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


Ollie

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Joy to the World by John Williams and the Boston Pops

 

The Nativity Story by Mychael Danna

 

Home Alone by John Williams

 

Star Wars The Last Jedi by John Williams

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Quiet day at work today, I will listen to what I NEVER listen to normally... THE ADDITIONAL MUSIC added to Expanded releases.

 

All the recent expansions... E.T.... CE3K.. even the JP set.. I never listened to the ALT tracks :-)

 

On my mp3 player, I always put those tracks in a separate folder, preventing them to play automatically after the End Credits.

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6 minutes ago, Bespin said:

Quiet day at work today, I will listen to what I NEVER listen to normally... THE ADDITIONAL MUSIC added to Expanded releases.

 

All the recent expansions... E.T.... CE3K.. even the JP set.. I never listened to the ALT tracks :-)

 

On my mp3 player, I always put those tracks in a separate folder, preventing them to play automatically after the End Credits.

 

What do you do for work? A fulltime discographist? :)

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5 minutes ago, Jurassic Shark said:

What do you do for work?

 

I'm an SAP developper.

 

You make me think I have to add The Post to my website this week-end... and the two FYC albums.

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I don't know, I listen to the majority of them for the first time. :)

 

The truth is I don't know these scores enough to really point out the differences between the original and alt tracks.

 

But it's fun to listen to all of them, one after the other, it offers a different experience, without having to listen to all the entire scores.

 

 

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Empire Strikes Back- the original release. Thinking about the scores this week, how when I was younger I preferred the action-y tracks to those like Princess Leia's Theme and yet now, find her theme quite stirring and always the Han Solo & The Princess. Hence liking the small use of Leia's Theme as the Falcon flees Cloud City ("Hyperspace"). The Duel/Clash of Lightsabers remains my favourite, still has this element of tension no matter how often I've listened to it. 

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Star Wars (Episode IV) and Return of the Jedi original releases-

 

for the former, Ben Kenobi's Death/TIE Fighter Attack has been the longstanding favourite. And as said above, Leia's Theme has come about in my estimation of recent years and therefore, it's use in Ben Kenobi's Death is nothing short of stunning. ROTJ has Luke & Leia which I've liked for a while, but clearly both Leia's Theme & Luke and Leia meant more in my head, hence the reaction to their being used in The Last Jedi. In ROTJ what has long been a favourite was the use of the Force Theme as Vader/Anakin lifts Palpatine and hurls him down the Death Star shaft/shute. Bearing in mind the prequels, Anakin fulfilling his destiny perhaps. Either way, it's fantastic. 

 

Meant to say how in recent listens of The Duel (or Clash of Lightsabers) in Empire, how the use of Yoda's Theme strikes me. Don't know if there's a thread, but it seems odd -it's after all accompanying the flight of Leia, Chewie et al with cut to's of Luke vs Vader. Perhaps a way of Yoda (by the Force) helping them along, either way it helps seal the deal for this track. 

 

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Outside of Star Wars- Leonard Rosenman's Star Trek IV (expanded). Not the best but not the worst. Fits in for the film (though part of me wishes Horner had 'rounded out the trilogy' as it were musically). The Whaler packs a punch, accompanying the desperation of the situation. 

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Hands down my favourite expansion this year. Lacks the historical significance of Ben-Hur, CE3K etc. No Oscar, not even a JWFans Best-of-list was ever in the cards for this, but i just love the atmosphere and that it is a sophisticated chill around your neck instead of big time pyrotechnics like 'Poltergeist'. Apparently Spielberg was much more involved than PR at the time let on, even directing some of it and hiring JG. That explains why the long version reveals a much more tight grip on musical character building than was the norm for big effects movies Goldsmith did at the time. Lots of effort to play around with motivic develoment you only will appreciate in the complete release - ca. an hour would have been the ideal length. Best late Goldsmith next to 'The Mummy'. 

 

Suite: 

 

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Currently  :music:  a two-part retrospective on Franz Waxman, on BBC Radio 3.

This is good - I mean this is "fuck off!" good! Thrilling, musical, and, in the case of THE PHILADELPHIA STORY, and BRIDE OF FRANKENSTEIN, damned sexy! 

