5784 replies to this topic

[Trent Bennett]

Williams' Superman is a seminal masterpiece. Ottman's Superman Returns is the definition of mediocrity. There is no comparison.

Oh you did NOT say that.

If you want to label a Superman score as mediocre, then Ken Thorne's Superman II fits that bill to a T. Hardly any effort put into it, save arranging Williams' themes for a smaller orchestra that sounds like a marching band.

Agreed. Superman II is rather bland and dull.

Williams Superman drags quite a bit in a lot of places. To me Ottman's Superman Returns does not.

I for one am tired of Superman Returns getting shit on...especially by a lot of members here.

Karol I'm glad you finally got Hook.

[Miles Prower]

I really enjoy Superman II - it's the first score, but lighter and bouncier.

Been cherry-picking from Star Treks First Contact, Insurrection and Nemesis for the past few hours while I read Fade In (any fellow Trekkies ever read that?). In my opinion, Insurrection's the best of the lot, but they're all good. Nemesis has some killer action music, Goldsmith just goes for the jugular.

[Incanus]

It is actually. If you like Newman, that is.

Karol

It's not good if you hate Newman?

Well you love to hate it then. Everybody wins with Thomas Newman!

The Adventure Continues from The Adventures of Tintin the Secret of the Unicorn

[alicebrallice]

POTC: at world's end - hans zimmer

felt like a good time to listen to it.

haters gonna hate!

[Richard Penna]

One of Zimmer's better recent action scores - very enjoyable.

In fact I Don't Think Now is the Best Time astonished me on first listen, with how light and thematic it is. To be honest, I like ZImmer's approach more than I suspect Silvestri's might have been, given his recent output (i.e. unmemorable in any respect).

Williams' Superman is a seminal masterpiece. Ottman's Superman Returns is the definition of mediocrity. There is no comparison.

I hope you're looking forward to Zimmer's Man of Steel

It's got the balls to not be written by John Williams and be from the RCP cave.

[Joe Brausam]

Equine mood today.

The Black Stallion Returns - Delerue
Intrada's edition of this is really wonderful, as is the score. It's probably one of Delerue's most beautiful themes, and that's saying a lot! Very sweeping, especially the passages where it is backed by the trumpet triplet figure. Really just a great score all around.

Spirit: Stallion of the Cimmaron - Zimmer
I re-listened to this one today after being reminded of it from the FSM thread on it. Really cool, one of the few Zimmer scores that I can say I've grown to love. Really all his music for animated features has been great.

War Horse - Williams
Well, we all know how great this one is!

I wish I could find a copy of Intrada's release of The Black Stallion by Carmine Coppola for a good price, preferably retail...

[Taikomochi]

One of Zimmer's better recent action scores - very enjoyable.

In fact I Don't Think Now is the Best Time astonished me on first listen, with how light and thematic it is. To be honest, I like ZImmer's approach more than I suspect Silvestri's might have been, given his recent output (i.e. unmemorable in any respect).

I agree. I really enjoy that piece. Parts of it don't even feel that ZImmerish. It's one of Zimmer's more clever action tracks.

[Incanus]

POTC: at world's end - hans zimmer

felt like a good time to listen to it.

haters gonna hate!

And lovers gonna love! Don't you forget that!

This message was brought to you by Incanus, who does not endorse, fund, help or aid Zimmerco or its music in anyway and denies any possiblity of ever liking it.

One of Zimmer's better recent action scores - very enjoyable.

In fact I Don't Think Now is the Best Time astonished me on first listen, with how light and thematic it is. To be honest, I like ZImmer's approach more than I suspect Silvestri's might have been, given his recent output (i.e. unmemorable in any respect).

Williams' Superman is a seminal masterpiece. Ottman's Superman Returns is the definition of mediocrity. There is no comparison.

I hope you're looking forward to Zimmer's Man of Steel

It's got the balls to not be written by John Williams and be from the RCP cave.

Ooh you rebel you for saying such things on JWFan messageboard.

Flow Like Water from The Last Airbender

[Score_Fan]

Alan Silvestri's Avengers.


I like it.

[Incanus]

Stepmom by John Williams
Felt like a good time to listen to this on this fine spring morning!

Lovers gonna love!

[Pasi Tiitinen]

Hey that is an autumnal score!!

[Incanus]

True but I had not listened to it in a long time so I thought why not. It has some wonderful, gentle music that fits the mood this morning. I'll listen to Stanley & Iris next to make penance for my seasonal error, ok.

[TheTennisBallKid]

I really need to get the rest of the Gerhardt albums, now that they're re-released.

I would've probably picked up all of them full price had they not been the unexpanded/shortened (I'm still confused by the release history of this series) version. Now I'm still waiting for a good deal on them. From the old releases, I have some in original form, some on CDR, and some I've never heard at all (e.g. Gone With the Wind).

