What is the last score you listened to?

[Marian Schedenig 8,206]

This reminds me of Damien: Omen II situation. I always listen only to a half of the album. But which one? It varies. I like both recordings.

Karol

Same goes for the Fury. The re-recording (original soundtrack album) is such a great performance by LSO that I find myself listening to it more often than the original score on the 1st disc.

I've played the film recordings perhaps 3 times. I've played the album recording endlessly. With Damien, I also generally prefer the album recording.

Generally, with these "combined" albums, I usually don't listen to the different versions back to back, I just pick one and play that. And as for Alien, if you would divide Goldsmith's scores into "genres", not so much by film genre but by "kind of music", and then pick the single best score from each of these genres, Alien would probably be among them.

Hunt for the Red October by Basil Poledouris: Wonderful music but somehow I feel the OST is too short and ends abrubtly. The choral music especially is impressive and I would have liked to hear more of it.

The first two tracks and Red Route II are awesome. The rest is listenable enough, but the album sequencing makes for a very uneven listening experience.

Yes. The first disc is great and can be listened to and enjoyed over and over again. The second disc need only be listened to occasionally

I find the value of the film alternates mostly academic.

[Jay 37,370]

I have yet to hear this score and I get the feeling I am missing something spectacular from the general comments around here and elsewhere on the film music MBs. Is it worth getting?

Absolutely. The first time I listened to it through I admired it, but wasn't sure how much repeatability it would have. But by the second time through, I was in love with it. Its just an amazing score, that I really cannot think of any other score that resembles it, or has the same effect on me.

Its amazing that he composed this and ST:TMP in the same year. He was truly at the top of his game!

Yes, this is essentially what happens on Alien. It starts with the complete score, then there's a whole bunch of alternates. I think that's where disc 1 ends (I listened to it on my iPod, so the lack of break made it seem even longer). Disc 2 then has the album version and some unused demo pieces.

Really, I'd recommend only putting Disc 1 on your ipod, and only listening to disc 2 every few years when you see it on your shelf and go "oh yea!"

[Incanus 5,715]

Pan's Labyrinth by Javier Navarrete: Melancholy, beautiful and dark score which revolves around a signature lullaby that forms the heart of the musical world of the film. This basic motif is accompanied by smaller musical motifs and impressionistic passages for different setpieces of the film. Most prominent theme along with the lullaby is the musical identification for Ofelia's mystical Trials that the Faun sends her to complete. This subtle melodic identification has its most prominent use on the track The Moribund Tree and the Toad which carries it along much of its running time developing and passing it from one orchestral section to another in a very classic way. The Trials motif and the Lullaby form the central duo of themes that finally come together on track 19, Ofelia, which is almost Williamsesque in its drama and offers a culmination of the Trials in musical form. It is a brilliant musical storytelling moment despite its subtlety or maybe just because of it.

The lullaby itself is very versatile and well and cleverly used, transformed and combined with other musical devices. The orchestration and ever changing musical backdrop keep it fresh. It is offered in so many settings and guises it never feels repetetive or boring. There are also few purely non-thematic moments of action, suspence and drama, scored with independent motifs or melodies that bring variety to the soundtrack. Waltzes seem also to be the expression of positive things as the composer says in the linernotes and those are heard at several point on the disc, always carrying a subtle edge of sadness despite momentary happiness or light in tandem with the film.

As a rare gesture the complete score is presented on the soundtrack and contains even unused music, cut from the film, presented complete, as Del Toro mentions in the linernotes. It shows a great deal of respect for the composer and allows a full dramatic circle and thematic development for the music.

[Mr. Breathmask 555]

Yes, this is essentially what happens on Alien. It starts with the complete score, then there's a whole bunch of alternates. I think that's where disc 1 ends (I listened to it on my iPod, so the lack of break made it seem even longer). Disc 2 then has the album version and some unused demo pieces.

Really, I'd recommend only putting Disc 1 on your ipod, and only listening to disc 2 every few years when you see it on your shelf and go "oh yea!"

