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

[Brónach 1,330]

The Lost World

[Rachael Foley 10,162]

The Lost World

My favorite JW score with music still unreleased.

[Incanus 5,890]

JFK by John Williams

Born on the Fourth of July by John Williams

Nixon by John Williams

Jurassic Park by John Williams

[Brónach 1,330]

Sinbad: Legend of the Seven Seas by Harry Gregson-Williams

The Prince of Egypt by Hans Zimmer and others

Cast Away by Alan Silvestri

[Jonesy 55]

Super Mario Bros. by Alan Silvestri

[publicist 4,650]

This is actually quite a fun score....

[Jonesy 55]

Yes, it's very amusing. It's a shame this score isn't officially released.

[KK 3,313]

The Triumph of the Spirit by Cliff Eidelman

A powerful score in size and scope with some great melancholic, emotional writing. It could use a re-recording of some sort though. It's a pity Eidelman's career faded to relative obscurity and that he never really gets the chance for such big scale writing anymore.

[crocodile 9,724]

The Black Dahlia

Gotta be among the best of past decade.

Karol

[Marian Schedenig 11,694]

The Triumph of the Spirit by Cliff Eidelman

A powerful score in size and scope with some great melancholic, emotional writing. It could use a re-recording of some sort though. It's a pity Eidelman's career faded to relative obscurity and that he never really gets the chance for such big scale writing anymore.

I discovered that recently. Have to give it a few more listens, so far it seemed to drag a bit, but it definitely has some worthwhile highlights.

[Brónach 1,330]

[KK 3,313]

It's a really nice theme. But as a whole, the score falters and drags.

[Brónach 1,330]

I've only listened to that cue on youtube. Like eight times in a row.

[KK 3,313]

Jaws by John Williams

That was awesome. It's been far too long.

[Rachael Foley 10,162]

Jaws by John Williams

That was awesome. It's been far too long.

Original or 20th Ann?

[Matt C 605]

Krull by James Horner

Skinwalkers by Andrew Lockington

The Cape by Bear McCreary

[alicebrallice 134]

NP:

[crocodile 9,724]

Die Hard 2: Die Harder

The Edge

Silverado

War Horse

The Untouchables

Karol

[Brónach 1,330]

[crocodile 9,724]

Fire Paper Water: A Vietnam Oratorio by Elliot Goldenthal

I've had this for some time, but for whatever reason never listened to it. I guess I thought it might be one of those inaccessible works that give you headache. It can't be farther from the truth, it's quite magnificent.

Now listening to his Othello - his best work, in my humble opinion. The film scores tend to be more eclectic and to an extent so is this ballet, but it is also his most coherent piece with an impressive development of thematic ideas. And a stunning 71-minute album.

Karol

[lonzoe 19]

[A24 5,156]

I like this one. What other scores of James Newton Howard would you advise me? Any experts around here?

Alex

[Marian Schedenig 11,694]

I'm hardly an expert, but I have my views. There are some JNH scores that do little for me (including The Fugitive, which caused such excitement when the expanded release came out), but some of his I adore. Signs has a fantastic climax, and The Village has wonderfully RVWesque highlights. My favourites remain King Kong and Lady in the Water.

I remember loving the Cedars score years ago when I watched the film, but the CD seems to be hard to find sadly.

[Jay 46,242]

I'm not too familiar with the gentler JNH scores, I like his big action scores - Waterworld, The Fugitive, Signs....

[A24 5,156]

Wait, I don't to hear his action scores. Cedars is beautiful, lyrical and with a slight ethnical touch to it. It needs to be more something of that order.

[Jay 46,242]

There are plenty of huge JNH fans on this board, and I'm sure they'll reply soon

[Marian Schedenig 11,694]

Wait, I don't to hear his action scores. Cedars is beautiful, lyrical and with a slight ethnical touch to it. It needs to be more something of that order.

King Kong is mostly an action score, but as far as lyrical-ness goes, its Beautiful is second to none. Nearly Poledouris-like in how he brings up tender beauty in the middle of a ferocious action score.

[Incanus 5,890]

Wait, I don't to hear his action scores. Cedars is beautiful, lyrical and with a slight ethnical touch to it. It needs to be more something of that order.

The Village, Signs, Lady in the Water, Unbreakable and Defiance first come to mind.

[Koray Savas 2,260]

Snow Falling On Cedars is my favorite Howard score. I think the closest to its lyricism and majesty among Howard's other scores is Lady In The Water. I'd also recommend The Village and perhaps The Happening, though the latter starts becoming more suspense thriller than moving drama.

[Rachael Foley 10,162]

HP1\

HP2-> John Williams

HP3/

Star Trek TOS:

Charlie X (Fred Steiner)
What Are Little Girls Made Of? (Fred Steiner, Partial)
The Enemy Within (Sol Kaplan)
The Conscience of the King (Joseph Mullendore)
The City on the Edge of Forever (Fred Steiner, Partial).

