bass drums. Without a doubt, the most emotional piece of the collection.
"
Simply The Best Of Its Kind
Hob Hayward | 05/05/2001
(5 out of 5 stars)
"This is a great CD. I bought this one first and then i came a long Aliens CD and Alien Resurrection and surprisingly Alien3. Alien and Alien3's soundtracks are very hard to come by you probably will never find Alien's soundtrack.Anyway this is a great CD from Jerry Goldsmith's to James Horner's to Elliot Goldenthal's.My complaints are is that they should have put more songs from Aliens and Alien3 and they should have waited for Alien Resurrection since this CD came out the same year the Resurrection did.the same thing goes for the Batman Trilogy which is another CD like this one.Anyway if you are a fan of any of these composers and or of the film's than this is the CD for you. Pluss this is probably the closest you'll get to an Alien soundtrack."