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

[BloodBoal 7,538]

Is it just an impression I have, or does everytime Inky posts in this thread, he always lists L.A. Confidential as one of the scores he listened to?

I mean...

L.A. Confidential by Jerry Goldsmith

Double whammy of Goldsmith's urban noir Americana:

L.A. Confidential

City Hall

L.A. Confidential by Jerry Goldsmith

L.A. Confidential by Jerry Goldsmith

L.A. Confidential by Jerry Goldsmith

L.A. Confidential by Jerry Goldsmith

[KK 3,307]

Nothing ever passes your watch, eh Alvar?

He clearly loves the score very much!

[BloodBoal 7,538]

Nothing ever passes your watch, eh Alvar?

Yes. I'm not only the Messenger: I'm also the Watcher! The Watchenger, if you will.

[Incanus 5,714]

Is it just an impression I have, or does everytime Inky posts in this thread, he always lists L.A. Confidential as one of the scores he listened to?

I mean...

L.A. Confidential by Jerry Goldsmith

Double whammy of Goldsmith's urban noir Americana:

L.A. Confidential

City Hall

L.A. Confidential by Jerry Goldsmith

L.A. Confidential by Jerry Goldsmith

L.A. Confidential by Jerry Goldsmith

L.A. Confidential by Jerry Goldsmith

Hey it is a great score! Goes right to my film noir loving heart! In a dark and violent slightly ominious way...

Plus it has a killer main theme, even though Goldsmith references Bernstein's On the Waterfront quite blatantly. I think Jerry captures the very essence of the genre with this score. My only gripe is the short album but given that the whole score is only 40+ minutes long the 29 minute CD contains a lion's share of the stuff.

[#SnowyVernalSpringsEternal 10,265]

Do you type every time, or just copy and paste?

[Incanus 5,714]

Do you type every time, or just copy and paste?

I type it every time of course!

But as you know by now very well I like it, I'll refrain from typing it here again even though it might be the last score I listened to.

[KK 3,307]

Nooo, don't let the scum of JWFan change you Inky. Keep typing away! I expect LA Confidential to pop up on this thread at least 15 times before the year ends!

[Incanus 5,714]

It is my violent comfort food music! Bloody Christmas and Shootout are awesome!

[crocodile 8,012]

Do you type every time, or just copy and paste?

I type it every time of course!

Or do you just type. L.A. and Conrad Pope fills in the details?

Karol

[#SnowyVernalSpringsEternal 10,265]

In this case it would either be Sandy Courage or Arthur Morton though.

[Incanus 5,714]

Do you type every time, or just copy and paste?

I type it every time of course!

Or do you just type. L.A. and Conrad Pope fills in the details?

Karol

I never credit my orchestrators. I am the sole author of my work! Period.

[BloodBoal 7,538]

[crocodile 8,012]

In this case it would either be Sandy Courage or Arthur Morton though.

And who do you think orchestrates their orchestrations?

Karol

[#SnowyVernalSpringsEternal 10,265]

[Incanus 5,714]

In this case it would either be Sandy Courage or Arthur Morton though.

And who do you think orchestrates their orchestrations?

Karol

Angela Morley

[crocodile 8,012]

In this case it would either be Sandy Courage or Arthur Morton though.

And who do you think orchestrates their orchestrations?

Karol

Angela Morley

Attaboy!

Karol

[KK 3,307]

L.A. Confidential by Jerry Goldsmith

[Incanus 5,714]

[DreamTheater 131]

Interstellar by Hans Zimmer

And so Hans managed to create one of his classiest works yet. And he did it all by himself this time. This is, of course, not the type of score that we, orchestra fans, would necessarily expect and/or want but there's no denying the sheer emotional pull of Interstellar. In other words, it doesn't follow Williams or Goldmsith, more Glass and Vangelis. And that's great. This score definitely carries the film and works well as an independent listening experience. While it might not sustain the interest for all that long and some more interesting tracks don't appear on the official CD, it doesn't change the fact this is the kind of music I've been waiting this man to write - the one relying on his natural talents rather than attempting to be something it's not. On top of all that, it comes from Christopher Nolan's film and this marks a change in this director's development. This time music provides his films with what they were genrally missing - human ingredient. Up there with 2014's best, certainly.