I usually stop listening after the End Credits, but I felt like making it through the whole set this time. Don't think I'll be doing that a lot more often though.

Still, it's very nice to have this amount of music from that film.

Raiders of the Lost Ark

Not much to add, really. One of my all-time favorites. Awesomeness.

[crocodile 8,017]

Red Dragon by Danny Elfman

It don't know why, but it gets better and better with every time I listen to it. I remember not liking it at all when I first bought it. Funny thing is that the two primary thematic ideas reappear quite often in Elfman's work (most notably Standard Operatin Procedure).

X-Men 3: The Last Stand by John Powell

While I still think it is not entirely right for this film and it is sometimes too overblown, I'm still listening to it sometimes. Especially in the context of 2009 summer, I'm actually longing for a score like this.

The Bourne Ultimatum by John Powell

Ma favourite of the free, or, better yet, the only one I really like (read: it's more acoustic). Man, John Powell really can mix orchestra with elextronics and diverse live/sampled percussion. The album looses steam somewhat after track 6, but it's still very solid. It all may sound generic at first, but there is a development of different ideas throughout the three scores.

Karol

[Koray Savas 2,251]

It all may sound generic at first, but there is a development of different ideas throughout the three scores.

Yeah, there are several themes he works throughout the films.

[crocodile 8,017]

There are three or four of them, probably more. There is a chase ostinato, love theme and some other material. There is also this theme, appearing in Treadstone Assasins track (from the first score), that gets a nice string arrangement in later scores. I enjoy how he makes the score more and more human and less synthetic as he goes along. The theme I mentioned is a nice example of that: from almost club music to string lament (the Faces Without Names track from the third score). I liked that.

Karol

[Nick Parker 3,040]

The Fury

I used to berate the album for its brevity, but now I feel the length is just right for the album to tell its own musical story. What is very strange is that I can recall almost all of the music except for the main theme. I can recognize it every time I hear it, and I even know how to play it on the piano (speaking of which, has there ever been a piano book that contained something from The Fury?)...yet every time I ask myself to recall the main theme, I hear nothing...either that or I hear "For Gillian". Frustrating, really...anyways, probably my favorite moment in the entire score would be in "Gillian's Escape". Around 5:27 or so, the main theme is played on what I believe to be somewhat high-register violins. What really gives me chills, though, is the low strings starting at 5:31. The only thing that irritates me is that I can only recall the low strings, never the higher strings that are playing the main theme! Oh, I love this score....

By the way, Marian, would you be familiar enough with the film to answer a question of mine regarding "Gillian's Vision"?

"For Gillian"

[Desplat13 1]

El Salon Mexico by Aaron Copland, conducted by Aaron Copland. Brilliant. Love it.

[Joe Brausam 214]

I almost picked up an album today with Bernstein conducting that piece.

[Desplat13 1]

I found this album at our Goodwill yesterday for $3.99. Very lucky me. I'm really looking forward to going through the whole thing.

[Joe Brausam 214]

Haha, wow! That is a GREAT find!

[Incanus 5,715]

The Fury

I used to berate the album for its brevity, but now I feel the length is just right for the album to tell its own musical story. What is very strange is that I can recall almost all of the music except for the main theme. I can recognize it every time I hear it, and I even know how to play it on the piano (speaking of which, has there ever been a piano book that contained something from The Fury?)...yet every time I ask myself to recall the main theme, I hear nothing...either that or I hear "For Gillian". Frustrating, really...anyways, probably my favorite moment in the entire score would be in "Gillian's Escape". Around 5:27 or so, the main theme is played on what I believe to be somewhat high-register violins. What really gives me chills, though, is the low strings starting at 5:31. The only thing that irritates me is that I can only recall the low strings, never the higher strings that are playing the main theme! Oh, I love this score....

By the way, Marian, would you be familiar enough with the film to answer a question of mine regarding "Gillian's Vision"?

