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

[Faleel 5,347]

His first name of course!

[gkgyver 1,645]

The Legend Of Zelda: Majora's Mask soundtrack.

An absolute gem.

Could it be that this is severely underrepresented in the Zelda Symphony?

Part of me really would love to hear a Koji Kondo Harry Potter score. But that would have been a truly cold day in hell.

[Faleel 5,347]

Some Majora's mask's best pieces were in the Symphony.

[MrJosh 892]

Rambo: First Blood Part II

Rambo III (complete)

Yeah, more RAMBO fun and both are enjoyable, but neither is as great as FIRST BLOOD to me. There's something more fresh, exciting and interesting about the first. I'm also not much of a fan of the electronics in Rambo III. Jerry did sure like to try out some funky sounds.

[BloodBoal 7,538]

[crocodile 8,012]

Black Gold by James Horner

A non-offensive and pleasurable effort from Horner. It might not immediately draw new fans, but shouldn't fuel much hatred towards the man either. The main theme, while effective, is not necessarily his most complex idea. Horner does, however, a good job at making it both a western romantic idea and also sometimes gives it a bit more eastern flair. The score is definitely softer and more quiet than I expected. There isn't all that much Middle Eastern music in there. The male vocals are softened by Horner's piano solos and I must admit the whole thing makes for a relaxing 50-something minutes of music (the album's length feels just about right). Danger motif makes one appearance in the opening track. Beside that, I can't really spot any obvious lifts from anything. It just sounds like... Horner. If you like his music, than you can't go far wrong here. Recommended.

One more thing: I am almost amazed that Horner has such a great sense of structure. No matter the length of his albums/tracks, they always feel like a whole. A rare thing these days.

Karol

[MrJosh 892]

Black Gold by James Horner

A non-offensive and pleasurable effort from Horner. It might not immediately draw new fans, but shouldn't fuel much hatred towards the man either. The main theme, while effective, is not necessarily his most complex idea. Horner does, however, a good job at making it both a western romantic idea and also sometimes gives it a bit more eastern flair. The score is definitely softer and more quiet than I expected. There isn't all that much Middle Eastern music in there. The male vocals are softened by Horner's piano solos and I must admit the whole thing makes for a relaxing 50-something minutes of music (the album's length feels just about right). Danger motif makes one appearance in the opening track. Beside that, I can't really spot any obvious lifts from anything. It just sounds like... Horner. If you like his music, than you can't go far wrong here. Recommended.

One more thing: I am almost amazed that Horner has such a great sense of structure. No matter the length of his albums/tracks, they always feel like a whole. A rare thing these days.

Karol

Very cool, I will be listening to this soon. I find that my favorite James Horner moments are often the softer ones.

[Faleel 5,347]

Well, the thing is, if Kondo had worked on Potter, he wouldn't have given us The Wind Waker, which is the last great Zelda score, in my not so, yet a bit, humble opinion. So that's not entirely a bad thing.

"Kondo is annoying with his childish gay themes, his action music always sounds like a car crash until it finds a melody!"

(THIS IS SARCASM!)

[Marian Schedenig 8,193]

Yeah, more RAMBO fun and both are enjoyable, but neither is as great as FIRST BLOOD to me. There's something more fresh, exciting and interesting about the first. I'm also not much of a fan of the electronics in Rambo III. Jerry did sure like to try out some funky sounds.

#2 is my favourite. In my book, it's second only to Total Recall as an action score, and that just barely. The third score might live up to the other two composition wise, but is severely crippled by sub-par orchestra with an incompetent rhythm section.

[Charlie Brigden 7]

'Village Raid/Helicopter Fight' is the greatest action cue ever composed.

[Marian Schedenig 8,193]

Quite possibly.

[publicist 4,643]

I'm also not much of a fan of the electronics in Rambo III.

Whoever lived through the synths of RAMBO 2 shouldn't be afraid of anything in 3.

[Matt C 453]

Superman Returns - Ottman

It's been a few years since I've listened to this, so I pulled it out and put it on. Still quite enjoyable, and I disagree that Ottman relies too heavily on Williams' themes. He uses them sparingly and effectively in most of the CD (it's quoted a bit too much in the film, though). "How Could You Leave Us?" is probably Ottman's most romantic/longing cue he's ever written, while "Rough Flight" is quite exciting. It would've been interesting had the movie been better received, audience-wise. I would've liked to see how Ottman would've taken his original themes and developed them in a sequel.

