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Mr. Manfrenjensenden

What Is The Last Score You Listened To?

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18 minutes ago, Will said:

Not a film score but by god this is awesome:

 

 

The composer that replaced that theme in 2006 was even better:

 

 

You may recognize him. ;)

 

Haha I just said this week in another thread that I'd always found CBS's various news themes ineffective.  The only one I really like outside of Williams' efforts is the old Kalehoff theme for ABC World News Tonight.

 

I'd love to hear a performance with actual instruments

 

 

 

Actually I also really like the old PBS News Hour theme too

 

 

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3 hours ago, Disco Stu said:

 

Haha I just said this week in another thread that I'd always found CBS's various news themes ineffective.  The only one I really like outside of Williams' efforts is the old Kalehoff theme for ABC World News Tonight.

 

I'd love to hear a performance with actual instruments

 

 

 

Actually I also really like the old PBS News Hour theme too

 

 

 

You didn't like Horner's theme? Blasphemy! :o

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1941 - LLL

 

Alright, time to have the march constantly in my head for another two weeks.

Fun. The most interesting was a ton of little snippets, phrases, orchestration choices sprinkled throughout that evoke either previous Williams (Jaws, Superman - hell, it even reuses a motif from it) or later Williams including bits of post-2002 Star Wars and such. Also it sounds great, that brass! They don't record 'em like they used to anymore.

 

OST seemed to start promising enough with well-done joins, but at the end it just kinda farts out with both Battle of Hollywod and Ferris Wheel, gives up and just goes to the credits, what's that about? Also the only worthwile alternate is the Finale, holy hell is that different and grim! I guess Spielberg stepped in and explained this should be funnyly anticlimactic, it should suggest Kelso will just accidentally break out and drive the sub into Hirohito, not be down that he's captured.

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John Barry- Beyondness of Things, Eternal Echoes, Raise The Titanic

 

Jerry Goldsmith- Players (love this score more than perhaps I should), Masada and QB VIII (via the 40 Years of Jerry Goldsmith collection)

 

Lalo Schifrin- Bullitt

 

Bullitt was my first Schifrin score both listened to and brought. Great sound to it (i.e Just Coffee, The Architect's Building, Shifting Gears etc)

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The Final Conflict by Jerry "Mouse" Goldsmith

This is probably my favorite 'villain' theme in all of film scoredom. It musically captures pure evil more beautifully and powerfully than any villain theme I've heard from any score before or since.

 

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50 minutes ago, Dixon Hill said:

Star Trek: First Contact - Jerrald King Goldsmith

 

There was a period for about two weeks, a couple of weeks ago, where I listened to that about every day. I think it might be one of my favorite scores. There's something about it...there's a sheen to it, I don't know, its tone, the orchestrations, it's so clear and inviting. The complete score is _tons_ of fun, start to finish. The First Contact Theme, then Red Alert, where the tone gets really giddy with the Enterprise theme, before the Borg Theme blares in immediately afterwards...what a hell of an overture, and then with that groovy ass piano riff in Temporal Wake to bring the mood down, the fun just keeps going and going. 

 

 

He and his son did a fantastic job, the latter being responsible for some of my favorite moments, I remember discovering with shock. It's hard to get more badass than this, for example:

 

 

 

 

And there's the sexy-ass stuff that Papa G-Smith wrote for the Borg Queen. I'm always fascinated by portrayals of sexiness in music, and Jerry knocks it out here with genuinely sensual material, like in this moment:

 

 

The whole track is great, but the rustle of harp and strings climaxing into that high B in the violins? Chills.

 

And then there are the smaller, great moments where Goldsmith really takes the dark, cornered scenario of the film and refracts it musically to the point where it transcends an action type movie, like in some of the more profoundly desolate statements of the secondary Borg motif at the beginning of The Dish, which on the flipside culminates in a great fanfare that recalls Alien in its more cathartic moments. 

 

Yeah, First Contact might be one of my favorites. 

 

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There seemed to be some divide at some point in the past with certain people claiming it was a mediocre score with some standout moments, but I think we're out of that temporal wake and most everyone appreciates it now. They don't make them like that anymore. It's been one of my favorite scores since the movie opened.

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13 minutes ago, Nick Parker said:

And there's the sexy-ass stuff that Papa G-Smith wrote for the Borg Queen. I'm always fascinated by portrayals of sexiness in music, and Jerry knocks it out here with genuinely sensual material, like in this moment:

 

 

The whole track is great, but the rustle of harp and strings climaxing into that high B in the violins? Chills.

 

 

Between this and Basic Instinct I think Jerry leads in the "music that turns you on but also makes you feel like you need a shower its so filthy" category.

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7 minutes ago, Dixon Hill said:

 

Between this and Basic Instinct I think Jerry leads in the "music that turns you on but also makes you feel like you need a shower its so filthy" category.

 

Haha. I'm reminded of a story about Miles Davis...being the legend he was, every young player around would look for his approval if they knew he was listening to one of their sets. They would run up to him and say, "Mr. Davis, what did you think of my solo?"

 

His response: "Do you kiss your girlfriend like that, like how you solo?"