"For Gillian"

The Fury OST album is one of the best JW re-recorded OSTs and soundtrack albums there are in my humble opinion. The 40 minute running time covers all the main cues from the score (the actual film score is just 55 minutes long), but the performance by the LSO really sets it apart. The Epilogue which was composed specifically for the album is alone worth the price (hmmm perhaps that depends on how much this CD is worth these days. I got mine before it became out of print). Gillian's Escape is truly one of the highlights on an album that is full of them. And the main theme is the backbone of the score, almost omnipresent, and to me the reason I got this soundtrack in the first place after hearing it only once.

[Nick Parker 3,040]

Now that I think of it, The Fury was probably John Williams' most introspective score at the time, huh? (Disregarding Jane Eyre, although I am not sure if "introspective" is the word to describe that score.)

[Incanus 5,715]

Introspective is not exactly a word that I would describe most of the music of The Fury. I do not know if this score is amoung Williams' favourites to call it a personal score. It could be. I find it to be primal, visceral and at the same time to the contrary elegant. On the other hand very powerful almost physically so, driving, relentless, brooding, gothic and on the other hand lyrical almost ghostly in it sense of wonder and heartbreaking in its tragic tones. There is a sense of great drama about the music which draws me to it. It is big, bold and full of emotion, every note imbued with importance whether it is lyrical and playful like For Gillian or tortuously agonized as Vision on the Stairs. It gets under your skin and moves you, as I said before, on a primal level.

Example of this: It is truly surprising for myself to find how a few notes on the harp playing the main theme in Hester's theme and the House (1;54->) cause such a strong emotional reaction in me. I feel the tragedy and the lyricism so strongly every time it is like magic. I guess the best music works that way.

[Nick Parker 3,040]

I think "elegant" is the right word to use. However, I do have to say that listening to The Fury places me in a contemplative and introspective frame of mind.

[Hanman 0]

Final Fantasy: The Spirits Within by Elliot Goldenthal. I think it is fairly good. Thank god Nobuo Uematsu didn't compose the score; I hate his music actually.

[Nick Parker 3,040]

I think you just made some people here very angry....

[Neimoidian 14]

Final Fantasy: The Spirits Within by Elliot Goldenthal. I think it is fairly good. Thank god Nobuo Uematsu didn't compose the score; I hate his music actually.

It'a really good score indeed, but IMO far from Uematsu's greatest works.

[crocodile 8,017]

So what Uematsu works would you recommend? I'm familiar only with FF8 (the orchestral version).

Karol

[Neimoidian 14]

So what Uematsu works would you recommend? I'm familiar only with FF8 (the orchestral version).

Karol

Final Fantasy VII and VIII are gems. In their original form they are synthesized (VIII OST has some orchestral cues, though) which may put you off, unfortunatelly. Still, the quality of the composition is commendable. He has conjured some of the greatest melodies there. I have started listening to them many years ago, so their sound didn't discourage me. You may also look for orchestral versions of the pivotal cues on YT - I suggest Tour de Japon concert recordings (here you have orchestral FFVII - Main Theme and here you can compare it with the original synth version).

The only film score of NU that I know is Final Fantasy VII Advent Children, which is a blend of orchestral sound with rock and techno. It's not music for everyone, but I recommend it anyway (a lot of great stuff there, too

[Joe Brausam 214]

Final Fantasy VI is also a great one, an entire opera sequence was composed for it!

Was that Uematsu though?

[Neimoidian 14]

Final Fantasy VI is also a great one, an entire opera sequence was composed for it!

Was that Uematsu though?

Yes, he composed all early FFs .

[crocodile 8,017]

Final Fantasy VII and VIII are gems. In their original form they are synthesized (VIII OST has some orchestral cues, though) which may put you off, unfortunatelly. Still, the quality of the composition is commendable. He has conjured some of the greatest melodies there. I have started listening to them many years ago, so their sound didn't discourage me. You may also look for orchestral versions of the pivotal cues on YT - I suggest Tour de Japon concert recordings (here you have orchestral FFVII - Main Theme and here you can compare it with the original synth version).

The only film score of NU that I know is Final Fantasy VII Advent Children, which is a blend of orchestral sound with rock and techno. It's not music for everyone, but I recommend it anyway (a lot of great stuff there, too

Final Fantasy VI is also a great one, an entire opera sequence was composed for it!

