Incanus 5,713 Posted November 16, 2017 Share Posted November 16, 2017 7 hours ago, JohnSolo said: E.T. The Extra-Terrestrial (35th Anniversary Remastered Edition) Man that set is great and the design by Jim Titus is wonderful, especially that cover. John 1 Link to comment Share on other sites More sharing options...
Jurassic Shark 12,033 Posted November 16, 2017 Share Posted November 16, 2017 9 hours ago, TheGreyPilgrim said: I do wonder why he still takes projects on. I don't think he was ever enamored of the job. I guess he can't just stop composing. Link to comment Share on other sites More sharing options...
publicist 4,643 Posted November 16, 2017 Share Posted November 16, 2017 It's the right season for this not-quite-top late Horner entry that still manages a few tricks not ploughed to death over several decades (yes, there is a 2-second allusion to the danger motif). 15 minutes of evocative music can be salvaged from this (tracks 1, 2, 5, 9, 10, 12), the rest is mostly halting string chords forever wafting away into the ozone. Still, the Brahms-inspired piano lullaby and dreamy, minimalist arpeggios foreshadowing a doomed end are welcome diversions. Link to comment Share on other sites More sharing options...
Naïve Old Fart 9,508 Posted November 16, 2017 Share Posted November 16, 2017 On this day, it seems fitting to listen to CLOSE ENCOUNTERS OF THE THIRD KIND, by John Williams. Link to comment Share on other sites More sharing options...
publicist 4,643 Posted November 16, 2017 Share Posted November 16, 2017 Link to comment Share on other sites More sharing options...
Jurassic Shark 12,033 Posted November 16, 2017 Share Posted November 16, 2017 9 hours ago, Richard said: On this day, it seems fitting to listen to CLOSE ENCOUNTERS OF THE THIRD KIND, by John Williams. Really, by John Williams? Link to comment Share on other sites More sharing options...
Faleel 5,342 Posted November 16, 2017 Share Posted November 16, 2017 Minority Report Link to comment Share on other sites More sharing options...
Naïve Old Fart 9,508 Posted November 16, 2017 Share Posted November 16, 2017 Well, I've just finished listening to CLOSE ENCOUNTERS OF THE THIRD KIND, by John Williams. It confirms what I've thought for 40 years: it is, quite simply, the best damned film score I've ever heard. Link to comment Share on other sites More sharing options...
Unlucky Bastard 7,782 Posted November 16, 2017 Share Posted November 16, 2017 It's alright, huh? Link to comment Share on other sites More sharing options...
Dixon Hill 4,233 Posted November 17, 2017 Share Posted November 17, 2017 23 hours ago, Jurassic Shark said: I guess he can't just stop composing. He does write other music. Link to comment Share on other sites More sharing options...
Naïve Old Fart 9,508 Posted November 17, 2017 Share Posted November 17, 2017 9 hours ago, Baby Jane Hudson said: It's alright, huh? It'll do, until a better score comes along. Link to comment Share on other sites More sharing options...
Unlucky Bastard 7,782 Posted November 17, 2017 Share Posted November 17, 2017 17 minutes ago, Richard said: It'll do, until a better score comes along. Yeah, but they're all dead. Jurassic Shark 1 Link to comment Share on other sites More sharing options...
Jurassic Shark 12,033 Posted November 17, 2017 Share Posted November 17, 2017 3 hours ago, TheGreyPilgrim said: He does write other music. Indeed, but I believe it's easier to get inspiration if the music is commissioned for a specific use, like film music, ballet, and so on. Link to comment Share on other sites More sharing options...
Dixon Hill 4,233 Posted November 17, 2017 Share Posted November 17, 2017 6 hours ago, Jurassic Shark said: Indeed, but I believe it's easier to get inspiration if the music is commissioned for a specific use, like film music, ballet, and so on. Do you mean in general? Because I don't think that's the case with Glass. Link to comment Share on other sites More sharing options...
