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

[Dixon Hill 4,234]

Scoring stage fetishism?

It's the most tame fetish I have.

[KK 3,307]

Steef, that's fair and totally understandable.

Maybe arousing it's a better term...

That's the perfect word I think. I find large portions of the score arousing. From those low woodwind ostinati in the opening titles to the "al tallone" triplets for the Agents, to the meditative Adams-esque minimalist layers in cues like "The Lafayette Mirror", I find myself nodding to a lot of those crazy moments.

There's nothing in the sequels that move me, whereas this does:

The greatest film cue from 1999. Shades of Morricone's THE UNTOUCHABLES at 2:49."I think I'll have a drink."

I prefer this, excluding the whole Horner fantasy bit in the first minute or so:

That last minute does it for me.

Forgotten about that. The three minutes are lovely (even if it's essentially the same idea in the cue I posted), but the earlier material is too sugary for me, and the kind of thing that turns me off the sequel scores. Too many big Hollywood, Wagnerian cliches.

Yeah, I was just saying I prefer this rendition of that idea. And the sugary Horner-ish bit in the beginning leaves a sour taste in my mouth as well.

And though I agree about the sequel scores, I still really dig the second one (Reloaded). It's a great hybrid between the sound established in the first score and the more Juno Reactor style electronica. Plus it's hard to ignore gems like the original Burly Brawl sequence.

The third score, as you mention, though entertaining, is less engaging because of those big Hollywood moments.

For instance, I was never a big fan of the Zion march idea he wrote. It's kind of run-of-the-mill for my tastes.

[#SnowyVernalSpringsEternal 10,265]

The third score is probably the best. Though it has moments of unspeakable noise too.

[Dixon Hill 4,234]

Ass! Fool!

[KK 3,307]

One of my favourite bits in the trilogy:

[Dixon Hill 4,234]

Achingly beautiful. Wow.

Again.

[Koray Savas 2,251]

Harry's best alongside Kingdom Of Heaven.

[Lewya 360]

One of the best scores of 2000:

The Cell

The best score of 2001:

The Lord of the Rings: The Fellowship of the Ring

[crocodile 8,012]

Steef, that's fair and totally understandable.

Maybe arousing it's a better term...

That's the perfect word I think. I find large portions of the score arousing. From those low woodwind ostinati in the opening titles to the "al tallone" triplets for the Agents, to the meditative Adams-esque minimalist layers in cues like "The Lafayette Mirror", I find myself nodding to a lot of those crazy moments.

There's nothing in the sequels that move me, whereas this does:

The greatest film cue from 1999. Shades of Morricone's THE UNTOUCHABLES at 2:49."I think I'll have a drink."

I prefer this, excluding the whole Horner fantasy bit in the first minute or so:

That last minute does it for me.

Forgotten about that. The three minutes are lovely (even if it's essentially the same idea in the cue I posted), but the earlier material is too sugary for me, and the kind of thing that turns me off the sequel scores. Too many big Hollywood, Wagnerian cliches.

Yeah, I was just saying I prefer this rendition of that idea. And the sugary Horner-ish bit in the beginning leaves a sour taste in my mouth as well.

And though I agree about the sequel scores, I still really dig the second one (Reloaded). It's a great hybrid between the sound established in the first score and the more Juno Reactor style electronica. Plus it's hard to ignore gems like the original Burly Brawl sequence.

The third score, as you mention, though entertaining, is less engaging because of those big Hollywood moments.

For instance, I was never a big fan of the Zion march idea he wrote. It's kind of run-of-the-mill for my tastes.

It's funny that all of you guys say the third score is the most Hollywoody. I always thought the second score the most conventional. Most accessible, anyway. Revolutions, as melodramatic as it can be sometimes, is an almost constant noise assault. Reloaded comes as a pretty conventional fantasy score really (with few more challenging treats). I mean, this suite contains many highlights. There's nothing particularly difficult about it:

And I always liked the quasi-religious sound of Revolutions. The nice choral quote from Dies Irae (I know, I know TGP!) at the end of Why Mr Anderson signls Neo's death while the major mode boy soprano version in the following cue implies his resurrection (and ties it nicely to one early cue in the first film). I also like hos Neodammeruing chords are teased in the main title and other stuff like that. And then again they appear when towards the end of Zion battle.

