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

[crocodile 8,000]

Back to Gaya

Karol

[BloodBoal 7,538]

[crocodile 8,000]

Or Michael Kamen Best of B-Sides.

Karol

[Incanus 5,714]

Indeed!

[BloodBoal 7,538]

[Incanus 5,714]

Julius Caesar by Miklós Rózsa

El Cid by Miklós Rózsa

[#SnowyVernalSpringsEternal 10,265]

I keep meaning to see Snowpiercer and I'm gonna make myself do it tonight. I have a feeling it's up my alley.

Mediocre sci-fi? Right up your alley?

[TheTennisBallKid 17]

Julius Caesar by Miklós Rózsa

El Cid by Miklós Rózsa

El Cid for me today as well, Inky! Listening to the Tadlow now, and heck, I might put on Rozsa's own recording on after that.

[DreamTheater 131]

Transformers: Age of Extinction (Steve Jablonsky)

Never a good sign when each track goes in one ear and out the other. I generally like Jablonsky when he comes up with his more inspired stuff (Transformers, Gears of War 2), but this is just another generic and overlong release that manages to bore the crap out of me, and it's supposed to support over the top action and spectacle... I know of one other composer that does that to me every time: Brian Tyler.

[Matt C 452]

Prince and the Pauper - Erich Wolfgang Korngold

Twilight Saga: New Moon - Alexandre Desplat

[Dixon Hill 4,234]

Really going for the extremes there, yeah?

[Incanus 5,714]

Julius Caesar by Miklós Rózsa

El Cid by Miklós Rózsa

El Cid for me today as well, Inky! Listening to the Tadlow now, and heck, I might put on Rozsa's own recording on after that.

I tackled only the James Sedares/NZSO album, which I find quite a good distillation of some of the main moments of the score plus I like the spacious recording. Does not exactly compete with the Tadlow re-recording in size or performance but I like it none the less.

Prince and the Pauper - Erich Wolfgang Korngold

Twilight Saga: New Moon - Alexandre Desplat

I should take a listen to both ASAP. It has been far too long and both scores are quite excellent.

[Faleel 5,346]

I prefer the Munich recording,

[Incanus 5,714]

The Missouri Breaks (Kritzerland release of the complete original score and the OST album) by John Williams: A 180 degree turn from the full blown symphonic style we have come to know and love this score is a surprising folksy Americana delight for a small ensemble featuring inventive orchestrations and dramatization from the Maestro. A flavourful score with gentle country and folk inflections that give it a lot of colour and form the melodic spine of the piece and while these themes might not be his most catchy tune writing they none the less stay with you and characterize the story and setting extremely well. The flip side of the coin are the unsettling and truly off-kilter evocations of the murderous madness of Marlon Brando's bountyhunter character exemplified by the truly strange instrumental combination of harpsichord and a collection of percussion that is some of the best material on the album.

The OST album features a re-recording of the main material of the score and is a great re-imagining of the film score with expansions given to both the musical ideas and orchestrations but room is given to the more melodic sections at the expense of the eerie percussion, harmonica, ethnic flute and harpsichord of the bountyhunter material. It might be a more fluid and stronger listening experience as a whole but having both the film score and the OST in one set offers a great chance to experience both presentations, each having their own unique qualities.

A small almost intimate score full of character and unique feel from the Maestro who has such small surprises hidden throughout his illustrious career and are always worth investigating and shed light to his diverse skills and imagination as a composer and a musician.

Cinderella Liberty

[crocodile 8,000]

Empire of the Sun while waiting on the airport. A definite close relative to A.I.. Whether by design or accident, this music has many layers of meaning. Through its schizophrenic scoring takes me on quite an intriguing journey of contradictions.

I think Godzilla is next in line. I'm really entertained by its relentlessness.

Karol

[Incanus 5,714]

Atlantis the Lost Empire by James Newton Howard

Lady in the Water by James Newton Howard

Restoration by James Newton Howard

[DreamTheater 131]

Empire of the Sun while waiting on the airport. A definite close relative to A.I.. Whether by design or accident, this music has many layers of meaning. Through its schizophrenic scoring takes me on quite an intriguing journey of contradictions.