James 119 Posted November 17, 2017 Share Posted November 17, 2017 I watched a little of the movie in the hospital waiting room and decided to visit it again. Dixon Hill 1 Link to comment Share on other sites More sharing options...
Incanus 5,713 Posted November 17, 2017 Share Posted November 17, 2017 The Empire of the Sun by John Williams: The LLL set is just awesome. I love the score from start to finish. The additional material is sprinkled throughout the expanded edition and in my opinion enhances the overall architecture of this eclectic score and the second disc with alternates is just as interesting not only as a glimpse to the creative process of film scoring but on purely musical grounds. Top drawer JW drama score that really dives surprisingly deep into the subject matter. The Fury by John Williams: Another terrific LLL set (although the Varese one is almost as good) of a wonderfully visceral dark horror and delicious melodrama with brief glimpses of lighter material for Gillian and Hester. The OST re-recording is the more powerful version with LSO providing a resounding performance but the original film score does have its moments. I especially like the smaller subtler variations on the main theme Williams provides amidst the often raucous horror scoring which btw is absolutely awesome in its thunderous might. I remember being enamored with this music from the first time I heard the main title on the Varese OST album and time hasn't diminished the appeal. Link to comment Share on other sites More sharing options...
Jurassic Shark 12,033 Posted November 17, 2017 Share Posted November 17, 2017 3 hours ago, TheGreyPilgrim said: Do you mean in general? Because I don't think that's the case with Glass. Maybe that explains why so many of his film scores sound uninspired. Link to comment Share on other sites More sharing options...
Dixon Hill 4,233 Posted November 17, 2017 Share Posted November 17, 2017 Listened to the new ET release. It's great, of course, but can't touch that other abbreviated Williams score. Justice League was ok. Pretty flat and unengaging but well written, and I liked the recording. I fully expect it to be tonally at odds with the film to at least some degree though. 4 minutes ago, Jurassic Shark said: Maybe that explains why so many of his film scores sound uninspired. I'll let him know you're not a fan. Link to comment Share on other sites More sharing options...
Jurassic Shark 12,033 Posted November 17, 2017 Share Posted November 17, 2017 On 17.11.2017 at 8:18 PM, TheGreyPilgrim said: I'll let him know you're not a fan. I like some of his works a lot, but far from everything he writes. Link to comment Share on other sites More sharing options...
Popular Post publicist 4,643 Posted November 17, 2017 Popular Post Share Posted November 17, 2017 From time to time i lose myself in that trippiest of late 60's Goldsmith outings (even bis his standards this is pretty wild stuff). 'The Illustrated Man', textbook case of 'intriguing premise, awful execution', concerns itself with framing a few Ray Bradbury short stories within the story of a drifter who meets a mysterious, eccentric guy whose body is full of skin illustrations - each of which cause hallucinations to those staring to closely at them. The framing story actually is the most interesting aspect of this misbegotten affair, as the stories revolving past and future go nowhere. The score finds its most accessible moments in that framing story for which Goldsmith wrote a simple plainsong, almost impressionist in its detached harmonic choices, that is first sung evocatively over images of a guy swimming in a lake. He will deconstruct the core notes within the body of the score later but concentration has to be paid: this is a far way from the audience-pleasing 80's/90's era but intellectually it's very rewarding. Most interesting is the instrumental cast of only a few players (strings, woodwinds, glockenspiel, recorder, a set of ancient synths) that Goldsmith as usually employs in sparse, airy settings where there is no random musical gesture. of course the beeps and blings that illustrate future times seem anachronistic today they still are not just ends in itself - the sense of architecture is always there. While such chamber music may turn modern listeners off just by the fact that our ears have been trained to appreciate masses of sounds, with lots of chugging motion once you break that spell these scores are fascinating musical objects to study. This may really not a score for everyday, but if you look for a stimulating-if-hard earned time with a score (for a change), you could do worse (substance abuse may help, too). Thankfully the movie is obscure enough that there is zero chance it will dampen your enthusiasm with its lackluster storytelling. Dixon Hill, James and Romão 2 1 Link to comment Share on other sites More sharing options...