Ultimately, there is no avoiding operatic stuff and more traditional gestures as this story progresses. I mean, even Davis himself said that only the first film can be truly unsettling so he had to adapt his style to new "brighter" setting.

As much as I love all three score (each one for a different reason), only The Matrix has a very unique combination of music and picture. They are truly inseparable. I mean, the approach Davis chose literally mirrors the style of Wachowskis. The other two film are shot in a more conventional score and music sort of follows suit for the most part. It becomes really clear when you watch all three films together (as I did some time ago).

Karol

[Lewya 360]

The Ghost and the Darkness - Jerry Goldsmith

Great score!

[Incanus 5,714]

The Ghost and the Darkness - Jerry Goldsmith

Great score!

Yes it is a nice blend of the Rudy styled slightly Irish melodies combined with the African chants and percussion. I wish for an expanded version as some of the cool and eerie music for the lions didn't make it to the album.

[DreamTheater 131]

THE OMEN - GOLDSMITH

This has never been an easy listen. But damn me to hell if I don't hear the artistry of it now, in 2015. Must've taken me 20 years or so.

Ave Satani is such an iconic track, it wouldn't surprise me the Oscar went to this composition alone. Jerry absolutely nailed the sound of Satan. It's pure evil !

Of course the rest of this 35 minute album is great too. The Dog's Attack is a cue of such unrelenting malice, it becomes a true joy to listen to.

And if you will excuse me now, I'm going to perform some evil deeds. The power of this music cannot be ignored.

[BloodBoal 7,538]

I'm calling the police!

[Sharkissimo 1,973]

Achingly beautiful. Wow.

Again.

It's nice once the kid shuts up.

[Dixon Hill 4,234]

Achingly beautiful. Wow.

Again.

It's nice once the kid shuts up.

I lose interest once the kid shuts up.

The Good German - Thomas Newman

The Time Machine - Russell Garcia

Avatar - James Horner

I still don't like this one.

[Sharkissimo 1,973]

Achingly beautiful. Wow.

Again.

It's nice once the kid shuts up.

I lose interest once the kid shuts up.

It would've been less nails-on-a-chalkboard if the kid had stronger voice. I like the Gaelic and setting of the traditional song against the orchestra (the more dissonant chords are refreshing), and the use of a young untrained voice can be compared to Morricone's THE MISSION. I get what HGW's doing, it just doesn't work for me.

[Faleel 5,348]

Star Wars - 77 and ESB - John Williams

Star Wars: Shadows of the Empire - Joel McNeely (good, but the action music sounds too much like McNeely's music from Return to Neverland, bouncy and a tad "kiddy" sounding)

Return of the Jedi - John Williams

for obvious reasons.

[KK 3,307]

Achingly beautiful. Wow.

Again.

It's nice once the kid shuts up.

I lose interest once the kid shuts up.

It would've been less nails-on-a-chalkboard if the kid had stronger voice. I like the Gaelic and setting of the traditional song against the orchestra (the more dissonant chords are refreshing), and the use of a young untrained voice can be compared to Morricone's THE MISSION. I get what HGW's doing, it just doesn't work for me.

The concept is great, and it's worked plenty of times before. But in this case, his voice is just a bit too obnoxious.

Regardless the harmonic shift to 2:30 is lovely.

[DreamTheater 131]

Star Wars: Shadows of the Empire - Joel McNeely (good, but the action music sounds too much like McNeely's music from Return to Neverland, bouncy and a tad "kiddy" sounding)

Preposterous !! SOTE is an excellent score... I'd never call 'The Destruction of Xizor's Palace' in the same style of Tink's action music. It's much more awe-inspiring and epic, just like what SW needs.

McNeely never wrote a better score (IMHO).

[Faleel 5,348]

I would say that The Battle of Gall has that sound, especially at 2:22:

[publicist 4,643]

The concept is great, and it's worked plenty of times before. But in this case, his voice is just a bit too obnoxious.

