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Tom Guernsey

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  1. Like
    Tom Guernsey reacted to Jay in What Is The Last Score You Listened To? (older scores)   
    Haven't posted in this thread for a while, so some catching up to do with physical CDs I've recently listened to
     
     
    Various - Quantum Leap
     
    Meh.  The prologue and main title music is a great classic, of course.  The rest of this CD is songs sung by Scott Bakula, a rap by Dean Stockwell, and a bunch of not-interesting synth scores by Velton Ray Bunch
     
     
    Cliff Eidelman & The Royal Scottish National Orchestra - The Alien Trilogy
     
    Decent re-recording of selections for the first 3 scores in the franchise.  The Alien suite is probably the most effective; It really sums up the whole score in suite form.  The Aliens re-recordings don't match the power of the LSO originals.  The Alien 3 selections don't represent the score well from what I remember of it.
     
     
    Michael Kamen - The Three Musketeers
     
    OK, that Bryan Adams / Rod Steward / Sting song is actually pretty catchy, and it's nice when Kamen integrates its melody into the score.  The rest of the score, unfortunately, did nothing for me.
     
     
    Various - Ron Howard: Passions and Achievements
     
    This is a rare-ish Milan CD I dunno how many people here know about.  It's a compilation music from Ron Howard's first 12 films (Grand Theft Auto through Ransom), 1 track per film.  And as far as I know it's the original recordings from the original films, not re-recordings.  So you get 4 James Horner cuts (Cocoon, Willow, Apollo 13, Ransom), 2 Randy Newman (Parenthood, The Paper),  1 Peter Ivers (Grand Theft Auto), 1 Burt Bacharach (Night Shift), 1 Lee Holdridge (Splash), 1 Thomas Newman (Gung Ho), 1 Hans Zimmer (Backdraft), and 1 John Williams (Far and Away).  Despite the many different composers and types of films represented, the whole album really works! It's a nice compilation that can lead to seeking out these scores and maybe other works by their composers.  I wish more compilation albums like these were made these days!
     
     
    I also recently listened to Dudamel's Celebration of John Williams, Desplat's Grand Budapest Hotel, Roy Budds' Big Screen Adventure, Arnold's Godzilla, and Powell's Forces of Nature, but I wrote about them in their own threads
  2. Like
    Tom Guernsey reacted to Cameron007 in What do you consider to be Williams “lightest” score?   
    True, but that doesn't make it a dark score overall. Though I agree about Marley's motif.
  3. Like
    Tom Guernsey reacted to Jay in Ludwig Göransson & Joseph Shirley's THE BOOK OF BOBA FETT (2021)   
    Count me among those that liked that choir cue in ep 3!  I honestly didn't notice any other interesting music in ep 3, though that often happens the first time I watch something and am just taking in the thing itself for the first time.
     
    I'm sure the OST album will be illuminating.
     
    Just a few more days to go!
  4. Like
    Tom Guernsey reacted to Jay in The Book of Boba Fett SHOW Discussion   
    The Book of Boba Fett 1x03 The Streets of Mos Espa
     
    I realized I forgot to share my thoughts.  As someone who thought the first episode was kinda boring and episode 2 was GREAT, I though this episode was... OK
     
    I was kinda surprised the flashback portion was both so short, and that they just killed off all the Tuskens.  Like from an entire season perspective, it makes sense that these guys that saved and trained him would get fridged, happens all the time in these stories. But I was just kinda surprised after spending so much time with them over 2 episodes, in this episode they are quickly killed off screen.  Nice music cue, though
     
    In the main timeline, I enjoyed Matt Berry breaking down the city for Boba, explaining what's what, etc - I feel like this should have happened sooner!  When Stephen Root showed up, I was super thrilled - loved that guy since Newsradio, and had no idea he was on this show.  Unfortunately I thought his story made no sense, or maybe was badly executed?  Like his dialogue with Fett felt stilted and weird, and then later when Boba confronts the cyborg crew, the way he runs out of some door to join the scene was strange.  I dunno, it all just felt off and weird.
     