The short answer to the question of the release history is that when the albums were initially being released on CD the Waxman and Sea Hawk discs were released in longer form, but with the exception of a two short cues ("The Rose Garden", added to the Sea Hawk suite, and a piano rhapsody added to Between Two Worlds) there was no actual expansion. They either combined selections that had appeared on different LPs to make longer suites (the Korngold album), or in the case of the Sunset Boulevard album, grouped all of Waxman's music from the entire series onto one CD.

If you get all the re-releases you'll have virtually everything, except for those few minutes on the longer Sea Hawk album (you need both the long and short versions of it anyway, because the longer omits 3 tracks that are on the shorter), plus a few tracks that only appeared on this sampler CD.

And I'm listening to....the Captain Blood CD again, which is what prompted this reply.

Dodge City

[Marian Schedenig]

That's very interesting. And very helpful. Thanks!

[Pasi Tiitinen]

True but I had not listened to it in a long time so I thought why not. It has some wonderful, gentle music that fits the mood this morning. I'll listen to Stanley & Iris next to make penance for my seasonal error, ok.

OK!








The Days Between belongs to my regular playlist whatever season it is, even if I find it very Autumnal. Beautiful music, very touching.

And this time I will break my rule and use a smiley:

[MrJosh]

John Williams - SpaceCamp: The GoodMusician edit.


Hmmm...I like the main theme and some of the fanfare-ish stuff is nice. Sometimes there is something that gets on my nerves about this score but I can't put my finger on it. I've never seen the film but I'm intrigued.

[Faleel]

Quo Vadis - Miklos Rozsa Treasury ("Stereo" Version)

I like it.

[Score_Fan]

Jurassic Park
The Lost World

I do wish intrada or LLLR could release these soon, despite LLL saying they won't.

[Incanus]

Sea Symphony by Ralph Vaughan Williams

Berliner Messe by Arvo Pärt

Stanley & Iris by John Williams

Checkmate & Rhythm in Motion by John Williams

[Hlao-roo]

What makes a score "autumnal"?

[Incanus]

What makes a score "autumnal"?

I should say it is slightly different things to different people. For me it is perhaps a certain warm yet melancholy tone, something that reminds you of the feeling of autumn in rather poetic terms. But it certainly can be of different mood as well. Music that connects with the light, sight and sound of autumn, not necessarily because you listened to it first time then but because it is autumn to you in musical terms one way or the other.

I know, I know it is a vague and scientifically unconvinving answer but there you have it.

[chuckster312]

What makes a score "autumnal"?

I should say it is slightly different things to different people. For me it is perhaps a certain warm yet melancholy tone, something that reminds you of the feeling of autumn in rather poetic terms. But it certainly can be of different mood as well. Music that connects with the light, sight and sound of autumn, not necessarily because you listened to it first time then but because it is autumn to you in musical terms one way or the other.

I know, I know it is a vague and scientifically unconvinving answer but there you have it.

I'd say Elmer Bernstein's Far From Heaven. Certainly has that feeling of warm autumn in it.

[Incanus]

What makes a score "autumnal"?

I should say it is slightly different things to different people. For me it is perhaps a certain warm yet melancholy tone, something that reminds you of the feeling of autumn in rather poetic terms. But it certainly can be of different mood as well. Music that connects with the light, sight and sound of autumn, not necessarily because you listened to it first time then but because it is autumn to you in musical terms one way or the other.

I know, I know it is a vague and scientifically unconvinving answer but there you have it.

I'd say Elmer Bernstein's Far From Heaven. Certainly has that feeling of warm autumn in it.

Yes a very autumnal and terrific score that one.

[Hlao-roo]

Interesting. How much of it comes down to instrumentation? Are there warm, plaintive scores that sound wintry, summery, or spring-like to you?

[Score_Fan]

Yup! Jurassic Park, for one.

[Incanus]

Interesting. How much of it comes down to instrumentation? Are there warm, plaintive scores that sound wintry, summery, or spring-like to you?

I can only speak for myself but it might in part be about instrumentation but on the other hand I know very similar scores in style and in instrumentation that say completely different things to me, seasonally speaking. Good example is The Village by JNH which sounds like autumn to me, perhaps due to the setting of the film but also because of the mood of the score, which I actually heard first and thought of autumn, the feel the film just enhanced later on when I saw it. Then again Christopher Young's score for Creation, very similar in tone and instrumentation sounds winter to me.

Good example of a warm, plaintive score from JWs ouvre that sounds like spring/summer to me is the above mentioned Stanley & Iris.

I am sure there is some kind of musical memory trace in all of this, the layers of meaning and time and place becoming all meshed into a feeling that music somehow is attached to the feel of a particular season. Maybe you played this particular track or score during autumn or spring, perhaps the tone of it all has the feel of that season in your mind, could be that the color of the music reminds you of a season. It is difficult to quite put your finger on why exactly some music sounds like spring or winter or summer or autumn.

Could be that the damn nostalgia has also something to do with it.

[chuckster312]

Interesting. How much of it comes down to instrumentation? Are there warm, plaintive scores that sound wintry, summery, or spring-like to you?