[Maglorfin 196]

Richard Bellis - Stephen King's IT

What a great score, and what an awesome edition! Thank you so much, Intrada! Another fantastic soundtrack and another gap in collection filled. ^_^

[Trent B 337]

Superman Returns - Ottman

It's been a few years since I've listened to this, so I pulled it out and put it on. Still quite enjoyable, and I disagree that Ottman relies too heavily on Williams' themes. He uses them sparingly and effectively in most of the CD (it's quoted a bit too much in the film, though). "How Could You Leave Us?" is probably Ottman's most romantic/longing cue he's ever written, while "Rough Flight" is quite exciting. It would've been interesting had the movie been better received, audience-wise. I would've liked to see how Ottman would've taken his original themes and developed them in a sequel.

The complete score is a much better listening experience compared to the OST.

[Matt C 453]

In My Sleep - Conrad Pope

A very good score, with more than shades of John Williams showing through (especially in "Finding Gwen" and "Underwater" where they would feel right at home in War of the Worlds). Definitely a solid album, but it's way too long. Pruning it down to its highlights (30-45 minutes) would make it a great album.

I do find it annoying that the album does not indicate which cues were performed by L.A. session musicians and by the Bulgarian Philharmonic (it's not a knock against either ensemble since they're uniformly excellent). Did Pope use the session musicians to "sweeten" or double the recording to make it sound bigger than it actually was?

[Incanus 5,714]

Black Gold by James Horner: After listening to the album I have a strong feeling I have heard all of this before. The score is engaging throughout but it is amazing how many remnants of past scores seem to flit in and out of the music at regular intervals. It is so Horner through and through. Horner takes chord progressions used in Zorro, All the King's Men and other scores and just basically lays slightly different themes on top of them. Even danger motif is featured on the 1st track, first just inverted and then as a straightforward statement. Also Horner's favourite little melody ever since the time of Apollo 13, remniscent of the theme from Schindler's List and featured as the love theme in Enemy at the Gates, pops up again in the Battle in the Oil Fields and its opening has a strong connection to the main theme of this score. Tiger can't escape his stripes I guess.

The main theme with its dreamy and sweeping quality holds the album together quite well, a classic construction from the composer, reminding me of his grander themes for the scores like Zorro and dramatic scores from early 90's with a dash of Near East exoticism thrown into the mix. It undergoes several orchestrations and I can easily imagine the music underscoring the sand dunes and desert travel and the sparse, rugged but beautiful atmosphere of the setting. Horner provides a varied score full of different colours like the playful The Wonders of Wealth that is reminiscent of his mid-90's domestic comedy/drama/animation style with vibrant curious spirit or the eerie and haunting The Blowing Sands that takes the nature music from the Spitfire Grill and suddenly transforms it into a chilling solo soprano wail, pained strings and a beautiful duet of humming Arab voice and piano.

Still Hornerisms aside the score stands pretty well on its own on the album. Never one to hold back the emotion Horner closes the score with a trio of tracks One Brother Lives, One Brother Dies, Battle in the Oil Fields and A Kingdom of Oil that run a whole gamut of emotions from sweeping statements of the main theme, poignant bittersweet variations of the secondary melody on solo instruments somewhat similar to All the King's Men in their string accompanied heavy pathos to dramatic action music and a classic full blown finale suite.

In the end this is 3½ to 4 star material from Horner, somewhat over familiar but made up by the enthusiasm and spirit he exhibits through most of the score.

[Matt C 453]

Man to Man - Patrick Doyle

Doyle channeling John Barry, but the music is all his own and joyously optimistic. The end credits music is wonderful.

[KK 3,307]

Black Gold by James Horner: After listening to the album I have a strong feeling I have heard all of this before. The score is engaging throughout but it is amazing how many remnants of past scores seem to flit in and out of the music at regular intervals. It is so Horner through and through. Horner takes chord progressions used in Zorro, All the King's Men and other scores and just basically lays slightly different themes on top of them. Even danger motif is featured on the 1st track, first just inverted and then as a straightforward statement. Also Horner's favourite little melody ever since the time of Apollo 13, remniscent of the theme from Schindler's List and featured as the love theme in Enemy at the Gates, pops up again in the Battle in the Oil Fields and its opening has a strong connection to the main theme of this score. Tiger can't escape his stripes I guess.

