What Is The Last Score You Listened To? (older scores)

[Naïve Old Fart 9,520]

On 13/08/2016 at 10:09 PM, Strangways said:

The Perfect Storm, Summon the Heroes and some Cult TV themes -Man in a Suitcase, Dangerman (High Wire, several variations), Randall & Hopkirk, UFO etc.

 

UFO is a real groove!

Dig that Hammond b3 

 

On 12/08/2016 at 11:22 AM, Incanus said:

Total Recall by Jerry Goldsmith

 

Hellboy by Marco Beltrami

 

Omen III The Final Conflict by Jerry Goldsmith

 

Two brilliant scores...and "The Final Conflict". 

[Disco Stu 15,495]

Contact - Alan Silvestri

 

My heart melts every time. The Silvestri score that by far is closest to my heart.

[Incanus 5,714]

10 hours ago, Disco Stu said:

Contact - Alan Silvestri

 

My heart melts every time. The Silvestri score that by far is closest to my heart.

I should finally get around to listening to this one.

 

War of the Worlds by John Williams: Took a listen after a while. Still fantastic stuff. Menacing, viciously kinetic and violent but also contains superbly haunting and elegiac material amidst its end of the world timpani driven theatrics. Williams' use of human voices not only to humanize horror but to depict the other, the alien, is very much present here and works wonders, the choral shrieks, high pitch droning and the wordless basso profundo both unnerve and are most human of all sounds, which makes them all the more effective in their dichotomous task. I would call this the angrier cousin to Close Encounters, where dread doesn't give way to wonder and awe but to bittersweet relief and sorrow.

 

The Shawshank Redemption (LLL set) by Thomas Newman: There is something about Newman's style and sound that gets to me. Such a terrific yet often very quiet score that mostly just whispers and suggests rather than dictates.

 

Abzû by Austin Wintory: It still baffles me how this piece of music is written for a video game, that the people in charge allowed for such free musicality for the composer. At times this reminds me more of a cantata for choir and orchestra than something written as underscore for a visual medium. The more I listen the more I find in this. Bravo Mr. Wintory!

[Disco Stu 15,495]

7 hours ago, Incanus said:

I should finally get around to listening to this one.

 

 

I honestly have no clue how Contact plays to someone not familiar with the movie (assuming you aren't, correct me if I'm wrong). It's one of my favorite movies of all time, so the music has so many associations.

 

Anyway, you should especially give the track "Small Moves" a listen.  It's the emotional core.

[crocodile 8,008]

8 hours ago, Incanus said:

Abzû by Austin Wintory: It still baffles me how this piece of music is written for a video game, that the people in charge allowed for such free musicality for the composer. At times this reminds me of a cantata for choir and orchestra than something written as underscore for a visual medium. The more I listen the more I find in this. Bravo Mr. Wintory!

Also, it has one of the finest and most satisfying climaxes in recent memory. The way it builds on the foundations established earlier and go into this almost mystical mode somewhere in between Howard Shore and religious chanting. Stunning 14 minutes.

 

 Pan by John Powell

 

Karol

[Incanus 5,714]

12 minutes ago, crocodile said:

Also, it has one of the finest and most satisfying climaxes in recent memory. The way it builds on the foundations established earlier and go into this almost mystical mode somewhere in between Howard Shore and religious chanting. Stunning 14 minutes.

 

 Pan by John Powell

 

Karol

Wholeheartedly agreed. I love how beautifully constructed the whole score is and how everything in the end returns to that main theme heard on the first track and the cycle is complete.

[BloodBoal 7,538]

48 minutes ago, crocodile said:

 Pan by John Powell

 

It has one of the finest and most satisfying climaxes in recent memory. The way it builds on the foundations established earlier and go into this almost mystical mode somewhere in between Howard Shore and religious chanting. Stunning 14 minutes.

 

Yes!

[Faleel 5,346]

Pan i 14 minutes?

[Loert 2,511]

On 16/08/2016 at 2:32 PM, BloodBoal said:

Yes!

