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

[Dixon Hill 4,234]

The Name of the Rose

This is the weirdest Horner score I've heard.

It was one of the very first soundtrack albums I had heard.

My father worked at the local radio station, and in their soundtrack collection they had only this (on LP)!

Can't think of why!

Fantastic score. What's weird about it?

[Romão 2,274]

It's a synth heavy medieval score

That said, I adore the atmosphere of the first track. Absolutely perfect

[filmmusic 1,829]

The Name of the Rose

This is the weirdest Horner score I've heard.

It was one of the very first soundtrack albums I had heard.

My father worked at the local radio station, and in their soundtrack collection they had only this (on LP)!

Can't think of why!

Fantastic score. What's weird about it?

I don't know. When i first heard it I expected something symphonic/orchestral..

And the instruments sound weird somehow.. is it all synth? the strings sound synth..

edit: oh, it was answered above.

[Quintus 5,399]

What does its being 'crucial' have anything to do with perhaps 95% of the rest of the score/album?

That it is the centrepiece of this score and its highest point dramatically-wise. A religious moment almost.

It is almost as if a climax of a Star Wars film was tracked with other stuff. Or if Howard Shore reused some of his older material almost verbatim for finale of The Hobbit film.

That it's lifted (which it is, Jerry was a culprit for recycling) means diddly squat to me though, because when I was 10 years old I had only ever watched Poltergeist and loved its score; I wouldn't watch Star Trek and hear it's music until many years later. And I don't enjoy that movie much, its score didn't affect me at all. That doesn't mean I don't appreciate it, btw.

What I'm saying is your angle is a moot one to me.

In fact, I prefer the second Poltergeist.

Still doesn't do anything for me. And the highlight of the first is Twisted Abduction anyway.

I'd struggle to single it down to one favorite cue, but Rebirth would be up there for me, along with the one you said. I love a lot of the early Tangina material as well.

[crocodile 8,012]

What I'm saying is your angle is a moot one to me.

Who said I'm even trying to convince about anything?

Karol

[Unlucky Bastard 7,782]

Those are Jerry's chords of wonder. He did that a lot back then.

[DreamTheater 131]

Debney actually used a lot of the original. You might even say its an straightforward adaptation, only updated for modern blockbuster. However, as you two point out, overly loud and, as a result, somewhat less effective. One does wonder why is Silvestri's name not on the cover?

I like Debney's sequel music a lot, but indeed one wonders why only the theme by Silvestri was credited (inside the booklet), when a whole bunch of motifs crop up as well.

I wish I liked Poltergeist score more, it's well structured and got two fabulous releases over the years. But I can't really get through either disc, in a similar way that my mind wanders when I listen to E.T (although my fairly recent purchase of original album rectified changed that a bit). As iconic as these two are, they just don't grab me emotionally, at all. In fact, I prefer the second Poltergeist. It's opening cue is way more interesting than all the Stravinsky-like passages in the first one. The entire work might not be up there with the best Goldsmith, sure. But at least he was experimenting on this one. Failed or not, it intrigues me more.

Karol

I could never get into Poltergeist 2 before the Kritzerland came around. That fantastic sound mix really opened up my ears to what is a very good fantasy / thriller score. Details I could never hear before are wondrous and really made me appreciate it more. It's just not worthy (quality-wise) if I compare it to the first, which is my favourite Goldsmith as well. Poltergeist has not a weak track, it's all mood, bombast, terror, wonder, and beauty and I can never get enough of it...

But that holds for Star Trek: TMP as well.

[Jay 37,364]

The Poltergeist score is great, a real classic.

Need to listen to my Kritzerland Polt 2

[Not Mr. Big 4,639]

The Liberator - Gustavo Dudamel

Obviously the score on which famous conductor Dudamel recently seeked John Williams' help, the end result is a pleasant if a bit limp epic score (about Simon Bolivar, south-american freedom fighter) recalling James Horner and Hans Zimmer in equal measures: Horner in its string-rich, slow-building tapestries ornamented with Tony Hinnigan-style whistles^® and the occasional children's choir, Zimmer/RCP in it's infrequent rhythmic approach but also with heavy THIN RED LINE e al. allusions. You know the beat, lots of dirges, somber, slow strings that hardly seem to move and huge drums substituting for fate knocking on your door.

The notoriety of this kind approach would be easier to take if Dudamel at least would have provided a bit more substantial motivic/thematic material.What is there ain't bad but begs James Horner for a clue how to establish an emotional resonant tune - which at a playing time of over an hour is a substantial problem.

