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


Ollie

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5 minutes ago, The Illustrious Jerry said:

Trust me, this forum (you in particular) make me want to buy more CD's. I just need some cash to spare first, but I'm working on these expenses.

 

Man, just cut on the food and clothing!

 

June tomorrow... at last!!!  The sharks season!!!! :dance:

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The Score by Howard Shore: A nifty little heist score with classic jazzy almost spy movie styled score charged with constant slow burning rhythms. From the other end of the composer's wide stylistic spectrum compared to his 2000's fantasy epic sound.

 

E.T. - The Extra-Terrestrial (LLL set) by John Williams: It is excellent. After 3 different releases they finally hit perfection with the 4th. Mike Matessino rules!

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:music: The Cloverfield Paradox by Bear McCreary. It's a solid score but received a way too long album. As with the previous one, end credit suite is the main attraction.

 

 

Karol

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16 hours ago, Bespin said:

 

Man, just cut on the food and clothing!

 

June tomorrow... at last!!!  The sharks season!!!! :dance:

...and we will be open for business. This is going to be one of the best seasons we've ever had!

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Interesting! Next to the blockbuster-compatible main theme, there is a bit of waltz-y musique concrete to be found in the inner cues (geräuschmusik), recalling the experimental Young from the 80's. Nice to have you back, Chris.

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29 minutes ago, publicist said:

Alas, Powell's fate seems to be chained to the somewhat limiting surroundings of big franchises and commercial tentpoles. But then, there are worse spots to be.

 

These movies are seen by millions of people, including kiddos; someone's gotta produce some music that will capture their imagination! 

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Honey I Blew Up the Kid by Bruce Broughton

Pure madcap bliss.

The complete score was insufferably redundant though, so I deleted the extra cues and recreated the oralbum presentation. Still glad I got the new edition for the sound quality though.

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Gentlemen, thank god that i'm not a moderator here. You don't listen enough JW.

 

I would ban you (temporarily). :P

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You know, that's a thing I must confess. My understanding of english is not perfect, a sentence like you just wrote means nothing to me. :unsure:

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24 minutes ago, Holko said:

It's a complient: your positives way outweigh your negatives.

21 minutes ago, Bespin said:

Ok this is what I though. BAN!

Actually, it means your positives outweigh our negatives :D.

 

 

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Okay, I'm not an idiot it's just that my english is as good as C-3PO's Ewok.

 

At least, like him, JWfans consider myself like sort of a deity.

 

:sarcasm:

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1 hour ago, publicist said:

Thank god you make more than up for our shortcomings.

 

1 hour ago, Bespin said:

You know, that's a thing I must confess. My understanding of english is not perfect, a sentence like you just wrote means nothing to me. :unsure:

 

Bes, @publicist means it as a compliment.

1 hour ago, Holko said:

It's a complient: your positives way outweigh your negatives.

 

What Holko said.

 

 

 

"Parlez-vous Francais? Well, pardon; my English is not good, too" :)

 

 

 

Si, si, je sui's un rock star. 

Je dormé-vous dans le south of France.

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The Lost World: Jurassic Park by John Po- whoops, I mean, uh, Williams

I've gotten the impression it's safe around here to say, as an isolated listening experience, I've always preferred this to JP.

 

 

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5 hours ago, Richard said:

 

 

Bes, @publicist means it as a compliment.

 

What Holko said.

 

 

 

"Parlez-vous Francais? Well, pardon; my English is not good, too" :)

 

 

 

Si, si, je sui's un rock star. 

Je dormé-vous dans le south of France.

 

I'm a rock star too.

 

But I sleep in the south of Québec. :-)

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A modern classic!

 

19 hours ago, kaseykockroach said:

The Lost World: Jurassic Park by John Po- whoops, I mean, uh, Williams

I've gotten the impression it's safe around here to say, as an isolated listening experience, I've always preferred this to JP.

