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4.7 out of 5 stars
4.7 out of 5 stars
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on January 22, 2004
This is one of those CDs that really deserves 5 stars - it has variety, artistry, and a sort of odd progression to it that makes it good for studying, the car, doing dishes, etc. The best thing about this soundtrack is that it stands alone musically, and doesn't require the movie to help it make musical sense, something many soundtracks (such as, pardon me, Braveheart) ultimately fail to do, and also provides an amazing variety. Listening to this CD is like going on a journey every time. It sounds like a beautiful story.
A lot of reveiewers are talking about the movie - I only saw it once a long time ago, and didn't think it was that great - I'll just talk about the music. The bizarre pairing of Randy Edelman and Trevor Jones is one that works out very well. The beginning of the CD is fused with more energetic pieces, music that sounds like someone is running around outside in the forest. Then it switches to a mood like everyone is packing for a journey and starting out. Then stopping for water. Then etc. Eventually it goes through multiple transformations and the last tracks wind up as some of the most haunting, moving, and peacefully disturbing score pieces around. And then it ends with the perfect chord that sums up the trip, and makes you want to start it over.
This CD is my favorite soundtrack, and I don't say that lightly. It has been for the last 8 years, despite all the good stuff Hans Zimmer's been putting out.
Give it a try! You won't be disappointed if you're in the mood for a quality composition that tells a tale of it's own.
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on April 24, 2004
I must confess I am a avid collector of soundtracks. Many times I buy the soundtrack before seeing the movie. I saw this movie about 10 times before buying the soundtrack. I like the music and when playing the CD I relax and close my eyes. The music pulls you in and the feeling is unique. Buy the CD and when you play it the first time turn up the volumn slightly higher than you normally do. The music is unique and timeless.
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on October 22, 2003
Loved the film. Atmospheric. D.Lewis was a very credible Hawkeye. The elder Indian Chingachook? was excellent. The final scene when he bade farewell to his only child Uncas was moving....minimum emotion but powerful. ALso loved the opening ecene when he paid tribute to the deer they had killed for food.
The nobility of the native americans came across...Well done all.
Re`the music...all appropriate. The Clannad song I Will Find You is beautiful...the full version is available on the Best of Clannad...One reviewer described it as `corny` but I couldn`t is one of the most effective scenes in the film...when Hawkeye, Uncas and his father hunt the renegade Mohawks and the captive girls...haunting and atmospheric.
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on September 6, 2003
This Cd was much of what I expected. However I was severely disappointed when It came to I will find you- Clannad, which was one of the major factors in me getting this rather than just picking up the score at my local department store. In the movie this particular song is several minutes long with a number of verses, but on the cd they give you 1:42 which is just the first verse, you don't even get the verse for which the song was named.
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on November 17, 1999
While I don't rate this quite a five star score, it's pretty close. I didn't have any interest in the soundtrack, and haven't seen the movie; but when I followed a link off another of Edelman's scores (Dragonheart, which is a definite must have masterpiece of brilliance!) and read all the good reviews, I decided to give it a try. I did have some misgivings though, and didn't expect to be really wowed by it, as so many others were. I hadn't even heard of Trevor Jones before, and wasn't sure if I would like his stuff. I'd really liked Edelman's stuff though, so I figured at least his tracks would be good.
Well, when I received it and first played it, I was grabbed from the very beginning, and taken on a ride. From the beautiful and triumphant main theme, to the captivating romance themes laced with celtic violin (or fiddle) playing, to the driving, but not obnoxious action cues, I thouroughly enjoyed the listening experience. I would dare say I even liked it better than the highly touted Braveheart soundtrack, although I must admit that I do not own that one, and have not heard it as much as others. The funny thing was, I got it mainly with Edelman's pieces in mind, and was not overly impressed with those. They were not bad, but they were not nearly as good as some of his other works. They were a lot more subdued, especially compared to Jones' tracks earlier. At times it was a bit repettitive, but not really bad. While I don't really have anything bad to say about this soundtrack, it just doesn't quite get the full 5 stars in my book. But when you have about 60 scores, there's a lot more competiotion. Still, it is a VERY good soundtrack, and definitely worth getting if you like pretty, powerful, romantic, and moving music!
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on December 3, 2002
LAST OF THE MOHICANS is one of the better films of recent memory. Unfortunately, the score is hit and miss. While composers Jones (DARK CITY) and Edelman (GETTYSBURG) both have extensive soundtrack credits, their 'combined' work here is schizophrenic. Both composers present beautiful themes, but overall the album has a strange, unsatifying feel about it. The music ranges from gorgeous to pedestrian and one of my problems with this album is that the main title motif pops up ad nauseum all over the place. James Horner did this to much better effect on his BRAVEHEART score, often using the same or similar motifs throughout. Here, the beautiful main title is ground into dust. It's like my father said after first hearing the album, "Half of these songs sound the same." That's because THEY ARE. It's literally the same theme over and over and it gets to be tiresome. It's almost as if Jones was suffering from a mental block and was unable to compose more than a few different songs for the film so he just kept bringing the one big theme back over and over. The fact the Edelman also does some music may lend creedence to this theory. When was the last time you saw a major film that had two different composers penning its score? I can't think of any off hand. It would be like John Williams and James Horner each scoring half of the next Spielberg film, or Bernard Herrmann scoring half of a Hitchcock film with someone else. Or John Barry scoring half of a JAMES BOND film. It's just wierd. This score is more like half and album -it never really comes together the way it should.
