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


Ollie

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:music: Masters of the Universe by Bill Conti. Just got back home from holiday and the had the parcel waiting for me. It's not a terribly distinctive or original score...but a very entertaining one nonetheless.

 

Karol

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Star Wars: The Last Jedi by John Williams: It is fantastic in its complete form but I really wish Rian Johnson had asked Williams to expand upon the "Rebellion is Reborn" theme /Achc-To Island theme" and develop it into a more prominent idea in the score as a sort of The Last Jedi theme for Luke's gradual return from exile. I can just imagine how great it would have been dramatically for the final scenes.

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Yes, this is one minor gripe I have as well. Also I can understand why decided to abandon the Jedi Steps theme as the mythical Luke is not quite what the legend says bit it would have been nice to hear somewhere towards the end where he finally embraces his legacy.

 

If this score hasa flaw then it would be that you can tell it was temp tracked with other SW music. I bet for some Rose scenes they used Anakin's theme as a template.

 

Karol

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56 minutes ago, crocodile said:

Yes, this is one minor gripe I have as well. Also I can understand why decided to abandon the Jedi Steps theme as the mythical Luke is not quite what the legend says bit it would have been nice to hear somewhere towards the end where he finally embraces his legacy.

 

If this score hasa flaw then it would be that you can tell it was temp tracked with other SW music. I bet for some Rose scenes they used Anakin's theme as a template.

 

Karol

I think Rian Johnson confirmed that they temp tracked nearly all of the movie with previous SW music. And that was also the extent of their spotting sessions for the film with Williams as well.

 

A quote from a podcast interview of Rian Johnson (Soundtracking with Edith Bowman) found also here on JWFan.com

Quote

“When we were editing, we had a very talented music editor, Joe Bonn, who cut a temp score out of John’s previous scores and we basically temped using John Williams music. And then basically we gave that temp score to John and that was our spotting session. You know, a spotting session is usually when you sit down with the composer and talk through what you want. I didn’t do that with John, just gave him our temp score and said this is generally the shape. And then John took that and sometimes he went with it, sometimes he deviated from it but he just did his thing; and the first time I heard any of the music John had written was when we were on the scoring stage.”

Director Rian Johnson discusses his work with John Williams on Star Wars: The Last Jedi

 

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21 minutes ago, SteveMc said:

Demeaning much?

(why does everyone use much like this?)

 

Would you prefer anything else for such a moronic arrogant douchebag as Lyin' Johnson? Steef let him off easy if you ask me!

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Dances with Wolves by John Barry: The 75-minute expanded release from Sony is just the right length and contains all the highlights for me.

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Yeah but you can always cut a few tracks named John Dunbar Theme off the album.

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Superman

 

Finally the main program after about 20 OST listens. Not a huge revelation - I already loved the OST and this just adds a number of neat and a handful of great cues to it, or at least that's what it feels like. Guess it's the double LP era's "fault" for allowing for an already fine representation. Still really really good overall. Fun score with lovely motifs which get quite a varied workout, and some interspersed moments of honest gravitas. The noble Krypton fanfare might be my favourite surprise takeaway. Hot damn, these alternates!

 

Oh, and - I have not heard anything from the Rhino or the Blue Box, but this sounds absolutely brilliant nevertheless.

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13 minutes ago, crocodile said:

Karol - now really intrigued to hear Elfman's upcoming concert work for chamber orchestra, 12-16 female singers, two percussion, two electric guitars, bass and drum.

 

What is this work you speak of?? I haven’t heard anything about it, but it sounds fascinating!

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12 minutes ago, Iron_Giant said:

 

What is this work you speak of?? I haven’t heard anything about it, but it sounds fascinating!

He mentions it here at around 71-minute mark:

 

 

Karol

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Not particularly offensive but disappointingly devoid of any standout characteristics, 'Dumbo 2019' never takes flight. With cue titles that announce flights, soars, multiple themes and such, you may expect a *bit* more than this lukewarm and generally stolid 1-hour affair for big orchestra and mixed chorus, employed exactly like you expect from the half-asleep Elfman of the last 15 years. The pen-ultimate cue, 'Soaring Suite' with its Hornerseque major/minor chords over a flittering string backing is the only one to really convincingly develop its main theme, which is OK but with two hours of this big top fantasy it's a fair question why some hungry young talent isn't given the chance to really let loose...?

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1 hour ago, publicist said:

 

Not particularly offensive but disappointingly devoid of any standout characteristics, 'Dumbo 2019' never takes flight. With cue titles that announce flights, soars, multiple themes and such, you may expect a *bit* more than this lukewarm and generally stolid 1-hour affair for big orchestra and mixed chorus, employed exactly like you expect from the half-asleep Elfman of the last 15 years. The pen-ultimate cue, 'Soaring Suite' with its Hornerseque major/minor chords over a flittering string backing is the only one to really convincingly develop its main theme, which is OK but with two hours of this big top fantasy it's a fair question why some hungry young talent isn't given the chance to really let loose...?

There were two Elfmans released this month...

 

tenor.gif

 

Karol

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To be honest, my general lack of interest applies to Elfman in general. Ever since I got the Batman box set and couldn't find anything interesting in the (until then unknown to me) sequel score, I've decided that Elfman, with very few exceptions, isn't for me.

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21 minutes ago, Marian Schedenig said:

To be honest, my general lack of interest applies to Elfman in general. Ever since I got the Batman box set and couldn't find anything interesting in the (until then unknown to me) sequel score, I've decided that Elfman, with very few exceptions, isn't for me.

 

I share your sentiment - both about his 2nd Batman score and in general.

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About finished with Dumbo by Elfman. It's been very boring to me, pretty much just autopilot Elfman.

 

My favorite track so far is the 2nd one, Train's a Comin'. Which I would imagine is a melody from the original animated movie, though I  can't remember since it's been 25 years since I've seen that movie. Was hoping the music during the flying sequences would be better.

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Eleven Eleven by Danny Elfman

Quite a strong violin concerto.  It drew me in from the opening notes, and pretty much every minute offered something to enjoy.  The third movement, Fantasma, is particularly excellent.

My sole criticism is that it is a tad too long and thus a bit difficult to program.  Definitely a piece that I will revisit regularly.

 

Hooten Plays Williams

The recording of the Trumpet Concerto on here is exquisite.  Certainly better than the rather harsh Sandoval recording.  I do still like the Harjanne recording, but Williams really brings out the richness of the orchestral writing here, especially in the second movement.  Hooten's playing is also most solid.

 

The Lost World by John Williams

A revelation of a score.  Percussion tour de force.  Ahead of its time, really, and better than what it anticipated.  There are layers to this one, that invite unraveling.  

 

Skyfall by Thomas Newman

Pretty good.  The driving percussion tracks get quite monotonous, at least for me.  But, there are several standout tracks where Newman weaves a unique texture that is very much him and very much Bond.  

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