    The cyborgs themselves also didn't really work for me.  I love the idea of a bunch of scrappy young kids doing what they want in a poor part of the world, but their tech seemed to neat and clean, and their bikes were ESPECIALLY WAY TOO neat and clean.  Like this is the dirty desert, why was all their stuff colorful and shiny?  More bad execution.
     
    On the other hand, Fett getting attacked by the Wookiee and the subsequent fight was pretty great!  It was kind of strange that right afterward, the Hutts show up and both take responsibility for everything that's happened, and also say they are leaving because the mayor promised everything to a syndicate.  For some reason I thought of the syndicate Emilia Clarke works for in Solo, but I guess it's probably just the same guys that killed Boba's Tuskens in the flashbacks?  I dunno, I feel like things are a little needlessly complicated.
     
    The last chase scene trying to get the mayor was the poorest execution of an idea in the show yet, what more needs to be said.  So when he reveals the mayor has promised everything to the Pykes, and those are the same guys that they robbed the train of in the flashback storyline, does that mean they've already been on the planet, for 5 years now just waiting to gain power after Jabba died?  Why didn't they obtain it right away?  I feel like I shouldn't be this lost.  Maybe the next episode will make all this make sense
  5. Like
    Tom Guernsey reacted to May the Force be with You in What Is The Last Score You Listened To? (older scores)   
    The Swarm (LLL) by Jerry Goldsmith
    A great disaster movie score. The Bees theme is really fantastic, aggressive and swarmy.
     
    The Towering Inferno (LLL) by John Williams
    Simply the best score for a disaster movie and one of JW's finest. The five minutes opening will always remain for me one of the best musical opening and fanfare of all time.
  6. Like
    Tom Guernsey got a reaction from Muad'Dib in The Official Ennio Morricone Thread   
    Just to let anyone thinking of getting the new Morricone: Cinema Suites for Violin and Orchestra album and buying it from 7Digital (https://uk.7digital.com/artist/marco-serino-orchestra-haydn-di-bolzano-e-trento-and-andrea-morricone/release/morricone-cinema-suites-for-violin-and-orchestra-18738180), they have somehow screwed up the file upload. On the website, the first six tracks are all marked track 1, same for the next half dozen marked as 2 etc. but in reality, all of the tracks marked 1 are the same track repeated, so basically you only get the first few tracks (see screen shot from my iTunes library... the track names are right, but you'll notice the first six tracks are all the same length). I've emailed customer support to ask them to fix it but just wanted to let people know and will update on the outcome. It's also at Presto Classical but was actually more expensive (which is unusual) and there were a couple of other things I wanted from 7Digital so I got it from there instead.
     
    From what I've heard so far, it's a great album so I can't wait to hear the rest! Definitely a fine companion to the Yo-Yo Ma cello album.

    Update: 7Digital will request a "redelivery from the record label"... given that could take a random amount of time, I went for a refund and have bought it from Presto Classical (https://www.prestomusic.com/classical/products/9264214--morricone-cinema-suites-for-violin-and-orchestra) as it's only £1 more in CD quality FLAC, plus you get a digital booklet from Presto that 7Digital don't do. All tracks appear to be present and correct!
  7. Like
    Tom Guernsey reacted to Yavar Moradi in The Aaron Copland (1900 - 1990) appreciation thread   
    Oh, that makes sense. Thanks for the clarification. Of Mice and Men is my favorite score of 1939, and IMO one of the most important film scores ever written.
     
    Yavar
  8. Like
    Tom Guernsey got a reaction from Bespin in The Official Ennio Morricone Thread   
    Just to let anyone thinking of getting the new Morricone: Cinema Suites for Violin and Orchestra album and buying it from 7Digital (https://uk.7digital.com/artist/marco-serino-orchestra-haydn-di-bolzano-e-trento-and-andrea-morricone/release/morricone-cinema-suites-for-violin-and-orchestra-18738180), they have somehow screwed up the file upload. On the website, the first six tracks are all marked track 1, same for the next half dozen marked as 2 etc. but in reality, all of the tracks marked 1 are the same track repeated, so basically you only get the first few tracks (see screen shot from my iTunes library... the track names are right, but you'll notice the first six tracks are all the same length). I've emailed customer support to ask them to fix it but just wanted to let people know and will update on the outcome. It's also at Presto Classical but was actually more expensive (which is unusual) and there were a couple of other things I wanted from 7Digital so I got it from there instead.
     