FYI, Gregson-Williams found this kid on the street singing and hired him right away.

[KK 3,307]

Yeah I'm aware of the story. Doesn't change the fact that his voice is a bit much.

[Dixon Hill 4,234]

Achingly beautiful. Wow.

Again.

It's nice once the kid shuts up.

I lose interest once the kid shuts up.

It would've been less nails-on-a-chalkboard if the kid had stronger voice. I like the Gaelic and setting of the traditional song against the orchestra (the more dissonant chords are refreshing), and the use of a young untrained voice can be compared to Morricone's THE MISSION. I get what HGW's doing, it just doesn't work for me.

Is one of Zimmer's greatest contributions through his own music and that of his disciples' the popularization of the old 2-1 suspension in first inversion, as at 1:46? I think it definitely is. May be my favorite functional chord.

[Koray Savas 2,251]

The concept is great, and it's worked plenty of times before. But in this case, his voice is just a bit too obnoxious.

FYI, Gregson-Williams found this kid on the street singing and hired him right away.

Didn't he just record him singing and then implement it into his score? I don't think the kid was ever brought into a recording studio.

[Dixon Hill 4,234]

He heard it in Dublin, couldn't record it then, so he sent his brother to do it I think. The studio eventually freaked out and they had to go find him again so he could sign off on it.

Yes, he talks about it here.

[Faleel 5,348]

Star Wars 77 - John Williams

[Koray Savas 2,251]

He heard it in Dublin, couldn't record it then, so he sent his brother to do it I think. The studio eventually freaked out and they had to go find him again so he could sign off on it.

Yes, he talks about it here.

Cool video, thanks for sharing. Crazy how Bruckheimer almost got it tossed out.

[Not Mr. Big 4,639]

The Towering Inferno- "An Architect's Dream"

Who Killed Roger Rabbit

Forrest Gump

[Dixon Hill 4,234]

I was listening to The Rite of Spring and there's a part that always reminds me of the "come on down" music from The Price is Right. So now I'm listening to that.

[Incanus 5,714]

Star Wars: Shadows of the Empire - Joel McNeely (good, but the action music sounds too much like McNeely's music from Return to Neverland, bouncy and a tad "kiddy" sounding)

Preposterous !! SOTE is an excellent score... I'd never call 'The Destruction of Xizor's Palace' in the same style of Tink's action music. It's much more awe-inspiring and epic, just like what SW needs.

McNeely never wrote a better score (IMHO).

I think the action music in the Battle of Gall is perhaps the weakest part of the score and doesn't do a very good job at capturing the excitement of the SW space battles but the rest is wonderful, especially the finale.

[Sharkissimo 1,973]

I was listening to The Rite of Spring and there's a part that always reminds me of the "come on down" music from The Price is Right. So now I'm listening to that.

Climax of Augurs of Spring?

[Gruesome Son of a Bitch 6,488]

The Ewok source music

[Dixon Hill 4,234]

Lincoln, Harry Potter & The Philosopher's Stone, Jurassic Park, Indiana Jones & The Last Crusade - John Williams

Anyone else always reminded of this by Henry Jones' theme? I bet I can count on E.T. and Elliot.

I was listening to The Rite of Spring and there's a part that always reminds me of the "come on down" music from The Price is Right. So now I'm listening to that.

Climax of Augurs of Spring?

4:08

[Gruesome Son of a Bitch 6,488]

Williams obviously saw The American Adventure at EPCOT Center in the 80s.

[crocodile 8,012]

Far from the Madding Crows by Craig Armstrong

Karol

[Incanus 5,714]

Far from the Madding Crows by Craig Armstrong

Karol

I assume you mean Madding Crowd, not crows?

And how is it? Craig Armstrong is a composer yet to impress me.

[crocodile 8,012]

I can describe it to you pretty accurately: Take The Village, add a bit of Black Beauty and a pinch of James Horner Literally.

Karol

[Incanus 5,714]

Well I have to check it out just out of curiosity as most of Armstrong's scores have left me cold in the past.