Karol

Just saw the film and the fact that the score is so present in the film was a delight. Like you say, it carries the film and enhances many of the scenes, not background wallpaper music at all... It's really a mood-setter and Zimmer (with a little 'assistance' by Philip Glass) pulled it off tremendously well. I see myself really enjoying the album now I've seen the film. I hope the cue from the 'troublesome docking' near the end is present on the album. There's also some part I spotted that reminded me of Michael Land's The Dig.

[KK 3,307]

It really is a very good score. Takes Goldsmith's more stock 90s action structures and gives real edge to them (thanks to the brutal piano and percussive material). And the noir stuff is lovely too.

Don't blame ya for listening to it so much

[Jay 37,364]

I hope the cue from the 'troublesome docking' near the end is present on the album.

That cue is not on the OST, the digital-only Deluxe Edition, nor the $40 2disc set.

Hans Zimmer has supposedly gotten WaterTower on board with them distributing it for free as a digital download (probably lossy)

[crocodile 8,012]

The Good German by Thomas Newman

Now, I like Newman's more quirky works very much. But he's so gifted when writing exclusively for symphony orchestra and this score is a prime example. Normally, when he's using his eclectic instrumentations, there's something terribly cursory about his writing for different instrument or sections. They're impressive on the purely sound level but often lack certain depth. Not so here, the writing is careful but layered. Plus, it contains one of his finest themes ever (which he actually uses more than twice). I wish someone force the composer to write more like this.

The Fly by Howard Shore

The certain mysterious passage from Newman's score reminded me of this score, so it seems like a natural follow-up. One of Shore's finest, no doubt about that. It's truly operatic (pun intended). Up to that point, this composer wouldn't tackle a film of this scale (or score of this scale, rather). While all Tolkien works might have eclipsed it in terms of popularity, it still remains the quintessential work.

Indiana Jones and the Kingdom of the Crystal Skull by John Williams

In yet another association, the theme from Newman's score I mentioned before (which appears in posted clip) does remind me of Irina's theme. And it so happens both tunes are related to Cate Blanchett. While Williams' score is lacking in some parts (mostly due to recycling) it's still hugely enjoyable and his development of Skull's material is nothing short of masterful.

Karol

[DreamTheater 131]

I hope the cue from the 'troublesome docking' near the end is present on the album.

That cue is not on the OST, the digital-only Deluxe Edition, nor the $40 2disc set.

Hans Zimmer has supposedly gotten WaterTower on board with them distributing it for free as a digital download (probably lossy)

Apparently the one track missing that is currently causing quite a stir, so it must mean something to people.

[Hlao-roo 389]

Eagerly anticipating Iglesias' surprisingly unrejected work for Exodus: Gods and Kings, but Desplat's The Imitation Game might be the score of the year.

[Dixon Hill 4,234]

Just been thinking about the year in scores as well. Even though the appeal of The Imitation Game eludes me still, Msr. Desplat is surely the MVP of 2014.

I'm equally ready to hear what Iglesias has to say. Would love it if it's compelling enough to make me question whether Hans is indeed the winner this year.

[DreamTheater 131]

One okay SW score and one powerhouse VG score.

