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

[Marian Schedenig 8,173]

28 minutes ago, crocodile said:

I almost always have a problem with songs based around main themes. They just seem musically redundant. The melodies already express those ideas perfectly. No need to plaster cheesy and sugary lyrics on top of it. Don't fancy going diabetic, thank you very much.

 

 

But with NIMH, it seems pretty clear that the song is its original form, and it just gets used as a theme as well.

[publicist 4,643]

2 minutes ago, Marian Schedenig said:

But with NIMH, it seems pretty clear that the song is its original form, and it just gets used as a theme as well.

 

It's still pretty syrupy.

 

[Disco Stu 15,495]

Syrup is delicious in moderation.  "Flying Dreams" doesn't lay it on too thick for me.  Just right for a kids movie of that era.

[crocodile 7,984]

4 minutes ago, publicist said:

 

It's still pretty syrupy.

 

You're on the roll today. One of my favourite film scores ever. So evocative yet so dry.

Karol

[publicist 4,643]

Isn't it? The Duel - Death of Hamlet is the blueprint for so much film music of the Silver Age.

[Disco Stu 15,495]

My afternoon listening

 

I saw a video recently where Leonard Bernstein described Copland's style as something like every note being incredibly carefully considered, nothing wasted.  It strikes me as true, even for his fastest most frenetic music, and it's probably part of the reason he didn't do more film scores, they often require such a voluminous outpouring of music and very quickly.  It probably didn't fit well with his approach.

[Jay 37,287]

Joe Kraemer - Mission: Impossible - Rogue Nation (complete)

 

A masterpiece of modern action scoring.

[Jurassic Shark 12,030]

The first great MI score!

[Kasey Kockroach 2,343]

I hate the Paul Williams version of the song, but the Sally Stevens take is quite serene.

 

Currently listening to Moana (Mark Mancina), having arranged the tracks to the film order.

 

[Marian Schedenig 8,173]

41 minutes ago, publicist said:

It's still pretty syrupy.

 

A bit like The Piper Dreams, but not THAT syrupy. And much less so in the Paul Williams version.

33 minutes ago, publicist said:

Isn't it? The Duel - Death of Hamlet is the blueprint for so much film music of the Silver Age.

 

And there's The Desert Chase somewhere in there, too.

[Fancyarcher 350]

4 hours ago, Knight of Ren said:

Fernando Velazquez is one of my favorite composers. His Zipi & Zape scores are fantastic! And I also love Crimson Peak.

 

Anyway, leading up to Solo I'm listening to several John Powell scores and I'm discovering really great stuff.

 

Pan: I would say this is almost a perfect score, with a great album presentation that only would need some tracks to be deleted (apart from the songs, obviously) and would be perfect. Is a great theme-filled score with some truly beautiful moments (Origins Story or Transfiguration for example) and some action cues that are part of the very best of Powell (like Kidnapped/Dog Fight or Flying Ship Fight)

Shrek: Powell collaborated in this one with Harry Gregson-Williams and it's a nice score. I love both main themes a lot, especially the apparitions of Fiona's theme in Fairytale and Transformation/The End, and the big heroic rendition of Shrek's theme in Ride The Dragon is also really great. My issue with this score is that maybe there is a bit too much of the usual mickey-mousing of this scores, which fits within the movie, but it's not really interesting out of it.

 

BTW, what are some other great Powell scores? I haven't heard all of his scores and I'm wondering what do you think are his bests.

 

Aside from all his other animated scores, Paycheck, and Evolution are two that I regular listen to, and can highly recommend. Both scores are a lot of fun. 

[Kasey Kockroach 2,343]

So far, there are only four superhero scores I really dig and would ever go out of my way to revisit ever again. X-Men: The Last Stand is one of them. 

[publicist 4,643]

16 minutes ago, Marian Schedenig said:

A bit like The Piper Dreams, but not THAT syrupy. And much less so in the Paul Williams version.

 

That raspy voice. The melody is quite enchanting, but Goldsmith and songs were not a match made in heaven.

[Fargo 297]

20 minutes ago, kaseykockroach said:

So far, there are only four superhero scores I really dig and would ever go out of my way to revisit ever again. X-Men: The Last Stand is one of them. 

 

Yeah it was pretty alright

[Disco Stu 15,495]

47 minutes ago, kaseykockroach said:

I hate the Paul Williams version of the song, but the Sally Stevens take is quite serene.

