El Jefe

What Is The Last Score You Listened To?

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SUN - Soul of the Ultimate Nation by Howard Shore: While steeped in the similar sound as the Lord of the Rings this one is a lesser cousin that is trying branch out to do something different despite the obvious mandate from the gaming company that leaned heavily on the films in their visual style. As a result the themes are less pronounced as one would be almost hard put to name let alone whistle a main thematic idea but as I have said before this enables the album to work almost closer to a tone poem of distinct self-contained movements rather than a strictly leitmotific opera like LotR.

 

Orchestra and choir are once again in the main event and used very effectively with nice little touches throughout and then there is the strange addition of theremin as a soloist to give this outing its unique stylistic twist but somehow it works surprisingly well. While lacking the obvious goosebumps inducing highs of the LotR scores SUN is a very entertaining hour of Shore firmly in his epic orchestral mode.

 

The Spielberg/Williams Collaboration Part III: You can read my extensive thoughts HERE. It is a really enjoyable album on the whole and contains some of my most sought after concert arrangements of Williams' music in the past two decades.

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Definitely. I don't think Inky was denying that. Just that they are less pronounced, and more subtle. A tone poem is indeed an apt way to describe it.

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Full of motifs, but not worked through to the extent LOTR does. But you can hardly hold that against the SUN score.

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The Fury animated-angry-smiley-image-0290.gif (John Williams)

 

Interesting. A spooky main title, followed by the very misleadingly radiant "For Gilliam", followed by Williams going INSANE with "Vision on the Stairs", even more insane with "Gillian's Visions", and just downright wacky with "Death on the Carousel". Love it.

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8 hours ago, KK said:

Definitely. I don't think Inky was denying that. Just that they are less pronounced, and more subtle. A tone poem is indeed an apt way to describe it.

 

8 hours ago, Stefancos said:

Full of motifs, but not worked through to the extent LOTR does. But you can hardly hold that against the SUN score.

Quite. I would even hazard saying verily here.

 

7 hours ago, LampPost said:

The Fury animated-angry-smiley-image-0290.gif (John Williams)

 

Interesting. A spooky main title, followed by the very misleadingly radiant "For Gilliam", followed by Williams going INSANE with "Vision on the Stairs", even more insane with "Gillian's Visions", and just downright wacky with "Death on the Carousel". Love it.

It is pretty awesome! The LSO main title is positively flooring experience in its thunderous might.

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The Wind and the Lion is just a fantastic combination of ethnic and epic from good old Jerrald. I especially love how he alludes to the native music of the North African locale and translates it into an orchestral setting.

 

And the Shadow isn't a too shabby superhero score either.

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I'm starting to hear another motif besides the Main Theme and the love theme in The Shadow.

 

The Ghost and the Darkness

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1 hour ago, Incanus said:

The Wind and the Lion is just a fantastic combination of ethnic and epic from good old Jerrald. I especially love how he alludes to the native music of the North African locale and translates it into an orchestral setting.

 

'The Letter' is a rather quiet cue but it's the culmination of intelligent storytelling in music: it accompanies a montage of Raisuli/Roosevelt during the reading of a letter of the former and weds the two themes for both, cleverly both based on the same open fifth (the american one in major, the occidental one in minor), making them two sides of the same coin. 

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Sea Hawk (Korngold)

King's Row (Korngold)

 

Seems to me like, while his earlier soundtracks were great, KING'S ROW was around the time when Korngold went "Super Saiyan".

 

 

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Minority Report by John Williams: Simply excellent.

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When I am in the mood the dark sense of mystery of Minority Report is simply irresistible.

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A less known fantasy work by James Newton Howard that is semantically and idiomatically not too far removed from 'War Horse' (scottish, oirish, british, it's all the same anyway, eh?). It doesn't rise above solid eclecticism but has some truly enchanting thematic strains and at least occasionally uses the Chieftains to good effect. The Main Title frames the fairy tale-like setting in the scottish highlands with a delicate folk song ballad and the score is all the better when JNH builds on this - unfortunately, the rest is a bit over the place, ranging from generic mickey mousing to numbingly loud action music right out of 'Waterworld' & Co.

 

The piece de resistance is the sustained 7-minute fantasy/adventure cue 'Swimming', which reminds me of Goldsmith's 'Hollow Man' dvd commentary, basically saying that a composer nowadays should be satisfied when there are one or two musical sequences per score worth the expendable rest. There is also a wondrous 'E. T.' moment in 'The Net' and a beautiful finale cue. The Chieftain-suite rounding out the disc is a nice bonus.

 

This is the selection i'd recommend:

 

Main Title        3:08  

You Didn't Even Get Wet        2:59 

The Workshop        2:38  

Driving to the Loch        2:03    

Run Angus        1:22  

The Fisherman        1:39    

Angus in Training        2:54  

Swimming        6:35    

There's No Monster        2:01  

The Net        4:22  

The Jump - End of the Story        4:41  

Suite        8:08    

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Yeah, it does have some really good moments. But, for whatever reason, the album is less than spectacular. Which I find to be a problem with most JNH scores actually.

 

:music: Kong: Skull Island. I don't think it was necessarily great but it has some really neat moments. This theme is quite nice. As I understand it from watching the film, this actually Kong's theme. As far as monster themes in modern movies are concerned, this one is pretty strong.