Dixon Hill 4,233 Posted November 17, 2017 Share Posted November 17, 2017 Damn, what a hidden find. Thanks for posting. Link to comment Share on other sites More sharing options...
Romão 2,274 Posted November 17, 2017 Share Posted November 17, 2017 I love that one Link to comment Share on other sites More sharing options...
Faleel 5,342 Posted November 17, 2017 Share Posted November 17, 2017 Tintin Link to comment Share on other sites More sharing options...
KK 3,307 Posted November 17, 2017 Share Posted November 17, 2017 Darkest Hour by Dario Marianelli Less subtle than his usual work. This score is not shy about its intentions, as I suspect the film might not be. But it's all cleverly crafted nonetheless. Not unlike a Desplat score, but with Marianelli's characteristic cadences. There are a lot of well-thought out constructs buried in here. And as with most of the composer's work, I expect this to be even more rewarding with repeat visits. Also, one of the main themes seem to draw from the Dunkirk material in his Atonement score, perhaps intentionally so. Link to comment Share on other sites More sharing options...
publicist 4,643 Posted November 18, 2017 Share Posted November 18, 2017 It's solid. In the 5 Stages of Grief & Loss i have long arrived at 'acceptance' level in regards to boring minimalist trailer music clichés that Marianelli has to serve time and time again, but then you get a droll classicist miniature like 'Winston and George' and all is well again. Sadly these moments are fleeting and why oh why anyone requests a Churchill biography to sound like a Zimmer Batman score (at times) is beyond my comprehension. Link to comment Share on other sites More sharing options...
BloodBoal 7,538 Posted November 18, 2017 Share Posted November 18, 2017 It's to convey the idea that Churchill was a superhero. Link to comment Share on other sites More sharing options...
publicist 4,643 Posted November 18, 2017 Share Posted November 18, 2017 connery? Link to comment Share on other sites More sharing options...
crocodile 7,990 Posted November 18, 2017 Share Posted November 18, 2017 8 minutes ago, publicist said: It's solid. In the 5 Stages of Grief & Loss i have long arrived at 'acceptance' level in regards to boring minimalist trailer music clichés that Marianelli has to serve time and time again, but then you get a droll classicist miniature like 'Winston and George' and all is well again. Sadly these moments are fleeting and why oh why anyone requests a Churchill biography to sound like a Zimmer Batman score (at times) is beyond my comprehension. 9 hours ago, KK said: Darkest Hour by Dario Marianelli Less subtle than his usual work. This score is not shy about its intentions, as I suspect the film might not be. But it's all cleverly crafted nonetheless. Not unlike a Desplat score, but with Marianelli's characteristic cadences. There are a lot of well-thought out constructs buried in here. And as with most of the composer's work, I expect this to be even more rewarding with repeat visits. Also, one of the main themes seem to draw from the Dunkirk material in his Atonement score, perhaps intentionally so. So is it a Dunkirk spin-off then? Karol Link to comment Share on other sites More sharing options...
BloodBoal 7,538 Posted November 18, 2017 Share Posted November 18, 2017 1 minute ago, publicist said: connery? I'm tired! Leave me alone! Link to comment Share on other sites More sharing options...
KK 3,307 Posted November 18, 2017 Share Posted November 18, 2017 Let's just say it has more in common with V for Vendetta (also a very fine genre score) than it does Jane Eyre. 16 minutes ago, publicist said: It's solid. In the 5 Stages of Grief & Loss i have long arrived at 'acceptance' level in regards to boring minimalist trailer music clichés that Marianelli has to serve time and time again, but then you get a droll classicist miniature like 'Winston and George' and all is well again. Sadly these moments are fleeting and why oh why anyone requests a Churchill biography to sound like a Zimmer Batman score (at times) is beyond my comprehension. Lovely cue, that one. The only parts that I'd take out are some of the bombing cues. Parts of it bring Desplat's The Queen to mind. And as with most Marianelli scores, its well written. I just wish we had more harmonically interesting material in there. One of the finer scores of the year. Link to comment Share on other sites More sharing options...