 

 

I've always enjoyed the character of Paul Williams' voice.  His song on Daft Punk's last was the highlight of that record.

[Nick Parker 3,040]

3 hours ago, Disco Stu said:

 

I've always enjoyed the character of Paul Williams' voice.  His song on Daft Punk's last was the highlight of that record.

 

More than Moroder's?

[Disco Stu 15,495]

35 minutes ago, Nick Parker said:

 

More than Moroder's?

 

The whole album is a modern pop classic, but yeah I responded more to “Touch,” a multi-part epic pop suite. Wonderful.

[Nick Parker 3,040]

1 hour ago, Disco Stu said:

 

The whole album is a modern pop classic, but yeah I responded more to “Touch,” a multi-part epic pop suite. Wonderful.

 

I can agree with that. Still, it was a singular pleasure a few weeks ago when I was at the gym, and after not finding anything else I was into, having the gym's speaker music app play "Giorgio by Moroder". Watching/forcing  fellow gymgoers work out to a monologue by "Giovanni Giorgio"...it was a glorious moment.

[Kasey Kockroach 2,343]

Mulan by Jerry Goldsmith (promo disc grandpa gave me years ago plus throwing in Reflection on the playlist as it's the only song I like)

It's been forever since I really played a Goldsmith score (took a long mental break from him. I remember getting really depressed last time I heard Back in Action and stopped listening to him for awhile). I was listening to Mark Mancina's Moana and was disappointed that a lot of the score kind of dragged (mainly the action cues) and put this one on for the sake of hearing another Disney score and, man, I'm just being reminded all over again this guy was the REAL DEAL. He was the MAN, man! Whatever that means, I don't know. Still waiting for a release of this thing! This promo I've had is great, just a bit choppy, and I can't tell for the life of me if this is the full score or not.

[Unlucky Bastard 7,782]

Looney Tunes: Back in Action depressed you? It's meant to have the opposite effect.

[Kasey Kockroach 2,343]

Depressed in the aspect of hearing his final work.

I miss him.

 

[Unlucky Bastard 7,782]

Life goes on, Indy. There... is the proof!

[Kasey Kockroach 2,343]

Indeed it does. One more week until the new score by my favorite non-dead composer!

[Unlucky Bastard 7,782]

Uh... who?

[Kasey Kockroach 2,343]

 

 

[Unlucky Bastard 7,782]

Ahh.

[publicist 4,643]

 

Probably Williams' last odd duck of a movie - the kind of project Goldsmith somehow managed to accomodate at least once a year - 'Heartbeeps' is hardly a work of great distinction but enjoyed in smaller doses, probably more entertaining than some of the biggies (the wretched movie has human robots...Williams must have had all but forgotten about it when he signed on to do 'Bicentennial Man' and when he did remember, he was off light greased lightning). I once did a playlist that shaved off 20 minutes of the more irrelevant material and what remains is a strange hybrid of Williams' then-acute romantic style (the perfect chord modulations of, i. e., 'Jaws 2's perfect end credits cue shine through), cheesy keyboard synths mostly used for playful effect or cooing theme readings, frolicking americana and a baroque re-do of the 'Imperial March' (best enjoyed in smaller doses, though the bridge of the 'concert' version is ace).

 

It's very light and airy, once you're past the general cheesiness, and you can't really go wrong with themes the maestro wrote in the early 80's. 

[Kasey Kockroach 2,343]

Rambo: First Blood Part II by Jerry Goldsmith

Proudly stands alongside its sci-fi cousin Total Recall on the top shelf in terms of all-time great action scores.

[Naïve Old Fart 9,498]

The CRIMEBUSTER theme always reminds me of NIXON.

[Incanus 5,713]

51 minutes ago, Richard said:

The CRIMEBUSTER theme always reminds me of NIXON.

And Nixon reminds me of Imperial March.

 

So there you have it. Imperial March->Crimebuster->Nixon. What an evolution!

 

Memoirs of a Geisha by John Williams: While I enjoy the great 60-minute album it really makes me want to listen to the complete score.

[crocodile 7,984]

Where's Superman IV in this evolution?

 

Karol

[Jurassic Shark 12,030]

And more important, where's John Powell's score to Evolution?

[Kasey Kockroach 2,343]

On kaseykockroach's shelf, of course!

[Jurassic Shark 12,030]

How do you rate it?