Was that Uematsu though?

Thanks for the suggestions.

Karol

[John Crichton 4]

FFs VI-IX are his best scores. VI is probably the best, but you'll have to deal with SNES era synths. Uematsu can make them sound like a full orchestra as much as possible, though. And for IX the OST Plus is a must as it has almost all the cutscene cues, which were recorded with a live orchestra.

I would also recommend tracking down as many live concert pieces as possible, there are various releases but I think most are OOP.

[Marian Schedenig 8,206]

Frustrating, really...anyways, probably my favorite moment in the entire score would be in "Gillian's Escape". Around 5:27 or so, the main theme is played on what I believe to be somewhat high-register violins. What really gives me chills, though, is the low strings starting at 5:31. The only thing that irritates me is that I can only recall the low strings, never the higher strings that are playing the main theme! Oh, I love this score....

I know most people hate it with a passion, but I really recommend watching the film, if only for the visuals and music. Gillian's Escape remains one of the most impressive scenes in film history to me, and certainly one of the best-scored ones. And you don't get any distracting sound effects, either - those are removed and replaced by the music itself.

By the way, Marian, would you be familiar enough with the film to answer a question of mine regarding "Gillian's Vision"?

Certainly.

[indy4 155]

Damien: The Omen II:

I'm so glad I got the box set, because otherwise I wouldn't have ordered this score. It was much better than what I remembered from the film. "Main Titles" and "Broken Ice" are the two highlights, but there are many other wonderful moments in the score. Even the stuff that was taken from the original is performed differently. "The Number of the Beast" is a nice variation on JG's stuff from the first, with the choir being much more aggressive than it was in the original. 4/5 stars

[Incanus 5,715]

Damien: The Omen II:

I'm so glad I got the box set, because otherwise I wouldn't have ordered this score. It was much better than what I remembered from the film. "Main Titles" and "Broken Ice" are the two highlights, but there are many other wonderful moments in the score. Even the stuff that was taken from the original is performed differently. "The Number of the Beast" is a nice variation on JG's stuff from the first, with the choir being much more aggressive than it was in the original. 4/5 stars

I love how Goldsmith develops his sound for the sequel and adds more elements to his sound world. One particular detail that sticks to my memory is the wonderfully wicked "Crow" motif which the male choir literally croaks out.

Flesh + Blood by Basil Poledouris: Medieval Conan the Barbarian without the choir and has a less rough edge to it. Some sections are truly rousing but will need more listens to fully appreciate I think.

[Nick Parker 3,040]

I know most people hate it with a passion, but I really recommend watching the film, if only for the visuals and music. Gillian's Escape remains one of the most impressive scenes in film history to me, and certainly one of the best-scored ones. And you don't get any distracting sound effects, either - those are removed and replaced by the music itself.

Actually, I did watch it a month or so ago, and this scene still stands out as one of Brian DePalma's most brilliantly musical scenes, and that is saying something. I loved how the reprise of "For Gillian" gave her escape this cathartic feeling of freedom (and I love how the strings race up to that high resting point, too), only for the bad guys (I watched it at 2:00 A.M.) to screw it up by killing that one lady. Unfortunately, I do not remember the happenings of the film that accompanied my favorite moment in the score....

Certainly.

This is a rather simple question, but here goes...I was watching the film last month, and I got to this scene where Gillian is sitting by some counselor of some sort by a transparent table. Gillian concentrates and eventually has visions of Robin being held in some kind of study room or something to that effect. The scene ends with the counselor being seriously wounded by Gillian's mind. Is this the scene scored by "Gillian's Vision"? I remember the music being rather chaotic, like "Gillian's Vision", and it seems to work with how I remember the scene, but I am not entirely sure. Thank you in advance!

[Marian Schedenig 8,206]

This is a rather simple question, but here goes...I was watching the film last month, and I got to this scene where Gillian is sitting by some counselor of some sort by a transparent table. Gillian concentrates and eventually has visions of Robin being held in some kind of study room or something to that effect. The scene ends with the counselor being seriously wounded by Gillian's mind. Is this the scene scored by "Gillian's Vision"? I remember the music being rather chaotic, like "Gillian's Vision", and it seems to work with how I remember the scene, but I am not entirely sure. Thank you in advance!

