Customer Reviews

Deep Rising

5 star:		(4)
4 star:		(4)
3 star:		(2)
2 star:		(0)
1 star:		(0)

 

 

Jerry Goldsmith's score for Deep Rising is far and away one of his most dramtic and original works to date. He steps away from the traditional scores that sport a single, banal, and usually major key, melody throughout the score, and explores further realms of dual-key melodic forms. He uses two separate keys countering each other in the same pieces. Track 6 entitled: "Let's make a deal" is an excellent example of his "poly-tonal-ism's". The use of this technique is virtually impossible to find in the main-stream sountrack genre, so Mr. Goldsmith's introduction of this proceedure is a welcomed and dramatic addition to the Deep Rising score. The dual-key method is also dramatized in his ability to write for the "brass" section of the orchestra. His use of trombones, tuba, and french horns exemplifies the tremendous tension and strength needed to describe the intensity in most of the film. His only departure from the bombastic in this score i! s a tear-rending, lovely melody he chooses for the track entitled: "Leila's Gone." This sweet and melancholy switch from the brass and pounding antics of the percussion is a welcomed and cherished delicacy within this cornucopia of audible exstacy. The only dissapointment to be noted in this gorgeous work is the fact that the "Lelia's Gone" Theme wasn't monopolized and over-used throughout the score. It's hauntingly beautiful melody left you aching for more.

Great soundtrack like so many others by movie music composers. And like every one else says, it's missing one or two tracks, but that should not be a distraction.

This is one of those Goldsmith scores, like "Extreme Prejudice," that is often cited - by the critics at Film Score Monthly in particular - as an example of Goldsmith at his nadir: overreliance on the drum kit, bombast over substance, etc etc etc (as the King of Siam probably never said.) It's gotten a bum rap, and has become as rare as wit in a Hollywood blockbuster. I could give or take "Extreme Prejudice," but "Deep Rising" is a score that LIVES. When I first found it, I couldn't stop listening to it. True, it doesn't attain the emotional highs and sonic resonance of "The Omen," "Poltergeist" or "The Wind and Lion." But to these ears, it's one of Goldsmith's most exciting, accomplished and inventive action scores, on a par with "Capricorn One," "First Blood," and "Under Fire." Which is to say, among the best ever composed for a movie.

Jerry Goldsmith's score for this creature feature does what it is supposed to, effectively helping to create suspense and adding to the on-screen excitement, as the film's characters discover, hunt, fight and flee from the shiny gray undersea monster.

For the veteran composer, scoring a film like this might be routine, but the results are still impressive. Using a few basic musical themes, he has produced a very effective and exciting orchestral score. Just a couple of tracks work only as music for film. The remaining compositions are lively, dynamic, and very listenable.

Since it is short (just over 32 minutes), the repetitive themes hopefully won't seem overused. This is the kind of CD I can pop in, hit random play and just enjoy again and again.

I'm glad that cenobite (see above) liked this album so much but I was disappointed to find that my favourite piece of music from the film barely featured. The tongue-in-cheek & slightly 'Hawaii-Five-O'-ish soundtrack, which accompanied the shots of the boat racing towards the cruiser & was played several times during the film, occupies a mere 21secs(!) of playing time at the beginning of track 10. Given that this melody is far more easily accessible to the average listener, & also more fun, than much of the stuff that does feature on this album, I was surprise & a little miffed to hear so little of it. Also, cenobite may wish to note that it is this very theme that is repeated, tho' using a clarinet & strings instead of brass & percussion, at the beginning of the 'Leila's Gone' track. Goldsmith's point, given the tongue-in-cheek nature of the film, is presumably ironic, given that 1.5mins into this track you'll hear the same tune but played with brass & percussion (hurray!), which jokily highlights the ease with which characters in 'Deep Rising' & other similar blockbusters get over the loss of their loved ones. OK, so this great funky tune gets 2, not 1, mentions on this album, but why not dedicate an entire track to it instead of a measly 30-odd seconds on two tracks? Mr Goldsmith, you're a very fine musician - see the fabulous 'Mulan' for example - but I wish that you'd release a longer version of this wonderful theme

i didnt listen to this cd, i ate it and since its flavor made my taste buds spasm profusly, i gave it four stars

Jerry Goldsmith delivers again with Deep Rising. In it he uses a large orchestra to play his complexly written, fast-paced lines. The main theme, present in several cues, most notably in "Underwater Grave" and "Hang On" contains meaty brass sounds being played over pulsating, driving synth percussion. A descending brass line, which Goldsmith uses quite often, is present in "Wet Repairs", "Lost Communication", and "Wall of Water". To sum up all of this, the entire 32 minutes of running time are loud, bombastic action cues that never stop until the end. After a while, the music can give you a headache if played at a loud volume level. I suggest playing it at a medium volume level, otherwise you will have to bust out some aspirin due to the pounding percussion and the heavy brasses. With that said, Goldsmith is one of the best composers today and of all time and I hope that he continues writing great music at his age of 73 and counting.

Although I find some enjoyable cues. but I find that 'Deep Rising' is rather dull considering other works of Jerry Goldsmith. Recently, I listened to "Rambo 3" and "Total Recall", and I realized that how 'Deep Rising' is really average B-movie score.(yeah, Mr. Clemmensen, you're right..) Exiting electronic drum play and menacing brass play is only interesting aspect of this score. Menacing brass theme for this terrible creature is good one, and I like it. Considering that the other creature in "Leviathan"(Previous works for underwater adventure/horror movie score composed by Goldsmith) gets the "electronic mess" theme(I'm not sure, but think about horrific chase sequence in that movie), it's very interesting thing.. In first track, it makes its appearance, with some scary electronic sound, which makes the atmosphere of deep underwater. It reminds me of Jaws, sometimes. Well, When it revealed its true identity, this theme tremendously works well, I think. (But, this part for that sequence is not on CD) The array of harsh brass in track six reminds me of "Air Force One". this six minutes music is one of the most entertaining part on this CD. It's pity that soft play in track eight disrupted by burst of electronic drum.. The first Part of track ten is really disappointing one. It shows the cue for boat sequence in the start of movies. As far as I know , It appeared many times in the movie. To matured Goldsmith fans, It may be neutral. There is no strong theme to tie the whole score, and heroic theme is weak.... But, amateur fan like me, It's fun score. But, I recommend you other action score... "Rambo 2" , "Rambo 3", "Total Recall", and "Leviathan" which has more exiting moment and heroic theme... Especially, I recommend you "Leviathan".

In this score Goldsmith, like the source film, puts emphasis on the action and adventure elements. The monster does not have a particular interesting theme, but the hero does. My only complaint is that it is too short and is missing some tracks (a complaint I can make about any soundtrack). Underwater Grave is my favorite track, but I love the others as well. Get it.

I've never really been sure about buying this soundrack, and it took a while to actually get it. I was not disappointed. The music on the CD is richer, deeper, and better than the music actually in the movie. Jerry use of the electronic drum and the main theme click really well. The greatest bits are on track 8, which I'm sure includes most of the heroic "Hawaii-Five-O" stuff that these other people talk about. It is a very good score, and I find itst hemes to be really great. Believe it or not, Funy is the word to use. It simply rocks