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King Kong
 
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King Kong [Soundtrack]
~ James Newton Howard (Artist)
3.3 out of 5 stars  (3 customer reviews)

Availability: Available from these sellers.

53 used & new available from £4.30

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Product details
  • Audio CD (12 Dec 2005)
  • Number of Discs: 1
  • Format: Soundtrack
  • Label: Universal Classics
  • ASIN: B000BJ7CUQ
  • Average Customer Review: 3.3 out of 5 stars  (3 customer reviews)
  • Amazon.co.uk Sales Rank: 12,902 in Music (See Bestsellers in Music)

Track Listings

1. King Kong
2. A Fateful Meeting
3. Defeat Is Always Momentary
4. It's In The Subtext
5. Two Grand
6. The Venture Departs
7. Last Blank Space On The Map
8. It's Deserted
9. Something Monstrous... Neither Beast Nor Man
10. Head Towards The Animals
11. Beautiful
12. Tooth And Claw
13. That's All There Is...
14. Captured
15. Central Park
16. The Empire State Building
17. Beauty Killed The Beast I
18. Beauty Killed The Beast II
19. Beauty Killed The Beast III
20. Beauty Killed The Beast IV
See all 21 tracks on this disc

Product Description
Amazon.co.uk Review
James Newton Howard reportedly got the King Kong gig as a last-minute replacement for Howard Shore (who of course had worked on King Kong director Peter Jackson's Lord of the Rings series). The good news is that Howard still managed to write an honorable score; the bad news is that it's no more than honorable. For some, the biggest disappointment may be that Howard didn't find more inspiration in the film's 1930s setting. Once in a while he inserts a vaguely jazzy flourish (the brief clarinet passages in "Defeat Is Always Momentary" for instance) but the period detail is kept to a minimum. Having more may have helped give the score a shot of much-needed individuality. Action scenes, for instance, are set to the opulently orchestrated, frantic percussive rumble that is Hollywood short-hand for, well, action scenes. "Head Towards the Animals" and "Beauty Killed the Beast III" are just the most typical examples of that style: Howard gives these bravura numbers the requisite pounding intensity, but can we be blamed for feeling that we've heard them dozens of times before? Similarly, the composer sticks to the expected when he needs to get more contemplative, as on "A Fateful Meeting" (soothing strings, soothing clarinet) or "Beautiful" (flutes to suggest the exotic locale). In short, this album is everything you expect it to be. Which sometimes isn't quite enough. --Elisabeth Vincentelli

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