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

[Kasey Kockroach 2,344]

Every single time (and I do mean every single time) I've listened to Lost World in the presence of grandpa, he mistakes it for Alan Silvestri. Including today's listen.

"This sounds nothing like John Williams! He must have been so bored with this movie!"

"You say that every time I play this one, and with each utterance, you lose more credibility."

-some time later-

"Okay, THAT cue was AWESOME! What was that one?"

"That was Ripples, and you've said that about five times today."

 

[Jurassic Shark 12,033]

Sounds like a fun grandfather!

[Kasey Kockroach 2,344]

His grumpiness is more comical than annoying, really. He looks down upon my love for monster movie music, ranting "it's just a bunch of noise!", favoring the dignified romantic stuff like Ennio Morricone's porn music or whatever.

[Disco Stu 15,495]

You know, I really don't enjoy the art design of the Beetlejuice cartoon series.  I didn't when I was a kid and I don't now.

 

This post is going to seem like the weirdest non sequitur to someone who might be reading this thread after kasey changes his avatar.

[Kasey Kockroach 2,344]

I prefer cartoon Lydia to live-action Lydia myself. And I otherwise like Winona Ryder, mind you!

[Maglorfin 196]

James Horner - Braveheart (LLL)

James Horner - Patriot Games (LLL)

George Martin - Live And Let Die

[publicist 4,643]

 

Upon his rejection, Elmer Bernstein reportedly wrote a thank you-letter to Demi Moore: now he could use his music in a better movie. And he's right, it's a very lyrical-yet-varied effort full of interesting instrumental choices (string orchestra, male chorus, vocalise, bagpipes, woodwinds). Much better than Barry's monochrome schmaltz (he reportedly hated the movie, too). 

[Jurassic Shark 12,033]

10 minutes ago, kaseykockroach said:

I prefer cartoon Lydia to live-action Lydia myself. And I otherwise like Winona Ryder, mind you!

 

Of course you do.

[Kasey Kockroach 2,344]

8 minutes ago, Jurassic Shark said:

 

Of course you do.

 

[Nick Parker 3,040]

2 hours ago, kaseykockroach said:

 

 

Sax, sox? What is that saying? You posted an image smaller than my love for Giacchino. That show didn't actually have cussing in it, did it?

[Kasey Kockroach 2,344]

[Naïve Old Fart 9,507]

6 hours ago, Maglorfin said:

James Horner - Braveheart (LLL)

James Horner - Patriot Games (LLL)

George Martin - Live And Let Die

 

One of those scores is rather nifty.

[Disco Stu 15,495]

Battle of Neretva - Bernard Herrmann (Stromberg recording)

 

My word I love this score more every time I listen to it.  The action/suspense cues are unrelenting and intense. The quieter cues are beautiful.  Herrmann’s way with an orchestra in full effect.  This era of Stromberg re-recordings is untouchable.

 

I’m now convinced this is top tier Herrmann, up there with his greatest works.

[Incanus 5,713]

1 hour ago, Disco Stu said:

Battle of Neretva - Bernard Herrmann (Stromberg recording)

 

My word I love this score more every time I listen to it.  The action/suspense cues are unrelenting and intense. The quieter cues are beautiful.  Herrmann’s way with an orchestra in full effect.  This era of Stromberg re-recordings is untouchable.

 

I’m now convinced this is top tier Herrmann, up there with his greatest works.

I have always been intrigued by the title but never got around listening to it. I'll have to check it out ASAP now since Stromberg's re-recordings are certainly nothing to sneer at.

[publicist 4,643]

 

Miklós's first Oscar win, not totally deserved, one might say, though inevitable with that prize. The Theremin might have found its first place in a Hollywood film here, but it's the ultra-lyrical love theme that swayed voters. It's a very respectable dramatic/romantic composition with several long interludes (the longest runs 16 uninterrupted minutes!) done in Rózsa's authorative style, and as such warrants a listen. For beginners, 'El Cid', 'Thief of Bagdad', 'Ben-Hur' or 'Ivanhoe' still would be first choice.

