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What Is The Last Score You Listened To?

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Goldsmith homaging Korngold - a rather unusual point of departure for this composer, even more surprisingly for a movie about tennis players in Wimbledon that was barely released back in 1979 (that being of course a regular occurrence in JG's career). The rest is either fluffy romance stuff (great 70's theme) or bluesy regret (for Maximilian Schell) but it's the three pieces of orchestral splendor that stay with you. 

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Jumanji: Welcome to the Jungle (Henry Jackman)

 

It's frustrating because this is so close to being a really good score.  It's enjoyable to listen to and there's a few good cues, but ultimately the main theme is pretty weak so it's all on a shaky melodic foundation.  I definitely dig the sound and I hope Jackman gets to write more scores like this.

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36 minutes ago, Disco Stu said:

Jumanji: Welcome to the Jungle (Henry Jackman)

 

It's frustrating because this is so close to being a really good score.  It's enjoyable to listen to and there's a few good cues, but ultimately the main theme is pretty weak so it's all on a shaky melodic foundation.

That's how I feel about most new scores written nowadays [though I must say 2017 has been unexpectedly good so far, with 2 good scores (Ready Player Won, Black Panther) and a great past "discovery" (Battle Royale)]

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in light of the news, plucked Superman off the shelf. The Trip to Earth of late reminds me of Yoda's Theme (or should that be the other way round, one coming after the other) but as mentioned elsewhere, I remain firmly in love with "The Flying Sequence". My favourite scene when I saw the film as a child and a lovely theme. 

 

My work to convert my John Barry supporting father (who previously said he thought all JW's works was the same all over) is halfway there. Loaning him my Saving Private Ryan disc he's become quite enthused by Hymn to the Fallen, loved my Jaws discs and hopefully, by now, the Summon the Heroes disc I loaned. Looking back, my first introduction to Superman's music, albeit it slightly different, was my Dad's old MECO cassette with 'can you read my mind?' and Close Encounters with "goodbye...goodbye..." at the end of that track. Anyway. The Flying Sequence makes me doff a cap to someone who on the quiet is responsible for most of the greatest themes in movie history and still coming up with distinctive love themes to boot. 

 

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I went on a bit of a rampage today with listening. Here they are:

Spiderman: Homecoming by Michael Giacchino

Full of action. Very lively. Nice score.

Doctor Strange by Michael Giacchino

Different. Interesting. Okay score.

The Bible by Hans Zimmer and Lorne Balfe

Sometimes classic Zimmer (and Balfe?), other times different.

WALL-E by Thomas Newman

One of the greatest of it's kind. Truly splendid.

Pirates of the Caribbean: Dead Man's Chest by Hans Zimmer

Felt like I was sailing the high seas with ole cap'n Jack! Fits well with the movie.

La La Land by Justin Hurwitz

Always great.

 

 

 

 

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In preparation. A better - as in more fun to listen to - thriller score than 'Bourne', this one offers a ambiguous Barry-esque main theme (the Roy Budd-scored thrillers of the 70's also were like this, just on harpsichord) and some pretty ballsy swashbuckling brass ('Hog Chase Part 2'!). It's all very stylish, not very deep (fitting a paper-thin movie) and today probably marred a bit by the sometimes obnoxious synth/percussion overlays but that's part of the charm. Since in all the talk about 'Solo' there's so much praise for Williams' fluid writing i will say that this pretty fluid, too.

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Super 8 by Michael Giacchino

 

The Lost World: Jurassic Park by John Williams

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1 hour ago, Jurassic Shark said:

A mini masterpiece:

 

 

Although as glorious as it is, the piece is clearly temp tracked from James Newton Howard's The Postman score, but I too prefer Harry Gregson-Williams'  take.

 

 

 

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How To Train Your Dragon 1 & 2 by John Powell: I love this scores, both of them, and they are in my personal top of animated movies. I prefer the second one over the first, mainly because Dragon Racing and Battle of the Bewilderbeast. This two tracks are pure orchestral epicness and that's what I love most about these scores. But that's not saying I don't like the first one. Tracks like The Downed Dragon, Forbidden Friendship, Test Drive or Romantic Flight are fantastic, full of great themes and powerful orchestra. I cannot wait for the third one!

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That's what I think. The first one introduced all the themes and has some great tracks, but the second one is great overall (and I don't exactly know why but it's the one I listened to first). John Powell is one of the best composers to come out of Zimmer's school and I cannot wait to hear what he has created for Solo. I watched a clip with his score on YouTube and it sounded really great (with The Asteroid Field included)

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Yasunori Mitsuda, ACE, Kenji Hiramatsu, and Manami Kiyota - Xenoblade Chronicles 2

 

The first ~35 tracks of this are utterly amazing

 

 

Yasunori Mitsuda & Nubuo Uematsu - Front Mission: Gun Hazard

 

Classic.

 

 

John Powell - Ferdinand (FYC)

 

Super fun!!!

 

 

Basil Poledouris - Starship Troopers (Varese complete)

 

Wonderful!  Love that action music!

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I watched Secret of NIMH and listened to the soundtrack recently.  Great movie, but not as good as the book (which I read as a 4th grader).  The score is one of Goldsmith's most truly magical.

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John Williams always and forever!

 

- Checkmate (Fresh Sound Records) (BTW Superior to the previous releases)

- Rhythm in Motion (Fresh Sound Records)  (BTW Superior to the previous release)

- TESB (New remastered set)

- TPM (New remastered set)

- The Music of America: John Williams (Compilation)

- John Williams: The Great Composers (Varèse Sarabande, Compilation)

- John Williams: A Life in Music (LSO)

- Six decades of John Williams (Lockhart, BSO)

 

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Homeward Bound II

 

Just like the first one, this is all familiar, some passages directly bringing back some of my earliest memories.