 

I was actually talking to my Dad a few weeks ago about how, only at the end of Pan, do we hear the theme that was present in the Opening Overture in its "completed" form. Up till that point we've always heard a version that's left "hanging", but the final track is the only point in the score where the melody is "resolved"...it's quite hard to explain, but it starts right at 2:35 here:

 

 

This is not a new trick by any means but a fairly good example of this kind of thing in recent film music.

 

----------------------------------------------------------

 

Anyway, today I listened to Star Trek II: Wrath of Khan (James Horner) for the first time...I liked it a lot. I listened to it twice through in the background and noted down my highlight tracks, and ended up highlighting everything apart from 3. Spock and 4. Kirk's Explosive Reply. So that's a good thing I guess!

 

[Nic Cage Fugue 19]

Pan is fun for sure. I think I prefer it to the How to Train Your Dragon scores, actually.

 

The Golden Compass by The Composer Desplat

 

I love this rich and complex score. The themes might be too subtle for some people but there are so many of them, and they're so beautifully intertwined, that it will take me years to unravel it all. Texturally it's a gorgeous work, too. The opening track, with its creaky woodwinds and subtle piano, perfectly sets the stage for the moody, intelligent, wildly ambitious score to come. The man could have written a couple of catchy fanfares and called it a day, but he treated the project with the same seriousness as Shore did LotR. It might not jump out at you on first or second or even third listens but it's got a depth and power that sticks with you. 

 

[BloodBoal 7,538]

4 hours ago, Nic Cage Fugue said:

Pan is fun for sure. I think I prefer it to the How to Train Your Dragon scores, actually.

 

I like you!

 

4 hours ago, Nic Cage Fugue said:

The Golden Compass by The Composer Desplat

 

 

I love this rich and complex score. The themes might be too subtle for some people but there are so many of them, and they're so beautifully intertwined, that it will take me years to unravel it all. Texturally it's a gorgeous work, too. The opening track, with its creaky woodwinds and subtle piano, perfectly sets the stage for the moody, intelligent, wildly ambitious score to come. The man could have written a couple of catchy fanfares and called it a day, but he treated the project with the same seriousness as Shore did LotR. It might not jump out at you on first or second or even third listens but it's got a depth and power that sticks with you.

 

 

An underrated score for sure.

[Incanus 5,714]

5 hours ago, Nic Cage Fugue said:

Pan is fun for sure. I think I prefer it to the How to Train Your Dragon scores, actually.

 

The Golden Compass by The Composer Desplat

 

I love this rich and complex score. The themes might be too subtle for some people but there are so many of them, and they're so beautifully intertwined, that it will take me years to unravel it all. Texturally it's a gorgeous work, too. The opening track, with its creaky woodwinds and subtle piano, perfectly sets the stage for the moody, intelligent, wildly ambitious score to come. The man could have written a couple of catchy fanfares and called it a day, but he treated the project with the same seriousness as Shore did LotR. It might not jump out at you on first or second or even third listens but it's got a depth and power that sticks with you. 

 

Yeap. It's a great score from Desplat and there are a lot of things going on constantly. He builds the score more subtly than your average fantasy adventure outing but it is very beautifully and carefully crafted musical tapestry.

 

Rambo: First Blood Part II (Intrada) by Jerry Goldsmith: This is another score I have not listened to properly up until now when I bought the new Intrada set and it is a pretty damn fine action score and a musical sequel to First Blood. Everything is a bit bigger, there is a new main theme but the old action rhythm and main theme come back at important moments to give a sense of continuity and emotional support. The action music is big, bold and propulsive and it might actually be the element that gives Stallone his heroic invincibility throughout the movie. Another great discovery for me from the JG treasure trove.

[Faleel 5,346]

Spartacus: Love theme  and variations - Various Artists

 

Despite the title there is not much variation,  very disappointing.

[Loert 2,511]

Krull - James Horner

 

Not as exciting as Star Trek II but sounds pretty similar...favourite tracks are:

 

Main Titles & Colwyn's Ar

Quest for the Gjaive

The Window's Web

Ynyr Death

Inside the Black Fortress

Death of the Beast

Epilogue & End Title

[Faleel 5,346]

No love for walk to  seers cave the

[crocodile 8,008]

The Black Dahlia (Mark Isham)

Zodiac (David Shire)

The Book Thief (John Williams)

Poltergeist II: The Other Side (Jerry Goldsmith)

Dead Ringers (Howard Shore)

 

 The Agony and the Ecstasy (Alex North)

 

Karol

[Faleel 5,346]

Batman and Robin

SPARTACUS. 

