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What Is The Last Score You Listened To?

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Master of The World - Les Baxter

 

On 4/22/2017 at 0:25 PM, kaseykockroach said:

By some surreal miracle, a CD warehouse in my area had Intrada's release of "The Beast Within" by Les Baxter. Grabbed it and have been loving it immensely. This is some fine, fine horror scoring. 

I'm now curious about this composer. Any particular recommendations? 

 

Super late reply, but I've digging into a lot of Baxter's work recently, and I'd recommend Master of The World, The Pit & The Pendulum, & The Dunwick Horror, the most out of what I've listen to so far. 

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Independence Day (2-CD World Records)

 

In some ways I prefer this over the LLL release, but probably because I became used to some of the editorial choices of the old bootleg. In this version, it opens with the superior and significantly more powerful and menacing album version of "1969: We Came In Peace", and the final battle music is presented complete and unaltered from the rescoring that took place to accommodate Randy Quaid's extended presence in the climax. The rescore as heard in the film and the main program of the LLL is certainly louder, more bravado and suspenseful, but the there's a power to the original music that seems to feel more musical. But in the LLL, they've taken that original music, broken it up into shorter tracks and relegated it to the bonus tracks section. And not to mention the bootleg contains the film version of "Target Remains" and the LLL doesn't!

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4 hours ago, TheGreyPilgrim said:

The Shawshank Redemption - Thomas Newman

 

Music for pulling yourself out of a deep hole.  Shovel yourself out of the shit!

 

Such a great score.  Personally, I love the LLL expansion but the OST is still pretty much perfect.  Having the emotional climax of the film complete and in order is a very satisfying listen for me:

 

1-21. Zihuatanejo

1-22. Longest Night (not on OST)

1-23. And That Right Soon

1-24. Escape

1-25. Shawshank Redemption (the film version on LLL, which I prefer, differs in orchestration details from the OST version)

 

Can't go wrong with any release though.  One of T. Newman's greats.

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5 hours ago, Disco Stu said:

 

Such a great score.  Personally, I love the LLL expansion but the OST is still pretty much perfect.  Having the emotional climax of the film complete and in order is a very satisfying listen for me:

 

1-21. Zihuatanejo

1-22. Longest Night (not on OST)

1-23. And That Right Soon

1-24. Escape

1-25. Shawshank Redemption (the film version on LLL, which I prefer, differs in orchestration details from the OST version)

 

Can't go wrong with any release though.  One of T. Newman's greats.

It is! It really is!

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I thought the "Film Version" of the track "Shawshank Redemption" was just an edit made by the music editor, and the album track is the full intended cue by Newman?

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13 minutes ago, Jay said:

I thought the "Film Version" of the track "Shawshank Redemption" was just an edit made by the music editor, and the album track is the full intended cue by Newman?

 

I definitely hear some minor instrumentation differences.  Is it my imagination?  I guess I wouldn't know if it was!

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T. Newman's Americana style is so wonderful.  A deft mix of Coplandisms, traditional folk/gospel, and his own distinct style of orchestration and voicing.  Love it!  See Fried Green Tomatoes and Bridge of Spies too, love both of those.

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9 minutes ago, KK said:

I believe it's an edit.

 

Great score, that one.

 

Actually I forgot about the climax at the end! The film version has a more subdued version of the fanfare in the original version. All the beginning stuff is just edited out though. But you're right Stu, there is a slight difference in the arrangement.

 

7 minutes ago, Disco Stu said:

T. Newman's Americana style is so wonderful.  A deft mix of Coplandisms, traditional folk/gospel, and his own distinct style of orchestration and voicing.  Love it!  See Fried Green Tomatoes and Bridge of Spies too, love both of those.

 

I think I prefer his Americana to Williams. Newman strikes a better balance of Copland and the other sources you mention, but its his voicings that are really striking. Often sparse, but incredibly effective.

 

There are plenty of shades of Shawshank in Lincoln. Might be one of the reasons I love that score so much.

 

My favourite Newman is the one that channels the more "esoteric" harmonically (often with roots in jazz), which Shawshank has aplenty.

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On the whole almost all the alternate material on the LLL Shawshank release is very minutely different from their film counterparts, more in the performance than actual writing.

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Return of the Musketeers

 

A dark horse in the swashbuckler repertoire, Jean-Claude Petit like his predecessor, Michel Legrand, chose an idiom beyond the late romantic Hollywood trappings, the baroque in this case, and most expertly transfers it to large orchestra (LSO, no less). Such resourcefulness usually was Jerry Goldsmith's domain (c. f. the eastern berber ethnicisms re-invented as western orchestral music in 'The Wind and the Lion') and like Goldsmith, Petit is able to make it sound traditional through his orchestration and thus creates what is maybe not a strictly new style but a very fresh and virtuosic one (compare that to Michael Kamen's clubfooted 1993 version). Quartet released a definitive version in 2016.

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Flesh+Blood by Basil Poledouris

 

The Hobbit the Battle of the Five Armies by Howard Shore

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I enjoy both a lot actually. But I have to admit that as a culmination to the Hobbit trilogy BotFA doesn't quite meet expectations. PJ's brief seems to have been a modern bass heavy blockbuster war score and Shore had to comply. Gladly in spite of that there are some really great sequences, mostly in the opening half.

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6 minutes ago, crocodile said:

Bit of 1985 fantasy magic -- I was born then, you see. ;)

 

The Black Cauldron

Return to Oz

Legend

 

Karol

 

Ah but you were born one of those years where there was no new Williams score.  Seems like bad luck, can't be too careful.  Ewww 1985 is also the year Williams released the recording of "America, The Dream Goes On."  Double bad luck!

 

I on the other hand was born the year of Witches of Eastwick and Empire of the Sun :D

 

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4 hours ago, Disco Stu said:

 

Ah but you were born one of those years where there was no new Williams score.  Seems like bad luck, can't be too careful.  Ewww 1985 is also the year Williams released the recording of "America, The Dream Goes On."  Double bad luck!

 

I on the other hand was born the year of Witches of Eastwick and Empire of the Sun :D

 

I was born in a Williams off-year but was concieved in the time of Schindler's List

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