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      Donate to JWFan, win a CD!   05/30/17

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El Jefe

What Is The Last Score You Listened To?

27959 posts in this topic

Yes that is one of my favourite Zimmer scores. Very contemplative.

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It'll definitely be getter by a few repeat listens over the next few days. Contemplative is a good description. What's the movie like? I heard the violence was quite brutal so I was expecting something more bombastic and was pleasantly surprised. 

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:music: The Book of Henry by Michael Giacchino. There's some really nice stuff in here.

 

Karol

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4 hours ago, Bilbo Skywalker said:

It'll definitely be getter by a few repeat listens over the next few days. Contemplative is a good description. What's the movie like? I heard the violence was quite brutal so I was expecting something more bombastic and was pleasantly surprised. 

 

On another listen and it reminds me very much of a Desplat score. It's very restrained for Zimmer. 

 

"Stone in my Heart" sounds like it was the basis for "Courtyard Apocalypse" from HP DH2. At least the melody. 

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9 hours ago, Bilbo Skywalker said:

It'll definitely be getter by a few repeat listens over the next few days. Contemplative is a good description. What's the movie like? I heard the violence was quite brutal so I was expecting something more bombastic and was pleasantly surprised. 

 

The film is just as contemplative as the score. It has a few violent battle sequences, but, overall, it's mostly a tone poem reflecting on the psyches of the soldiers involved, just like anything Malick does. It seems pretty strange to me in retrospect Zimmer was even hired for this job, but he handled it well.

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17 minutes ago, Taikomochi said:

 

The film is just as contemplative as the score. It has a few violent battle sequences, but, overall, it's mostly a tone poem reflecting on the psyches of the soldiers involved, just like anything Malick does. It seems pretty strange to me in retrospect Zimmer was even hired for this job, but he handled it well.

 

I'll definitely watch the film soon. The album is fantastic, looking forward to hear it in context. 

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A View To A Kill -John Barry

For Your Eyes Only- Bill Conti

The Cowboys- John Williams amongst a few others

 

Rewatched Cowboys the other week and the score is a favourite -Summer's Over and Stealing Back the Herd are highpoints for me though overall it's all good. When boys became men.

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Sleepy Hollow by Danny Elfman: Definitely in my Elfman top 5. Like The Wolfman this music feels strongly like the composer's love letter to the horror genre and he seems to be having a lot of fun with those dark musical devices he so loves. It is deliciously Gothic, thunderous, charming, sinister and frightening in turn and eminently listenable as Elfman anchors the score in melody. His main theme forms the basis for the drama and suspense, action and the love material but the composer bolsters this with smaller ancillary ideas such as the exclamatory motif for the headless horseman and his chase music. The album is also a nigh perfect in length and content with very well conceived narrative and includes all the major setpieces from the score but never overstays its welcome. It is dark, it is big and bold and quite frankly pure Elfman gold!

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Keith Lockhart's recent Williams album with the BPO. What was the point of this again?

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Fellowship of the Ring, CR

 

I don't delve into these very often, so these scores are lucky when I get the bug. The sheer scope of the music and the absurd length is enough to prompt me to look elsewhere for something epic and intricate without having to commit the time to just sitting there and listening to the whole bloody thing for three hours.

 

Great music though. Maybe I'll pop in The Twin Towers at some point when I'm in the mood. And I've never finished Return of the King in CR form, so I'll challenge myself to do it soon.

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9 minutes ago, mrbellamy said:

John Williams's 85th bday?

 

 

 

Ah right, that's fair enough then. The performances didn't really do much for me.

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Just had a peek through Amazon and eBay. The LOTR CR sets go for stupidly high prices now. Lucky I found them in the store when I did.

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Same here. After reading your post, I researched the prices...I was flabbergasted!

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Well the sets are out of print, popular and sought after = people trying to fleece ridiculous sums for copies of them. Which is highway robbery. Thank heavens I bought mine when they were "only" 55 €/box.

 

I remember that Doug Adams has been mentioning how the CRs might come into print some time in the future but it has been quite a while since he made statement. Obviously the wheels of the industry roll at quite a different speed than the otherwise hectic world when it comes to these projects.

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The OST's are really all you need.

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Ah.

 

The LOTR Symphony seems alright. The three scores shaved down to about seven minutes.