[Incanus 5,890]

Born on the Fourth of July by John Williams: Oliver Stone films really bring out the best in Williams, whose score for the film shines with both idealism and sheer Americana glory but also evokes wonderfully anguished, disillusioned and haunting tones, illustrating the two sides of the story. Again as with JFK Williams seems to channel the era and place and mindset of the film with beautiful ease, his music for the early Massapequa years a portrait of innoncence and heart tugging lyricism, the composer conjuring almost a mythic image of the ideal American childhood and early days of Ron Kovic, which is then shattered by the Vietnam war.

For the war scenes Williams writes some of his most inventive and challenging music, the score painting a chaotic, violent and disorienting picture through the string section that veers and roils, slices and stabs in horrifying series of convulsions in Shooting of Wilson. The main theme soars mock-heroically in Cua Viet River, Vietnam but is cut brutally short at its apex before the ghostly sheen of dripping synthesizer effects, torturous renditions of the main theme on strings and disembodied synthesized voices whisper to create a web of sound that accompanies the main character's wounding and delirious state in the field hospital, hovering near death.

Tim Morrison began his film collaboration with John Williams on Born on the Fourth of July, where his contribution is an important one. Morrison plays a large role in the musical storytelling not only as the voice of Ron Kovic's past, the haunting trumpet theme that speaks of the man's inner turmoil, scars and deep set wounds of his experiences in Vietnam, but also when the serene and burnished sound of the trumpet is used to evoke the Americana atmosphere with rich and warm tones that reassure and ennoble.

The End Title brings the score and album to a close with a sense of triumph and finality, Williams delivering a beautiful set of variations on the main theme and Tim Morrison is featured in several solo passages throughout and the piece ends with the grim Horrors of War theme, the solo trumpet over low strings leaving the listener to muse on the experience with these thoughful tones.

The soundtrack album is sadly a short one (only 25 minutes of score) probably because Williams most likely wanted to avoid repetition as many of the cues in the film do feature extended variations on the lyrical main theme but I certainly would not mind hearing this score in complete form as the unreleased material is some of JWs most beautiful and haunting writing. A fascinating, challenging and most of all ravishingly beautiful score.

Arlington from JFK

[crocodile 9,724]

It is a fabulous score and also easily overlooked by most people. I love it.

Evil Dead by Roque Baños

My second listen was of the actual 71-minute La-La Land Records album which arrived today. I wouldn't call it a pleasant listen, but a damn impressive one nonetheless. Not so much in concept for it boldly goes in the footsteps of the likes of Goldsmith and Young and countless other horror film composers. There is nothing really original about it, it's been all done before. But, as it usually happens, it's the execution that makes the difference and places Evil Dead above most scores that are being written for horror films these days. The orchestrations are excellent, something in which European composers eclipse the American ones lately. There is a strong theme which gets quite a development over the course of this album, from the delicate piano renditions to a grand choral ones. There is actually a strong narrative arc here, something that wasn't that obvious from my listen. Definitely one of the strongest works this year so far, if not the best. Recommended!

The Hole by Javier Navarrete

This score, on the other hand, is a bit lighter. Not completely unlike Jerry Goldsmith's works for Joe Dante (who is also the director of this film). A lot of it consists of horror music as well, albeit in a slightly more innocent, child-like vein.The main thematic idea, while not exactly earth-shattering, is successful enough in conveying that unique mood to be expected from film of this director. As in Pan's Labyrinth Navarrete uses a solo voice in some parts to some great effect. Also recommended!

The two albums make for a very nice double bill listen, actually. Well crafted, intelligent and simply engaging. And I'm not even a horror music fan. Thanks for releasing those, LLL!

Pan's Labyrinth by Javier Navarrete

It's another thing I listened to today. I think most of it is excellent, the parts dealing with fantasy are terrific. It's just when the score and the film delve into drama territory it is exactly when the music gets into trouble, it becomes a tad too melodramatic for its own good. Those sections are also the places where the main theme starts to get on my nerves (most notably Ofelia). Quite wisely, Del Toro chose not to use all of the music for the film, which I reckon is a good decision. The City of Prague Philharmonic's performance is not among my favorites but there is something about it (and also the recording) which for some reason feels very right for this film. There is something about this somewhat dirty and earthy sound that just clicks with the material.

Karol

[#SnowyVernalSpringsEternal 12,386]

The Lord Of The Rings: The Return Of The King

[KK 3,313]

The Shipping News by Christopher Young

The score contains some of the most beautiful music in Young's career. The score's greatest asset is the beautiful soaring theme. The combination of the tin whistle, the Celtic drums and the various ethnic elements are incredibly effective. At times however, the score can seriously drag and even come off as a bit emotionally distant, but its harmonic highlights more than make up for it. * * * *

[Incanus 5,890]

The Shipping News by Christopher Young

The score contains some of the most beautiful music in Young's career. The score's greatest asset is the beautiful soaring theme. The combination of the tin whistle, the Celtic drums and the various ethnic elements are incredibly effective. At times however, the score can seriously drag and even come off as a bit emotionally distant, but its harmonic highlights more than make up for it. * * * *

It is definitely high up there as one of Young's best efforts in the drama department along with Creation.

