War of the Worlds

June 28, 2005 | Format: MP3

$9.49
Also available in CD Format
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Product Details

  • Original Release Date: June 28, 2005
  • Release Date: June 28, 2005
  • Label: Decca
  • Copyright: (C) 2005 Universal Classics Group, a Division of UMG Recordings Inc.
  • Record Company Required Metadata: Music file metadata contains unique purchase identifier. Learn more.
  • Total Length: 1:01:01
  • Genres:
  • ASIN: B000VAIRC2
  • Average Customer Review: 4.2 out of 5 stars  See all reviews (24 customer reviews)
  • Amazon Best Sellers Rank: #153,113 Paid in Albums (See Top 100 Paid in Albums)

Customer Reviews

4.2 out of 5 stars
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Most Helpful Customer Reviews

17 of 18 people found the following review helpful By Lugubrious DBB on June 29, 2005
Format: Audio CD
If there is one thing that John Williams has shown in the twilight of his career, it is his eagerness to embrace different styles that are appropriate for each film he has scored and to push the envelope in ways even his most devout fans may not expect. For example, last year Williams embraced neo-Renaissance period instruments for his "Harry Potter and the Prisoner of Azkaban" score, then did a complete 180 degree turn to bring the charms of clarinet and accordion to "The Terminal".
This year, Williams has performed a similar feat, first bringing us his brilliant, Wagnerian finale score for "Star Wars Episode III: Revenge of the Sith", full of bombast and more themes than a Mahler symphony. Now, for his 21st feature film collaboration with director Steven Spielberg, Williams brings us one of the most brilliant and radical scores he has ever composed: "War of the Worlds".
I'm not going to talk much about the plot of the film (you can see it for yourself); suffice it to say that aliens invade Earth at the dawn of the 21st century and man must find a way to defeat the invaders before he is eliminated from Earth forever. With this scenario in mind, Williams has fashioned a brilliant example of modern concert composition, blurring the line between tonality and atonality so finely that one must focus the ears more than usual to appreciate the subtleties of the score.
Unlike Williams's most famous works (i.e. "Jaws", "Star Wars", "Raiders of the Lost Ark") there are no themes in this score that you will be whistling long after you've listened to the CD. In fact, unlike Williams's typical work, theme is hardly discernible on this album.
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19 of 23 people found the following review helpful By R. L. Pulliam on July 7, 2005
Format: Audio CD Verified Purchase
"The War of the Worlds," Spielberg-style, is a riveting, gut-wrenching, wholly one-of-a-kind science fiction colossus that puts the viewer into the story and leaves him as clueless as the characters in the film -- no scientist to explain things, no kindly professor to assess what "probably" is happening and why, no other unrealistic explanatory device. In point of fact, "we" are in the same boat as the people fleeing the terrors of alien invasion. And as much as we want answers, we're given exactly what the characters in the story are given -- people-dusting, building-destroying, bridge-toppling tripods bent on wiping out all of mankind and his achievements.

And capping it all off, a wonderful, atypical John Williams score that hits all the right notes!

This score is in a class with "Close Encounters of the 3rd Kind," "Images" and "Jaws." It's some of the most imaginative scoring Williams has attempted, and it's a propulsive masterwork of orchestral color, timbre and imagination.

I "choose" to believe that the cue "Epilogue" was a Williams tribute to the late Jerry Goldsmith, inasmuch as the entire piece could just as easily be fitted into Goldsmith's score for "Alien." The piece says "Nostromo" to me! It's elegant, stirring and reminded me that I remember thinking, at the time "Alien" was opening, "How on earth is Goldsmith going to measure up to Williams' two epics about space?" And then he delivered his usual brilliance without any similarities between his score and Williams'.

This score features some of Williams' best action music EVER...and it's the kind of stuff most folks into film music salivate over when it's coupled with tonal writing.

This CD soundtrack is a mesmerizing listen. I'm hooked, I tell you, I'm hooked. It's one of the best scores written in recent years by anyone.
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4 of 4 people found the following review helpful By P. McGowan on March 14, 2006
Format: Audio CD
This score is like nothing else I have heard from Williams and that is an awesome thing! I am always impressed with the work that Williams does but this score really surprised me. The score uses many modern and avant garde classical methods to truly convey an expression of fear. Rather than focusing on charactar based themes, as Williams generally does, he instead uses musical textures to convey the emotion of the film. This textural technique of composing reminded me of the works of Gyorgy Ligeti. Though this is a great listen, this score may seem "unpleasent" to listen to if you aren't used to heavy/modern classical music, which is a contrast to the usual scores that Williams composes. Though I must say, the unpleasant feeling score was exactly what a film like War of the Worlds needed. Bravo John Williams!
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5 of 6 people found the following review helpful By G M. Stathis on June 30, 2005
Format: Audio CD
There are already mixed commentaries on both Steven Spielberg's new film "War of the Worlds" and the impressive score composed for it by the great John Williams. Sadly, far too many people have missed the point of what is singularly a tribute to the science fiction thrillers of the 1950s, especially George Pal's 1953 production of "War of the Worlds." Of course all of these efforts have sprung from the anti-war tome of H.G. Wells. One is tempted to mark down Spielberg's references, some subtle, some blatant, but all a great deal of fun ("Day the Earth Stood Still" 1951, "The Thing From Another World" 1951, "Invaders From Mars" 1953, even "Day of the Triffids" 1963, to name just a few). The film is gripping and loyal to its sources. Williams' music is partially a throwback to his epic score for Spielberg's "Close Encounters of the Third Kind," minus its lyrical passages.Indeed, there is not much of what might be called melodic music save for somber tones that bring the film to a typical Spielberg ending. But that is not a criticism. Williams has produced a tense, taut, and very effective score that is also representative of, and a tribute to, the film scores of those B-Sci. Fi. films of another era, with, of course, his own marvelous musical stamp. "Probing the Basement" stands out clearly as an example of Williams' effort here. The addition of Morgan Freeman's voice over prologue and epilogue is a nice touch for the soundtrack album that is beautifully produced and nicely packaged by Decca. This is a score that stands apart from recent triumphs by Williams ("Harry Potter" and the final "Star Wars" scores)and exhibits his dynamic genious.
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