[Naïve Old Fart 9,520]

33 minutes ago, crocodile said:

The Black Dahlia (Mark Isham)

Zodiac (David Shire)

The Book Thief (John Williams)

Poltergeist II: The Other Side (Jerry Goldsmith)

Dead Ringers (Howard Shore)

 

 The Agony and the Ecstasy (Alex North)

 

Karol

 

Geez, Croc, that's an eclectic mix! There's classics, and one shiner, there.

[Not Mr. Big 4,639]

Pan 

Catch Me if You Can 

[Sir Hilary Bray 235]

The Hunt for Red October, expanded.

 

Fantastic.

[Simon McBride 113]

I was listening to The Incredibles earlier.

[Jay 37,353]

FOTR

 

FOTR

 

TTT

 

Half of ROTK

 

FOTR

 

FOTR

 

FOTR

[Faleel 5,346]

LOTR Animated

FOTR

[bollemanneke 3,343]

On ‎20‎/‎07‎/‎2016 at 7:26 PM, TheWhiteRider said:

I'm currently trying to endure The Definitive JW Collection by the City of Prague Philarmonic. Can anyone tell me how this orchestra got permission to release stuff? Every time I hear them play anything, the same problems occur: marvellous strings and choir, overbearing brass, and woodwinds/trumpets horribly tuned. Their Hook suite can't even be called a recording, it's more like a bunch of kids trying to have a go at something for the first time and not really knowing what they're doing. Honestly, it's a disgrace.

 

PS: I don't know why I keep quoting previous messages in this thread, just can't reply to this thread without quoting for some reason.

On ‎20‎/‎07‎/‎2016 at 7:26 PM, TheWhiteRider said:

 

 

[crocodile 8,008]

Dragonslayer (Alex North)

Sword and Sorcery: The Adventures of Conan (Basil Poledouris)

Return to Oz (David Shire)

Soul of the Ultimate Nation (Howard Shore)

 

 Something Wicked This Way Comes (Georges Delerue)

 

Karol

[Dixon Hill 4,234]

1 hour ago, bollemanneke said:

PS: I don't know why I keep quoting previous messages in this thread, just can't reply to this thread without quoting for some reason.

 

 

I never said any of that!

[bollemanneke 3,343]

I know. Apologies. I jsut couldn't write the message without quoting you for some reason. I don't understand why it happened, it's sorted now though.

[Koray Savas 2,251]

If you quote someone and then never post, and come back to that same thread later, the quote will still show up in your reply box. It takes a bunch of ctrl-a and backspacing to delete the mother fucker.

[bollemanneke 3,343]

I'll give that a go, but so far it isn't working. I never quote anyone because that function confuses my screenreader for some baffling reason. I don't seem to be able to get rid of the empty quotes either. Oh well, the noble quest continues.

[Dixon Hill 4,234]

I'm just very quotable.

[Bespin 8,480]

Now listening to an Alexandre Desplat introduction playlist
 

 

[Incanus 5,714]

Rambo: First Blood Part II by Jerry Goldsmith

Stargate by David Arnold

The Ghost and the Darkness by Jerry Goldsmith

Blue Max (Tadlow re-recording) by Jerry Goldsmith

[crocodile 8,008]

In continuation of my fantasy music marathon (of sorts)...

 

Beauty and the Beast by Georges Auric

Maleficent by James Newton Howard

Lair by John Debney and Kevin Kaska

Legend by Jerry Goldsmith

 

 Kobo and the Two Strings by Dario Marianelli

 

Karol

[Bespin 8,480]

15 hours ago, Bespin said:

Now listening to an Alexandre Desplat introduction playlist
 

 

 

Not bad, I didn't know him very well.  But this is not really my style.

 

I'm a fan of chanson before everything.  So I love melodies.

 

It seems to me that Desplat is not a melodist.

