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Track List
01) Main Title (Terminator 2 Theme)
02) Sarah on the Run
03) Escape From the Hospital (and T1000)
04) Desert Suite
05) Sarah's Dream (Nuclear Nightmare)
06) Attack on Dyson (Sarah's Solution)
07) Our Gang Goes to Cyberdyne
08) “Trust Me”
09) John & Dyson Into Vault
10) Swat Team Attacks
11) “I'll Be Back”
12) Helicopter Chase
13) Tanker Chase
14) “Hasta La Vista, Baby” (T1000 Freezes)
15) Into the Steel Mill
16) Cameron's Inferno
17) Terminator Impaled
18) Terminator Revives
19) T1000 Terminated
20) “It's Over” (“Good-Bye”)
01) Main Title (Terminator 2 Theme)
02) Sarah on the Run
03) Escape From the Hospital (and T1000)
04) Desert Suite
05) Sarah's Dream (Nuclear Nightmare)
06) Attack on Dyson (Sarah's Solution)
07) Our Gang Goes to Cyberdyne
08) “Trust Me”
09) John & Dyson Into Vault
10) Swat Team Attacks
11) “I'll Be Back”
12) Helicopter Chase
13) Tanker Chase
14) “Hasta La Vista, Baby” (T1000 Freezes)
15) Into the Steel Mill
16) Cameron's Inferno
17) Terminator Impaled
18) Terminator Revives
19) T1000 Terminated
20) “It's Over” (“Good-Bye”)
1:58
2:34
4:35
3:28
1:51
4:08
3:11
1:39
0:44
3:25
4:00
2:27
1:43
3:03
1:27
2:39
2:06
2:15
1:43
4:35
Data Complete
50%
Total Rating
50%Total Rating
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Back Cover
CD Art
3D Case
3D Thumb
3D Flat
3D Face
3D Spine
First Released
1991
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Medium
Album
0 copies
Album Description
Available in:
James Cameron's Terminator 2: Judgment Day set a new benchmark for action movies on its release in 1991 and went on to become the biggest grossing film of the year, winning four Oscars. The most expensive movie ever made up to that point, it has become one of the most influential films of its era thanks to its ground-breaking special effects work. Brad Fiedel's score was created on two Fairlights with instrumentation overlaid and has since become an inspiration for many musicians and filmmakers. The soundtrack has been unavailable for sometime and this new remastered edition includes notes from the composer.
The score by Brad Fiedel was commercially released as the Terminator 2: Judgment Day (Original Motion Picture Soundtrack) CD and cassette tape and contained twenty tracks with a runtime of 53 minutes. The score spent six weeks on the Billboard 200, reaching a peak of No. 70.
The film also features You Could be Mine by Guns N' Roses, and Bad to the Bone by George Thorogood, but they are not featured on the official soundtrack.
User Album Review
he re-appearance of the T2 soundtrack (originally released on Varèse Sarabande in 1991) prompts the question: whatever happened to its composer, Brad Fiedel?
A one-time keyboard player for Hall and Oates, in the decade from 1984 following the release of The Terminator, Fiedel looked a sure bet for a long and prominent career scoring big-budget films. But within four years of T2’s release, Fiedel had fled the movie house for the more domestic confines of TV.
His disenchantment with film may have had something to do with the reception that greeted the announcement that he was to return to scoring duties for T2. Musical cineastes reacted at the time with scepticism and concern, as if Fiedel’s slicing, metallic-edged, brutally onomatopoeic signature was somehow inappropriate for über-director James Cameron’s dystopian vision of a world threatened by militaristic machines. (Even so, Fiedel’s return was a considerably less curious proposition than Danny Elfman being signed to score 2009’s Terminator Salvation.)
From the reprise of the ominously braying five-note main theme, he takes the tone of his original score down by several degrees to squat on and scurry around a glacial, orchestrally deracinated landscape, while also raising its already turbulent temperament to a feverish delirium in the cacophonous set pieces.
