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

[crocodile 8,000]

Dracula

The Vikings

Balto

The Wind and the Lion

 

Karol

[Will 2,215]

Desplat - Julie and Julia

 

Watched this 2009 movie with my fam a couple nights ago. Actually pretty good, but the score is even better imho. Sure, it's nothing particularly new from Desplat (almost as soon as the studio logos came on, I was like "Yeah, this is Desplat"), but the main theme is absolutely gorgeous:

 

My favorite passage from the score has to be this - classic Desplat bliss:

 

0:47-1:11

 

 

[crocodile 8,000]

 Drag Me To Hell by Christopher Young.

 

 

Karol

[Nick Parker 3,040]

10 minutes ago, Will said:

Watched this 2009 movie with my fam

 

Will, what happened to you? 

[Disco Stu 15,495]

If Beale Street Could Talk - Nicholas Britell

 

 

Much better than the Moonlight score I think.  Something about the harmonic language here is just more interesting to me.  I’ll be returning to this one to see if it sticks, parts are really quite beautiful.

[publicist 4,643]

 

Of the two 'fantasy' Howards, this one seems - curiously enough - to have more staying power. Which of course owes a good deal to Tchaikovski and his balletic style (which suits film composers more often than not), but isn't it refreshing not too have trailer music clichés abound in a new movie intended for blockbuster use...

[crocodile 8,000]

And yet the 30 minutes of Red Sparrow had more magic than either of those. But yeah, this is a better one of the two.

 

And to think we were complaining back in 2003 that Peter Pan was "somewhat of a letdown". I listened to it the other week actually. It's quite lovely.

 

Karol

[Obi 404]

Quantum Of Solace

 

Now Sam Mendes is out of the franchise, I dream Arnold 'll back for the next one.

[#SnowyVernalSpringsEternal 10,265]

Me too!

[Disco Stu 15,495]

Only if he's allowed to write fun music again.

[#SnowyVernalSpringsEternal 10,265]

All of his Bond scores are fun!

[Disco Stu 15,495]

I get all the arguments for why, but I will never not be disappointed at the lack of the Bond Theme in his two Craig scores.  It is what is, but I'll always reach for TND, TWINE, and DAD first.

[Incanus 5,714]

Home Alone by John Williams

 

Home Alone 2: Lost in New York by John Williams

[SteveMc 2,674]

Lincoln by John Williams

Not so much a score as an exquisite orchestral suite.  Really connected with me last night.  Pretty much John's final word on Americana, don't see how he could do it any better.  The writing is fantastic here, strong themes, flawless orchestration, and each cue is so very well structured.  I'll have to give the matter a bit of thought, but I think that I might just agree with Disco Stu about it being John's best score of the decade.

 

The Man From Snowy River by Bruce Rowland

Nice score.  Not every cue is great, but, simplicity aside, this is an enjoyable and evocative score.  Some lovely themes, too.

 

 

[The Illustrious Jerry 3,356]

45 minutes ago, Steve McQueen said:

Lincoln by John Williams

Not so much a score as an exquisite orchestral suite.  Really connected with me last night.  Pretty much John's final word on Americana, don't see how he could do it any better.  The writing is fantastic here, strong themes, flawless orchestration, and each cue is so very well structured.  I'll have to give the matter a bit of thought, but I think that I might just agree with Disco Stu about it being John's best score of the decade.

Lincoln is one of my favourite Williams scores. The ultimatum of Americana JW! With Malice Toward None Remains to this day, a stirring and lovely piece. I do prefer it as a piano solo though.

[Bespin 8,480]

Home alone 2 (the totaly insane C&C playlist done with the expanded release plus the two christmas albums!!!)

[publicist 4,643]

6 hours ago, crocodile said:

And yet the 30 minutes of Red Sparrow had more magic than either of those. But yeah, this is a better one of the two.

 

And to think we were complaining back in 2003 that Peter Pan was "somewhat of a letdown". I listened to it the other week actually. It's quite lovely.

 

'Red Sparrow' (which is basically the first and the last two tracks) is the gloomy stepfather to'Nutcracker's lighter kiddie tone but both heavily tread the russian waters. I liked 'Peter Pan' but it never struck me as anything remarkable, just another light-ish Disney score, only Universal in this case.