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Just now, Sally Spectra said:

Ah.

 

The LOTR Symphony seems alright. The three scores shaved down to about seven minutes.

The symphony is about 2 hours long.

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I might still buy it.

 

I rarely listen to individual Godzilla scores. The albums are too repetitive. But I usually gravitate to this for my Godzilla fix.

 

SLCS-5029.jpg

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I've been listening to Star Trek Voyager's Year Of Hell score quite a bit lately.  It's my third favorite Voyager episode score and Dennis McCarthy did a great job for it.

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8 minutes ago, Trent B said:

I've been listening to Star Trek Voyager's Year Of Hell score quite a bit lately.  It's my third favorite Voyager episode score and Dennis McCarthy did a great job for it.

 

That's around the time the show started getting good for me!  I think seasons 5-7 are mostly strong, personally.  When the show came into its own.

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Quantum Of Solace. The movie may be no one's favourite, but the score really works like gangbusters. Love the gutteral, snarly brass on this. And the music associated with Quantum manages to be both Barry-and-Arnoldesque.

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7 minutes ago, Stefancos said:

Quantum Of Solace. The movie may be no one's favourite, but the score really works like gangbusters. Love the gutteral, snarly brass on this. And the music associated with Quantum manages to be both Barry-and-Arnoldesque.

 

Possibly Arnold's best Bond score. Definitely his most "redefined" anyway. The "Night at the Opera" cue is aces. 

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I wouldnt rate it over ID4 or his first two Bonds. But it's certainly far more consistent than Casino Royale.

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It's definitely not as strong as his earlier Emmerich work (he has yet to pass those three scores IMO), but I think it's better then Casino Royale because he manages to tone down the electronics. Shame Arnold doesn't work on films much these days. His work for Sherlock is fine, but he should be getting big assignments again. Oh well!

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All David Arnold scores, as good as they are, bow down at the altar of CHANGING LANES.

 

 

 

 

 

 

 

 

 

 

 

 

No, I'm not joking!

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QoS is one of the most grating scores I've ever heard. Too loud, nauseating, and unlistenable.

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Restraint certainly isn't Arnold's strong suit or even something he's interested in. 

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14 hours ago, Incanus said:

Sleepy Hollow by Danny Elfman: Definitely in my Elfman top 5. Like The Wolfman this music feels strongly like the composer's love letter to the horror genre and he seems to be having a lot of fun with those dark musical devices he so loves. It is deliciously Gothic, thunderous, charming, sinister and frightening in turn and eminently listenable as Elfman anchors the score in melody. His main theme forms the basis of for the drama and suspense, action and the love material but the composer bolsters this with smaller ancillary ideas such as the exclamatory motif for the headless horseman and his chase material. The album is also a nigh perfect in length and content with very well conceived narrative and includes all the major setpieces from the score but never overstays its welcome. It is dark, it is big and bold and quite frankly pure Elfman gold!

 

 

It loses some steam in the second half, but tracks like Masbath's Terrible Death and specially The Story just ooze atmosphere. Definitely also in my Elfman's top 5

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Jason and the Argonauts - Bernard Herrmann (the Broughton recording, naturally)

 

One day someone conversant in music theory will be able to really explain to me what I find so deeply, fundamentally satisfying about Herrmann's use of harmony in this score.

 

Like this track.  Something about the simplicity.  Not sure if simple is the right word.  Very straightforward and open.  I love it.

 

 

See also "Hera Speaks" where it almost gets jazzy unless I'm way off the mark?

 

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I've always been quite taken by Hera's music in this score. I can't quite put my finger on it

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Herrmann's love of deep woodwinds is one of my favorite hallmarks of his style.

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Williamsburg: The Story of a Patriot - Bernard Herrmann

 

I watched this short movie on every single school field trip to Colonial Williamsburg as a kid.  It blew my mind this week when I discovered that the score for this museum visitor center movie was by Herrmann.  The recording by the incomparable Stromberg/Moscow Symphony is wonderful and a real nostalgia trip for me.  And listening to it as an adult, being familiar with Herrmann, it's a rare treat to hear him in this sincere Americana mode.

 

https://en.wikipedia.org/wiki/Williamsburg:_the_Story_of_a_Patriot

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Ernest Gold - It's a Mad Mad Mad Mad World

 

 

GENIUS!!!

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