 

...Jerry knew how to capture what Miles was getting at! I can't think of another orchestral composer who comes close.

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1 minute ago, publicist said:

I nominate the under-appreciated 'The Haunting' for that category

 

 

 

Ooh, haven't checked that one out. Seems like I should rectify that...man I miss high string melodies in movies.

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3 hours ago, Nick Parker said:

Ooh, haven't checked that one out. Seems like I should rectify that...man I miss high string melodies in movies.

Get the Deluxe Edition as long as it's still available. The only option for that score.

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It's a pretty good one. I'm not sure you need an album this long but there is a certain alluring mood to it that makes for a really pleasant spooky listen.

 

Karol

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That's the same for nearly all expanded Deluxe thingies, even things like 'Peter Proud' which is also decidedly too long - but we have accepted the archival angle, haven't we? I create my albums for my digital archive and leave the redundancies on the cutting room floor. 'The Haunting' runs 57 minutes for me.

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11 hours ago, publicist said:

That's the same for nearly all expanded Deluxe thingies, even things like 'Peter Proud' which is also decidedly too long - but we have accepted the archival angle, haven't we? I create my albums for my digital archive and leave the redundancies on the cutting room floor. 'The Haunting' runs 57 minutes for me.

That's not much you left for the cutting room floor. What did you abandon?

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Jurassic Park by John Williams

 

The Lost World: Jurassic Park by John Williams

I love these both scores to bits for entirely different reasons. Top tier Johnny.

 

The Adventures of Tintin: The Secret of the Unicorn by John Williams: A more cartoony and lighter take on the globe trotting Indiana Jones-styled adventure with a dash of pirate-y swashbuckle thrown in to the mix. Superb fun and quirkily orchestrated.

 

:music:Angels in America by Thomas Newman

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A top 5 Williams from the 80's: pop americana in the best sense, full of Copland, blues and jazz influences with a carefree country vibe sorely missing from the maestro's increasingly rigid orchestral bombast following in the footsteps of his big Lucas/Spielberg successes. It was his last film with Mark Rydell (the parting from Bob Altman was long ago even then) and it's a fitting musical farewell to his 'Conrack' days. The main themes are tuneful with that special Williams mid-70's to mid-80's glow and the 37-minute MCA album is a bliss (i particularly dig the impressionist flute solo in 'Rain Clouds Gather', the opening of the film where a rainfall disturbs a boy during his fishing trip). The old Varése is so good i'm not even sure i need a new version but would probably buy it out of a sense of obligation.

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2 hours ago, publicist said:

A top 5 Williams from the 80's: pop americana in the best sense, full of Copland, blues and jazz influences with a carefree country vibe sorely missing from the maestro's increasingly rigid orchestral bombast following in the footsteps of his big Lucas/Spielberg successes. It was his last film with Mark Rydell (the parting from Bob Altman was long ago even then) and it's a fitting musical farewell to his 'Conrack' days. The main themes are tuneful with that special Williams mid-70's to mid-80's glow and the 37-minute MCA album is a bliss (i particularly dig the impressionist flute solo in 'Rain Clouds Gather', the opening of the film where a rainfall disturbs a boy during his fishing trip). The old Varése is so good i'm not even sure i need a new version but would probably buy it out of a sense of obligation.

I love The Ancestral Home. What else is top 5 Williams from the 80s?

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6 hours ago, Brundlefly said:

I love The Ancestral Home. What else is top 5 Williams from the 80s?

 

Born on the Fourth of July in any event. The rest switches.

 

 

Sometimes, trail mix is all you need. This JNH from the fin de siècle of film music where middlebrow action movies still demanded robust orchestral scores with memorable themes is a solid entry with at least two great cues (Three Years Later, You wanna do this?). 

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p_6302124.jpg

 

That's Entertainment (1981, Philips, 6302 124; Boston Pops O/Williams)

 

That's Entertainment; Excerpts From "Fiddler On The Roof"; Selections From "A Little Night Music"; Richard Rodgers Waltzes; Pops On Broadway; Selections From "Gigi".

 

(Reissued in 1985, Philips, 416 499-2)

 

(Reissued for digital download in 2014, Universal)

p_sk62788.jpg

 

The Hollywood Sound (1997, Sony Classical, SK 62788; Washington jr., London SO/Williams)

 

Lawrence of Arabia - Overture; Flying Theme (From "E.T. the Extra-Terrestrial"); Out of Africa - Main Title; Wizard of Oz - Fantasy for Orchestra medley (March of the Winkies & Witches / Bicycle Music / Cyclone / Ding Dong, the Witch is Dead / Over the Rainbow); Theme from "Jaws"; The Adventures of Robin Hood - Robin Hood and His Merry Men; Pocahontas - Theme: Colors of the Wind; The Last Emperor - Theme; A Place in the Sun - Suite; Spellbound - Dream Sequence / Mountain Lodge; Godfather II (Main Title - The Immigrant); Dances with Wolves - John Dunbar Theme; The Devil and Daniel Webster - Mr. Scratch; Beauty and the Beast - Theme; The Best Years of Our Lives - Theme; Main Title from Star Wars.

 

(Reissued for digital download in 2015, Sony Classical)

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