I'm feeling the same way so far. I gave it a listen on Spotify after reading Broxton and Southall's glowing reviews and I can't get into it.

Perhaps it'll grow on me over time.

[Unlucky Bastard 7,782]

The Varese Polty 2 sounds really weird. The Kritz release sounds great.

[Naïve Old Fart 9,528]

What does its being 'crucial' have anything to do with perhaps 95% of the rest of the score/album?

That it is the centrepiece of this score and its highest point dramatically-wise. A religious moment almost.

It is almost as if a climax of a Star Wars film was tracked with other stuff. Or if Howard Shore reused some of his older material almost verbatim for finale of The Hobbit film.

That it's lifted (which it is, Jerry was a culprit for recycling) means diddly squat to me though, because when I was 10 years old I had only ever watched Poltergeist and loved its score; I wouldn't watch Star Trek and hear it's music until many years later. And I don't enjoy that movie much, its score didn't affect me at all. That doesn't mean I don't appreciate it, btw.

What I'm saying is your angle is a moot one to me.

In fact, I prefer the second Poltergeist.

Still doesn't do anything for me. And the highlight of the first is Twisted Abduction anyway.

I'd struggle to single it down to one favorite cue, but Rebirth would be up there for me, along with the one you said. I love a lot of the early Tangina material as well.

Right-on, bro!.

"It Knows What Scares You"/"Rebirth" is fantastic!

[DreamTheater 131]

Genuine goosebump music ! And so is Twisted Abduction.

Jerry was on a roll in the early 80s.

[Jay 37,364]

The Varese Polty 2 sounds really weird. The Kritz release sounds great.

I've actually never heard the score before in my life (never seen the movie either), so I'm glad I get to go right into the Kritz version without ever hearing the Varese ones

[Incanus 5,714]

Both Poltergeists are Goldsmith gold in my book. Jerry had a knack of extemely listenable but scary as hell music.

How to Train Your Dragon 2 by John Powell

[crocodile 8,012]

They are sooooooo different from each other, apart from main theme being in both.

Karol

[Incanus 5,714]

Very true but that's part of the charm. Both Goldsmith and Williams both often strive for a different spin on the subject in their sequel scores even though they might use some of their thematic ideas from the first film. There are of course tighter continuities like Star Trek and Star Wars scores where they use older themes somewhat more frequently but something like Omen and Final Conflict, Jurassic Park and The Lost World are good examples.

[Gruesome Son of a Bitch 6,488]

Gerhardt Empire Strikes Back, Temple of Doom, Star Wars Trilogy Anthology, Towering Inferno and Close Encounters. Perfection.

[Dixon Hill 4,234]

Is everything you listen to perfection?

[Gruesome Son of a Bitch 6,488]

Yes, I only listen to great music.

[Incanus 5,714]

And I see it is usually those same scores.

[Quintus 5,399]

Is everything you listen to perfection?

Most of what I listen to is shite, but the search continues, hey!

[Dixon Hill 4,234]

Alex?

[Quintus 5,399]

Alex doesn't swear.

[crocodile 8,012]

Alex making a Quint impression then!

Karol

[DreamTheater 131]

The Abyss (Silvestri)

Now on my third listen and this has turned out to be my favourite expanded release of 2014 and long even before that. The score oozes atmosphere and excitement and wonder in all the right amounts.

This magical score has everything that current blockbusters don't. C'mon release the blu-ray already Mr. Cameron !!!!!

[Unlucky Bastard 7,782]

The score snoozes until the sublime climactic tracks.

[Gruesome Son of a Bitch 6,488]

I listened to Minority Report (Williams' album arrangement), Raiders (Concord), Towering Inferno (including the awesome Prague version of the Main Title), Kunzel's Music from SpaceCamp (which bests the original version), E.T., Hook and Gerhardt's Empire Strikes Back.

I have to say, Minority Report is kind of a weak album. It's a case where I prefer the complete chronological score. Stopping the Crime is some of Williams' best stuff and the edits for the album are atrocious.

I have mixed feelings about the Soundtracks Collection version of Raiders. On the one hand, it is remarkable that Williams approved the release of most of the score and in chronological order. On the other hand, the problems with the speed/pitch are apparent to me. Oddly, it doesn't bother me the entire time, though, just at certain moments. The sound mix is what it is. The tracks that were on the original album are accurately mixed, but the added stuff can just sound bizarre at points. Like I'm not sure what exactly they did to the cues that weren't sourced from the album masters. I DO like the album mix. However, I consider the DCC album to be basically a perfect presentation of the score, which uses the film mix. I like the clean openings/endings for certain cues in the box set. I like the extra music, which just doesn't have any continuity with the sound of the DCC when I put it in a playlist. The edits to Desert Chase are unfortunate on the expanded version, but I never had any problem with it when I've listened to the original album, which I also love. So, really, I need all versions?

