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


Ollie

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The Avengers - Alan Silvestri

Great "fuck yeah!" score. Shame that Tyler will almost certainly once again fail to reprise a very fine Marvel theme.

I like it. At first, it seems like Silvestri was held back after his Captain America. But in reality he develops a whole array of themes and motifs and manages to create a whole out of this thing. It took me several listens before I started really getting it and the extra bits on Intrada album actually help with that. I really like Black Widow's theme, especially in its earlier scenes.

The theme itself is something that grows with the film, rather than being obvious from the outset. I find the payoff to be satisfying.

Karol

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Was in an 80's WIlliams mood at work this week.... So on Spotify, I listened to:

John Williams - The Empire Strikes Back (1997 SE)

I forgot how many cues in the middle of the score end or are punctuated with a VERY LOUD PERFORMANCE of the Darth Vader theme. I was constantly reaching for the volume knob :P

John Williams - The Raiders of the Lost Ark (Concord + Bonus disc in chrono order)

I really love that Washington Men / Indy's Home previously unreleased track with that great choral version of the ark theme. Awesome!

John Williams - E.T. The Extra-Terrestrial (2002 SE)

This was frustrating because "Adventurs of Earth" is for some reason not availble on Spotify, so I had to drag in a performance by another orchestra on some compilation CD, that wasn't the full 15 minutes, just 11. Anyways, I forgot how good some of the themes are in this score. So many good moments in this score. It's not all about the opening and ending.

John Williams - Indiana Jones and the Temple of Doom (Concord + Bonus disc in chrono order)

Goddamn this is one awesome score. I might like Willie's Theme more than Marion's Theme? (Though, the 2008 concert arrangement of Marion's Theme is the single best concert arrangement of anything Indy, for sure). Also, I still really dislike 7 years later how bad this presentation sounds, in terms of how many cues Williams wrote that he intended to segue directly into another cue, but presented here they do not. Obviously some cues Williams chose for the 1984 OST were writtenn that way, but he only put ones on the OST that still sound fine without that next cue coming in. But some tracks on this set like Indy Negotiates, or Indy and the Villagers, or The Secret Passage... just sound so STUPID when not seguing to the intended cue. This is not a professional release of this score! How I would kill for Matessino to be able to do a definitive presentation!

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Equivalent to a fast food meal, innit? Inoffensive, filling, but without substance or nourishment? That kind of thing?

Well, if we boil it down to categories like this, I doubt there would be much left in the world that fulfills those requirements. I'll share my thoughts later. :)

In the meantime, I'm listening to James Newton Howard's The Happening. It might not be the most striking thing stylistically, or the most "visible" of Shyamalan/Howard collaborations (mostly thanks to the... movie) but it's an incredibly well crafted score with beautifully developed themes. I love the main marche-funebre/bolero idea with evil Supergirl-like tritone uneaneath (starting at 1:11).

that is developed during the finale into something much warmer (starting at 1:05):

The end credits suite is wonderful as well:

A very overlooked score, I would say.

Karol

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The Happening as most of the other JNH/Shyamalan collaborations features a very strong concept which really helps to unify and strengthen the effect of the music in and outside the film. It is perhaps overlooked in favour of the more melodious Lady in the Water, Unbreakable, The Village or the hypnotic and conceptually mesmerizing Signs but it has the same quality but relies more on Herrmann-esque suspense and terror yet is no less impressive to my mind. I initially didn't think much of the music (thanks to the film) but after a while and a good amount of listening the well rounded atmosphere and structure won me over.

The End Title piece (much like in The Last Airbender) is a very self contained suite of variations for cello and orchestra that really goes beyond the confines of normal development of the materials heard in the score which is quite rare in film scores these days (Giacchino has gotten some chances for this recently) and JNH incidentally included some of the music from The Happening End Titles into his concert piece I Would Plant a Tree near verbatim.

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I'm curious of your opinion, good sir!

