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Showing content with the highest reputation on 03/28/21 in all areas

  1. I listen to so much music that it makes up for not using drugs or alcohol, not having sex, and eating a healthy diet.
    4 points
  2. Just because Zimmer seems to have an affinity for Bruckner doesn't mean the few occasions where Williams seems to take in idea from Bruckner automatically makes him sound like Zimmer.
    4 points
  3. If ‘Buckbeak’s Flight’ for you is just ‘I and VI moving back and forth with a lot of percussion’ I suggest you take a closer listen.
    3 points
  4. In general, I think your position has film music backwards. Film music as an art is not like popular/rock music, where artists' long efforts in the studio are all focused towards the goal of creating a finite album. In film music, the album is secondary. The primary goal of the art is to create a score, and the primary structural driver there is the the chronological drama of the picture. Alternates are a bonus, and the OST is an often satisfactory representation of the full work of art, but the complete and chronological score is the essential thing if you are treating film music as a form of classical writing or as a dramatic music medium.
    2 points
  5. It's basically a very cool 6 minute suite of action material, with lots of new variations on the film's action motifs. No Yoda, no Rey's Theme coda, no Luke Exile theme, no Leia's theme, no Holdo's Resolve, no Here They Come. There's original material not heard anywhere in the film, mixed in with fragments of music heard throughout Escape. It was almost certainly recorded in the early sessions, probably before Williams composed The Rebellion is Reborn, and before Carrie Fisher passed away (likely necessitating the new approach). It'll make an incredible finale on a 3-disc TLJ expansion someday, I know that much. Musically it's significantly more focused than the revised end credits suite.
    2 points
  6. Bruckner clearly ripped off Zimmer.
    2 points
  7. I must say it's really disheartening how little love Sleepers gets in this board, of all places. It's a brilliant score and a great album assembly
    2 points
  8. What’s Up and Area 52 you can and should just swap in from the original album program on Disc 2, IMO. Technically, it is a different mix, but personally I don’t really notice that. The only other option is to trim off the chatter. I guess for the two Roadrunner/Coyote cues Jerry wrote (only in the bonus section of Disc 2) that’s the only option. It’s not my preferred presentation or order of cues but this was Bruce Botnick’s baby and his call. I’m not going to argue with the man but I’m thankful that between the two discs it’s possible to make a more satisfying presentation, even though I’ve been too busy to exactly figure out all of it as of yet. Yavar
    2 points
  9. Solo: A Star Wars Story (Deluxe). It is one of these few scores that entertain from start to finish. I don't think there is a single weak track on this release. The themes are all distinctive and applied well throughout. The score itself is a lot of fun and full of colour that you rarely find in film music these days (that's probably exactly why the mix in the film is bit of a letdown). And while John Powell's style is quite different from John Williams' it actually is a good thing. I sort of believe that that emulating someone's style is just as annoying as mocking someone's accent. It's artistically uninteresting and, quite frankly, just really dull. So I appreciate John Powell doing his thing for the most part. He has enough chops to use Williams material confidentially and his own stuff works very well with it. If there's any criticism I might have is that Powell's music tends to be extremely loud and I often feel exhausted by the action music. And since both the early heist scene and mine mission/Kessel sequences are now combined into 10-minute pieces it can be a bit much. I find the score is at its best during more quiet and inconspicuous underscore moments. Karol
    1 point
  10. Blade Runner 2049 by Hans Zimmer and Benjamin Wallfisch I think this one need time for me to be properly appreciate, each time I listen to it again I like it more, maybe one day I'll even love it... The Book Thief by John Williams Nothing better than a gentle and beautiful Williams score to end the week-end. Perfect!
    1 point
  11. I wouldn't know, but, where I live, it's about £2.50 for a box of 80 PG Tips teabags .
    1 point
  12. Don‘t Ever. Suggest that John Williams sounds like Hans Zimmer, just because two chords.
    1 point
  13. Buckbeak's flight cannot sound like Zimmer. It actually has a melody. IT's not just chords and rhythm.
    1 point
  14. I probably have similar feeling towards it as you - it's a fantastic cue. Call of the Wild overall is a frequent listen for me, probably more than HTTYD 3 or Solo.
    1 point
  15. There's a fair bit of film music that gives me chills. Lots of the obvious parts of LotR, Star Wars, Jurassic Park, CE3K, ET etc, HTTYD, Solo... Most recently, Sometimes Nature's Cruel and Gods Fight, Buck Takes the Lead and Rewilding from Call of the Wild.have all given me chills. Even *imagining* Rewilding gave me chills, which I've never had before... has anyone else had anything similar?