I think Godzilla is next in line. I'm really entertained by its relentlessness.

Karol

I'm still on the fence whether to get the complete or not. The original album, while very good gets hardly any spins from me, it must be one of my least listened to scores from the maestro. I heard the LLL once, but still not entirely convinced.

And Godzilla from Desplat, nah give me Arnold's monstrous piece of work any day of the week. The more I hear Desplat's stuff, the more I'm turned off by his output.

[crocodile 8,000]

I like Arnold's score very much, but it ain't Godzilla. Doesn't have that sense of Cold War paranoia doom and gloom that the original score had. A feeling which Desplat manages to replicate very well.

Karol

[Sharkissimo 1,973]

Arnold's GODZILLA is just INDEPENDENCE DAY 2.0. Which is to say, crap.

[DreamTheater 131]

Crap is something I would attribute to 90 % of today's blockbuster scores, but never ID4 2.0 as you call it.

It has themes, it has choir, it has kickass action, it uses the whole orchestra... how can it possibly be crap.

No, someone needs to look up the word what it actually means.

[Sharkissimo 1,973]

It has themes, it has choir, it has kickass action, it uses the whole orchestra... how can it possibly be crap.

All scores have themes. GODZILLA is sloppily orchestrated, generic, OTT, overstated Hollywood rubbish.

[Dixon Hill 4,234]

What about the gloriously overdone finale of the Independence Day credits?

[Sharkissimo 1,973]

It makes me want to rip someone's head off, Predator-style.

I really hate that main theme with the I-iv progression. So cliché.

[Dixon Hill 4,234]

Hahaha.

Powder, Explorers - Uncle Jerry

Next up, Star Trek: Nemesis

[Koray Savas 2,251]

I agree with the Shark. Arnold's ID4 is the definition of generic bombast.

[Sir Hilary Bray 235]

Star Trek The Motion Picture 25th Anniversary

just something about how the theme sounds towards the end of "A Good Start" (as Enterprise sweeps by)...then zap...The Human Adventure is Just Beginning.

[Matt C 452]

Something Wicked This Way Comes (rejected) - Georges Delerue

Some of the softer passages remind me of Horner's replacement score, especially the "End Title" cue (just as good as Horner's), but it doesn't conjure that vivid autumnal setting that Horner did so well or enhance the mood of the film itself. Delerue does capture a sense of innocence here, but for me, it's not surprising that he was replaced for the most part. Horner's score was better in every way.

[Red 75]

Empire of the Sun while waiting on the airport. A definite close relative to A.I.. Whether by design or accident, this music has many layers of meaning. Through its schizophrenic scoring takes me on quite an intriguing journey of contradictions.

Yeah, I've been listening to it lately and there's a lot of similarities to A.I. there. It's something of a precursor to that score and some of the choral stuff reminds me of Hook as well. It seems like a transitional score for Williams (as the film was for Spielberg), leaning into the kind of sound he would go for much later and away from the thematically-laden bombast. Having gone through the album a few times now I can only pick out only a couple recurring themes and tonally it ranges from eerie dissonance to heavenly beauty, at times within the same track.

[DreamTheater 131]

It has themes, it has choir, it has kickass action, it uses the whole orchestra... how can it possibly be crap.

All scores have themes. GODZILLA is sloppily orchestrated, generic, OTT, overstated Hollywood rubbish.

I could whistle / hum / sing Arnold's main themes after one viewing.

I have a hard time finding something memorable in Desplat's score after 3 listens.

Maybe it's because I like my scores overblown, in your face, and densely orchestrated.

And not the style that producers these days prefer.

I agree with the Shark. Arnold's ID4 is the definition of generic bombast.

How can anyone calling the most heroic, and uplifting patriotic music as generic is simply beyond my comprehension.

[Sharkissimo 1,973]

I agree with the Shark. Arnold's ID4 is the definition of generic bombast.

How can anyone calling the most heroic, and uplifting patriotic music as generic is simply beyond my comprehension.