    From what I've heard so far, it's a great album so I can't wait to hear the rest! Definitely a fine companion to the Yo-Yo Ma cello album.

    Update: 7Digital will request a "redelivery from the record label"... given that could take a random amount of time, I went for a refund and have bought it from Presto Classical (https://www.prestomusic.com/classical/products/9264214--morricone-cinema-suites-for-violin-and-orchestra) as it's only £1 more in CD quality FLAC, plus you get a digital booklet from Presto that 7Digital don't do. All tracks appear to be present and correct!
  9. Like
    Tom Guernsey got a reaction from Holko in What do you consider to be Williams “lightest” score?   
    The light parts are light as a snowflake, but I'd say there were enough darker moments (such as when the thieves or the "sinister" neighbour appears or the attack on the house sequence) to rule it out of contention.
  10. Like
    Tom Guernsey got a reaction from Edmilson in What do you consider to be Williams “lightest” score?   
    The light parts are light as a snowflake, but I'd say there were enough darker moments (such as when the thieves or the "sinister" neighbour appears or the attack on the house sequence) to rule it out of contention.
  11. Like
    Tom Guernsey reacted to May the Force be with You in What Is The Last Score You Listened To? (older scores)   
    The Sum of All Fears by Jerry Goldsmith
    A terrific score with some great highlights. The song If We Could Remember would have make a perfect James Bond score.
    Damn I regret to have missed out the LLL expansion.
  12. Like
    Tom Guernsey reacted to Marc in James Newton Howard thread   
    My little Hn/Tpt cover of this great cue !
     
  13. Like
    Tom Guernsey reacted to Brundlefly in New Jerry Goldsmith Projects in 2022?   
    And again, the traditional thread for speculations about future Jerry Goldsmith releases of any kind - expansions, re-releases, re-recordings. So far this year is not as strong as 2021. We already had Looney Tunes by the 18th of January.
     
    Releases that happened in 2017:
    - Thriller re-recording by Tadlow
    - Poltergeist II: The Other Side improved re-release by Intrada
    - Papillon expansion by Quartet
    - One Little Indian improved re-release by Intrada
    - The Haunting expansion by Varese Sarabande
    - Damnation Alley expansion by Intrada
    - The Russia House expansion by Quartet
     
    Releases that happened in 2018:
    - Rambo III improved re-release by Intrada
    - Thriller 2 re-recording by Tadlow
    - Baby: Secret of the Lost Legend improved re-release by Intrada
    - 100 Rifles improved re-release/Rio Conchos re-release by La-La Land
    - Small Soldiers expansion by Varese Sarabande
    - The Mummy expansion by Intrada
    - The Lonely Guy expansion and premiere CD release by Intrada
    - The Reincarnation of Peter Proud premiere release by Intrada
     
    Releases that happened in 2019:
    - Warning Shot improved re-release/Archer premiere release by La-La Land
    - Raggedy Man re-release by Varese Sarabande
    - Barnaby Jones premiere release by La-La Land
    - Planet of the Apes/Escape from the Planet of the Apes improved re-releases by La-La Land
    - Air Force One expansion by Varese Sarabande
    - The Great Train Robbery improved re-release by Quartet
     
    Releases that happened in 2020:
    - The Swarm improved re-release by La-La Land
    - Morituri improved re-release by Intrada
    - U.S. Marshals expansion by Varese Sarabande
    - Take Her, She's Mine premiere release by Intrada
    - Voyage to the Bottom of the Sea expansion by La-La Land
    - The Don Is Dead premiere release by Intrada
    - The Last Castle expansion by Intrada
    - Von Ryan's Express/The Blue Max re-releases by La-La Land
    - The Detective re-release/The Flim-Flam Man expansion by La-La Land
    - Inchon improved re-release by Intrada
     