In the meantime, I'm listening to one of my current favourite concert works (which should appeal to some fantasy score lovers):

Karol

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JNH takes the central foreboding motif in The Happening and kind of treats it the same way he does his main idea in Signs for the Hand of Fate, transforming it into something very emotionally resonant at the end of the film although on a more personal subdued level instead of the incredible blow out the circular 3-note idea in Signs receives.

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A film score is never dependent on the tastes of those listening to it. If this were the case, then all film scores would be made simply to pander instead of to elevate.

Most are.

More realistic and relatable.

Blasphemy!

Inner Peace by Hans Zimmer. His treatment of the Shakuhachi solo in the beginning is so emotionally grounded, it carries with it a quiet intensity. Segueing into the quiet, undeveloped main melody, it remains at the same level against a flurry of even quieter woodwind and string runs which slowly build up in dynamics before finishing as quietly as peaceful as it began. It's these kind of scores that balance out Zimmer's otherwise bass-driven orchestration styles in his live-action film scores. It's honest and honoring of its cultural roots, which gives it a sincerity and serenity that makes me enjoy it all too much.

That's a really nice piece. I'll have to check out the rest of that score. If I just heard "Inner Peace" on its own, I never would've guessed it was Zimmer.

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The River Wild by Maurice Jarre

Oh I don't know if Goldsmith can win the competition on this one. Not sure how it would affect the film but Jarre's score is much broader and sweeping. On album, it probably makes a bigger impression. But I can see why it might have been seen as unsuitable for a tense thriller in epic setting. Jarre paints his portrait on broader canvas, whereas Goldsmith's is more primal and tense.

Karol

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With the Anthology boxset and 1985 CD, I'm trying to reproduce the Empire Strikes Back original 2-LP album this morning...

John Williams - The Empire Strikes Back
1-01 - Star Wars Main Theme (from the 1985 Polydor CD, for the short version)
1-02 - Yoda's Theme
1-03 - The Training of a Jedi Knight (from the 1985 Polydor CD, there is a problem with the version on Anthology)
1-04 - Luke's Escape (Formerly 1st part of The Heroics of Luke and Han)
1-05 - The Rebels Escape Again (Formerly 2nd part of The Heroics of Luke and Han)

1-06 - The Imperial March
1-07 - Carbon Freeze/Luke Pursues The Captives/Departure Of Boba Fett (Formerly Departure of Boba Fett, final part of a medley found on the 4th CD of Anthology boxset)
1-08 - Han Solo and the Princess
1-09 - Hyperspace
1-10 - The Battle in the Snow

2-01 - The Asteroid Field
2-02 - City in the Clouds
2-03 - Luke's First Crash (Formerly Rebels at Bay)
2-04 - Yoda and the Force

2-05 - The Duel
2-06 - The Magic Tree
2-07 - Lando's Palace
2-08 - Finale

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I just stick with a decent vinyl rip for consistent sound. It's a shame we have to do such things. If only the original CD release wasn't missing a half hour of music.

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Currently listening to a torrent of music from the sixties.

1966 - How to Steal a Million

1966 - Not With My Wife You Don't

1967 - Fitzwilly

1967 - Valley of the Dolls

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Torrents aren't legal to discuss here, man.

What, is the JWFan server running through Iran now?

Pirate Bay is back!

And appropriately, with a phoenix on the home page. This calls for JW music.

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Torrents aren't legal to discuss here, man.

"A torrent of music", we say that in french, "un torrent de musique", it means a lot of music.

You don't say that in english? ;)

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The Boxtrolls by Dario Marianelli. Listening to one of my favourites scores of 2014 in anticipation of composer's Pan this year. This should be quite something.

Karol

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The Hobbit, or There and Back Again. Yup, three SE albums (plus few tracks from standard edition) one after another. Whew, that took some time!

Karol

And I am sure it was worth it. :)

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Well, there is a clear progression of major ideas and you can hear everything coming together. It made me realise how the first 10 minutes of An Unexpected Journey turns out to be the crib for all crucial material in the trilogy - House of Durin, Erebor, Thorin, Arkenstone, Mirkwood Elves, Smaug. In some ways, it's even more successful and consequential than The Lord of the Rings prologue.

Karol

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