Arnold's a Brit. Maybe that's why it doesn't work.

[publicist 4,643]

I could whistle / hum / sing Arnold's main themes after one viewing.

Why would you want to do that?

[DreamTheater 131]

I could whistle / hum / sing Arnold's main themes after one viewing.

Why would you want to do that?

Because I like to torture myself with obnoxious generic and overstated crap, perhaps ?

Or maybe because it's simply great music.

[publicist 4,643]

I am not especially inclined to comment on people's likes or dislikes but if David Arnold's GODZILLA score now is hailed as compositional bonanza of musical nuggets, a line has been crossed.

[Incanus 5,714]

I am not especially inclined to comment on people's likes or dislikes but if David Arnold's GODZILLA score now is hailed as compositional bonanza of musical nuggets, a line has been crossed.

How about bonanza of musical chicken nuggets? Would that be closer to the truth?

[publicist 4,643]

Considering the ingredients, i wouldn't be surprised if McD could have them dance and sing.

[Sharkissimo 1,973]

A lot of DA's music sounds like Alan Silvestri-lite.

https://www.youtube.com/watch?v=EQQ9GTV4eoU

This track could have easily have been from some long lost PREDATOR 3 score.

[publicist 4,643]

It's the epitome of the special breed of 90's bombast that somehow sounded like 80's Williams, Goldsmith and Horner drained of artistic vision and smacking of assembly line, often enough dutifully supplied by an army of orchestrators beefing it up for monster orchestras. My problem is not the bombast per se but that it's so damn plain and often just loud for loud's sake.

[Jay 37,346]

I love Arnold's scores to Stargate, Independence Day, and Tomorrow Never Dies.

But for whatever reason, I could never get into his score to Godzilla. People say it sounds like ID4. I don't think it does at all.

[Sharkissimo 1,973]

It's the epitome of the special breed of 90's bombast that somehow sounded like 80's Williams, Goldsmith and Horner drained of artistic vision and smacking of assembly line, often enough dutifully supplied by an army of orchestrators beefing it up for monster orchestras. My problem is not the bombast per se but that it's so damn plain and often just loud for loud's sake.

Brilliantly put, though Arnold just has the one orchestrator - Nicholas Dodd.

[DreamTheater 131]

I love Arnold's scores to Stargate, Independence Day, and Tomorrow Never Dies.

But for whatever reason, I could never get into his score to Godzilla. People say it sounds like ID4. I don't think it does at all.

Back in the 90s I couldn't believe this guy's output, delivering great score after another. I was certain he would make it big and continue making his mark in the business. But where is he now? And what will Emmerich do for the ID4's sequel? Surely go for his utterly bland "composers" again.

[Jay 37,346]

Arnold's scores for the subsequent Bond films were good too, just in a different way. Casino Royale being the best of the bunch.

And the scores to Sherlock BBC series are awesome too.

But beyond that? Haven't heard a single thing of interest. For a while he was on top of the world, then he really fizzled out.

[BloodBoal 7,538]

[DreamTheater 131]

The best Bond he did for me was Tomorrow Never Dies, then The world Is Not enough, which was decent enough but after I lost interest in his Bond stuff, it just didn't click with me.

Sherlock? I'll have to check that out then. Never heard a second of it.

Oh yes, The Musketeer, I forgot... great adventure score.

And his most sublime Barry homage... Last of the Dogmen: totally gorgeous.

[Jay 37,346]

Here you go!

[BloodBoal 7,538]

[Dixon Hill 4,234]

Irene's stuff and Redbeard are good.

[publicist 4,643]

I'd wager Arnold has written better scores for BABY BOY, SHERLOCK or CHANGING LANES and some of the Bond stuff is also more interesting, especially the newer scores.

[Sharkissimo 1,973]

His score for QUANTUM OF SOLACE is surprisingly good. Much better than CASINO ROYALE.

[Jay 37,346]

Nothing happens for a minute and a half, sure. But you don't like the theme that enters at 1:29?

[Koray Savas 2,251]

Tomorrow Never Dies is the only Arnold score that I really like.