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


Ollie

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Sounds too European. Powell should have scored it.

But you think Powell should have scored everything. And if not Powell then Price.

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Agora by Dario Marianelli: Marianelli employs orchestra, chorus, ethnic woodwinds and (obligatory) wailing female vocalist to produce a polished work that at times breaks into almost Goldethal-esque orchestral fury with satisfying results. It is all a surprisingly potent and entertaining mix which contains a strong narrative drive, well thought out thematic throughline and quite a few truly evocative moments. Only true distraction is the aforementioned female vocalist that is actually more of a distraction than an asset here, well worn through its decade plus use as a filmic devise for exoticism and tragedy that in this case adds very little to the music.

I actually think the soloist adds an evocative texture in many moments. Though its not always pleasing to the ears.

But yes, wonderful score!

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Agora by Dario Marianelli: Marianelli employs orchestra, chorus, ethnic woodwinds and (obligatory) wailing female vocalist to produce a polished work that at times breaks into almost Goldethal-esque orchestral fury with satisfying results. It is all a surprisingly potent and entertaining mix which contains a strong narrative drive, well thought out thematic throughline and quite a few truly evocative moments. Only true distraction is the aforementioned female vocalist that is actually more of a distraction than an asset here, well worn through its decade plus use as a filmic devise for exoticism and tragedy that in this case adds very little to the music.

I actually think the soloist adds an evocative texture in many moments. Though its not always pleasing to the ears.

But yes, wonderful score!

I actually liked it even more after seeing the film.

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Grrrr....fuck yeah!

Feeling a bit over-excited?

Funnily enough, I'm listening to a little know Jerry Goldsmith score called Players, a film featuring a sport named tennis. I'll just take my racket, and smash the ball in your general direction, Monty Python style.

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:music:A.I. Artificial Intelligence


Also listened to Goldsmith's Chain Reaction today (courtesy of the new Varese Deluxe Edition album). I wasn't familiar with this score beforehand. It's actually not bad. In some ways superior to many things Jerry was churning out for other similar films during that era. It's not terribly distinctive theme-wise but the execution of Goldsmith's ideas is actually really strong.

Karol

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Far and Away by John Williams: A thoroughly Hollywoodized take on the good ol' Irish musical idiom combined in the latter half with big bold dozes of rambunctious Americana but it is oh so enjoyable. Chieftains add a nice authentic flavour and Williams oftentimes fuses their sounds with the orchestra but it is great to hear the ensemble on their own on a couple of tracks. I think this project was the composer's chance to do his "Quiet Man" and Johnny obviously relished the idea and the score sports a few Irish donnybrook fight scenes where the music dances with alacrity and humour, catching punches and ducking and dodging with slick little jigs. The album flows fairly well although it comes to a stop a couple of times with some sparse twinkling atmospheric writing (sparse use of the love theme in Am I Beautiful? and the dreamy crystallic sounds of Inside the Mansion) so typical of that era of JWs career. The love theme functions as the main theme of the score and pervades the score up until the end half. There the Americana takes over in Oklahoma Territory and The Land Race explodes into bass drum and cymbal bmmtzzzz fun and speeds in for a breathless gallop that finally culminates in the End Credits which is a great distillation of nearly all major elements of the score into a brilliant 6½ minute suite. Still as fun as ever, unashamedly big and bold.

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I would actually like to see this one getting a complete edition. Always liked this score.

Karol

Yes a complete version would be great. But in all fairness the OST is one of his better ones, even preserving almost the whole narrative arc in original form.

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The new album is too long perhaps but there is some good stuff on it that's worth having.

Karol

I thought you were referring to A.I. Artificial Intelligence. I would have agreed. Anyway:

Amazing Stories: The Mission (Joel McNeely recording) - One of the best John Williams scores and a favorite re-recording that was a godsend back in the day. Love this one.

:music: Harry's Wondrous World Chamber of Secrets OST version with a completely obvious edit of the concert version ending conducted by William Ross

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XPD178.jpg

SODOM AND GOMORRAH - Miklos Rózsa

In view of the mammoth length of this score's wonderful reconstruction on Tadlow i go in the opposite direction and keep this one short and sweet: you might not need every 1-minute lute piece or court dance, but dammit if Rózsa's epic sweep - you are up against the forces of history - doesn't make you feel elated. The often overbearing orchestral tumult of Rózsa's more action-oriented scores is kept at minimum here and and a stately, yearning and lush streak runs through the bulk of he score, which together with EL CID remains my favourite by this composer (at the expense of the better-known BEN-HUR).

It may be partly due to the season and the threatening volatility of our time that things like this take on more meaning today than in the 90's so let's be thankful for Tadlow for producing this splendid set. It comforts with themes of nobility, heroism and longing that are just for the ages.

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It's really something isn't it. And whatever the film was like, you can't hear it in the music, which is just about as vintage impassioned Rózsa as can be.

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There is a variation on the yearning theme i was never aware of before (i. e. in 'The Hand Reading') that i really dig. It's a mysterious sweep i only hear in Rózsa and sometimes Horner.

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Kingdom of the Heaven :music:

Restoration :music:

Great scores. Kingdom of Heaven is among Gregson-Williams' best and Restoration is not too shabby JNH score either.

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Lair :music:

One of my favorite "could be Star Wars" scores though it's unrelenting throughout its running time and veers a bit too closely to pastiche. Nearly every moment is explicitly referencing another composer's work or style. It could also use a bit more breathing room in the form of some softer cues.

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Lair :music:

One of my favorite "could be Star Wars" scores though it's unrelenting throughout its running time and veers a bit too closely to pastiche. Nearly every moment is explicitly referencing another composer's work or style. It could also use a bit more breathing room in the form of some softer cues.

Some cues are actually very close to several OT pieces not just in style, but in actual content. But yes, there's great stuff in it, and even the rips are always fun.

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Let me know!

I may be jumping the gun here considering I've only listened to the first couple tracks of disc 1 AKA the complete/chronological film score (which I can already tell you, I'll never be listening to again), but the old CD sounds better! This new version is too loud and hissy for me.

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Superman II/III - 1990 Japan release.

I have a soft spot for these Ken Thorne scores. Although Superman II just repeats existing John Williams material (but does it well), Thorne really came into his own in III. And in the films, his precise placement of the Superman theme was as masterful as Williams. Something Ottman never seemed to understand.

And I love the Moroder stuff on this CD, especially his synthesiser rendition of Williams' theme. It's so cheesy, it's almost addictive!

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Despite reduced power in the recording due to smaller orchestra, I'm a huge fan of Thorne's Superman II... not as huge of Supes III, but it has its moments.

And Ottman did alright in my book, the only one of his scores I really enjoy (and own).

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Despite reduced power in the recording due to smaller orchestra, I'm a huge fan of Thorne's Superman II... not as huge of Supes III, but it has its moments.

And Ottman did alright in my book, the only one of his scores I really enjoy (and own).

I'm just glad to own this keeper of a CD. It's so rare!

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