[Incanus 5,714]

Home Alone by John Williams: It is that time of the year again and it seems obvious to say it but this is truly a wonderful John Williams Christmas classic that balances the comedy, the warm cuddly Christmas sentiment and the lonelier more solemn ruminative aspects of the holiday season into one multi-themed package that I find irresistable. Williams' own Christmas carols, The Star of Bethlehem and Somewhere in My Memory are both created with such obvious feeling and strong sentiment for the Christmas time and suitable lyrics by Leslie Bricusse that they stand well alongside the traditional songs like the Carol of Bells and O Holy Night quite effortlessly. The orchestrations are a delight with very dexterous lightness to them that adds to the atmosphere of the film and judicious use of synthesizers give the smaller ensemble a bit more added nuance as Williams is wont to do in many of his scores where the electronics add shades to the orchestral writing either impossible to achieve acoustically or give enhanced depth to instruments. There are numerous highlights but the concertized orchestral version of Star of Bethlehem is among my favourites, the clashing dissonances of the finale especially effective and haunting. The classic drum machine packed preparation fugue of Setting the Trap is equally memorable in and outside the movie as are the Tchaikovskian Nutcracker allusions in We Slept In and Making the Plane and the part sinister part knowing Main Title and the delicate and emotional The Next Morning/Mom Returns/Finale rounds out the score very satisfyingly. A definite JW classic in my book.

[Sharkissimo 1,973]

Even though the appeal of The Imitation Game eludes me still

 

Really? It's no INTERSTELLAR (or John Barry's ENGIMA for that matter) but it's a solid score.

 

[crocodile 8,012]

It's only sin is that it somehow brings Desplat back to his more standard repertoire (to an extent, anyway). All the others offered something more extreme. Stylistically, at least.

Other than that, the album is mint. Just about an ideal running time for score like this.

The Aviator

Karol

[Hlao-roo 389]

Barry's Across the Sea of Time -- not just another pretty face.

[KK 3,307]

It's only sin is that it somehow brings Desplat back to his more standard repertoire (to an extent, anyway). All the others offered something more extreme. Stylistically, at least.

Other than that, the album is mint. Just about an ideal running time for score like this.

The Aviator

Karol

I prefer it to The Grand Budapest Hotel. That score doesn't do much for me I'm afraid. As nice as it is to hear him playing with this quirky colours, the composition itself just doesn't sustain my interest very well.

[publicist 4,643]

So i tried

 

 

 

HUNGER GAMES: MOCKINGJAY - JNH

 

A considerable improvement over the first and second part this late-in-the-game entry for Newton Howard goes for measured pathos rather than clobbering you with nauseating action riffs that are more concerned hitting ear-splitting jolts in the movie than providing a musical comment, or worse meandering around in the dispiriting shadows of elaborate suspense tableaus. While the dread of a movie were speeches are made and lessons are learned is clearly hanging over the proceedings, it's a breath of life for the music that bathes in somber, cautious writing for strings (solistic and unisono) and some unexpected orchestration choices within, also clearly allowed much more frequent melodic input than in the previous scores (listen i. e. to THE Arsenal). JNH brings in his established themes like the one for Katniss and the americana farewell theme from the first movie (sans the fanfare this time) and adds better overall orchestration and a more prominent choir. While it isn't especially challenging stuff (it's also too long but you knew i was going to say that) it is nice to listen to (and a better listening experience than the other two scores). JL sings the ballad HANGING TREE with the rest of the cast joining and JNH beefing it up with the orchestra - it's strangely reminiscent of the Morricone/Joan Baez collab on SACCO AND VANZETTI (Here's to You) and may become the standout of the score. There are pressing action moments (Incoming Bombers) though even those have more of a throughline and come with more conviction. I expected nothing and got something which again is proof that you should never write off JNH even when he is lagging. This and MALEFICENT are audible proof.

 

 

THE HOMESMAN - Marco Beltrami

 

Beltrami goes for enigmatic americana - a score recalling Carter Burwell, last year's ALL IS LOST and Jerry Goldmith in equal measure. It has an unique, airy sound that have a McCarthyan sense of arid open spaces and may be attributed to a recording partly done outside in Malibu though i'd rather say Beltrami is a dedicated tinkerer who is best when challenged to come up with a unique musical comment - hence the Goldsmith part: the score is so economically focused on its few melodies and little riffs, weaving them in and out with ease it's hard no too see a connection to Beltrami's model composer (kind of LONELY ARE THE BRAVE for the 2010'ers). There are otherworldly textures for what i imagine to be ghostly moments in the movie, lots of strummed guitars and it all is done with conviction by a composer who shows that he knows what he's doing - a virtue that came back in vogue this year, obviously. Should easily earn a place in 2014's Top Ten. At 45 minutes it also doesn't overstay its welcome.