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Hellboy by Marco Beltrami

 

Star Wars The Last Jedi (OST+FYC combo) by John Williams

 

Close Encounters of the Third Kind by John Williams

 

 

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:lol:

 

Richard, you do know that the Last Jedi FYC promo info and the links to Disney's For Your Consideration site can be found in this thread.

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Currently :music: EARTHQUAKE.

Wow, this has it all: "uptempo modernity" - whatever that means - (MAIN TITLE), pop sensibilities (MILES' POOL HALL), laid back sultriness (SOMETHING FOR REMY), tenderness (LOVE SCENE), tension - WATCHING AND WAITING/COREY IN JEOPARDY), and an elegiac quality (THE CITY SLEEPS), not to mention a fantastic "middle eight" in the form of the horn trio, in MILES ON WHEELS.

It's no surprise that a quite a few serious film music critics cite this as JW's best score.

I know there's a lot of love, in JWfan, for this score, but I really think that there should be more. 

The only downer was when my neighbours pounded on my apartment door, thinking that there'd been some kind of explosion in my living room. I tried to explain Sensurround to them, but they weren't having any of it.

All in all, it's a fantastic way to ease into 2018.

 

 

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After Poseidon and Inferno, tend to forget about Earthquake. I rewatched the film the other week, not bad, not good and the score is the best thing going. Think the City Theme is my favourite from the score.

 

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Charles Gerhadt's Empire Strikes Back Symphonic Suite

George Fenton- Memphis Belle (one track I wish was here, was the music used for the assembly of the B-17's over the coast)

Joel McNeely- Shadows of the Empire

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Barry - Man in The Middle Suite

Barry - The Black Hole

Darkest Hour - Marianelli 

Williams - The Post, Another listen. It's growing on me. I appreciate that it's even more subtler and even surprisingly darker in tone compared to some of the recent Williams Spielberg drama scores. Good stuff. 

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On 02/01/2018 at 7:51 AM, Not Mr. Big said:

Harry Wizard and the Sorcerer's Stone :music:

Great music.  Can't wait to hear Williams' Cursed Child score! 

 

I hope that never becomes a movie. It'd need critical retooling first.

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Agatha Christie's Poirot by Christopher Gunning: Such classy television scoring that simply is a perfect evocation of the whole time and place of the series. I really wish Gunning had been given a chance to compose for the final seasons of the show but alas it was not to be.

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Three big comic book scores of 2017 for me this afternoon/evening:

 

Justice League by Danny Elfman

Valerian and the City of Thousand Planets by Alexandre Desplat

Thor: Ragnarok by Danny Elfman

 

Karol

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Something Wicked This Way Comes - James Horner

 

Some of that ominous choir and brass trills from Krull and Wrath of Khan, but Horner really imbues the fall setting and children's innocence with subtlety and grace. His style is similar to Georges Delerue's rejected score in places, but Horner's tone is more whimsical and optimistic. It's hard choosing between the two, but I like Horner's theme for the two boys more.

 

Something Wicked This Way Comes (rejected) - Georges Delerue

 

You can tell Delerue spent a lot of time writing, it feels very well spotted and the themes are well-placed. It's interesting to compare his score to Horner's replacement, but there's a lot of heart and storytelling in the score. Horner's feels a bit more rushed in comparison, but Delerue's score is more somber and less joyful overall. But his overarching theme is truly beautiful, and his end credit cue gives Horner's a run for its money. It's not surprising that Disney wanted a more 'scarier' score (i.e. Horner), but I think that's bull. They wanted something more optimistic.

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10 hours ago, Richard said:

Do you know why that was (or, rather, wasn't)?

Gunning makes fine music. He's no RRB, but it's great, nonetheless.

New production company and new producers. Apparently they never asked Gunning to continue with the show and hired Stephen McKeon and later Christian Henson to do the music for the later seasons. While both did a pretty good job their music is far less memorable.

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Nino Rota's one of those dudes that I don't think about a whole lot, but every once in a while he'll cross my mind and I'll say, "Man, he wrote some fine music!"

 

My favorite film score of his is Casanova, have you listened to it? :) Yo check this out:

 

 

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