    Releases that happened in 2021:
    - Looney Tunes: Back in Action expansion by Varese Sarabande
    - Face of a Fugitive premiere release by Intrada
    - Along Came a Spider expansion by Varese Sarabande
    - Lionheart expansion by Varese Sarabande
    - The Stripper expansion/S*P*Y*S expansion by La-La Land
    - Rio Conchos re-recording improved re-release by Intrada
    - Shamus premiere release by Intrada
    - Caboblanco expansion by La-La Land
    - The Public Eye premiere release by Intrada
    - Extreme Prejudice expansion by Intrada
    - The Russia House re-release by Quartet
    - Love Field expansion by Varese Sarabande
    - Legend expansion by Music Box
    - Masada expansion by Intrada
     
    This year's releases:
    -
    -
    -
     
    Potential Releases:
    Timeline - only OST exists, surefire seller Hollow Man - only OST exists, surefire seller The 13th Warrior - only OST exists, must be licensed out by Disney, surefire seller Mulan - only OST and FYC exists, must be licensed out by Disney, surefire seller L.A. Confidential - only OST exists, surefire seller 2 Days in the Valley - only posthumous OST exists, moderate seller Angie - only OST exists, moderate seller City Hall - only OST exists, good seller Malice - only OST exists, moderate seller Matinee - only OST exists, good seller Rudy - only OST exists, good seller Six Degrees of Separation - only OST exists, bad seller The Vanishing - expansion almost complete, moderate seller Medicine Man - only OST exists, must be licensed out by Disney, surefire seller Mr. Baseball - only OST exists, bad seller Mom and Dad Save the World - only OST exists, moderate seller Not Without My Daughter - expansion almost complete, however: lost elements, bad seller Leviathan - only OST exists (potential expansion by Quartet), surefire seller The 'Burbs - expansion missing alternates, surefire seller Innerspace - expansion almost complete, surefire seller Supergirl - expansion almost complete, must be licensed out by Silva, surefire seller The Final Conflict - expansion almost complete, surefire seller Damien: Omen II - expansion already complete, surefire seller MacArthur - only OST exists, surefire seller Twilight's Last Gleaming - only posthumous OST exists, good seller The Cassandra Crossing - expansion already complete, good seller High Velocity - only posthumous OST exists, good seller  
    Black = only OST or no release at all exists
    Red = expanded, but not complete
    Orange = complete, but in exigent need of a reissue or a remaster
    Blue = any of those categories, owned in perpetuity by Varese Sarabande
  14. Like
    Tom Guernsey reacted to GerateWohl in What do you consider to be Williams “lightest” score?   
    Yes. I forgot about that one. I would consider Stanley and Iris lighter than Sabrina as well.
    So, I change my vote.
     
     
  15. Like
    Tom Guernsey got a reaction from Cerebral Cortex in What do you consider to be Williams “lightest” score?   
    Stanley & Iris would get my vote. Gentle and nary a dark cloud throughout, plus it has more delicate (lighter, if you will) orchestration than, say, The Terminal.
  16. Like
    Tom Guernsey got a reaction from GerateWohl in What do you consider to be Williams “lightest” score?   
    Stanley & Iris would get my vote. Gentle and nary a dark cloud throughout, plus it has more delicate (lighter, if you will) orchestration than, say, The Terminal.
  17. Like
    Tom Guernsey reacted to GerateWohl in What do you consider to be Williams “darkest” score?   
    For me Stepmom is anyway Williams' most Thomas Newman like score.
  18. Like
    Tom Guernsey got a reaction from WampaRat in What do you consider to be Williams “darkest” score?   
    It’s very close to that track (although I think Newman’s version is lighter and more interesting to be honest) but it definitely feels like temp bleed.
     
    As to the original question I’d have to jump on the War of the Worlds bandwagon. It has an unremitting bleakness and intensity that even his other darker scores don’t quite match. 
  19. Like
    Tom Guernsey reacted to Jay in John Powell's FORCES OF NATURE (1999) - new 2020 La-La Land premiere   
    I opened up my copy today and listened to it for the first time.  I wasn't expecting such a disjointed experience; It's more like a collection of different ideas than a traditional narrative film score.  It's so short, too, I just put it on again after it was over and am listening for a third time as I type this.
     