[Will 2,215]

 

14 hours ago, publicist said:

 

 Of the two 'fantasy' Howards, this one seems - curiously enough - to have more staying power. Which of course owes a good deal to Tchaikovski and his balletic style (which suits film composers more often than not), but isn't it refreshing not too have trailer music clichés abound in a new movie intended for blockbuster use...

 

Yeah surprisingly I have to say I agree. Although I think JNH's Grindelwald probably will last longer in my memory due to seeing the film (I haven't seen Disney's Nutcracker), as a pure score Nutcracker resonated emotionally with me in a way that made Grindelwald feel cold. Four Realms is a lovely, warm holiday score. JNH's material blends almost perfectly with Tchaikovsky's imho. I keep finding myself coming back to this score, even if JNH's musical narrative does have some flaws. 

 

My one biggest complaint (sounds trivial but it frustrates me) is that the final cue that's original JNH - "Queen Clara" - ends with an unresolved statement of one of the main themes. It's absolutely beautiful and heartbreaking, but without an end credits suite you're just left with a sudden transition into Lang Lang's (great) version of the Tchaikovsky material. 

[Kasey Kockroach 2,344]

John Scott's Becoming Colette

Has that weird issue his albums can have where he puts in source music with the actual score, which can break the atmosphere a bit...but once you get rid of the source cue tracks, it really opens up to an absolutely lovely listen. 

[The Illustrious Jerry 3,356]

Just now, Warrior of Wet Dreams said:

Has that weird issue his albums can have where he puts in source music with the actual score, which can break the atmosphere a bit...

Like Chicken in the Pot in SOLO?

[Kasey Kockroach 2,344]

Nah, that one's deliberately out of place. It's kind of the joke. Plus, it's only one cue. My only issue with that was its placement in the middle of the album, so I put Chicken in the Pot at the very end of my playlist the day I got it (to where I forget nowadays that wasn't the original placement!), just to end the score on a funny note. 

Becoming Colette's source music isn't exactly wacky or anything, just not of the same luscious romantic atmosphere as the actual score. 

[Not Mr. Big 4,639]

A Christmas Carrey 

One of my favorite Silvestris.  That main title theme is one of my very favorite Christmas pieces.  

[Gruesome Son of a Bitch 6,488]

James Horner - The Pagemaster OST

[Matt C 452]

 Goosebumps 2: Haunted Halloween -- Dominic Lewis

 

 

 

 

 

I think it's better than Elfman's score, actually. There's energy to spare and Lewis really taxes the brass and woodwind sections with complex counterpoint writing and melody to spare. Lewis wrote a new motif that meshes well with Elfman's theme (which pops up in several cues like "Witch, Please!" and "Allegro con spirito") and the score feels more robust overall. It's a very fun score!

 

[Kasey Kockroach 2,344]

Agreed! My only qualm is that there's no end titles. I'd say the score deserved one.

[publicist 4,643]

Recently from this genre i liked parts of 'Krampus':

 

[Incanus 5,714]

The Mummy Returns (Intrada release) by Alan Silvestri: One of Silvestri's most entertaining romps once it gets going as the complete score contains a number of quieter atmosphere and Mickey Mousing comedy cues before it truly gets to the meatier parts. The only downside of the release is that the finale which was left off the original album has been either really badly recorded or mixed or both as the final LA recorded action pieces sound muffled, bass heavy and off-balance between orchestra and chorus. But even that can't dampen the rip-roaring melodic high octane action adventure that is a worthy successor to Jerry's original from 1999.

[Jurassic Shark 12,055]

I find Silvestri's tendency of repeating each melodic phrase in this score quite grating on repeated listening.

[Holko 9,519]

Messing with the EQ in poweramp helped make it quite a bit more tolerable, I used MFBR+the finale for last night's biking.

[Incanus 5,714]

7 minutes ago, Jurassic Shark said:

I find Silvestri's tendency of repeating each melodic phrase in this score quite grating on repeated listening.

That is one complaint that applies to many his scores I think. Often he has a neat opening phrase but no development afterwards.

 

Treesong by John Williams

[Jurassic Shark 12,055]

11 minutes ago, Incanus said:

That is one complaint that applies to many his scores I think. Often he has a neat opening phrase but no development afterwards.