    1 point
  16. The listening of the expanded set of A.I. is almost a religious experience! Now, in the event that I buy this CD below, it is an assumption, I would like to know if one, it would affect my reputation here, and two, if I should classify it in the 'G' or in the 'Z'?
    1 point
  17. I don't think The Spark sounds like Zimmer at all. It's pure John Williams magic.
    1 point
  18. Can't believe I didn't know about this difference before, which is weird as I read the liner notes and ST:TMP is easily one of my favourite scores. But definitely, prefer the snare version. Although I have to say that the STV:TFF onwards version with the Courage fanfare is probably my favourite. I still wish I could get to the bottom of the slight orchestration changes between the TMP version of the theme and the STV version onwards. It may just be the ways it's performed but the version from TMP is definitely slightly different from those used in the later movies. I will reiterate my minority view that TMP would have been better starting with the V'Ger music to give the opening a more mysterious tone... the credits could have appeared over a star field as the V'Ger cloud appeared into view, segueing into the Klingon Battle as the Klingon ships appeared after the credits had finished.
    1 point
  19. It's a catalog release, a specialty label going into the archives decades later and releasing the entire score. Generally, "OST album" is used to refer to the album that came out around the same time the film, in JW's case always crafted by him to present a curated selection of the music in the order he wants, usually also containing material recorded specifically for the album. In Heartbeeps case, WIlliams never got to do that, and the Varese album is them licensing every cue recorded from Universal and putting them on disc 20 years later. There are 28 feature film scores Williams wrote that didn't get an OST album, you can see a list of them here https://www.jwfan.com/forums/index.php?/topic/32706-john-williams-scores-by-music-label/
    1 point
  20. The region 2 DVD has an iso. (in 5.1, no less), and there's a CD boot. of this, still around.
    1 point
  21. It's neither an expansion nor an OST. It's a premiere release, and most premiere releases in the last couple of decades have been C&C (or close to it) from the get-go. Same as with NONE BUT THE BRAVE, GUIDE FOR THE MARRIED MAN etc. etc. Scores that never had a properly curated OST to begin with. A shame this wasn't used in DREDD, because I prefer it over the Leonard-Morgan score. Lean, clean and Carpenter-inspired to the fullest.
    1 point
  22. It's actually an earlier cue because it had a letter for it's M number instead of a number
    1 point
  23. Assuming you're asking about JW scores and not all scores that exist, the answer is Heartbeeps in 1981 was the last film he scored that didn't get an OST album
    1 point
  24. Otherwise I see your point. I've needed time to get into those dark variations but now each time I listen to it I appreciate it more.
    1 point
  25. 1 point
  26. The Jedi Steps sounding like a Zimmer cue? hmmm
    1 point
  27. He lost me when I read "The excellent score by Junkie XL might be his finest work to date, especially the glorious third act where I was reminded of Blade Runner and Escape From New York."
    1 point
  28. Even though I find the Rock to be unwatchable, I will watch this film to hear JNH's music! Edit: I listened to JNH's entire podcast interview. This is a very intelligent and thoughtful and humble man. For a man so talented, he's so bereft of ego.
    1 point
  29. Do you know your nostrils flare out into little wings when you're mad?
    1 point
  30. Well, this easily takes over as the best known recording of Witches, Wands, and Wizards.
    1 point
  31. It's a great game! One of my favorites from the last year. If you liked the 2018 Spidey you'll gonna like Miles Morales as well.
    1 point
  32. I hope Giacchino continues the trend and uses elfman spiderman theme for maguire.... And i hope he dichtes Zimmer's effort and just use Horner's for Garfield.
    1 point
  33. An all-time great Zelda cue
    1 point
  34. Personally I'd love if it was a Horner title not previously released on LP or CD....like "The Dresser" (1983), "The Stone Boy" (1984) or "I Love You To Death (1990)
    1 point
  35. Toho ditched any plans to do Shin Godzilla 2 a while ago, instead focusing on a new cinematic universe.
    1 point
  36. Hmm well let's see, who makes you laugh more, Jessica Walter/Arrested Development or Bruce Marshall? Who has a greater grasp at comedy? Guys?
    1 point
  37. If it's not a boxset with mixed composers, I'll get it.
    1 point
  38. Wait, I’m not clear on where the lolz start in this post. Is there some evidence of an alternate end credits suite for TLJ?