[Romão 2,274]

The DCC album does have the problem of the barely audible choir in the last minute of The Map Room: Dawn

[DreamTheater 131]

The score snoozes until the sublime climactic tracks.

Not for me. The ambience created with the emphasis on electronic textures are part of the reason The Abyss gets such high marks from me. The early action material packs a punch, and so does the entire unused 'What a Drag' at the end of disc 1, which is essentially a slowed down alternate of the crane sequence music. And the second half of Freeze is wonderful to have at last.

[Unlucky Bastard 7,782]

What a drag indeed.

[DreamTheater 131]

Life's abyss and then you die...

[Incanus 5,714]

Seven Years in Tibet by John Williams: Gorgeous, just gorgeous.

[Jay 37,364]

Last week I really wanted to listen to Horner's Apollo 13 after it was brought up somewhere on the board here, so I put my film score ipod into my docking station here at work and went to find it when... I realized it wasn't on my ipod at all. Womp womp. So instead I listened to:

James Horner - Star Trek II The Wrath Of Khan

Still one of my favorite Horner scores. Surprise Attack is one of the absolute best action tracks of all time. Shame there's still no way to get the film version finale without Nimoy narration over it

[Faleel 5,348]

Perfection.

[DreamTheater 131]

Last week I really wanted to listen to Horner's Apollo 13 after it was brought up somewhere on the board here, so I put my film score ipod into my docking station here at work and went to find it when... I realized it wasn't on my ipod at all. Womp womp. So instead I listened to:

You didn't find it tucked away in The Dark Side of the Moon by Pink Floyd ??? That's where I'd look...

[Jay 37,364]

Haha. My film score itunes is all out of whack, I seriously have to revamp it

Shirley Walker and co - Batman: The Animated Series Volume 2

Sometimes I just put these on at work and listen all day. I have no idea which episode scores I like more than others, it's really just all good music. And the tones and styles change so much that you're never bored at all. Some really fun stuff here. So glad LLL was able to make releases happen!

[Gruesome Son of a Bitch 6,488]

I listened to A.I., The Phantom Menace, Amazing Stories: The Mission, Gerhardt Empire Strikes Back, Star Wars (Anthology version) and Last Crusade.

[Dixon Hill 4,234]

A.I.

Now that IS perfection.

[Incanus 5,714]

Far and Away by John Williams

SpaceCamp by John Williams

A.I.

Now that IS perfection.

Very close to it yes. Which reminds me I need a quiet couple of hours to listen to this one again.

[DreamTheater 131]

A.I.

Now that IS perfection.

It has taken me a long time to actually call it that. It's basically gone from 4 to 4.5 over a 13 year period. And now I think it's really justified to give it a 5. Full of genuine goosebump material. The film also gets the highest marks from me.

[crocodile 8,012]

Hellboy. Liz Sherman theme is the best tune Beltrami ever composed. That, and father theme.

http://youtu.be/DT8S9rOd2zM

Also...

The Giver by Marco Beltrami

Karol

[crocodile 8,012]

Karol

[crocodile 8,012]

The Book Thief. While the end credits suite is great, I'd rather have the one Williams performed in concert instead.

Karol

[Incanus 5,714]

The Book Thief. While the end credits suite is great, I'd rather have the one Williams performed in concert instead.

Karol

Don't you mean "in addition".

[crocodile 8,012]

Yeah, true. But, out of two, I prefer the concert version with that gorgeous Herrmann-esque woodwind passage in the middle.

The Fury

Karol

[Not Mr. Big 4,639]

The Patriot-

One of my personal favorite scores. What it lacks in originality it makes up for in beauty and sheer entertainment value. This score contains some of John Williams' most rousing moments, most notably in the primary concert arrangement cue, "The Patriot".

5/5

[alicebrallice 134]

t's so gooooooood.

[crocodile 8,012]

I've not heard it yet. Might have to change that. For whatever reason, this album eluded me.

Karol

[BloodBoal 7,538]

[Incanus 5,714]

It is quite Newman in his 90's and early 2000's style but not quite mind blowingly excellent. Enjoyable though and I love those Newman orchestrations and that awesome crystal clear recording.