[Kasey Kockroach 2,343]

It's fun! Mainly in that it combines two loves for me: Monster movie music, and John Powell music. Pity it'll probably be his only monster movie score, but what the hey, at least I have one to savor.

[Jurassic Shark 12,030]

The opening track on the OST reminds me of CE3K.

[Kasey Kockroach 2,343]

I know what the initials are referring to, but every time I read CE3K, I assume it's regarding a Star Wars droid I've never heard of.

[Knight of Ren 785]

Antz by Harry Gregson-Williams & John Powell: Really fun score, with some great themes. I especially love the tracks where both composer go full on referencing and they introduce lovely jazzy moments. It's a nice collaboration but it does not top...

 

Chicken Run by Harry Gregson-Williams & John Powell: This score is fantastic. From start to finish you're engaged. The main theme (clearly referencing Bernstein's The Great Escape) appears through all the score but it never gets old because it's adapted to the different mood of the scene with such an energy and care that it stays with you long after you have finished listen to the album. Probably the best score of all of the Powell's collaborations for an animated movie.

[Fargo 297]

^ those are two albums that always go by so fast when I listen to them. so enjoyable

 

Currently listening to Mishima by P. Glass. Found out the first track was used in a trailer I saw recently (House With Clocks in the Wall or something). Not usually a fan of Glass's work, but it's pretty good so far.

[Jurassic Shark 12,030]

Mishima is indeed good.

[Fargo 297]

25 minutes ago, Jurassic Shark said:

Mishima is indeed good.

 

Oh man it really is. I'm on the last two tracks now ('Runaway Horses' & 'November 25: The Last Day' were fantastic cues), and it's been a great listen.

 

Edit: some of these tracks sound like they were directly used in The Truman Show ('November 25' for instance). I haven't seen the movie in forever though, so I'm not sure. The only track I really remember from that movie is when everyone is looking for Truman and it turns from night to day.

[Jurassic Shark 12,030]

55 minutes ago, Fargo said:

 

Oh man it really is. I'm on the last two tracks now ('Runaway Horses' & 'November 25: The Last Day' were fantastic cues), and it's been a great listen.

 

Edit: some of these tracks sound like they were directly used in The Truman Show ('November 25' for instance). I haven't seen the movie in forever though, so I'm not sure. The only track I really remember from that movie is when everyone is looking for Truman and it turns from night to day.

 

I think Runaway Horses rank among Glass' very best works.

[Dixon Hill 4,233]

3 hours ago, Fargo said:

^ those are two albums that always go by so fast when I listen to them. so enjoyable

 

Currently listening to Mishima by P. Glass. Found out the first track was used in a trailer I saw recently (House With Clocks in the Wall or something). Not usually a fan of Glass's work, but it's pretty good so far.

 

Mishima and some of the other quartet stuff is all over the place in ads.  People hear Glass more than they realize.  He does pretty damn well with royalties.  You have to listen to him and Max Richter as the innovators of the neo neo classical minimal thing, otherwise it just sounds like more of the same "emotional profound commercial music" trash.  They did it well before it became a trope. 

[Disco Stu 15,495]

Real up-and-coming talented composer Christopher Willis has a fantastic showcase in this new silent, all-music Mickey Mouse cartoon.

 

 

[Kasey Kockroach 2,343]

Wow! I was just watching that one! Sure as heck didn't expect to see any mention here.

Currently listening to Goldsmith's The Burbs.

[Disco Stu 15,495]

Well my daughter discovered the new line of Mickey cartoons in early 2017 and I noticed that the music was really well-done cartoon-short-comedy music so I took note of the composer's name.  Then he had his breakthrough film score later in the year with The Death of Stalin, so I'm following him more closely now!

[publicist 4,643]

He sure loves his russians.

[Naïve Old Fart 9,498]

10 hours ago, Jurassic Shark said:

The opening track on the OST reminds me of CE3K.

 

Has anyone heard the cheeky CE3K reference, in ID4?

[Jurassic Shark 12,030]

7 minutes ago, Richard said:

 

Has anyone heard the cheeky CE3K reference, in ID4?

 

Educate us!

[Naïve Old Fart 9,498]

That means I have to dig out the fucking thing and play it and then post where I found it for all you little ingrates and frankly Mr. Shankly I've just drived home from a 11 1/2 hr shift with no fucking break and I can't be arsed and I want a shower and i want my dinner and I'll do it tomorrow alright?