The main theme with its dreamy and sweeping quality holds the album together quite well, a classic construction from the composer, reminding me of his grander themes for the scores like Zorro and dramatic scores from early 90's with a dash of Near East exoticism thrown into the mix. It undergoes several orchestrations and I can easily imagine the music underscoring the sand dunes and desert travel and the sparse, rugged but beautiful atmosphere of the setting. Horner provides a varied score full of different colours like the playful The Wonders of Wealth that is reminiscent of his mid-90's domestic comedy/drama/animation style with vibrant curious spirit or the eerie and haunting The Blowing Sands that takes the nature music from the Spitfire Grill and suddenly transforms it into a chilling solo soprano wail, pained strings and a beautiful duet of humming Arab voice and piano.

Still Hornerisms aside the score stands pretty well on its own on the album. Never one to hold back the emotion Horner closes the score with a trio of tracks One Brother Lives, One Brother Dies, Battle in the Oil Fields and A Kingdom of Oil that run a whole gamut of emotions from sweeping statements of the main theme, poignant bittersweet variations of the secondary melody on solo instruments somewhat similar to All the King's Men in their string accompanied heavy pathos to dramatic action music and a classic full blown finale suite.

In the end this is 3½ to 4 star material from Horner, somewhat over familiar but made up by the enthusiasm and spirit he exhibits through most of the score.

I've been listening to the score for the last 2 days. Yes, its not quite original, but I believe Horner stirs the pot enough to let it pass in my book. The moments of sweeping grandeur and haunting vocals are just too good for me to let the lack of originality in some parts affect my enjoyment of it. And really, to pick on the danger motif at this point is utterly pointless, its not that bad and people should not be surprised to hear it now (after its been heard in essentially nearly every Horner score in the last decade!). Its a great four star score for me and one of my favourites of last year. I really like how he uses the orchestra to evocate the desert locale. I blabber about this all in my review:

http://musicmusekk.wordpress.com/2012/02/03/black-gold-james-horner/

Its a good score Incanus, I think you'll have to let go of some of those unoriginal parts to truly enjoy..I mean the Hornerisms that appear here have appeared in so many of his scores in the last decade (including the 5 star ones). And I certainly believe this score is more original than the Karate Kid or Avatar (most certainly this one...regardless of how enjoyable it is). Black Gold really makes me remember why I love Horner and ethnic dramas. The man is great with that genre..

[indy4 155]

And really, to pick on the danger motif at this point is utterly pointless, its not that bad and people should not be surprised to hear it now (after its been heard in essentially nearly every Horner score in the last decade!).

Actually, I think the frequent use of the Danger Motif is an example of the worst type of plagiarism. I mean, at this point Horner must know that he's going to use the Danger Motif in future film scores. Why doesn't he take a few months off, write an original generic Danger Motif that can be applied to a bunch of different scores...that way at least he'll only be self-plagarizing and not stealing from other composers.

There's so much stuff he's written that I absolutely love (both original music and his new interpretations of other works), but at the same time it's very difficult for me to garner any sort of respect for him as a composer/person (luckily I am able to respect and/or enjoy a work without respecting the author).

[Incanus 5,714]

Its a good score Incanus, I think you'll have to let go of some of those unoriginal parts to truly enjoy..I mean the Hornerisms that appear here have appeared in so many of his scores in the last decade (including the 5 star ones). And I certainly believe this score is more original than the Karate Kid or Avatar (most certainly this one...regardless of how enjoyable it is). Black Gold really makes me remember why I love Horner and ethnic dramas. The man is great with that genre..

Well as I said it is 3½ to 4 stars score for me. It has the sweep and drama of some of the stronger Horner scores but doesn't reach the heights of his best work. The desert music is by the far the most compelling aspect of the score since I find it difficult to get past Horner's self quoting. I am not particular fan of the 4-note motif btw, a rather tired idea by now. But that was the downside of the score and I do praise the score for its good qualities as well since it is a very enjoyable album full of variety and still it retains an admirable narrative cohesion. I am sure this score will grow on me more after several listens.