I didn't remember (or didn't care/notice back then) how fun, rousing, full orchestral workouts some of the old themes get in this one. 

But I still prefer the feel and textures of the first, the emotional connection is stronger to that one.

 

 

I just realised this bloody movie might be one of the reasons I'm deathly afraid of housefires! It traumatised me at a young, susceptible age and I haven't been able to fully recover since!

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9 minutes ago, Holko said:

Homeward Bound II

 

Just like the first one, this is all familiar, some passages directly bringing back some of my earliest memories.

I didn't remember (or didn't care/notice back then) how fun, rousing, full orchestral workouts some of the old themes get in this one. 

But I still prefer the feel and textures of the first, the emotional connection is stronger to that one.

 

Yes, it's a very enjoyable listen, but it doesn't have the emotional power of the first.  But hey at least they steered away from the 90s cliche of scoring city life with lifeless-muzak-jazz-funk (lookin' atchoo banning back home) like I'm sure would have happened if someone like Randy Edelman (ever the stalwart 90s family movie composer) had scored these movies.

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Fernando Velazquez is one of my favorite composers. His Zipi & Zape scores are fantastic! And I also love Crimson Peak.

 

Anyway, leading up to Solo I'm listening to several John Powell scores and I'm discovering really great stuff.

 

Pan: I would say this is almost a perfect score, with a great album presentation that only would need some tracks to be deleted (apart from the songs, obviously) and would be perfect. Is a great theme-filled score with some truly beautiful moments (Origins Story or Transfiguration for example) and some action cues that are part of the very best of Powell (like Kidnapped/Dog Fight or Flying Ship Fight)

Shrek: Powell collaborated in this one with Harry Gregson-Williams and it's a nice score. I love both main themes a lot, especially the apparitions of Fiona's theme in Fairytale and Transformation/The End, and the big heroic rendition of Shrek's theme in Ride The Dragon is also really great. My issue with this score is that maybe there is a bit too much of the usual mickey-mousing of this scores, which fits within the movie, but it's not really interesting out of it.

 

BTW, what are some other great Powell scores? I haven't heard all of his scores and I'm wondering what do you think are his bests.

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13 minutes ago, Knight of Ren said:

BTW, what are some other great Powell scores? I haven't heard all of his scores and I'm wondering what do you think are his bests.

 

Well, you have to check out his How To Train Your Dragon scores immediately.

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Oh yeah in terms of the OVER THE TOP ALL CAPS MICKEY MOUSING.  But Horner rarely saw a punch thrown on screen he didn't want to punctuate with a quick glissando or a cymbal hit.

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45 minutes ago, Knight of Ren said:

BTW, what are some other great Powell scores? I haven't heard all of his scores and I'm wondering what do you think are his bests.

 

Mars Needs Moms is also a great score by Powell. I think it was his first or second follow-up to How to Train Your Dragon. Some very good thematic writing in that one.

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22 hours ago, publicist said:

 

The Secret of NIMH - Jerry Goldsmith

Beautiful score. However, I'm not a fan of the songs. I hope someday we will see a truly complete version of this.

 

Karol

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2 minutes ago, crocodile said:

Beautiful score. However, I'm not a fan of the songs. I hope someday we will see a truly complete version of this.

 

Karol

 

I enjoy Paul Williams' unusual voice and its a beautiful melody

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2 hours ago, Knight of Ren said:

Fernando Velazquez is one of my favorite composers. His Zipi & Zape scores are fantastic! And I also love Crimson Peak.

 

Anyway, leading up to Solo I'm listening to several John Powell scores and I'm discovering really great stuff.

 

Pan: I would say this is almost a perfect score, with a great album presentation that only would need some tracks to be deleted (apart from the songs, obviously) and would be perfect. Is a great theme-filled score with some truly beautiful moments (Origins Story or Transfiguration for example) and some action cues that are part of the very best of Powell (like Kidnapped/Dog Fight or Flying Ship Fight)

Shrek: Powell collaborated in this one with Harry Gregson-Williams and it's a nice score. I love both main themes a lot, especially the apparitions of Fiona's theme in Fairytale and Transformation/The End, and the big heroic rendition of Shrek's theme in Ride The Dragon is also really great. My issue with this score is that maybe there is a bit too much of the usual mickey-mousing of this scores, which fits within the movie, but it's not really interesting out of it.

 

BTW, what are some other great Powell scores? I haven't heard all of his scores and I'm wondering what do you think are his bests.

They are co-written, but check out Chicken Run and Kung Fu Panda 1 and 2 (I like 2 a little better ATM)

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I enjoy Paul Williams' unusual voice and its a beautiful melody

 

I almost always have a problem with songs based around main themes. They just seem musically redundant. The melodies already express those ideas perfectly. No need to plaster cheesy and sugary lyrics on top of it. Don't fancy going diabetic, thank you very much.

 

2 minutes ago, The Illustrious Jerry said:

Pride and Prejudice by Dario Marianelli

An absolutely beautiful score to one of my all time favorite movies.

What about Atonement?

 

Karol

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Chicken Run, Horton and Ferdinand. And I have already listened to both Dragons and Kung Fu Panda, but I will revisit them again.

 

And it's not that I don't like mickey-mousing, it's that sometimes it's a bit excessive. But I think Williams uses that very often and I really like Williams is not that I have nothing against that.

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