 

 

Karol

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3o1BwT8.png

 

Dances With Wolves - John Barry (1990)

 

This score has some lovely moments, there's no denying, but in complete form it just feels overlong. The main reason for that is the lack of variety in it: most of it sounds a bit samey. Add to that a lot of one-minute-long cues that feel inconsequential, action music that isn't particularly exciting (Pawnee are Coming/Rifles/Pawnee/Pawnee Attack/Stone Calf Dies/Toughest Pawnee Dies is frankly a chore to listen to) and themes the composer doesn't do an awful lot with (the various statements are not really different from one another), and you're left with a score that is a tad disappointing, given the big epic tale Barry was given the opportunity to work on.

Still, it's not all bad of course: as a whole it is a solid work, the music fits the movie well, the main theme and love theme are rather nice, and the score occasionally soars (Charge, The Buffalo Hunt - Smiles A Lot Is Saved, Timmons Leaves, The Loss Of The Journal And The Return To Winter Camp, Farewell And End Title...), but it's definitely the kind that is more digestible in abridged form. There's probably an excellent 40 minutes program that can be created out of it. As it is, though, it doesn't make for the smoothest listening experience.

 

6/10

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Raiders of the Lost Ark (Williams) - Haven't listened to much else since seeing the concert last weekend.  If you want to know how to write an action score, study this until it's emblazoned on your brain.

 

Behind Enemy Lines (Davis) - Not so much, at least the action parts.  It's a schizophrenic mess of a score that has both some of the best cues of Davis' career, only to be immediately interrupted by electronic noise that would make even Holkenborg cringe.  "Ustao" is breath-taking, though.

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7 hours ago, BloodBoal said:

There's probably an excellent 40 minutes program that can be created out of it. As it is, though, it doesn't make for the smoothest listening experience.

 

Great love theme, though.

 

Das Boot - 10 BH (before Hans) It's not really an album to listen through but still giving then-current american film music a run for its money (in regards to new-ish pop stylings and how to apply them). The theme is still a killer.

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12 hours ago, BloodBoal said:

3o1BwT8.png

 

Dances With Wolves - John Barry (1990)

 

This score has some lovely moments, there's no denying, but in complete form it just feels overlong. The main reason for that is the lack of variety in it: most of it sounds a bit samey. Add to that a lot of one-minute-long cues that feel inconsequential, action music that isn't particularly exciting (Pawnee are Coming/Rifles/Pawnee/Pawnee Attack/Stone Calf Dies/Toughest Pawnee Dies is frankly a chore to listen to) and themes the composer doesn't do an awful lot with (the various statements are not really different from one another), and you're left with a score that is a tad disappointing, given the big epic tale Barry was given the opportunity to work on.

Still, it's not all bad of course: as a whole it is a solid work, the music fits the movie well, the main theme and love theme are rather nice, and the score occasionally soars (Charge, The Buffalo Hunt - Smiles A Lot Is Saved, Timmons Leaves, The Loss Of The Journal And The Return To Winter Camp, Farewell And End Title...), but it's definitely the kind that is more digestible in abridged form. There's probably an excellent 40 minutes program that can be created out of it. As it is, though, it doesn't make for the smoothest listening experience.

 

6/10

I find the original 53-minute album to be too much already. It is good music, has great themes. It probably deserves all the praise it gets. But I could never listen to it for some reason.

 

Karol

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The expanded album following the OST is the one I go to for this score. And usually pick a programme containing the highlights and not the whole 75 minute album.

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The Wrath Of Khan

 

One of those "evergreen" scores that's still exciting even after literally decades of listening to it. Amazing how many long lined thematic ideas run through it.

 

Not only a great Trek score, but a great Horner score.

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1 hour ago, crocodile said:

It is good music, has great themes. It probably deserves all the praise it gets. But I could never listen to it for some reason.

 

Yep. I can totally understand why some people love it, but it doesn't do an awful lot for me.

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14 hours ago, BloodBoal said:

3o1BwT8.png

 

Dances With Wolves - John Barry (1990)

 

This score has some lovely moments, there's no denying, but in complete form it just feels overlong. The main reason for that is the lack of variety in it: most of it sounds a bit samey. Add to that a lot of one-minute-long cues that feel inconsequential, action music that isn't particularly exciting (Pawnee are Coming/Rifles/Pawnee/Pawnee Attack/Stone Calf Dies/Toughest Pawnee Dies is frankly a chore to listen to) and themes the composer doesn't do an awful lot with (the various statements are not really different from one another), and you're left with a score that is a tad disappointing, given the big epic tale Barry was given the opportunity to work on.

Still, it's not all bad of course: as a whole it is a solid work, the music fits the movie well, the main theme and love theme are rather nice, and the score occasionally soars (Charge, The Buffalo Hunt - Smiles A Lot Is Saved, Timmons Leaves, The Loss Of The Journal And The Return To Winter Camp, Farewell And End Title...), but it's definitely the kind that is more digestible in abridged form. There's probably an excellent 40 minutes program that can be created out of it. As it is, though, it doesn't make for the smoothest listening experience.

 

6/10

 

Why would you start with the complete version instead of starting with the OST?  No wonder you found it overlong!

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Even the OST has always sounded overlong to me. I struggle with post 1970's Barry drama scores.

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John Williams - The prisoner of JWfankaban

John Williams - The Terminal

John Williams - War of the Worlds

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