crocodile 7,990 Posted November 18, 2017 Share Posted November 18, 2017 Marianelli's Paddington 2 is actually quite nice too. Karol Link to comment Share on other sites More sharing options...
publicist 4,643 Posted November 18, 2017 Share Posted November 18, 2017 A bit too cute but yes... Link to comment Share on other sites More sharing options...
KK 3,307 Posted November 18, 2017 Share Posted November 18, 2017 Have to check that one out. Glad he's having a good year. Link to comment Share on other sites More sharing options...
publicist 4,643 Posted November 18, 2017 Share Posted November 18, 2017 Thanks to Prometheus' recent digital frenzy you are now able to enjoy most of their recent re-recordings and this old John Sturges western merits special mention (as in dark horse). It's another Wyatt Earp story, though told through the perspective of a later trial about what happened at the OK corral. It's of course as far as removed from the Tiomkin bombast of the classic 1958 Kirk Douglas movie - James Garner fills his shoes here - as possible. It's another great musical character study with a catchy theme that may not be the first Goldsmith you would choose for a new interpretation, but hey... The main theme is introduced tentatively, fragmentary in the 5-minute opening cue that accompanies the build-up to the shootout and cold stops when the gunfight begins. Like the movie itself, the music is more of a haunted character study with a few exciting breakouts of action and scenery-painting along the way. That the nuanced orchestration really shines is one of the achievements of this recording: it's not a huge orchestra but when it roars it's sounds impressively big (The Ballot Box, The Ambush, Whose Cattle) even if those moments soon make way for more suspenseful, even anguished material that forms the bulk of the score. The final moments of thoughtful americana (A Friendly Lie) for the goodbyes of Earp and Holliday and a few developed readings of the main theme warrant mention, though my final verdict is that it's a great, intelligent score from a time when movie music was not just another molass-like layer on the sound track but the understated nature of the movie make it more an interesting curiousity item for Goldsmith fans than an out-and-out listening pleasure (The Blue Max is the clear winner here). Listen for a short (indeed, perfect) suite of Goldsmith's own 'Red Pony', about 14 minutes in length, with maybe his best tip of the hat to Copland next to 'Wild Rovers', another painterly classic western story (probably the 'Waltons', too, though i never heard much of that). It's classic americana in the best sense, and easier to get acquainted with than the darker 'Gun'. Playing is mostly top notch though you wish a few times the engineer would have payed more attention to Goldsmith's own mixes on the old soundtrack: a big horn counterpoint late in 'Ballot Box' is botched even if it practically begs to be at the center. Overall it's still impressive and recommended. Link to comment Share on other sites More sharing options...
crocodile 7,990 Posted November 18, 2017 Share Posted November 18, 2017 Cliffhanger by Trevor Jones. My CD album arrived this morning. It's almost hard to believe action thrillers used to feature actual music back in the day. Karol Link to comment Share on other sites More sharing options...
Jurassic Shark 12,033 Posted November 18, 2017 Share Posted November 18, 2017 7 minutes ago, crocodile said: Cliffhanger by Trevor Jones. My CD album arrived this morning. It's almost hard to believe action thrillers used to feature actual music back in the day. Karol Waiting for it myself (at a bargain price of 5 Euros). Not as good as The Last of the Mohicans, though. Link to comment Share on other sites More sharing options...
crocodile 7,990 Posted November 18, 2017 Share Posted November 18, 2017 Some of it was clearly temp tracked with Predator. It's really funny actually. And some of it sounds a tad like Total Recall. Karol Link to comment Share on other sites More sharing options...
Not Mr. Big 4,639 Posted November 18, 2017 Share Posted November 18, 2017 Sleepings Link to comment Share on other sites More sharing options...