[BloodBoal 7,538]

Soundtracks are not meant to warm you up. That's what heaters are for.

[Incanus 5,714]

Soundtracks are not meant to warm you up. That's what heaters are for.

They are also not meant to be perambulatory and yet so many are pedestrian.

[BloodBoal 7,538]

Well played, Finnish boy, well played.

[DreamTheater 131]

NEEDFUL THINGS - DOYLE

Ever since I heard this in the 90s, I fell in love with this underrated Patrick Doyle gem, holding that unique sound that he had at the time, which I vastly prefer over his more recent style.

At just an hour long, when the main title kicks in, I become instantly enveloped in the soundscape he created for the supposedly terrible horror flick.

It's subtle and powerful in equal measures, and never outstays its welcome. The final tracks are some of Doyle's most inspired writing.

There is a particular highlight in the 12 minute 'The Turning Point' where he uses synthesizers in interesting ways. And the choir is used to stunning effect in select cues.

If you like Doyle's work on Mary Shelley's Frankenstein I would also recommend Needful Things. While not being as strong in the thematic department it's intriguing music overall.

[Faleel 5,348]

ESB and SW while figuring out the dropped music from the saga.

[Marian Schedenig 8,193]

NEEDFUL THINGS - DOYLE

I've never been big on the score as a whole, but Art & The Minister is a gem.

Also, this album is where I first learned that Grieg's Mountain King originally has a choir part.

[Uni 306]

EXPLORERS - GOLDSMITH

I haven't gotten the expanded (but I listened to it) because I think this short album is perfect as it is and a superb presentation of all that Explorers has to offer.

Once again it shows what an incredible creative genius this man was. Hardly a track goes by where something interesting happens. The themes are keepers and the synth additions a lot of fun.

One of his early-80s gems, for sure.

It's moving in the context of the film but it doesn't give me goosebumps on its own.

I disagree. I've always found it a very moving piece.

The last few tracks of that OST are the ones I return too most often when it comes to music for this franchise. From Neodammerung to Navras.

Good stuff.

Revolutions is magnificent in the final act. Not so much what goes before.

I was listening to The Rite of Spring and there's a part that always reminds me of the "come on down" music from The Price is Right. So now I'm listening to that.

That's hilarious! I always thought I was the only one who heard Bob Barker in Stravinsky!

[DreamTheater 131]

THE MUMMY - JERRY THE MAN

Right until the end he came up with the most excellent scores, of which I consider The Mummy one of my favourite Goldsmith's.

The themes are wonderful, the action cues relentless and exciting, the egyptian tone adds some colour to the orchestrations, and the love theme remains stunningly gorgeous.

I love you for this one, Jerry (and for many others too of course)

But boy is this score loud, and I mean LOUD and I love the fact that it's SO BLOODY LOUD. All subtlety goes out the window.

So in case you are confused by my statements above, The Mummy is LOUD !!!

Turn up the volume at your own risk...

Sorry for shouting but you know, it's loud.

[Marian Schedenig 8,193]

But boy is this score loud, and I mean LOUD and I love the fact that it's SO BLOODY LOUD. All subtlety goes out the window.

You'd think that. But listen to bits like The Caravan. The score has its moments of sublime elegance, too.

[Uni 306]

Lonely Are The Brave. One of Goldsmith's earliest, which drew the attention and blustering admiration of Bernard Herrmann (who visited the recording sessions). Astonishing how Jerry's potential was clear right from the beginning. His chops for action bravado, thematic strength, sensitivity, and fascinating orchestration were all on the table even in those days.

You'd think that. But listen to bits like The Caravan. The score has its moments of sublime elegance, too.

Absolutely—perhaps nowhere better represented than the transition into the closing credit roll, a gorgeous (and plenty gentle) rendering of the main theme.

[Koray Savas 2,251]

Far from the Madding Crows by Craig Armstrong

Karol

This one ended up in my review pile. Had no idea it was Armstrong until your post

[Not Mr. Big 4,639]

Romeo and Juliet (2013)

Back to the Future