There is something appropriately morbid about the relentless, rhythmically manic insistence of Fiedel’s clashing, clattering collision between intimidating electronic whine and screech and blocks of pounding percussion. If anything, it sounds like musique concrete being pummelled and shattered to dust. Even the few moments of respite seem to hunker forlornly under low-lying leaden skies.
With hindsight, T2 emerges as an almost faultless soundtrack, exhaustingly bombastic and ear-splittingly uncompromising as it is. Instead of expanding on the original, Fiedel boils it down, distilling it into a concentrated, metal-clad clenched fist that pounds furiously away with nightmarish intent. As a threnody for the catastrophic events it accompanies, Fiedel’s score is a coruscating cinematic masterpiece.
It’s not an easy listen, by any means, but its sheer conviction and willingness to pursue so intense a musical idea – one that vehemently refuses to be diluted by harmonic warmth – makes the soundtrack to T2 all the more compelling.
External Album Reviews
None...
User Comments
Available in:
James Cameron's Terminator 2: Judgment Day set a new benchmark for action movies on its release in 1991 and went on to become the biggest grossing film of the year, winning four Oscars. The most expensive movie ever made up to that point, it has become one of the most influential films of its era thanks to its ground-breaking special effects work. Brad Fiedel's score was created on two Fairlights with instrumentation overlaid and has since become an inspiration for many musicians and filmmakers. The soundtrack has been unavailable for sometime and this new remastered edition includes notes from the composer.
The score by Brad Fiedel was commercially released as the Terminator 2: Judgment Day (Original Motion Picture Soundtrack) CD and cassette tape and contained twenty tracks with a runtime of 53 minutes. The score spent six weeks on the Billboard 200, reaching a peak of No. 70.
The film also features You Could be Mine by Guns N' Roses, and Bad to the Bone by George Thorogood, but they are not featured on the official soundtrack.
User Album Review
he re-appearance of the T2 soundtrack (originally released on Varèse Sarabande in 1991) prompts the question: whatever happened to its composer, Brad Fiedel?
A one-time keyboard player for Hall and Oates, in the decade from 1984 following the release of The Terminator, Fiedel looked a sure bet for a long and prominent career scoring big-budget films. But within four years of T2’s release, Fiedel had fled the movie house for the more domestic confines of TV.
His disenchantment with film may have had something to do with the reception that greeted the announcement that he was to return to scoring duties for T2. Musical cineastes reacted at the time with scepticism and concern, as if Fiedel’s slicing, metallic-edged, brutally onomatopoeic signature was somehow inappropriate for über-director James Cameron’s dystopian vision of a world threatened by militaristic machines. (Even so, Fiedel’s return was a considerably less curious proposition than Danny Elfman being signed to score 2009’s Terminator Salvation.)
From the reprise of the ominously braying five-note main theme, he takes the tone of his original score down by several degrees to squat on and scurry around a glacial, orchestrally deracinated landscape, while also raising its already turbulent temperament to a feverish delirium in the cacophonous set pieces.
There is something appropriately morbid about the relentless, rhythmically manic insistence of Fiedel’s clashing, clattering collision between intimidating electronic whine and screech and blocks of pounding percussion. If anything, it sounds like musique concrete being pummelled and shattered to dust. Even the few moments of respite seem to hunker forlornly under low-lying leaden skies.
With hindsight, T2 emerges as an almost faultless soundtrack, exhaustingly bombastic and ear-splittingly uncompromising as it is. Instead of expanding on the original, Fiedel boils it down, distilling it into a concentrated, metal-clad clenched fist that pounds furiously away with nightmarish intent. As a threnody for the catastrophic events it accompanies, Fiedel’s score is a coruscating cinematic masterpiece.
It’s not an easy listen, by any means, but its sheer conviction and willingness to pursue so intense a musical idea – one that vehemently refuses to be diluted by harmonic warmth – makes the soundtrack to T2 all the more compelling.
External Album Reviews
None...
User Comments
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