I can only speak for myself but it might in part be about instrumentation but on the other hand I know very similar scores in style and in instrumentation that say completely different things to me, seasonally speaking. Good example is The Village by JNH which sounds like autumn to me, perhaps due to the setting of the film but also because of the mood of the score, which I actually heard first and thought of autumn, the feel the film just enhanced later on when I saw it. Then again Christopher Young's score for Creation, very similar in tone and instrumentation sounds winter to me.

Good example of a warm, plaintive score from JWs ouvre that sounds like spring/summer to me is the above mentioned Stanley & Iris.

Sabrina too.


For Goldsmith, a good example would be A Patch of Blue.

[Chaac]

Interesting. How much of it comes down to instrumentation? Are there warm, plaintive scores that sound wintry, summery, or spring-like to you?

I can only speak for myself but it might in part be about instrumentation but on the other hand I know very similar scores in style and in instrumentation that say completely different things to me, seasonally speaking. Good example is The Village by JNH which sounds like autumn to me, perhaps due to the setting of the film but also because of the mood of the score, which I actually heard first and thought of autumn, the feel the film just enhanced later on when I saw it. Then again Christopher Young's score for Creation, very similar in tone and instrumentation sounds winter to me.

Good example of a warm, plaintive score from JWs ouvre that sounds like spring/summer to me is the above mentioned Stanley & Iris.

I am sure there is some kind of musical memory trace in all of this, the layers of meaning and time and place becoming all meshed into a feeling that music somehow is attached to the feel of a particular season. Maybe you played this particular track or score during autumn or spring, perhaps the tone of it all has the feel of that season in your mind, could be that the color of the music reminds you of a season. It is difficult to quite put your finger on why exactly some music sounds like spring or winter or summer or autumn.

Could be that the damn nostalgia has also something to do with it.

The Village makes me think of autumn, but Creation makes me think of spring

[Incanus]

There you have a good example of individual these perceptions and interpretations are. And for some scores they are surprisingly similar as with The Village.

[chuckster312]

For some reason Rudy makes me think of spring, particularly the opening woodwind in Tryouts.

[Chaac]

Alexander - Vangelis

Oh, boy! I don't know what's the general opinion on this, but ...

Although Alexander is one of the few films which I would have actually preferred JW to score (not that I've heard he was ever going to do so, just wishful thinking on my part) and such a situation drives my imagination wild, I actually love this to death. As a Vangelis thing, mixed up with epic film sensibilities this is actually gorgeous. It's really tender and sweet, but as it has happened to me with several Vangelis scores before, I'm unlucky and many of my favourite moments aren't on the OST.

Overlooking the fact that there were wild possibilities for this score, less "ordinary" than what resulted (due to probably hiring Vangelis, and I don't know how to make that "ordinary" not sound like I'm knocking it down), this is a really emotive work that shows a lot of atmosphere, trascendence and sense of adventure.

This deserves an analysis!

[Matt C]

X-Files: Fight the Future - Mark Snow

"Crater Hug" just epitomizes the entire score, so beautiful, wondrous and optimistic. I Want to Believe is much more listenable and enjoyable, but I enjoy that mid-1990s sound.

[crocodile]

Batman, Batman Returns, Batman Forever, Batman: The Animated Series and Batman: The Mask of Phantasm.

Geez, those films (and series as well) used to sound good.

Karol

[Incanus]

Batman, Batman Returns, Batman Forever, Batman: The Animated Series and Batman: The Mask of Phantasm.

Geez, those films (and series as well) used to sound good.

Karol

Can't argue with you there. All those scores are great, defining the sound of Batman to me.

[crocodile]

I hope LLL will release The Animated Series: Volume 2 this year. They said more Batman stuff is on the way this year... Who knows? Maybe it's one of the ComicCon releases? Pure speculation on my part.

Karol

[Koray Savas]

Alexander - Vangelis

Oh, boy! I don't know what's the general opinion on this, but ...

Although Alexander is one of the few films which I would have actually preferred JW to score (not that I've heard he was ever going to do so, just wishful thinking on my part) and such a situation drives my imagination wild, I actually love this to death. As a Vangelis thing, mixed up with epic film sensibilities this is actually gorgeous. It's really tender and sweet, but as it has happened to me with several Vangelis scores before, I'm unlucky and many of my favourite moments aren't on the OST.

Overlooking the fact that there were wild possibilities for this score, less "ordinary" than what resulted (due to probably hiring Vangelis, and I don't know how to make that "ordinary" not sound like I'm knocking it down), this is a really emotive work that shows a lot of atmosphere, trascendence and sense of adventure.

This deserves an analysis!

Analysis you say?

[Incanus]

Oh noes! Vangelis has had temp trackitis!

[Maglorfin]

Sea Symphony by Ralph Vaughan Williams

Attaboy!

The Bourne Identity is a very cool score!

I've most recently listened to Lauridsen's Lux aeterna and Sibelius's Finlandia - after all, I'm playing it this Sunday!

[Incanus]

I've most recently listened to Lauridsen's Lux aeterna and Sibelius's Finlandia - after all, I'm playing it this Sunday!

Attaboy!

Prologue from JFK

[Faleel]

Thor: Patrick Doyle