[crocodile 8,012]

Beltrami is quite good indeed. A feminine version of 3:10 to _Yuma with a really nice theme.

Karol

[Naïve Old Fart 9,528]

I have never heard a MB score that I did not like. There's a reason he reminds people of JG!

[DreamTheater 131]

Beltrami doesn't remind me of Goldsmith. For that he needs to write more thematically, a lot more. Which is why most of his work doesn't do it for me.

[Unlucky Bastard 7,782]

Much of Beltrami's work is so bland, a dash of Goldsmith inspiration wouldn't be near enough to spice it up.

[#SnowyVernalSpringsEternal 10,265]

Beltrami is dependable in his blandness.

[Koray Savas 2,251]

Beltrami is great.

Cue "sigh."

[BloodBoal 7,538]

[#SnowyVernalSpringsEternal 10,265]

I've listened to a few throughou the years

[crocodile 8,012]

Miracle on 34th Street by Bruce Broughton.

Karol

[Hlao-roo 389]

NP: Hamlet (Carter Burwell)

[Dixon Hill 4,234]

Lincoln - John Williams

A patchwork of shameless pastiches/lifts from Aaron Copland, Elmer Bernstein, and various folk musicians. Love it.

The solo piano reading of "With Malice Towards None" pairs nicely with Zimmer's recent Message From Home, the difference being only one had the musical integrity to play their own piece.

[Brónach 1,302]

Beltrami doesn't remind me of Goldsmith. For that he needs to write more thematically, a lot more. Which is why most of his work doesn't do it for me.

Hellboy has loads of thematic writing.

[Incanus 5,714]

Lincoln - John Williams

A patchwork of shameless pastiches/lifts from Aaron Copland, Elmer Bernstein, and various folk musicians. Love it.

The solo piano reading of "With Malice Towards None" pairs nicely with Zimmer's recent Message From Home, the difference being only one had the musical integrity to play their own piece.

Yeah Zimmer is such a shameless hack.

[BloodBoal 7,538]

[KK 3,307]

The solo piano reading of "With Malice Towards None" pairs nicely with Zimmer's recent Message From Home, the difference being only one had the musical integrity to play their own piece.

Yeah, one involves slow whole bar chords and a little piano ditty while the other, though still simple. wouldn't bore a virtuoso pianist as much. I'm not even sure Zimmer would be comfortable with playing it

John Zimmer is the new Hans Williams.

Now don't you start!

[Sir Hilary Bray 235]

Patton.

been listening, re-listening as I put together this WWII story for the writing month thing. German Advance/Winter March remains the favourite.

There goes old blood and guts.

Yeah, our blood, his guts.

[Incanus 5,714]

Patton.

been listening, re-listening as I put together this WWII story for the writing month thing. German Advance/Winter March remains the favourite.

There goes old blood and guts.

Yeah, our blood, his guts.

I have been listening to this music a lot as well while reading a comprehensive history of the WWII. Very good "underscore" for the read I must say.

[Sir Hilary Bray 235]

Patton.

been listening, re-listening as I put together this WWII story for the writing month thing. German Advance/Winter March remains the favourite.

There goes old blood and guts.

Yeah, our blood, his guts.

I have been listening to this music a lot as well while reading a comprehensive history of the WWII. Very good "underscore" for the read I must say.

Indeed. The past week or so had been reading Carlos D'Este's book on Patton and it served as a good companion for it. An aside is that as I read the book I sought out clips of General Patton to hear his voice and as someone said, George C Scott was more Patton than Patton was.