Bespin 8,480 Posted November 19, 2017 Share Posted November 19, 2017 I really love this album, perfect for a little rainy sunday! But I have to say the arrangement of Marion's Theme on this album is... a bit short and the end is rather strange. Thanks the maker, John Williams finally wrote a proper arrangement of it for his last album! Link to comment Share on other sites More sharing options...
Naïve Old Fart 9,508 Posted November 19, 2017 Share Posted November 19, 2017 MARION'S THEME? 1:46? REALLY? CAVATINA is not from THE DEER HUNTER! Grrr! Link to comment Share on other sites More sharing options...
Disco Stu 15,495 Posted November 19, 2017 Share Posted November 19, 2017 Well remember it was recorded long, long before Williams' official "Marion's Theme" arrangement from 2008 so I assume they just lopped off the crate from "Marion's Theme/The Crate." I don't have that album so I am just assuming. Bespin 1 Link to comment Share on other sites More sharing options...
Naïve Old Fart 9,508 Posted November 19, 2017 Share Posted November 19, 2017 In that case, I'll let them off with a warning Link to comment Share on other sites More sharing options...
Bespin 8,480 Posted November 19, 2017 Share Posted November 19, 2017 58 minutes ago, Disco Stu said: Well remember it was recorded long, long before Williams' official "Marion's Theme" arrangement from 2008 so I assume they just lopped off the crate from "Marion's Theme/The Crate." I don't have that album so I am just assuming. It's a very conservative arrangement... the guy who made it clearly was walking on eggshells... and It shows. That's not very good. That's my face each I listen to this version: Link to comment Share on other sites More sharing options...
crocodile 7,990 Posted November 19, 2017 Share Posted November 19, 2017 Cliffhanger Die Hard 2 Turbulence Karol Link to comment Share on other sites More sharing options...
#SnowyVernalSpringsEternal 10,265 Posted November 19, 2017 Share Posted November 19, 2017 90's evening? Link to comment Share on other sites More sharing options...
crocodile 7,990 Posted November 19, 2017 Share Posted November 19, 2017 1990's action thriller evening, yeah. Karol Link to comment Share on other sites More sharing options...
Jurassic Shark 12,033 Posted November 19, 2017 Share Posted November 19, 2017 57 minutes ago, crocodile said: Cliffhanger Die Hard 2 Turbulence Karol Turbulence? Not familiar with that. Any good? Link to comment Share on other sites More sharing options...
crocodile 7,990 Posted November 19, 2017 Share Posted November 19, 2017 25 minutes ago, Jurassic Shark said: Turbulence? Not familiar with that. Any good? Very entertaining action score from Shirley Walker. It's probably bit over-the-top and sometimes cheesy but in a charming 1990's way. It also does feature interesting development of Carol of the Bells and ends up twisting it into this Dies Irae motif. Which is exactly the opposite to what Williams tried to achieve in Home Alone. The lengthy album might be bit too much to hold attention all the way through but it's often colourfully orchestrated. Karol James 1 Link to comment Share on other sites More sharing options...
Jurassic Shark 12,033 Posted November 20, 2017 Share Posted November 20, 2017 9 hours ago, crocodile said: Very entertaining action score from Shirley Walker. It's probably bit over-the-top and sometimes cheesy but in a charming 1990's way. It also does feature interesting development of Carol of the Bells and ends up twisting it into this Dies Irae motif. Which is exactly the opposite to what Williams tried to achieve in Home Alone. The lengthy album might be bit too much to hold attention all the way through but it's often colourfully orchestrated. Karol Interesting, I like both Carol of the Bells and the Dies Irae motif a lot. Link to comment Share on other sites More sharing options...
Naïve Old Fart 9,508 Posted November 20, 2017 Share Posted November 20, 2017 Thanks for posting this, Croc, I'll watch out for it. I really like her score for MEMOIRS OF AN INVISIBLE MAN. Link to comment Share on other sites More sharing options...
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