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


Ollie

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On 2/23/2016 at 5:10 PM, TheGreyPilgrim said:

FOTR complete recordings today.  Just the absolute pinnacle of everything. 

 

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Star Trek VI: The Undiscovered Country OST

Star Trek: Generations complete score

 

I just love every musical contribution to this film series until Abrams and his buddy came along and ruined everything.

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There's something about Rosenman's orchestrations and arrangements that actively turn my off. Such ugly music.

 

His Robocop 2 theme is really only listen-able as an ultimate guilty pleasure, or under the influence of something.

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5 minutes ago, Stefancos said:

There's something about Rosenman's orchestrations and arrangements that actively turn my off. Such ugly music.

 

I'm afraid I agree with you.  Other than Fantastic Voyage, I can't get into much of it.  It's overwhelming, like eating bags and bags of candy.  It's just not really my brand of complexity/dissonance.  Rare that I actively am put off by someone's music, but Rosenman is for the most part on that short list.

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I think what you all mean is, would you mind stopping that damn noise?!

 

Star Trek III: The Search for Spock

 

This is probably my favorite Horner these days. More often than not, when I'm in the mood for Horner, I opt for this one. Is it his best?

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In the sequels, it's almost always when Davis is accompanied that the music shines.  On his own, it seems like they didn't want him to have quite as strong a personality as on the first film, particularly when you look at his solo cues that were replaced like the original Burly Brawl, which is fucking boss.  It gets a bit too generic blockbuster/quasi-Horner for me but there are better moments.

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I don't know if it just me making silly associations, but there are cues that sound as if somebody told Don Davis to make it sound like LOTR.

 

There's also the totally badass mix between the "Matrix sound" and pirate-like music in his Chateau fight cue. I love it.

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4 hours ago, TheGreyPilgrim said:

Sweet, moving music.  Sublime.

 

 

Agreed.  It's one of my favorite pieces of film music.  That stinger at the beginning is a bit obnoxious though.  

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4 hours ago, E.T. and Elliot said:

I love Voyage Home!

 

You and me.

 

I'm not a Rosenman obsessive (Robocop 2, City in Fear and Hell is for Heroes miss the mark) but generally his sound, his orchestrations, his intervocalic inclinations, appeal to me. I can't really describe it any more than Grey can for his love of Soule or Eno. I guess it's an intangible quality that connects to me through a combination of sheer audacity and a emotional gamut. Fantastic Voyage was the gateway drug, for sure.

 

I can see why it turns some off. This ain't "spherical" music. Wedge-shaped, maybe...

 

 

 

 

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I have to be fair though and say that some chatter about the man himself might kind of leave a bad taste in my mouth - wasn't he said to be a bit difficult?  This is also what absolutely damns guys like Babbitt and Wuorinen in my mind.  Really kind of unpleasant people, enough to make me entirely disinterested in their music.  Though they're much more extreme examples.  And to be even more fair, this sort of persona-coloring also sometimes leaves me a little cold to the aforementioned Soule's music, but he's just more odd than unpleasant.

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9 minutes ago, TheGreyPilgrim said:

I have to be fair though and say that some chatter about the man himself might kind of leave a bad taste in my mouth - wasn't he said to be a bit difficult?  This is also what absolutely damns guys like Babbitt and Wuorinen in my mind.  Really kind of unpleasant people, enough to make me entirely disinterested in their music.  Though they're much more extreme examples.  And to be even more fair, this sort of persona-coloring also sometimes leaves me a little cold to the aforementioned Soule's music, but he's just more odd than unpleasant.

what about Herrman?

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On the surface, Rosenman like Herrmann was quite a gruff character. Both were Brooklynites, with egos, and from what I've read they suffered inferiority complexes, perhaps believing their film music tarnished their reputation in the concert hall. So putting down rival composers was a defence mechanism in sorts.

 

Despite that, from interviews he comes across as warm and avuncular. Very unlike what I expected.

 

This radio interview from 1989 on KPFA is a gem. Not crazy about all of the concert works featured, but I do like Foci I.

 

https://archive.org/details/MC_1989_06_03

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Herrmann's gruffness seemed to have been of the variety that I can abide - that is, not totally genuine, and not coexisting with an atrophied sense of humor.  Maybe that's the case with Rosenman as well.

 

And listening to that interview, it seems that is in fact the case.

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having listened to them the other way round, the final track of Fantastic Voyage sounds quite similar to parts of "Home Again" from Star Trek IV (having long knackered my Trek IV CD long before I even sought out Fantastic Voyage's OST). I don't mind Rosenman as such (his Apes' score for one) but Robocop 2 doesn't seem to suit unfortunately.

 

--

 

In light of finishing the book, Lalo Schifrin's "The Eagle Has Landed".

 

Great theme though the romantic parts don't always do much and the score can feel repetitive but then I used to listen to this a lot so it all sort of collided as one whole track.

 

"

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