    The funniest tracks are definitely Shopping Sauce 2 and 3, which sound like a porno
     
    The most Powell-y tracks are definitely the two original demos tracks, and the few main program tracks that user their ideas.  And it's not that the rest of the tracks are bad, just not what I've come to expect from a Powell score.  Overall though, I like this album, its a fun way to spend 27 1/2 minutes!
     
     
    The liner notes to this release are among the most interesting and unique I've ever read!  It's simply a back and forth conversation with Kaya Savas and Powell from June of 2020, and Powell is brutally open and honest about everything.  He talks about how the film's director had temp-tracked the entire movie with pop songs, and how he basically had to compete to be heard, with him sometimes writing a sound-a-alike to a temp song (ie A Propellerheads song), and then them sticking with the song anyway and not using his cue, and other stuff he wrote being used more than once, etc.  They talk about romantic comedy scoring and how often filmmakers don't really care about lietmotif or melody, just mood and atmosphere.  They also go off on a tangent about white privilege, with Powell reflecting on the benefits he received as a white male starting a film composing career, and the general impact of white privilege on modern society.  And Powell is really hard on his own work, talking about what he'd do different today and such.

    The interview also explains why the album is shorter than the old leak/promo, because some of the ideas he wrote that didn't get used, he ended up re-using for future scores, so as a result cannot include those demos on this official release.
     
    Overall, this is I think a must-have album for any big Powell fan, for not just the musical content but also the really interesting and illuminating interview.  It goes in so many directions, it doesn't only talk about Forces of Nature, there's talk of Bourne, Mr and Mrs Smith, and other scores too.
     
    You can't beat the $16 price tag
  20. Like
    Tom Guernsey reacted to Edmilson in What Is The Last Score You Listened To? (older scores)   
    Two James Horner classics from the late 80s today:
     
    Willow - After watching the movie on Friday, I of course had to revisit the old OST. It's a nice album and a terrific score, but I need the cue that plays when Willow and Madmartigan are sliding down an Ice mountain in a shield. It quickly became one of my holy grails!
     
    The Land Before Time - Another wonderful score. I can't decide If Horner's best animated score is this one of Balto - the two are great!
  21. Like
    Tom Guernsey reacted to GerateWohl in The Classical Music Recommendation Thread   
    This 4-disk set is quite good.
     

     
    It is more a collection of highlights than a presentation of complete works.
    But still 4 hours of very good Korngold recordings.
  22. Like
    Tom Guernsey reacted to Disco Stu in What Is The Last Score You Listened To? (older scores)   
    I don't care if it's just nostalgia talking, I remain convinced that in no era were live-action family films getting better scores than in the 1990s.
     
    One of so many examples, tonight I listened to Mcneely's Iron Will
     

  23. Like
    Tom Guernsey reacted to Edmilson in What Is The Last Film You Watched? (Older Films)   
    Willow (1988)
     
    I finally watched this 80s classic.
     
    The cinematography, set design and costumes are all top notch. The pratical effects are great, considering this movie is from the late 80s. It's a very beautiful movie to look at. James Horner's score (the main reason I watched this film) is wonderful, and now I want the expansion sooner than ever!
     
    That said, the movie is pacing is all over the place. The first half is too slow and the second is too frenetic, which is what keeps the movie from being great.
     
    Anyway, since I was born in the 90s, I haven't watched these classic fantasy movies from the 80s, and that's something I intend to correct. 
  24. Like
    Tom Guernsey reacted to Marian Schedenig in What Is The Last Score You Listened To? (older scores)   
    …or Superman, which was recorded at the same sessions. Although that sounds at least mostly fine with the latest release.
     
     
    It's certainly one of my favourites, and I'm not worried in the slightest.
  25. Like
    Tom Guernsey got a reaction from Marian Schedenig in What Is The Last Score You Listened To? (older scores)   
    Yeah, the LSO version sounds better than the original tracks, a much richer and fuller presence. Funnily enough I gave it a listen myself yesterday. Such a great score and one of those JW efforts that’s probably virtually unknown outside his fan base. It’s a shame that Dracula doesn’t sounds as rich as The Fury given they are from the same era, orchestra and recording studio (I think). Same goes for Empire I guess… one day…
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