 

Treesong by John Williams

 

That's not what I mean, rather that his themematic cues go like AABBCC and so on.

[Incanus 5,714]

25 minutes ago, Jurassic Shark said:

 

That's not what I mean, rather that his thematic cues go like AABBCC and so on.

Well that too.

[Brundlefly 2,385]

46 minutes ago, Incanus said:

The only downside of the release is that the finale which was left off the original album has been either really badly recorded or mixed or both as the final LA recorded action pieces sound muffled, bass heavy and off-balance between orchestra and chorus.

Don't underestimate the Star Wars-y demastering job that was done to both Mummy releases. They could sound much better with a more competent sound engineer.

[Incanus 5,714]

Saving Private Ryan (LLL release) by John Williams: While the LLL release is not a radical change over the original album the score itself has grown to be a persona favourite thanks to its pensive thoughtful Americana tone. 

[Jurassic Shark 12,055]

Omaha Beach and Hymn to the Fallen is all you really need.

 

[publicist 4,643]

Even that i could do without since 'Lincoln' came out.

[Incanus 5,714]

Always by John Williams: It's better than everything...

 

 

 

 

Nah just kidding but it is better than Space Camp at least.

[Jurassic Shark 12,055]

Everything is better than Space Camp. Except Star Trek.

[Brundlefly 2,385]

2 hours ago, Jurassic Shark said:

Everything is better than Space Camp. Except Star Trek.

I hope you're not talking about Star Trek: The Motion Picture! Goldsmith is the only reason why Star Trek is interesting at all.

[Disco Stu 15,495]

What?  Horner's scores are fantastic!

 

Not mention the very fine entries from Rosenman, Eidelman, and McCarthy.

[Jurassic Shark 12,055]

Space Camp >>>>>> everything Star Trek.

[Kasey Kockroach 2,344]

Last Starfighter >>>>>> Star Trek and Star Wars 

[Incanus 5,714]

Bride of Chucky>>>>>>>>>>>>>>>Last Starfighter >>>>>> Star Trek and Star Wars 

[Kasey Kockroach 2,344]

Root bear floats >>>>>>>> Everything else in life

[Obi 404]

Die Young >>>>>>>>>>>>>>>>>>>>> Have children

[The Illustrious Jerry 3,356]

16 minutes ago, Warrior of Wet Dreams said:

Root bear floats >>>>>>>> Everything else in life

The truth has been spoken.

 

But seriously, they are very good.

[crocodile 8,000]

Kicking the pre-Christmas period with this beauty... It arrived today. Ho ho ho now I have a multi-track original digital tapes!

 

 

It is a seminal action/thriller score. Certainly one of the wittiest. Although I do understand why some film music fans might not like it - it is built out of a "sneaking around" music and there are relatively few (but so good!) action setpieces. It is perhaps not the easiest listening experiences on album, that's true. But the wit and detail of this score always amaze me. For one, the quotations of Winter in Wonderland, Singin' in the Rain and Beethoven's Ode to Joy (the latter two being references to Kubrick) is so clever. Kamen doesn't really copy and paste everything but filters it through his own "rusty swagger" and those themes can be unrecognisable. The ever-present processed sleigh bells add to the festive mischief of it all. The score had previous three limited editions (all of which sold out!) and this marks the fourth edition. It is the first time we can hear the music sourced from the original element so the sound quality jump is just immense. I can hear new detail previously lost in the muddy sound quality of previous editions. It's also a treat to hear new bits and bobs here and there. The score now sounds better than ever and I'm absolutely loving it. The combination of dark suspense with thundering action setpieces all sprinkled with a sense of dark humour makes it a true winner. It's amazing it took 30 years to give this classic a release worthy of its reputation.

 

Karol

[Matt C 452]

14 hours ago, Warrior of Wet Dreams said:

Agreed! My only qualm is that there's no end titles. I'd say the score deserved one.

 

I think the end titles are just "Haunted Halloween" and "Gummy Bears" cut together.

[Gruesome Son of a Bitch 6,488]

James Horner - Sneakers OST

James Horner - The Rocketeer expanded edition

[Kasey Kockroach 2,344]

Shoot to Kill by John Scott

The Lost World: Jurassic Park by John Williams