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Tom Guernsey

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  1. Probably Sweeney Todd. For an unoriginal choice. Although the one I listen to most often is probably Merrily.
  2. I don't know if there would be much more for City Slickers 2 but the original could certainly do with an expansion. And yeah, the LLL Addams Family was worth getting if you can find it although the original album has a pretty decent selection and sounds just fine. NP: Company. :-p (and earlier Mahler 7, Gielen)
  3. Yeah, he was really sweet. I used to be his friend on Facebook but I think with his musicals he got too well known and decided to make his profile private, which is totally understandable. If you want to check out some of his other work, I highly recommend Addams Family (his Rota-esque main theme is superb). The original City Slickers is fun but the sequel is a much more polished and engaging work I find so you're not missing a huge amount. North has an insanely catchy main theme put through loads of variations. The American President is a good companion to Dave by JNH. And if you like his songwriting, Bombshell (from the TV show Smash) and the stage version of Catch Me If You Can are both great. Haha. Shaiman writes catchier tunes ;-)
  4. I enjoy the MPR lyrics just fine, they seem plenty fun and witty to me (and that's coming from someone who equally enjoys Sondheim!) but whatever the case I still find the music absolutely glorious. It's difficult to judge when the original Mary Poppins songs are basically standards now, but I think Shaiman and Whitman acquitted themselves pretty well all things considered and I even (even more controversially!) think I enjoy the sequel more than the original, although I don't really know why as the original is a deserved classic. Glad to have both... how's that?!
  5. Man that is such a great score, I miss Shaiman scoring movies, although I did love Mary Poppins Returns both songs and score, terrific and charming. City Slickers II will always be special as when I reviewed it for my (now defunct) website, Mr Shaiman was good enough to email me to thank me for my glowing review. I meant every word and still do, great stuff. NP. Mary Poppins Returns... Nowhere to go but Up... think there's a bit of dust in my eye...
  6. Airport by Alfred Newman and The Towering Inferno by John Williams... having listened to both of these in close proximity, I realised just how similar in style Williams' TTI title music is to Airport in terms of its jazzy energy, not to mention how energetic Newman's writing remained to the end. It certainly doesn't sound like the work of a composer at the end of his career. Also surprising at how little action writing both scores have overall, with much more emphasis on the romantic aspects and suspenseful/dramatic cues rather than dynamic action writing you might expect. I guess an expanded Airport isn't going to happen any time soon!?
  7. As I mentioned in the heretical thoughts thread, I really love Solo. Powell seemed to be having more fun than Williams and was much bolder in using his various themes than Williams seems to have been ever since the prequels. Plus the action writing is top drawer and I have no issues with the additional percussion, the way he puts it alongside the Here They Come extracts in Reminiscence Therapy to me is just adding a slight modern twist. For my money, the way Powell puts Here They Come, the Asteroid Field and his own music together, not to mention using the original Imperial Motif, is masterful. Indeed, it's perhaps how strong the rest of the material is next to the original Williams music (don't get me wrong, Here They Come and the Asteroid Field are virtually untouchable pieces of action writing) which is impressive... when I compare that to the Battle of Crait from The Last Jedi where, despite having listened to it over a dozen times, the only part I can actually remember is that it contains an extract of Here They Come. Thanks to @blondheim for his eloquent thoughts on Rogue One. I still get much more from Solo and just find everything about it just that bit more skilful than Rogue One. I definitely think that Giacchino would have benefitted from a bit more time, he wasn't given much. There's a great score in there somewhere, but it just needed a bit more refinement to draw it all together.
  8. The Adventures of Baron Munchausen (Michael Kamen) - Someone mentioned this on FSM so thought I'd give it another spin. Can't quite place this as a top Kamen, notwithstanding the prolific invention and fun throughout, it's just a bit too incoherent at times to be fully satisfying, although I'd be first in line for an expansion. Fall of the Roman Empire (Dimitri Tiomkin) - The CPPO/Nic Raine of this is really great. I never quite got into Tiomkin to the same extent as some of his contemporaries, but this is a definite favour (on the other hand I find The Alamo rather goes on a bit... probably need to give it another go). Slipstream (Elmer Bernstein) - Thought I'd give this another listen as it was mentioned elsewhere. It really is a shame the release was botched so badly that it's likely to be difficult to release again. Did Bernstein work with the London Symphony Orchestra for any of his other scores? I can't recall... seems unbelievable that this would be one of them though! Also been on a Jerry Goldsmith spree, Under Fire (classic, one of my favourites), Innerspace (some great moments but it lacks a really great/memorable main theme that his other Dante scores have), Timeline (shame it got replaced, although Tyler's replacement is a pretty decent Goldsmith impression at times), Supergirl (does it need fewer whooshes? Probably...).