[A24 5,156]

I forgot that I have Spotify.

Meh. Too patriotic and too Hollywood. Based on the score, I'd say the movie isn't very good either.

Alex

[publicist 4,650]

Jerry Goldsmith: THE SALAMANDER (1981) CPPO re-recording

In the new Prague recording of JG's last completely unreleased score from the zenith of his compositional career, THE SALAMANDER exposes itself as an interesting hybrid of the sparse and harsh 70's scores, the big, operatic FINAL CONFLICT-stylings he had just discovered and, interestingly enough, a certain streamlined approach to fast action that clearly foreshadows the no-nonsense style of TIMELINE, CHAIN REACTION et al. Add to that a quintessential 70's love theme, overflowing with gallic bittersweetness and you have a score that may not be top prime Goldsmith but lunges in the upper echelon of his works somewhere.

[crocodile 9,724]

I forgot that I have Spotify.

Meh. Too patriotic and too Hollywood. Based on the score, I'd say the movie isn't very good either.

Alex

Why on earth would you pick this James Newton Howard score out of all of them? Go for Shyamalan scores.

Karol

[A24 5,156]

I've seen the Shyamalan films and remember his scores to be very orchestral. A bit like Herrmann. I wanted to see if I could find a score that is more in the style of Cedars. I don't seem to be that lucky. It seems that he does either Shyamalan movies or Snow White And The Huntsman kinda movies.

[#SnowyVernalSpringsEternal 12,386]

Yes. James Newton Howard isnt a very interesting composer.

[Brónach 1,330]

Alex, maybe you would theoretically enjoy The Last Airbender in some non-retarded presentation.

Yes. James Newton Howard isnt a very interesting composer.

Boo!

[crocodile 9,724]

I've seen the Shyamalan films and remember his scores to be very orchestral. A bit like Herrmann. I wanted to see if I could find a score that is more in the style of Cedars. I don't seem to be that lucky.

It is quite a unique score in his ouvre, really. The Village is a good score, check it out.

Karol

[Brónach 1,330]

I don't remember Cedars well other than the Tarawa cue.

[Incanus 5,890]

I've seen the Shyamalan films and remember his scores to be very orchestral. A bit like Herrmann. I wanted to see if I could find a score that is more in the style of Cedars. I don't seem to be that lucky.

It is quite a unique score in his ouvre, really. The Village is a good score, check it out.

Karol

Snow Falling on Cedars is really quite unique and he hasn't composed anything with the same orchestral and subtle Far Eastern ethnic flavour since. The Village and Lady in the Water are perhaps closest in style of the Shyamalan scores. And perhaps parts of Unbreakable.

The Happening might be the most Herrmannesque of the Shyamalan efforts along with Signs.

[crocodile 9,724]

I recommend them all.

Listening to The Village at the moment, actually. It's been too long. Definitely one of his very best. I love it all: quasi-folk music, the horror underscore. It creates such a unique autumnal feel. The 42-minute is just about of perfect length.

It's funny how all those scores are exactly what films aspire to be, but never quite get there.

Karol

[BloodBoal 8,711]

[KK 3,313]

The Village takes up many of the violin patterns of Cedars.

[Koray Savas 2,260]

I've seen the Shyamalan films and remember his scores to be very orchestral. A bit like Herrmann. I wanted to see if I could find a score that is more in the style of Cedars. I don't seem to be that lucky.

It is quite a unique score in his ouvre, really. The Village is a good score, check it out.

Karol

Snow Falling on Cedars is really quite unique and he hasn't composed anything with the same orchestral and subtle Far Eastern ethnic flavour since. The Village and Lady in the Water are perhaps closest in style of the Shyamalan scores. And perhaps parts of Unbreakable.

The Happening might be the most Herrmannesque of the Shyamalan efforts along with Signs.

Ahem

Snow Falling On Cedars is my favorite Howard score. I think the closest to its lyricism and majesty among Howard's other scores is Lady In The Water. I'd also recommend The Village and perhaps The Happening, though the latter starts becoming more suspense thriller than moving drama.

[Incanus 5,890]

Ahem

Snow Falling On Cedars is my favorite Howard score. I think the closest to its lyricism and majesty among Howard's other scores is Lady In The Water. I'd also recommend The Village and perhaps The Happening, though the latter starts becoming more suspense thriller than moving drama.

Repetitio est mater studiorum.

[Brónach 1,330]

Listened to the discarded version of The Lighting of the Beacons several times, them compared it to the final version.

The previous version sounds more typical but more powerful.