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


Ollie

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This is subjective; liking the score to Blade Runner 2049. You oppose my opinion and you therefore comment that I need to separate fact from opinion. I clearly stated an opinion, yet you blur the line between what is true and what is believed. This in itself is a biased remark suggesting that because I don't like something that you do it is no longer taking the form of an opinion. It is and you think that I'm approaching it as being a universal truth. You have an opinion and by the way you are acting anyone that opposes is crossing the boundary of opinion and encroaching upon fictional and delusional thinking translated into informative posts about scores that I have listened to. So grab your headphones, listen to the droning electronic hum of Blade Runner 2049 and block out all the comments you don't like because frankly not everyone is going to agree with you sometimes.

 

I seemed to think that you had retired because JW Fan was no longer a place of meaningful musical discussion. Perhaps you can act as the spark to reignite such discussion and tell us why I am wrong in my preference. But you have withdrawn from the conversation, no? Which is why you continue to post...

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8 minutes ago, The Illustrious Jerry said:

But you have withdrawn from the conversation, no?

 

With John, yes, who was obviously just looking for a fight.  I should hope you're not, though if that's your aim, let me know, and I'll indeed withdraw from the conversation with you as well.  As to the rest of what you wrote, I don't think either of us want to go back and forth with this sort of soapboxing.  That said - my comments regarding you separating opinion from fact were not borne of me feeling that the score is in fact great and you need to reassess, but rather from the tone of your posts following my own comment which seemed to be obliquely suggesting that I was in the wrong, for holding my own opinion.  My point is of course that nobody is wrong here, but some posts certainly did read as though that were being implied.  Neither I nor anyone else can tell you why your preferences are wrong.  That would be madness and is not the key to better musical discussion here.  With all due respect, neither is "informative" posts about scores you've listened to which really just seem to be the same old tired criticisms against a certain type of music.  

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Problem resolved.

 

Jurassic Park (Personal Playlist) composed by John Williams

The Lost World (Personal Playlist) composed by John Williams

The Lord of the Rings: The Fellowship of the Ring (OST) composed by Howard Shore

The Lord of the Rings: The Two Towers (OST) composed by Howard Shore

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6 minutes ago, The Illustrious Jerry said:

Problem resolved.

 

Jurassic Park (Personal Playlist) composed by John Williams

The Lost World (Personal Playlist) composed by John Williams

The Lord of the Rings: The Fellowship of the Ring (OST) composed by Howard Shore

The Lord of the Rings: The Two Towers (OST) composed by Howard Shore

I'm curious, what's your playlist for TLW? I pretty much love every track of the complete score myself (while with JP, I stick with the OST and merely took out the redundant end credits appearing twice).

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This is how I listen most often

 

1 The Island's Voice (3:35)
2 Revealing The Plans (2:17)
3 To The Island (3:39)
4 The Stegosaurus (2:21)
5 Finding The Baby (3:13)
6 Fire At Camp (0:59)
7 Corporate Choppers / The Round Up (5:50)
8 Big Feet (1:41)
9 Spilling Petrol / Horning In (5:07)
10 Up In A Basket (5:38)
11 Pain of Glass / Truck Stop (9:09)
12 Reading The Map / The Trek (8:26)
13 The Compys! (1:37)
14 The Compys Dine (2:55)
15 Rialto Ripples (5:51)
16 Steiner In The Grass / After The Fall (5:22)
17 The Raptors Appear / High Bar And Ceiling Tiles (7:48)
18 Heading North / Ludlow's Speech / Wompi's Wrench / Monster On The Loose (9:52)
19 A Neighborhood Visitor / The Streets Of San Diego / Ludlow's End / The Saving Dart (13:18)
20 End Credits (3:37)

 

Though sometimes I skip past the two compys tracks

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I thought Lost World's OST was fine, save the weird placement of The Stegosaurus towards the end. I recall being indifferent to the revelation of the LLL set, until I got to listening to the whole thing and was shocked how much the complete score works splendidly as a listen. 

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I'm listening to 'Doctor Who: Series 11' composed by Segun Akinola and it's better than I remember while watching the series, but not remarkable. I miss Murray Gold very much and I hope they are still releasing his score for the 10th Season soon...

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1 hour ago, Jurassic Shark said:

That's a long title for a film.

Sounds interesting. I'd watch it!

17 hours ago, Jurassic Shark said:

I listen to TLW in the following order:

 

The OST.

I see what you did there now! Haha!

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My Brilliant Friend by Max Richter

W.E. by Abel Korzeniowski

Theory of Everything by Johann Johannsson

Girl With a Pearl Earring by Alexandre Desplat

 

Lots of "pretty" music today...

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Besides, a few dozen re-listens of Star Trek II and III, not much of note but I went through a phase of listening to Elmer Bernstein's McQ. Something about the Dirty Laundry track -hint of menace, purpose and, er, coolness. I'm sure it's not high on Bernstein's list but one of my favourites of his. 

 

But this week revisiting two David Shire scores -Big Bus and Taking of Pelham 1-2-3. The former, can never get enough of the main title -like Airplane it's a serious (if a track of its era) sounding piece. Personally, fits in and around the Airport sequels. With respect to John Cacavas. 

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:music: How To Train Your Dragon: The Hidden World. I'm not sure how it ranks among the three but it certainly delivers yet another stage in the evolution of this series. The old themes sound now very mature and the whole score feels now more like a ballet. Very interesting too see Powell's development over the past decade. Some really good new themes too. I like this.

 

Karol

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:music: How To Train Your Dragon trilogy by John Powell. It's certainly one of the finest thing to come out in the 10's. Grand and epic as any modern blockbusters should be these days...and yet so full of emotion. It really soars. When you listen to them all together it's easy to hell how much John Powell has changed over the past 10 years. Delicious. :)

 

Karol

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I find that trilogy to be totally unrealistic. First of all, that's not how dragons look. In the films it looks like they were designed by the same guy who does Apple's designs. Furthermore, vikings don't play bagpipes nor drink tea - we drink much stronger stuff. 

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Jumping on the bandwagon too - How To Train Your Dragon: The Hidden World by John Powell.

 

Yeah, wow. Powell pretty much nailed this one. It's a fantastic conclusion to his near masterful score trilogy, and a phenomenal album on it's own.

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So, I was on a auto blog and I saw this video as a post.  Clicked play, and heard something familiar.  Could it be?

 

Yes! 

Elmer Bernstein scored this little film.

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If Beale Street Could Talk by Nicholas Brittel

Quaint and simple. The instrumental emphasis is in the string section, notably the cello, which has a nice deep sound befitting of the mood. It's an incredibly easy listen; I went through the album lying in bed. But it's not neccesarily boring. Some cues take on an eclectic style, but very rarely is there not a good string melody. Notable tracks, at least going by the promotional album, include Eden Harlem, Eros, Agape, Jezebel, and End Credits.

 

In comparison to Brittel's other score from this year, VICE, If Beale Street Could Talk is much less musically diverse. I prefer VICE, but I feel that both scores show a good, wide-ranging display from Brittel, who I will certainly look for in the future.

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A.I. - Artificial Intelligence by John Williams: A masterpiece indeed.

 

Dracula by John Williams: One of the few horror scores Williams has done and perhaps because of it more special. I love the main theme which encompasses the entire story so perfectly.

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