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on January 5, 1999
This superb effort from Jones and Edelman wonderfully evokes the romance of the classic story it accompanies. Yes, it is a touch melodramatic at times, but it certainly suits the pictures on the screen at any given point in the film. Jones in particular has created a truly classic soundtrack by threading the theme through different moods of the film with such accomplishment. It appears numerous times through the 110 minute film, and never seems repetitive. He has also (if this doesn't sound odd) made this music belong solely to the film. Allow me to elaborate: Ever hear a piece of music and instantly think of the film (Layla in Goodfellas, Stuck in the Middle With You, etc)? Well that's when you know when a soundtrack moment is perfect. The same goes for Mohicans, with the track Promentory - all you see is Daniel Day-Lewis and Russel Means going after Wes Studi. It is simply...perfect. (Three years later they used that music over the preview for Ethan Frome - I was disgusted) My only problem with this soundtrack is that they have cut Promentory shorter than it is in the film - this really pisses me off - I'm buying the soundtrack, is it too much to ask that I get exactly that? The version here goes for about four minutes, which is just over half of the version in the film, and is missing exactly the point of the original piece - a long and determined climb to confrontation encompassing the thoughts and actions of several characters. A great disappointment on an otherwise excellent achievement (of course not the fault of the copposer).
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on February 11, 2000
Well, I remembered seeing this movie in the theatres 8 years ago (was it that long) and the music was very inspiring to say the least. The music is powerful and very, sometimes, nerve-racking to listen to.
One disappointment on the CD for me is that they excluded the credits music, which was sad and very emotional considering the ending of the movie. Also the version of the Clannad song is shorter and different, but all the songs sound different from what they were on the movie, which was a disappointment for me (especially the promontory part of which I would like to add they spelled wrong on the CD...)
Finally, I would like to add that most of the music is a variation of something already done, which is not a bad thing, but it just seems weird that they don't give some of the credit where its deserved. The movie credits mention "The Geal," by Dougie Maclean and the rose garden house song I can never remember. But the canoe/massacre song is from Carmina Burana, and I have never seen any source give reference to that.
Overall the music is very good, even if not the exact same as the movie.
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on June 11, 2004
I purchased this cd after reading the reviews of this release (original 1992) and the 2000 recording. Most of the commentators seem to have missed an important issue. While the original release is exactly that -- the soundtrack of the movie -- and that music is gorgeous -- the recording of that music is not what anyone with a good stereo system will enjoy. The sound, perhaps ok for theater, and maybe acceptable in Dobly 5.1 -- though I haven't really tried it that way -- sounds monophonic on a decent stero system. There is no real sense of space, very little left and right information, very little depth. The orchestra sounds as if it is playing in a cave and the listener is standing some distance from the cave mouth.
This problem is fairly easily rectified if you have a good audio massage program. CDex will rip the tracks to wave files (.wav) and remix the right and left channels for better separation (J-stereo). Then you can transfer the newly mixed files to a cd-rom for playback in any dvd/cd player. It sounds MUCH better this way -- much more like live music.
But if all this sounds like too much work AND you care about realistically reproduced music, you may be better off purchasing the 2000 release. While I haven't auditioned it except for the online sound bites, it's likely to be the better recording. If you can't tell left from rght channel audio or you like monophonic sound, then by all means, buy the 1992 release.
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on September 30, 2002
This OST consists of 16 incredibly beautiful and deeply moving music that complemented scenes from the movie perfectly. Trevor Jones composed the first 9 tracks of the album, while Randy Edelman wrote Tracks 10 - 15 (Track 16 is a short song by the group Clannad). Both Jones and Edelman did a brilliant job on the album, although Jones's "Main Title" and another track, "Promentory" remain the most memorable numbers (and my favourites). I also like Jones's "The Kiss" and "The Glade Part II".
A couple of Edelman's compositions which I find truly beautiful and outstanding are "The Courier" and "Cora".
I play this soundtrack every morning before leaving for work and first thing upon returning home. The music soothes the soul and makes me think (and dream) of the movie a lot, especially of the handsome and heroic Uncas, who's my favourite character in the movie. In my mind and heart, "Promentory" will always be Uncas's song (it recalls vividly to the mind the poignant scene towards the end of the movie of Uncas climbing the cliffs determinedly and fearlessly in order to rescue his love, Alice).
How I adore the movie and its music! They will remain my favourites FOREVER.
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