 

 

 

It seems you got the wrong impression. ;)

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Reliable composer Debbie Wiseman scores 2017 drama about a woman, being freed of her abusive husband by his premature death, who takes up climbing the mountains of Scotland. Led by guitar, piano and small orchestra, Wiseman relies on a melody (always good) that is somber and somewhat hushed, lonely, vaguely recalling how such things were scored in the 90's - meaning with a recognizable voice (George Fenton or similar comes to mind) and it's a nice surprise. No musical tree-hugging but you can listen through it without asking yourself why anyone would want it on record like with so many other film musical releases these days.

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:music: Quantum of Solace. Most interesting Bond score. More motivic than melodic but David Arnold finds a way to make it work and combine the traditional Barry swagger, this time curiously delegated to the lowest registers of the brass, along with a more modern Bourne-like spy sound. More understated but quite clever score.

 

Both this and Casino Royale are more sensibly spotted in their respective films.

 

Karol

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John Powell - SOLO: A Star Wars Story

 

I still think the album is too lop-sided towards the action material in lieu of being a more balanced representation of what the entire score has to offer, but hey, when you're in the mood for action music, there's some great stuff here!

 

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United 93 -- John Powell

 

For those wanting a restrained and somber Powell score, this is it. He had a fine line to walk when spotting it, and given how it works painfully well in the film... he did it. The consistent synthesizer beat keeps the tension throughout, but when the orchestra swells to represent the passengers' heroism and desperation ("Phone Calls", "The End") -- Powell elicits genuine emotion without all-out melodrama. One of Powell's more underrated titles.

 

 

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The Lost World by J. Williams

 

Grandpa: The end credits sounds sped up...I guess he was in a hurry to get this over with so he could get started on the Star Wars prequels!

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4 hours ago, Matt C said:

United 93 -- John Powell

 

For those wanting a restrained and somber Powell score, this is it. He had a fine line to walk when spotting it, and given how it works painfully well in the film... he did it. The consistent synthesizer beat keeps the tension throughout, but when the orchestra swells to represent the passengers' heroism and desperation ("Phone Calls", "The End") -- Powell elicits genuine emotion without all-out melodrama. One of Powell's more underrated titles.

 

 

 

While i take into account the changed scoring habits, this was a very disappointing effort, imho. Lame chords just stringed one after the other.

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Girl with A Pearl Earring by Alexandre Desplat

 

The Golden Compass by Alexandre Desplat

 

Solo: A Star Wars Story by John Powell

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10 hours ago, publicist said:

 

While i take into account the changed scoring habits, this was a very disappointing effort, imho. Lame chords just stringed one after the other.

2

 

Powell's score is beautifully effective in the film. It doesn't come off well if you listened to the score before seeing the movie like I did with The Prestige.

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Krull by James Horner.  Classic score.  So many great cues.  I especially like how Horner combined unabashed romanticism with almost Ligeti-esque postmodernism.  A couple of general highlights for me are the start of Battle on the Parapets, which has some fantastic orchestral interplay, and the gorgeous appearance of the love theme in Inside the Black Fortress

That moment gave me chills.

 

Black Beauty by Danny Elfman.  Very nicely textured score.  Pleasantly melodic.  Perhaps it gets a tad to repetitive, however.

 

A.I. by John Williams.  Gorgeous score.  Outstanding writing.  Williams leans a tad too much on John Adams at times, but it is interesting to see him exploring that kind of soundworld.

For the more emotional cues, Williams really lets it loose by keeping things wonderfully restrained.  The Search For The Blue Fairy, The Reunion, and What Dreams May Come are classical masterpieces that should by all rights be performed as a suite.  (I'm always making these kind of statements, I know).    

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:music: The Vanishing by Jerry Goldsmith. Found a brand new sealed copy of this at the Krakow FMF the other day. Hmm, this is certainly a cut above the usual Goldsmith thrillers from his later period. It's like a combination of Total Recall's synth whimsy, Basic Instinct woodwinds and, oddly, Russia House's laid back jazz. I wouldn't go as far as calling it a "gem" but it's a pleasant and unexpected treat nonetheless.

 

Karol

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