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


Ollie

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The Village by James Newton Howard: Both highly effective and gorgeously lyrical this one is a perennial autumn favourite of mine.

Lincoln by John Williams: Epitome of Williams' stately Americana writing but oh so good, especially in those small personal character moments and when he employs the soloists of the Chicago Symphony Orchestra. My own edit includes material from the FYC promo which adds a few excellent little moments to the thoughtfully structured soundtrack album.

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5 hours ago, Incanus said:

Lincoln by John Williams: Epitome of Williams' stately Americana writing but oh so good, especially in those small personal character moments and when he employs the soloists of the Chicago Symphony Orchestra. My own edit includes material from the FYC promo which adds a few excellent little moments to the thoughtfully structured soundtrack album.

I just wish we had a recording of the concert arrangement of "Getting Out the Vote"!!  The album version is good, but the concert version is better.

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16 minutes ago, Disco Stu said:

I just wish we had a recording of the concert arrangement of "Getting Out the Vote"!!  The album version is good, but the concert version is better.

Yes the concert arrangement is neat although I can't say if I prefer one over the other. Shame he didn't record the entire Lincoln suite for the Spielberg/Williams Collaboration 3 but I guess there was the question of space on that disc. He should definitely do part 4 ASAP to fulfill all our fervent concert suite hopes. :)

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The Blue Max by Jerry Goldsmith: The Tadlow/Prometheus re-recording, which is pretty damn awesome.

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Occasionally interesting and gently melodic in a JNH/Shymalayan way but also full of dreadful (well, yeah...) horror scoring clichés that don't belong on a record. As usual, the overoveroverlong release and the lack of a real musical concept drag it down.

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The Ghost and the Darkness by Jerry Goldsmith

 

The Lost World: Jurassic Park by John Williams

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Big Bad Wolves - Frank Iilfman

 

Taken from the intertubes:

A cop (Lior Ashkenazi) and a vengeful father (Tzahi Grad) torture a teacher (Rotem Keinan) whom they believe was involved in several killings, including that of a little girl.

 

This is a revenge thriller, as if mixed with the Coen Bros and Quentin Tarantino, who actually called it his fav. film of 2014. Very brutal. With an ending that gut punches you.

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Just now, Evil-Lyn said:

 

I listened to that one the other day. It's so fun. I think it's Silvestri's best score.

 

:music: Sneakers

It might be. And Sneakers might be one of the finest Horners. :)

 

Karol

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Return to Oz by David Shire: The OST album which is a pretty well put together programme.

 

The Rocketeer by James Horner: Another perennial favourite. The main theme is pure inspiration from Horner.

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Man of Steel - Hans Zimmer

 

A couple weeks ago I gave this score a listen for the first time. I was returning to some highlights this evening, and it really made me realize how terrific this score is. It has a super-catchy heroic main theme and some really beautiful moments, e.g. this, which is so simple yet so hopeful, almost as if it were reaching for the stars:

 

 

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3 hours ago, nightscape94 said:

Well, now that I started thinking about it, decided to listen to Ben-Hur.  The 2-CD Sony set.  Sounds pretty good for 1959.

 

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Still a very good set. I would recommend it to anyone really.

 

:music:Independence Day

 

Karol

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Geez, didn't realize how strong the anti-Zimmer wing still was here. :lol:

 

All I can say is that, as a subscriber to TGP's "all musical goodness is subjective" view, I will not let your opinions sway me. 

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I'm not necessarily anti-Zimmer, Will, and I have several of his scores. It's just that he seems to be the poster-boy for this current mode of lazy, repetitive style of scoring, that seems to saturate modern cinema.

His music is not bad, and it obviously pleases a lot of people, as his CDs sell by the truck-load, but it's...limited. Still, directors want his music. Either that, or they want  a "Zimmer sound", and as long as there's a demand for it, why should he change his style? I find his earlier scores ('86 - '90) interesting.

Don't worry, though, there are plenty of Zimmer fans here.

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I listened to it :music: again.  I probably spoke too soon when I said that it was solid.  The lyrical moments are quite good but the horror/suspense music is a total miss, alternating aimlessly between Hollywood Orchestral Dissonancetm and Edgy Modern Electronic Dissonancetm.

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Independence Day Resurgence

 

After catching the movie on Foxtel last week, I decided to revisit the score for a laugh. Overall it's a failure, and was my nightmare score fully realised after 12 years biting my nails worrying that Emmerich would hire this bloke/blokes. Although it's not harmonically unpleasant, the composers never bothered to replicate any of the texture, pathos or gravitas that its predecessor achieved so infamously, which might have salvaged the film if they'd bothered. Some parts sound so flat, it's as if it was never recorded with an orchestra, instead they just ported the MIDI files to the CD. That said, if I forgot this was an Independence Day score, there are probably two tracks that are guilty pleasures, like "What Goes Up" and "Independence Day Resurgence Finale".

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9 minutes ago, Not Mr. Big said:

I listened to it :music: again.  I probably spoke too soon when I said that it was solid.  The lyrical moments are quite good but the horror/suspense music is a total miss, alternating aimlessly between Hollywood Orchestral Dissonancetm and Edgy Modern Electronic Dissonancetm.

 

What score?

 

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