[Incanus 5,713]

Angela's Ashes by John Williams: Somehow listening to this gorgeous score eases the pain of the intolerable heat wave we are experiencing here. The soloist work here is equally beautiful, cello, piano, harp and oboe featured throughout and the studio musicians must have been thrilled that they got to perform something written exclusively for them like the solo harp piece The Lanes of Limerick.

 

 The Lost World: Jurassic Park by John Williams: Tremendous, tremendous, perhaps even superb.

[Kasey Kockroach 2,344]

13 hours ago, Disco Stu said:

 

 

This post is going to seem like the weirdest non sequitur to someone who might be reading this thread after kasey changes his avatar.

Done.

Anyway, besides Lost World again, today was also a day for...

Ice Age: Dawn of the Dinosaurs by John Powell

Shantae and the Pirate's Curse by Jake Kaufman

 

 

 

[Jurassic Shark 12,033]

3 hours ago, publicist said:

Miklós's first Oscar win, not totally deserved, one might say, though inevitable with that prize.

 

Who else were nominated that year?

[Incanus 5,713]

28 minutes ago, Jurassic Shark said:

 

Who else were nominated that year?

Oh just a couple of guys:

 

Quote

MUSIC (MUSIC SCORE OF A DRAMATIC OR COMEDY PICTURE)

WINNER

SPELLBOUND

Miklos Rozsa

 

NOMINEES

THE BELLS OF ST. MARY'S

Robert Emmett Dolan

 

BREWSTER'S MILLIONS

Lou Forbes

 

CAPTAIN KIDD

Werner Janssen

 

THE ENCHANTED COTTAGE

Roy Webb

 

FLAME OF BARBARY COAST

Morton Scott, Dale Butts

 

G. I. HONEYMOON

Edward J. Kay

 

G. I. JOE

Louis Applebaum, Ann Ronell

 

GUEST IN THE HOUSE

Werner Janssen

 

GUEST WIFE

Daniele Amfitheatrof

 

THE KEYS OF THE KINGDOM

Alfred Newman

 

THE LOST WEEKEND

Miklos Rozsa

 

LOVE LETTERS

Victor Young

 

THE MAN WHO WALKED ALONE

Karl Hajos

 

OBJECTIVE, BURMA!

Franz Waxman

 

PARIS--UNDERGROUND

Alexander Tansman

 

A SONG TO REMEMBER

Miklos Rozsa, Morris Stoloff

 

THE SOUTHERNER

Werner Janssen

 

THIS LOVE OF OURS

H. J. Salter

 

THE VALLEY OF DECISION

Herbert Stothart

 

THE WOMAN IN THE WINDOW

Arthur Lange, Hugo Friedhofer

 

MUSIC (SCORING OF A MUSICAL PICTURE)

WINNER

ANCHORS AWEIGH

Georgie Stoll

 

NOMINEES

BELLE OF THE YUKON

Arthur Lange

 

CAN'T HELP SINGING

Jerome Kern, H. J. Salter

 

HITCHHIKE TO HAPPINESS

Morton Scott

 

INCENDIARY BLONDE

Robert Emmett Dolan

 

RHAPSODY IN BLUE

Ray Heindorf, Max Steiner

 

STATE FAIR

Alfred Newman, Charles Henderson

 

SUNBONNET SUE

Edward J. Kay

 

THE THREE CABALLEROS

Charles Wolcott, Edward Plumb, Paul J. Smith

 

TONIGHT AND EVERY NIGHT

Marlin Skiles, Morris Stoloff

 

WHY GIRLS LEAVE HOME

Walter Greene

 

WONDER MAN

Ray Heindorf, Lou Forbes

 

MUSIC (SONG)

WINNER

STATE FAIR

It Might As Well Be Spring in "State Fair" Music by Richard Rodgers; Lyrics by Oscar Hammerstein II

 