    1 point
  39. Apart from some more obvious candidates, to my ears Nixon (1995) previews a lot of the style of Williams’ scores for the next decade, particularly the more darkly-hued ones. I certainly can’t think of anything before it that sounds so much like the prequel trilogy scores, especially Revenge of the Sith. There’s even specific synthesizer sounds that would become something of a trademark I believe were introduced here, like that certain “explosion” sound that would later appear prominently in War of the Worlds (2005) and others.
    1 point
  40. TROS is my no. 1 holy grail expansion. It will be like listening to the score for the first time. Come on, dewit Mike!
    1 point
  41. Here's the cue list for The Little Mermaid (1989), score by Alan Menken. Would anyone happen to have cue lists from other Menken scores? Source: orchestra score 1M1 Fathoms Below 1M2 Opening Credits 1M3S Fanfare 1M5 Daughters of Triton 1M6 Triton (Sting) 1M7 Intro Ariel 1M7A Shark Chase 2M0 Intro Scuttle 2M1 Intro Ursula 2M2 Triton Reprimands Ariel 2m2 Insert 2m3 You're Just the Crab 2m3 Insert 2m4 Sebastian's Dilemma 2m5 Sebastian Discovers 2m5 Sebastian Discovers (ver 2) 2m6 Part of Your World 3m1 Fireworks 3m2 Gigue 3m3 She's Out There 3m4 Storm 4m1 Is He Dead? 4m2 Part of Your World (Reprise) 4m3 Ursula Plots 4m3a Bucolic 4m4 Ariel in Love 4m5 Under the Sea 4m5a Under the Sea (Tag) 5m1 Sebastian and Triton 5m2 It's a Surprise 5m3 Destroying the Grotto 5m4 Flotsam and Jetsam 6m1 The Deal (Insert) 6M1 The Deal 6m1r (To Ursula's Lair) 6m1a (alternate) 6m1a Insert 6m2 Poor Unfortunate Souls (Part 1) 6m3 Poor Unfortunate Souls (Part 2) 6m4 Poor Unfortunate Souls (Part 3) 6m4a Beluga Sevruga 6m5 Fife 1 6m6 She's Got Legs 6m7 Sebastian Relents 7m1 Eric Finds Ariel 7m2 The Bath 7m3 Dead Fish (Sting) 7m4 Miss Manners 7m6 Les Poissons 7m6a Can-Can 7m7 Button 7m8 Crab on the Plate 7m9 Bedtime 7m10/8m0 Messenger and Triton 8m1 Tour of the Kingdom 8m3 Kiss the Girl 8m4 Ursula Transforms 8m5 Fife 2 8m6 Eric Hears Maiden 8m7 Wedding Announcement 8m8 Ariel Left Behind 8m10 Poor Unfortunate Souls (Reprise) 9m1 The Truth 9m2 Wedding March 9m2a Almost There 9m3 The Attack 9m4 Ariel's Voice Returns 9m5 You're Too Late 9m6 Eric to the Rescue 9m6a Ursula Rising 9m6b Whirlpool 10m1 Peace Returns 10m2 Happy Ending
    1 point
  42. Edward Shearmur - Species II (1998) Source: Intrada liner notes 1M0 Main Title 1M1/2 Landing 1M3/4/5 On The Surface 2M1 Slime Attack 2M3 Crew Awake 2M4 Blisters 2M5 I'm Human Too 2M6 Good To Be Home 3M1 Kissing Debutante 3M2 Patrick's Speech 3M3 Debutantes 3M4 Kids To The Barn 3M5 You're Gonna Be President 4M1 Orinski Gets It 4M2 Get Press Lennox 4M3 Press Meets Eve 4M4 Off To The Asylum 6M1 Melissa Goes Down 6M2 Sampas Has A Baby 7M1 Gamble Countdown 7M2 Morgue Sting 7M3 Patrick's Suicide 8M1 Restless Eve 8M2 Burial / Kids 8M3 I Want To Help 9M1 Supermarket Chase - Part 1 9M2/4 Supermarket CHase - Part 2 9M4 Radar Love 10M1 Into The Compound 10M2/3/4 Patrick Breaks Away 10M5 Generals Are Concerned 10M6 Eve & Gamble 11M1 Patrick Kills Dad 11M2 Eve Won't Help 11M3 Ceiling Lift 11M4/5 Eve Breaks Out 11M5 Eve Rejuvenates 12M1 Into The Barn 12M2 Eve & Patrick 12M3 Kunta Kinte 12M4 Tentacles 12M5 Confrontation 12M6 Eve's Death 12M7 Monster Death 12M8 Aftermath 12M9 Gamble Away 12M10 End Titles
    1 point
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