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


Ollie

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War for the Planet of the Apes by Michael Giacchino

Definitely one of his better ones. Even the sound mixing sounds less dry than usual (for my ears at least. I could be wrong in that aspect). 

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Hellraiser by Christopher Young

 

Witcher 3: Hearts of Stone by Marcin Przybyłowicz

 

The Wolfman by Danny Elfman

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5 hours ago, kaseykockroach said:

 

I actually liked what I've heard of The BFG, moreso than when I tried to listen to War Horse

The Homecoming > The BFG

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12 hours ago, kaseykockroach said:

There's indeed still a ton of Horner, Goldsmith, Williams, etc I haven't heard yet. Just making little discoveries a bit at a time. I can never really predict what my ears will make of it, despite a score's popularity. I've really become fond of Hollow Man recently, while every time I try to listen to Braveheart nothing clicks. 

I actually liked what I've heard of The BFG, moreso than when I tried to listen to Tintin or War Horse

 

I never listened to Hollow Men and I also suffered a little during the first attempts to listen to Brave Heart. I listened to Tintin, BFG and War Horse, but they never appealed to me.

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Just now, James said:

I also suffered a little during the first attempts to listen to Brave Heart

 

I opened this morning with some Braveheart (and a touch of Titanic). I love Uilleann pipes in the morning!

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Ice Age: The Meltdown by John Powell

I live with my grandpa who's into film scores even more than I am, and he's of course much more musically inclined as well (unlike me, he understands terms like "chord change" or "crescendo", words that are still beyond my comprehension). For the record, his favorite composers are John Barry, Dimitri Tiomkin and Jerry Goldsmith. 

So I was ecstatic to discover him listening to this on his laptop. I introduced him to this composer, so to speak, but was nervously uncertain whether or not he'd like him. Was relieved to discover otherwise ("He's got good technique" he put it). 

I enjoy Giacchino now and then, but I agree with grandpa's assessment. "Powell's got the muscle and the heart. Giacchino just has the heart, and often that's enough."

 

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been trying to get my John Barry-loving Dad into more Williams' scores but I got ET and Schindler's List returned without a word -unlike Hanover Street which I did a copy for (amongst others). 

 

--

 

recently listened to a few scores including:

 

The Italian Job- Quincy Jones (should I ever drive through Italy, this might well be the score). Getta bloomin' move on, Arthur!

The Bridge at Remagen and The Great Escape- Elmer Bernstein. ("Blythe" is one of my favourite Bernstein tracks)

Rush- Hans Zimmer ("I'm James Hunt, and this is what I do")

Starsky & Hutch- Theodore Shapiro

and a re-listen of the second disc of Empire Strikes Back. I've mentioned it on the other thread, but a new favourite of the short musical moment is "Leia's Theme" in "Rescue from Cloud City/Hyperspace")

 

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My grandpa commented while I was listening to Jurassic World a month ago that a lot of it sounds like 50's monster movie music. Which might be a more accurate comparison than I initially figured. 

Poltergeist II by Jerry Goldsmith

Earth VS The Spider by Albert Glasser

 

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Sabrina by John Williams: Such a lovely little romantic score with a beautiful piano main theme. It is a delightful breezy light listening experience.

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QBVII (Prometheus/Tadlow Re-recording) by Jerry Goldsmith: A thoroughly impressive re-recording of Goldsmith's TV magnum opus that has such heart and detail put into it with epic breadth of styles and musical themes which is all tied together by the indelible style of the composer.

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4 hours ago, Incanus said:

Sabrina by John Williams: Such a lovely little romantic score with a beautiful piano main theme. It is a delightful breezy light listening experience.

 

Inky, I have a lot of love for the score for SABRINA, probably, and because, in a strange way, it reminds me of CINDERELLA LIBERTY.

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Star Trek: The Motion Picture, by Jerry Goldsmith :music:

 

It's... fine, I guess? It's by no means a bad soundtrack, but not nearly the Hidden Gem™ of a score that many claim it to be. The "synthy" bits sound pretty dated, and other than the iconic main theme, there really aren't any other standout leitmotifs.

 

** and 1/2 out of *****

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3 hours ago, John said:

It's... fine, I guess? It's by no means a bad soundtrack, but not nearly the Hidden Gem™ of a score that many claim it to be.

 

1 hour ago, John said:

Tastes in music are subjective. I am entitled to my own opinion.

 

Which of course means that you shouldn't imply that this "claim by many" is wrong. ;)

 

It's no "Hidden Gem" at least, because its mastery is widely acknowledged. The main theme, while certainly the bit that makes the strongest impression at first, is ultimately one of the least interesting things about it*. And I'm actually not as fond of Ilia's theme as most, though it's nice enough to be sure. But the atmospheric and dramatic stuff, like the flyover arpeggios and Spock Walk, amount to at least 50% of what's great about this score.

 

*) Though of course, it's development as a love theme in The Enterprise is a standout moment in film scoring, and I'm also still very fond of Leaving Drydock.

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1 hour ago, Marian Schedenig said:

 

 

Which of course means that you shouldn't imply that this "claim by many" is wrong. ;)

 

 

Indeed!

 

I'll be at JWFan Dark Matter!

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Ferdinand by John Powell

Madrid Finale is my favorite cue of 2017, okay? Okay. 

 

Hoosiers by Jerry Goldsmith

The syth kind of makes this feel a little too sci-fi sometimes, but it's not really bothersome for the CD listening experience. If anything, I often find syth in Goldsmith scores to be charming and just part of giving the score its color. My absolute favorite moment in this score, oddly enough, is actually the final few seconds of the final cue. I don't know why, just something those final few notes as the music softly fades to be tear-inducing every time. 

 

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8 hours ago, kaseykockroach said:

The syth kind of makes this feel a little too sci-fi sometimes, but it's not really bothersome for the CD listening experience. If anything, I often find syth in Goldsmith scores to be charming and just part of giving the score its color.

 

 

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We will watch his career with great interest.

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2 hours ago, Margo Channing said:

It is a bit overkill, but I just want to hear it.

Hey, Jerry, why not go all the way, and install DOLBY ATMOS, or even DTS:X?

 

 

 

2 hours ago, Stefancos said:

I have 7.1. But only have 5 speakers and a subwoofer!

 

Played The Living Daylights, the Ryko CD.

Aah! EXERCISE AT GIBRALTAR is great...as is the rest of the score.

Barry couldn't have "signed-off" with a better Bond score.

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15 minutes ago, Richard said:

Hey, Jerry, why not go all the way, and install DOLBY ATMOS, or even DTS:X?

 

Because I really can't be bothered installing ceiling speakers. I already sort of knew it'd all end at 7.1 for me, and even that's still a novelty. I still laugh at people on that Facebook 4K group who unironically cry "What? No Atmos?! I'm returning this disc!"

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