NOMINEES

HERE COME THE WAVES

Accentuate The Positive in "Here Come the Waves" Music by Harold Arlen; Lyrics by Johnny Mercer

 

TONIGHT AND EVERY NIGHT

Anywhere in "Tonight and Every Night" Music by Jule Styne; Lyrics by Sammy Cahn

 

THE BELLS OF ST. MARY'S

Aren't You Glad You're You? in "The Bells of St. Mary's" Music by James Van Heusen; Lyrics by Johnny Burke

 

WHY GIRLS LEAVE HOME

The Cat And The Canary in "Why Girls Leave Home" Music by Jay Livingston; Lyrics by Ray Evans

 

EARL CARROLL VANITIES

Endlessly in "Earl Carroll Vanities" Music by Walter Kent; Lyrics by Kim Gannon

 

ANCHORS AWEIGH

I Fall In Love Too Easily in "Anchors Aweigh" Music by Jule Styne; Lyrics by Sammy Cahn

 

SING YOUR WAY HOME

I'll Buy That Dream in "Sing Your Way Home" Music by Allie Wrubel; Lyrics by Herb Magidson

 

G. I. JOE

Linda in "G. I. Joe" Music and Lyrics by Ann Ronell

 

LOVE LETTERS

Love Letters in "Love Letters" Music by Victor Young; Lyrics by Eddie Heyman

 

CAN'T HELP SINGING

More And More in "Can't Help Singing" Music by Jerome Kern; Lyrics by E. Y. Harburg

 

BELLE OF THE YUKON

Sleighride In July in "Belle of the Yukon" Music by James Van Heusen; Lyrics by Johnny Burke

 

WONDER MAN

So In Love in "Wonder Man" Music by David Rose; Lyrics by Leo Robin

 

SAN ANTONIO

Some Sunday Morning in "San Antonio" Music by Ray Heindorf and M. K. Jerome; Lyrics by Ted Koehler

 

[Disco Stu 15,495]

7 hours ago, Incanus said:

I have always been intrigued by the title but never got around listening to it. I'll have to check it out ASAP now since Stromberg's re-recordings are certainly nothing to sneer at.

 

I highly suggest trying it on Spotify and then ordering the CD once you’re bowled over by it  

 

I specifically suggest sampling the last quarter of the score (24. Battle and Fanfares - 30. End Titles).  It’s a truly astounding 15 or so minutes of music and showcases well all the soundtrack has to offer, as well as Herrmann at his best.

[Knight of Ren 787]

Ant-Man by Christophe Beck: I think I had never listened to any of Beck's work before this one, but this really impressed me and still does. The main theme is really catchy and I love how he uses it in almost every track in different variations. I also like the 60's spy thriller vibe in some of the cues like "Surfing on Ants" or in the "Theme from Ant-Man" itself. And "Tales to Astonish!" is a lot of fun. One of the best of the MCU for me.

 

Ant-Man and the Wasp by Christophe Beck: Just as fun and entertaining as the first one (well, maybe a step down because of some more filler cues). The Wasp theme, while maybe not as catchy as Ant-Man's theme, is fantastic and full of energy. And I love that the secondary theme from the first movie (used as some kind of Family Theme) returns here with some brilliant statements like the ones in "Prologue" or  "Cautious as a Hurricane".

 

Mission Impossible Rogue Nation by Joe Kraemer: When it came out I listened to it and I liked it but it didn't clicked instantly. Now I have revisited it and is really one of the best of the saga. The use of Schifrin's themes adapted into Kraemer's own material is fantastic and it has some of the best action cues I have heard in a while. Special mention to "The A400" and of course "Morocco Pursuit"

 

Mission impossible Fallout by Lorne Balfe: Overall, a disappointment. I was hoping that maybe Balfe would be able to create something mildly memorable like he has done with things like The LEGO Batman Movie or other animation scores like Home. But he just copies most of Inception/The Dark Knight/Mad Max tracks and mixes them with the Mission impossible theme. There are some nice action tracks, but the excessively long album does not help and in the end it's just repetitive and boring. I hope in the movie works well, because the movie looks terrfic and I'm planning to watch it, but the score on its own is really disappointing.