[John Crichton 4]

King Solomon's Mine- Goldsmith

I really, really need to listen to this more often.

[Incanus 5,714]

King Solomon's Mine- Goldsmith

I really, really need to listen to this more often.

It is a really fun score with one of the most silliest but heroic main themes of Goldsmith's career.

[Koray Savas 2,251]

And really, to pick on the danger motif at this point is utterly pointless, its not that bad and people should not be surprised to hear it now (after its been heard in essentially nearly every Horner score in the last decade!).

Actually, I think the frequent use of the Danger Motif is an example of the worst type of plagiarism. I mean, at this point Horner must know that he's going to use the Danger Motif in future film scores. Why doesn't he take a few months off, write an original generic Danger Motif that can be applied to a bunch of different scores...that way at least he'll only be self-plagarizing and not stealing from other composers.

There's so much stuff he's written that I absolutely love (both original music and his new interpretations of other works), but at the same time it's very difficult for me to garner any sort of respect for him as a composer/person (luckily I am able to respect and/or enjoy a work without respecting the author).

The man's a hack, there's no question about it. But he steals from the best, and really doesn't change a thing, so his scores tend to be quite listenable. His American Tail scores are my favorite. Probably his most original works, although you will find some Copeland in there.

[crocodile 8,012]

Black Gold by James Horner: After listening to the album I have a strong feeling I have heard all of this before. The score is engaging throughout but it is amazing how many remnants of past scores seem to flit in and out of the music at regular intervals. It is so Horner through and through. Horner takes chord progressions used in Zorro, All the King's Men and other scores and just basically lays slightly different themes on top of them. Even danger motif is featured on the 1st track, first just inverted and then as a straightforward statement. Also Horner's favourite little melody ever since the time of Apollo 13, remniscent of the theme from Schindler's List and featured as the love theme in Enemy at the Gates, pops up again in the Battle in the Oil Fields and its opening has a strong connection to the main theme of this score. Tiger can't escape his stripes I guess.

The main theme with its dreamy and sweeping quality holds the album together quite well, a classic construction from the composer, reminding me of his grander themes for the scores like Zorro and dramatic scores from early 90's with a dash of Near East exoticism thrown into the mix. It undergoes several orchestrations and I can easily imagine the music underscoring the sand dunes and desert travel and the sparse, rugged but beautiful atmosphere of the setting. Horner provides a varied score full of different colours like the playful The Wonders of Wealth that is reminiscent of his mid-90's domestic comedy/drama/animation style with vibrant curious spirit or the eerie and haunting The Blowing Sands that takes the nature music from the Spitfire Grill and suddenly transforms it into a chilling solo soprano wail, pained strings and a beautiful duet of humming Arab voice and piano.

Still Hornerisms aside the score stands pretty well on its own on the album. Never one to hold back the emotion Horner closes the score with a trio of tracks One Brother Lives, One Brother Dies, Battle in the Oil Fields and A Kingdom of Oil that run a whole gamut of emotions from sweeping statements of the main theme, poignant bittersweet variations of the secondary melody on solo instruments somewhat similar to All the King's Men in their string accompanied heavy pathos to dramatic action music and a classic full blown finale suite.

In the end this is 3½ to 4 star material from Horner, somewhat over familiar but made up by the enthusiasm and spirit he exhibits through most of the score.

I've been listening to the score for the last 2 days. Yes, its not quite original, but I believe Horner stirs the pot enough to let it pass in my book. The moments of sweeping grandeur and haunting vocals are just too good for me to let the lack of originality in some parts affect my enjoyment of it. And really, to pick on the danger motif at this point is utterly pointless, its not that bad and people should not be surprised to hear it now (after its been heard in essentially nearly every Horner score in the last decade!). Its a great four star score for me and one of my favourites of last year. I really like how he uses the orchestra to evocate the desert locale. I blabber about this all in my review:

http://musicmusekk.w...d-james-horner/

Its a good score Incanus, I think you'll have to let go of some of those unoriginal parts to truly enjoy..I mean the Hornerisms that appear here have appeared in so many of his scores in the last decade (including the 5 star ones). And I certainly believe this score is more original than the Karate Kid or Avatar (most certainly this one...regardless of how enjoyable it is). Black Gold really makes me remember why I love Horner and ethnic dramas. The man is great with that genre..