Ooh. "Certainly" may have been pushing it. I only vaguely remember the scene at the moment, but I think you are correct. Especially the "slicing" music at 2:06 seems to me to be from Gillian's slicing.

[crocodile 8,017]

Public Enemies by Elliot Goldenthal

Or should I say: a sample of that score? It is not bad. Not one of his greats, but better than almost anything else this year. It is amazing how restrained this music is, knowing its composer. Album doesn't do it justice though. Pity. It could have been a great disc.

Karol

[Marian Schedenig 8,206]

Ooh. "Certainly" may have been pushing it. I only vaguely remember the scene at the moment, but I think you are correct. Especially the "slicing" music at 2:06 seems to me to be from Gillian's slicing.

I can with certainty say that the big bold statement of the main theme at 3:08 underscores... Kirk Douglas rushing to a telephone cell. I've always thought that a strangely mundane scene for the most ballsy statement of the theme.

[Koray Savas 2,251]

Public Enemies by Elliot Goldenthal

Or should I say: a sample of that score? It is not bad. Not one of his greats, but better than almost anything else this year. It is amazing how restrained this music is, knowing its composer. Album doesn't do it justice though. Pity. It could have been a great disc.

Karol

What do you mean the album doesn't do it justice? I'm pretty sure all of the music was included, there wasn't much score in the film. If you think this is pretty good, I'd recommend you listen to Zimmer's The Thin Red Line. They used Powell's cue from the score in the film, and HZ got thanked in the credits. And since you liked The Pledge, you should most certainly like this.

[crocodile 8,017]

I'm familiar with Thin Red Line score and enjoy it quite a bit.

As for Public Enemies, there was more music in the film. All the suspense cues are absent from the album.

Karol

[Koray Savas 2,251]

I'm familiar with Thin Red Line score and enjoy it quite a bit.

[Morlock 11]

I've been trying to get more people into Jon Brion here. The first two tracks are my top played tracks on iTunes. I wish he'd get more work doing orchestral work since he's got such a unique voice. If you haven't heard any of his own music (like his album Meaningless), I recommend you check some of it out.

Well, you succeeded in getting me into him. And you're also partly responsible for a hefty royalties check he got from Spain.

We really could use more Brion scores, for sure. I've been listening to the stuff of his I have a lot recently, after listening to the film music radio interview with him.

Also been listening to some favorite Desplat stuff. It's weird- neither Lust, Caution nor The Painted Veil can hold my interest for long, but both have two themes that I can't get enough of (Wong Chia Chi's and Kitty's, respectively). My admiration for his work on The Queen is re-affirmed with every listening cycle. Largo Winch is a bit too flowery, but has some fun action stuff...a couple of the action cues remind me of Goldenthal and Powell, with a bit of Goldsmith, while still sounding like Desplat.

[Joe Brausam 214]

I'm familiar with Thin Red Line score and enjoy it quite a bit.

As for Public Enemies, there was more music in the film. All the suspense cues are absent from the album.

Karol

I believe Goldenthal said in his FSM interview that a 2-disc set that included all his score and the songs was originally planned. Shame we didn't get it.

[crocodile 8,017]

If this is indeed the case, then it's very unfortunate.

No new score from Goldenthal for years and when one appears... it's like 17 minutes on the album.

Also been listening to some favorite Desplat stuff. It's weird- neither Lust, Caution nor The Painted Veil can hold my interest for long, but both have two themes that I can't get enough of (Wong Chia Chi's and Kitty's, respectively). My admiration for his work on The Queen is re-affirmed with every listening cycle. Largo Winch is a bit too flowery, but has some fun action stuff...a couple of the action cues remind me of Goldenthal and Powell, with a bit of Goldsmith, while still sounding like Desplat.

I like The Water Wheel track from The Painted Veil. And The Queen is great indeed. But what I really liked from Desplat recently is his Hostage score. Quite touching for a film like this.