[Jay 37,322]

Damn you are making me want to re-listen to both Ant-man scores now!

 

And totally agreed with your assessments on both those MI scores.

[publicist 4,643]

 

Some pleasant parts, but - as usual - much too fragmented and frankly too familiar to gain any distinction in the Newman catalogue. Newman really, really has to find himself a new challenge, musically (and no, Bond surely wasn't it).

[Jurassic Shark 12,033]

I prefer this take on Victoria:

 

 

[Brónach 1,301]

Jurassic World: Fallen Kingdom

 

Well, the theme is gorgeous.

 

I think there's a special kind of movie where Gia's music shines and makes sense. Anything that approaches a fantasy/sci-fi/horror B movie, for example.

[publicist 4,643]

[Unlucky Bastard 7,782]

Hehe innie cute!

[Disco Stu 15,495]

The Mummy (Intrada) - Jerry Goldsmith

 

Great score.

 

Battle of Neretva - Bernard Herrmann (Stromberg re-recording)

 

Again.  So...so....great.

[Muad'Dib 1,801]

Good stuff!

 

 

[Disco Stu 15,495]

 

A blast from the past

[Naïve Old Fart 9,507]

Now, this, I would like.

[publicist 4,643]

[Jay 37,322]

I picked up that one a few weeks ago and haven't listened to it yet.  What did you think?

[publicist 4,643]

Too much vague underscore that doesn't do much, musically, but the first two tracks and a few others (Under the Water) are nice. Still, rather disappointed.

[Jay 37,322]

Yea I love some of his scores from a few years back, but this didn't seem like a similar style as what they generally had.  Oh well

[Bespin 8,480]

John Williams - The Cowboys (the 1994 album “reconstitued” using the Deluxe Edition tracks,  no edits)

[SteveMc 2,674]

Jane Eyre by Bernard Herrmann  This score has now taken its place among my favorites.  Quite fantastic.  Rich, thematic, varied, substantial.  Pretty much everything I could want from a score.  10/10.

[Kasey Kockroach 2,344]

Mouse Hunt by Alan Silvestri

I'd like to think of Silvestri as a Friz Freleng equivalent. Among the least ambitious of the 'main' composers, but also among the most consistent and reliable. 

 

Pan by John Powell

Murmurs of Love and Death is such a captivating lovely cue. 

[Faleel 5,341]

I really need to get Pan. in both senses of the word "Get"

[Sir Hilary Bray 235]

As mentioned elsewhere re-read Boys from Brazil, the film and went to the score. Something about that waltzy main theme but also the music for the first reveal of Mengele. Proper 'bad guy' music. 

 

But, again in light of finding the book, John Barry's Dances With Wolves. A beautiful score, I found Dunbar's theme quite moving this time round but the favoured track remains The Buffalo Hunt (Film Version) -the way it gradually builds, soars even and that sound when you see Dunbar racing in to the hunt -has an old Western feel from the 50s. 

 

You want to see the frontier?

Yes sir, before it's gone. 

[Faleel 5,341]

Angela's Ashes (No Narration - John Williams)

King of Kings - Miklos Rosza

[Bespin 8,480]

You’re not clear, which version of Angela, with narration or without?

[Faleel 5,341]

Without.

[publicist 4,643]

The Mummy vs. The Mummy Returns

 

Having now listened to both sets corrects some misconceptions regarding the latter one as 'fun ride', as there is a prodigious amount of tedious, pesky underscoring, full of false starts/stops and melodramatic flourishes that never resolve into anything, so that merits a huge asterisk - *after a good day of pruning. Also, probably due to time constraints Silvestri simply repeats certain blocks of material that just pop up over the course of 2 hours that do further cement my rather lukewarm reception of the score as a whole.

 

In toto, there is still a great hour of it to be salvaged but somehow the risible movie took its toll on the score as it has to cover so many bad patches and idiotic CGI landscaping that its frenetic intensity is somewhat less than the sum of its parts, though its still the greatest thing Silvestri did in the last 20 years.