 

Desplat use lot of cyclic motives (sometimes in the melody, sometimes as the rythmic base), that repeats and repeats... varies... and repeats...

 

That's modern, this set ambiances very well... Desplast surely knows his thing, he knows music... classical music and jazz... and he's capable of doing many and various things and to choose the right ambiance for every movie he scores... but his music remains definitely... european. :-)

 

I prefer a more romantic approach with strong melodies and great virtuosity. I guess this is why I love John Williams's music!

[crocodile 8,008]

 Lady in the Water by James Newton Howard. One of his absolute finest. And one of the best 00's big scores. And the album is a perfect assembly. The only gripe is that it doesn't have a clean ending and transitions directly into the song. Shame.

 

Karol

 

 

[Marian Schedenig 8,193]

Yes to everything.

[publicist 4,643]

I have at least 12 minutes more and don't want to part with any of it.

 

This is kind of fun:

 

 

[Nic Cage Fugue 19]

Basil would have been 71 yesterday. 

 

Robocop by Basil Poledouris

 

A classic for a reason. Mind-meltingly good mix of orchestra and synth. Teases you with snippets of the main theme to build expectation. And what a main theme it is when it arrives: heroic and memorable and vaguely sinister at the same time. 

 

 

 

[#SnowyVernalSpringsEternal 10,265]

Outstanding score. Despite the dark tone of the film the music is at times surprisingly bright and optimistic. Certainly compared to what would nowadays be written for a film like this.

 

The main Robocop theme is excellent, but the secondary "knight in shining armour" theme might be even better. Love the way Poledouris uses one as counterpoint for the other at times.

[Not Mr. Big 4,639]

Chronicles of Narnia: Prince Caspian 

I really like the tonal/thematic music.  If only the action music was better (one area that David Arnold improved upon in Narnia 3)

[Incanus 5,714]

Angela's Ashes by John Williams

 

[Naïve Old Fart 9,520]

Ooh, that's a good one.

"Plenty Of Fish And Chips In Heaven" is lovely.

[Incanus 5,714]

9 hours ago, Richard said:

Ooh, that's a good one.

"Plenty Of Fish And Chips In Heaven" is lovely.

The whole album is lovely, in my JW top 3 actually.

[crocodile 8,008]

 The BFG (John Williams). Well... not the entire album. The only two tracks I revisit are... the suite (of which the concert version is better)... and this wonderful cue (I wish the rest of this score was more like this):

 

 

Karol

[Jay 37,353]

No love for The Witching Hour?

[Quintus 5,399]

On 21/08/2016 at 9:17 PM, Koray Savas said:

If you quote someone and then never post, and come back to that same thread later, the quote will still show up in your reply box. It takes a bunch of ctrl-a and backspacing to delete the mother fucker.

 

It'll actually retain the text for some other post in some other thread on some other day. 

[crocodile 8,008]

45 minutes ago, Jay said:

No love for The Witching Hour?

That would come third.

 

 Chinatown (Jerry Goldsmith). The complete score as heard on Intrada album, with no source music. Fun fact: I've never heard this music apart from the film (apart from one cue in concert). I know if, of course, but never owned any album. It's a really strange amalgam of a score: somewhere between traditional noir and Goldsmith's more modernistic writing (reminds me of Capricorn One, of all things). Good purchase.

 

Karol

[crocodile 8,008]

 Rambo: First Blood Part II by Jerry Goldsmith

 

Karol

[Nic Cage Fugue 19]

On August 20, 2016 at 3:04 PM, Strangways said:

The Hunt for Red October, expanded.

 

Fantastic.

 

It's fascinating how the movie score opens with the five-minute Hymn of Red October, which plays uninterrupted over the opening scenes of the movie. This piece lays out all of the score's thematic material. Almost everything that comes after is derived from that hymn; even the suspense and action cues come out of it. This shows the tremendous amount of confidence director McTiernan had in Poledouris, that essentially this one piece of music would be allowed to drive his movie. It's such a bold decision and I can't think of a modern film scored this way. 

[Faleel 5,346]

War of the Worlds - John Williams

20 hours ago, Incanus said:

The whole album is lovely, in my JW top 3 actually.

Its my #1.