Karol

[Joe Brausam 214]

We still have The Tempest to look forward to in the Fall, at least.

[crocodile 8,017]

Haven't heard about it.

Karol

[Delorean90 42]

The Boys From Brazil - Jerry Goldsmith

It arrived in the mail today, and I just finished listening to this score. Excellent! This is some wonderful, rich, orchestral film music. By turns exciting, terrifying, reflective, and joyous, Goldsmith put a lot into this one. The Nazi motif is addictively menacing, and the jubilant main waltz gets some fine variations. I'm not sure what to make of the elegaic motif (the one featured in "Jungle Holocaust" and in the aftermath of "Print!"). Not having seen the film, just judging from the liner note descriptions, it seems to reflect the ambiguity of the situation that the cloned boys are in. It seems to almost champion them--they've done nothing deserving of their history so far--all the while being wary of the possiblities wrapped up in them, and acknowledging the sadness of the whole mess. Anyone else have any thoughts or insights?

At any rate, this is a wonderful score. If you're a Goldsmith fan (especially his '70s-early '80s orchestral work), and you can put out the money somehow, do yourself a favor and grab this one before it's gone.

[Desplat13 1]

An Outdoor Overture and Billy the Kid, composed and conducted by Aaron Copland.

The first was somewhat easy listening, though largely forgettable. Billy the Kid is, of course, a classic, and to hear it conducted by Copland himself is exhilarating.

[Koray Savas 2,251]

I like The Water Wheel track from The Painted Veil. And The Queen is great indeed. But what I really liked from Desplat recently is his Hostage score. Quite touching for a film like this.

Desplat is slowing taking over Hollywood. I'm not sure if it's a good thing though. I guess if he keeps churning out stuff like The Curious Case Of Benjamin Button (the only score of his I really like) then I'm good. But he took over Malick's Tree Of Life from James Newton Howard, which could have possibly been a superb score; and he's doing Wes Anderson's The Fantastic Mr. Fox. Hopefully he'll deliver on these two, for I have been anticipating them for some time.

[crocodile 8,017]

It's never a good thing when one trend overshadows the others. But, at the same time, there are much worse things thet could happen to Hollywood than Desplat. I, for one, am glad. At least man has some personality and range.

Karol

[Trent Hoyt 13]

I listened to my old TWOK one more time before I get the new release.

[Jay 37,370]

Jerry Goldsmith - Gremlins

Listened to this last week when I thought it was going to the big July FSM release. It's funny how much of this music I just KNEW, despite the fact that I haven't really listened to the boot all that much. I just know it from growing up on the film. Same with Back To The Future, The Goonies, and the Star Wars / Indiana Jones films. I really hope Gremlins and Goonies get released one day.

James Horner - Star Trek 2: The Wrath Of Khan (Complete)

Figured I'd listen to the boot one last time before deleting it forever. Yay!

Anyway, still a great score, and while the OST is well-constructed and covers the highlights, the full score in proper order is a real treat. Some good variations on all the themes can be found in the unreleased cues.

I'm very glad for the improved sound quality of the new FSM release; I had forgotten how.... muddy the OST is, especially when compared to recent releases. The clips on the FSM site are a definite improvement.

[Joe Brausam 214]

I watched The Happening last night and was pretty happy with JNH's score. I think I'll have to pick up the album.

[crocodile 8,017]

It's definitely good. Better than the movie deserved.

Karol

[King Mark 3,631]

Million Dollar Baby.

I recall not saying nice things about it back then but the Morricone like tracks (Nice Working with You,Deep in Thought...) are quite beautiful.

Did Clint Eastwood orchestrate that himself ?

[indy4 155]

The Final Conflict:

A great score! Unlike the other two, the real standouts in this one are not the horrific music but the gorgeous music of "The Second Coming" or the adventurous music of "The Hunt." The rest of the score is very good, but these two cues are the real gems of the score. Interesting how Goldsmith pretty much forgot "Ave Satani" and most of his music for the first two. I love the main theme. 4/5 stars