Battle of the Gandalfs! Yeah!

Seriously, though, I think many of these accusations are unfair. There is a massive difference between him stealing entire passages from other works (both his and others) and writing in his own personal style. After all, both War Horse and Tintin contain bits that less caring listener might categorize as plagiarism. The way he uses solo flute again (after POA and KOTCS) or does this or that. Or how he used to have fugues in his older scores (I'm sure there were listeners rolling their eyes when they heard another one.). Let's face it - their full of Williamisms. But they're part Williams' style. Horner, despite everything, has his own distinctive voice. Which I think many people confuse with recycling.

Oh and I'm not bothered about danger motif. It's clearly intentional. I just don't like when it drives entire 10-minute cues.

Karol

[Incanus 5,714]

No doubt Horner has a very strong style but his self-references are not just instrumental usage but rather re-use of previous musical ideas for an entirely new film just modified a bit to camouflage that they are what they are. Some call it recycling, some reworking. I don't think fair or unfair comes into it. It is about how one hears and tolerates these things. For some reason with Horner these things are somehow magnified when I listen to his music and I come to fear listening to his music, always waiting for the moment when they pop up. It is more about the thinly veiled re-use that irritates me. Horner just adds a thin layer of make-up but the material stays the same whereas JW usually writes something new from the old foundations.

Even though Black Gold is a score of many self quotes or near quotes it does not diminish the quality of the music on the album. I quite enjoy the music but would like to point out these similarities, others because they irk me, others because I can hear similarities and I can used them to convey how parts of this score sound to those who have not heard it but who know Horner's previous scores. The main theme has been playing in my head ever since I woke up so it can't be that bad. In fact it is very good material and certainly more enjoyable and vibrant film music than what Reznors and Atticus Rosses of the film music world of today can come up with on their computers.

Super 8 by Michael Giacchino: This one gets better with each listen.

Road to Perdition by Thomas Newman: One of my favourite Newman scores. He fuses here his orchestral dramatic sensibilities with his quirky unique orchestrations for specialty instruments into a compelling listening experience that contains a set of archetypal Newman themes and brisk and vibrant sound quality. Even the atmospheric material works here to perfection, pieces like Ghosts, Murder in 4 Parts and Just the Feller containing an almost hypnotic ambience that I find arresting. The piano led main theme is a highlight, one of those melodies the composer seems to pen with wonderful ease, always full of melancholy and yearning longing.

[Quintus 5,399]

The man's [Horner] a hack, there's no question about it.

I have difficulty believing that; the man is just too damn talented. I find it easier to call him a spent-up lazy bum. It sits better with me.

[Incanus 5,714]

The man's [Horner] a hack, there's no question about it.

I find it easier to call him a spent-up lazy bum. It sits better with me.

I like that. I like that a lot. Spent-up lazy bum. Somehow it fits like a glove. Thanks Quint. Another nugget of wisdom from you.

[Quintus 5,399]

Don't mention it.

[John Crichton 4]

The board should be programmed that any time Horner is mentioned it says Spent-Up Lazy Bum instead. Very fitting.

[Matt C 453]

The Adventures of Tintin - Williams

Very tuneful, enjoyable, and Williams puts each orchestra section through their paces. The counterpoints are just splendid to behold, especially in the earlier section of "Return to Martinspike Hall and Finale". It's a shame there's no firm theme that's immediately hummable, but still quite enjoyable nonetheless.

[Trent B 337]

I listened to the complete score for The Matrix Revolutions earlier. It had been way too long since I heard it last and forgot how fun and awesome the score is. "Neodämerrung" is still my favorite cue from the score.

[Marc 768]

A Michael Kamen masterpiece

[Matt C 453]

Titanic - James Horner

I'm listening to the OST, and it's bringing back fond memories of the film. The synth choir is used wonderfully in "Southampton" and "Take Her to Sea, Mr. Murdoch", but it's overkill in some others. The quieter moments are what really stand out, as Horner nailed the drama and emotion in the film perfectly. Was there a limited budget allocated to the music because of the expensive post-production time? It sounds underpowered, like 70 players instead of 90+ players. And some of the performers seem to go through the notes, like whoever played the recorder in "Rose."

I hear Back to Titanic is much better, in terms of performance and recording. Is it true?