  9. I've been on a Joaquín Rodrigo kick this week and have just nabbed the remaining volumes in the Naxos recordings of his orchestral music. The Concierto de Aranjuez is undoubtedly his most famous work for guitar (if you like Elmer Bernstein's guitar concerto, you should definitely check out the Rodrigo) but for sheer bravado, I highly recommend his piano concerto which is just the right mix of modern and traditional, with all the ballsy drama of a great, golden age film score. Also looking forward to the harp version of the Concierto de Aranjuez which I gather is even more effective than the guitar original due to the harp's greater range.
  10. Glad to find another fan of this terrific effort. Shame the film flopped without a trace, although it was pretty bad from what I recall and didn't they chop out a load of the ending or something? I can forgive a bit of Rimsky borrowing, that's the sort of witty allusion that really works well and it's superbly incorporated too, a flashing hint. I do love some Rimsky it has to be said!
  11. You’re quite right. My bad. Of course she was in the Superman vs Batman.
  12. The Avengers (no not that one, the Joel McNeely one) - easily a top 5 McNeely score, a terrific mix of big orchestral fun and a nod to the 60's original style, with a great version of the original Laurie Johnson theme to cap it off (although McNeely's own main theme is great). Flight of the Mechanical Bees is one of his best and wittiest action cues. Chandos Film Music - Having picked up most of the remaining Chandos film music albums in their recent sale, I've been exploring the new acquisitions and titles I already have. I have to admit that some of the music by the British composers can feel a bit interchangeable, good though it is. William Alwyn gets a generous four volumes and is certainly one of the finest represented (apart from perhaps Vaughan Williams). However, the Black, Lambert & Berners, Benjamin (save for the well known Storm Clouds Cantata) & Lucas didn't leave a huge impression. However, the Chagrin album is great, certainly the most enjoyable of my recent acquisitions. Having said that, none were quite as enjoyable as the Brian Easdale album with the Red Shoes on it, really terrific and a lot less old fashioned than some of the others (I felt the same about the equally excellent Gerard Schurmann album). Rob Roy (Carter Burwell) - A bit more low key and not quite as memorable or mystically epic as Horner's Braveheart, but still a fine score and the two finale tracks are particularly terrific. It reminded me of all those years in the 90s when there were two films with almost identical stories that came out the same year... dare I start a thread about it?! Hear Ye! Hear Ye! (Aaron Copland) - So obscure, it doesn't even feature on his Wikipedia page. A surprisingly enjoyable score for a somewhat naff sounding courtroom drama that he did for the money, which mixes a few standard Copland tropes with a hint of Gershwin/Bernstein (L) New York styling. Coupled with a terrific version of the full version of Appalachian Spring on the Naxos album conducted be Leonard Slatkin. Wonder Woman (Rupert Gregson-Williams) - One of the more middling Marvel efforts. Enjoyable enough, although the most memorable bit is Hans' theme from whichever prior movie WW appeared in before her own full length movie, Dunston Checks In (Miles Goodman) - Can't go too far wrong with a bit of Goodman, although it's not quite as good Dirty Rotten Scoundrels. Indecent Proposal (John Barry) - Typical lush and sultry Barry. Nuff said. Nim's Island (Patrick Doyle) - Much better than I remember adventure score from Doyle, even if his main theme never matches the catchiness of his earlier efforts. Mulan (Jerry Goldsmith) - Fortunate to have a copy of the Academy promo, this really needs Intrada or Disney to put out properly. One of Jerry's finest later scores, absolutely terrific stuff and his arrangements of the songs are splendid too, although it always felt faintly disappointing that the Suite from Mulan always gets trotted out at concerts as a Goldsmith piece, but actually is mostly Matthew Wilder's songs. Ah well. OK, that's way too much... NP: Around the World in 80 Days by Victor Young. Fun!
  13. Brilliantly, on the lossless download from Presto Music, The Age of Innocence is credited to both Elmer and Leonard Bernstein... eye roll lol. Still, great album so far!
  14. Not on the first one as I recall. At least nothing intrusive. Sound and performance are both really good. Great selections too, nice variety.
  15. I will give it another listen (again, the lack of an official recording is frustrasting but I'm sure one will appear soon enough). I can kinda understand that train of thought for how Han and Leia ended up in the recent trilogy, although I guess the more "pure" sweeping romance of the original trilogy sets the first arrangement more appropriately in the context of those first three movies more convincingly for me. ...and thank you. You may disagree, indeed isn't that kinda the point of this thread, but articulated reasons make it far more interesting for everyone. I've explained my reasoning (rather than just "such and such is crap") and appreciate those who have provided eloquent responses. I'm happy to be convinced of something's merits so those people who basically reply as though I've stated my opinion as fact and therefore am "wrong" aren't making any kind of useful contribution. Worth pointing out that I have an inordinate number of JW soundtracks and he remains my favourite composer, but nobody's perfect and some things just don't gel for me but fun to discuss why it doesn't for me but does for other people.
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