 

So here's what i came up with, restoring some of the edits of the old Decca and pruning cues like 'Scorpion Shoes' of dead air.

 

The Legend of the Scorpion King 4:55 

Scorpion Shoes 3:37 

Imhotep Unearthed 3:00

Just An Oasis 1:26

Evy Kidnapped (Revised) 4:39

My First Bus Ride (Revised) 7:45

The Mushy Part 2:42

Canyon Deluge 2:07 

Medjai Commanders 2:01 

Evy's Flashback Swordfight 2:31 

Flashback Finale 4:03 

Evy Dies 3:29

Sand Warriors - Rick Battles Imhotep 8:45

False Victory (Revised) 4:47

Happy Ending 4:07 T

The Mummy Returns – End Credits 2:29 

The first score was pretty much spot on with its Decca incarnation though i would have substituted the boring 'Discoveries' with 'Sand Storm' but hey...the sound is frighteningly great now, so i just edited together 'Closed Door' and 'Undiscovered Creature', took 90 seconds out of the slam-banging 'Locusts' and combined the only cue of interest from the middle section (Sleeping Evy) with an edited version of 'The Mummy Attacks' (the penultimate cue from the Decca, never a favourite, anyway).

 

Imhotep 4:16 

The Sarcophagus 2:14 

The Tauregs Attack 2:21 

Closed Door 2:12 

Giza Port (Alternate) 1:58 

Night Boarders 4:06 

The Caravan 2:43 

Camel Race 3:23 

The Mummy Sarcophagus 2:25 

Mumia Attack 2:21 

The Locusts 3:43

My Favorite Plague (Alternate) 4:00

Crowd Control 3:10 

Sand Storm 2:33

Desert Burial 1:09 

Rebirth 8:41 

The Mummy Attack 4:12 

Escape From The Tomb 1:54 

The Sand Volcano 5:41 

 

Both scores come in at roughly the same play time and though i find especially TMR mastered too hot, they close the book on these two scores. The Goldsmith reigns supreme, imho, especially in its g(l)oriously over-the-top Imhotep theme (Silvestri never matches that) though you can feel a certain lack of affinity in his heroic material for Brendan Fraser (a bumbling inversion of the Imhotep theme, as is the love theme), where Goldsmith does his best to sidestep the character instead of beefing him up with another overworking swashbuckling tune (ie Silvestri's). 

 

The nostalgic love theme is the other selling point of 'The Mummy', being an exception in its sweeping, expansive nature to Goldsmith's usually a bit more perfunctory handling of such themes. There is a certain amount of repetition here, but still its remarkable how many concise, distinguishable action and suspense cues the maestro wove from his descending four note head motif. Even though the complexity of the orchestral parts is reduced to levels manageable in a three-week writing period, the end result sure is a textbook example to score a silly modern blockbuster in a way old-fashioned idiom without sounding old-fashioned. 

[Kasey Kockroach 2,344]

I recall Temple of Doom's mastering being described as sounding "too hot" on one of the releases. Is The Mummy Returns a similar way?

[publicist 4,643]

No, it's like 'Predator 2', crushingly loud. If you look at the spikes in Audition or Audacity, the loud cues too often look like this:

 

 

whereas they should look like this:

[Unlucky Bastard 7,782]

Those fuckers! WHY??!

[Kasey Kockroach 2,344]

Ahh, okay dokay, I'll keep that warning in mind. 

[publicist 4,643]

The Goldsmith fares a bit better, thankfully the Decca mix is still intact on CD 2. Why so many engineers today knowingly put out product so hotly mastered even if it's not intended for a mass market audience is everybody's question. The good thing is that it still sounds relatively unharmed, but keep in mind that even if you lower the volume in a mixing program, the clipped parts are not saved by this.

[Kasey Kockroach 2,344]

Doesn't bother me, but can certainly grasp why it would other folks.