[indy4 155]

I love Titanic - as far as I know it doesn't include any rips, even though it is clearly written in Horner's style (with a bit of Enya's stylings thrown in). Not sure about performance as I don't listen to a majority of Back to Titanic very often, but it's worth it for the gorgeous piano version of Rose's theme (performed by Horner himself).

[indy4 155]

Heartbeeps:

A great score by the maestro. Some may think the use of synthesizers "cheapens" the score, but Williams crafts the score as intelligently as he does everything else he's written, and the electronics give him a chance to explore some very new territory. There are some fantastic moments of awe, comedy, menace, action, and beauty. And it all comes together in a very cohesive and intelligent score. One of Williams' most underrated.

[Taikomochi 1,136]

Heartbeeps:

A great score by the maestro. Some may think the use of synthesizers "cheapens" the score, but Williams crafts the score as intelligently as he does everything else he's written, and the electronics give him a chance to explore some very new territory. There are some fantastic moments of awe, comedy, menace, action, and beauty. And it all comes together in a very cohesive and intelligent score. One of Williams' most underrated.

Yes, I think this is one of Williams' best works. The synthesizers are definitely hard to palate, but, once I accepted them, I realized it fits perfectly within his '80's golden period.

[indy4 155]

Agreed, the thematic ideas themselves are just as accessible as anything from Star Wars, Indiana Jones, E.T., etc.

[Taikomochi 1,136]

I find "Going To Sleep" to be one of Williams' most heart-wrenching pieces. It's just fantastic.

[Gruesome Son of a Bitch 6,488]

Star Wars is going right now via Anthology disc 1. Ah, there's that slightly rougher sound of the London Symphony Orchestra. Kickass.

[indy4 155]

Raiders of the Lost Ark: Fantastic, as always. "The Map Room" could possibly be the greatest piece of music JW has ever written.

Throughout the day I've listened to:

Heartbeeps

JW's Trumpet Concerto

Thomas and the King

Raiders of the Lost Ark

It was a really good day.

[Koray Savas 2,251]

Heartbeeps:

A great score by the maestro. Some may think the use of synthesizers "cheapens" the score, but Williams crafts the score as intelligently as he does everything else he's written, and the electronics give him a chance to explore some very new territory. There are some fantastic moments of awe, comedy, menace, action, and beauty. And it all comes together in a very cohesive and intelligent score. One of Williams' most underrated.

Yes, I think this is one of Williams' best works. The synthesizers are definitely hard to palate, but, once I accepted them, I realized it fits perfectly within his '80's golden period.

You and I were the only people to every appreciate the score on this board. Now we have indy4!

[indy4 155]

I've appreciated it since I got it in the mid-2000s. Although it has been awhile since I really gave it the attention it deserves.

[Koray Savas 2,251]

It's definitely not talked about a lot, even by me really. But it's always on my Top 10 Johnny lists.

[Incanus 5,714]

Heartbeeps is a mix of zany and a bit dated synth sounds and bubbly orchestral mirth. There are some wonderful passages among all the goofiness and the above mentioned pieces are truly heartwarming moments of lyricism. The Crimebuster Theme is just a funny threatningly pompous march with 80's synth and drum kit backing, cheesy but fun.

Yesterday I listened in the honour of Maestro's birthday:

Jurassic Park

Raiders of the Lost Ark

Superman

Amistad

Angela's Ashes

Five Sacred Trees

[Koray Savas 2,251]

Crimebuster's Theme is brilliant!

[KK 3,307]

Listening to Christopher Young's awesome score for Bless the Child. A haunting score that is truly impressive. Lux Aterna is freakin awesome!!!

[Taikomochi 1,136]

But it's always on my Top 10 Johnny lists.

Same!

Crimebuster's Theme is brilliant!

[Admiral Holdo 16]

The Natural - Randy Newman

My life needs more Randy Newman in it (and for that matter, it needs more Copland in it).

[Incanus 5,714]

Creation by Christopher Young

Angela's Ashes by John Williams

Listening to Christopher Young's awesome score for Bless the Child. A haunting score that is truly impressive. Lux Aterna is freakin awesome!!!

It is a terrific score but I would have personally liked for Young to divide the music into more tracks so that navigating to your favourite part of the score would be a bit easier.