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What is the last score you listened to?


Mr. Breathmask

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Pretty wonderful playlist tonight. The original CE3K album, Jaws, Superman, ROTLA, E.T. and Home Alone 2.

What the hell was Williams thinking with that alternate Holiday Flight?

hahahaha yes, It's exceptionally out of place (and crappy, IMO)

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I almost wonder if Varese made an error, has anyone actually synced it up to the film?

I think there was some questions about one of the bonus cues at the end of Ghostbusters and then there was the mistake on the re-recording of 2001 with North's main title for Africa being included as the theme for Kubrick's film.

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It's boring, sounds to much likes parts of Cantina Band, and would have been completely out of place in the film. I concede, I may think it's crappy because imagining it in the context of the film makes it seem so. But then again, the "We overslept Again/Holiday Flight" is one of my favorite Williams cues.

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Amélie:

This score is fantastic! I absolutely love both of Amélie's themes, they, along with the rest of the score, are gorgeous.

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Is it about Yann Tiersen's Amelie or Gabriel Yared's Amelia? The first one is fine (if you like small scale French accordion music), as is the second (if you like broad melodrama).

Karol

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Is it about Yann Tiersen's Amelie or Gabriel Yared's Amelia? The first one is fine (if you like small scale French accordion music), as is the second (if you like broad melodrama).

Karol

The former.

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El Cid by Miklós Rózsa (The New Zealand Symphony Orchestra version): What a brilliant score this is as many have noted in this thread. The James Sedares conducted single CD containing many highlights of the score is tremendously entertaining and the performance is energetic and resoundingly dramatic. I have no idea how well this recording captures the original tempo- or dynamic-wise but as a listening experience it is wonderful.

This is a perfect distillation of this score if you do not have time to listen to the whole mammoth all at once.

Close Encounters of the Third Kind (The Collector's Edition) by John Williams: A masterpiece. The progression through apprehension, tension and fear to awe, majesty and harmonious musical coming together of humans and extra-terrestrials grows to near religious proportions and leaves me misty eyed everytime. And as with E.T. you do not even have to know what the finale is about to be completely in awe after the music drifts into silence with those 5 magical notes.

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Close Encounters of the Third Kind (The Collector's Edition) by John Williams: A masterpiece. The progression through apprehension, tension and fear to awe, majesty and harmonious musical coming together of humans and extra-terrestrials grows to near religious proportions and leaves me misty eyed everytime. And as with E.T. you do not even have to know what the finale is about to be completely in awe after the music drifts into silence with those 5 magical notes.

I've been listening to this score recently, and I just love how Williams develops the Mountain's Theme. I get goosebumps every time it is heard in the score. Variations like the end of "Encounter at Crescendo Summit" are just fantastic...I love how it unfolds out of the chaos and dissonance, mysterious and unknown. And then the final cue is absolutely breathtaking. I'd say the Mountain's Theme is one of Williams' all time best themes.

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No, but for some reason quite a few people can't get into Rosenman's music.

Don't worry you'll hear it on the 19th. :blink:

Not me, Mark, I've loved Rosenman's music ever since I heard "Beneath The Planet Of The Apes".

Is it me, or is there no musical continuity within "Star Trek:IV"? There seems to be a loose collection of cues that do not develope, or "lead" anywhere. This is the only Rosenman score that I have a big problem with. Does anyone else feel this way?

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Perhaps. But then there isn't that much music in the film. There's mostly the main/end titles, the dissonant probe music, and the two set piece cues for Chekov. Plus you get songs in between.

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Yeah that's prababaly the main reason. The film doesn't rely on a ton of music, which can be a positive attribute. I think there is continuity early in the film but once they travel back in time the music needs to shift away from Trek and concentrate on the current time period. That's when Rosenman takes a comedic detour with the music until they are back on board the Bird Of Prey and tracking the whales.

I enjoy the score and the "Home Again / End Credits" track is simply superb. I would have loved to hear a Rosenman score for a serious Trek film.

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Rosenman's adaptation of the Courage theme at the end is great, and I enjoy the first part of the score proper. Not so much the main theme/titles, or the '86 cues. Well written music sure, but it doesn't work for me in a Trek score.

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I think so. According to interviews, Nimoy was happy with the titles but Rosenman wanted to do something different, or something along that line. There should a Rosenman interview on the web concerning Star Trek IV.

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Been listening to Lost seasons 1 & 2. Question: Are all these albums chronological? If so, where the hell is music from Episode 5 ('...And Found'), with the terrific rendition of the Sun/Jin material?

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Been listening to Lost seasons 1 & 2. Question: Are all these albums chronological? If so, where the hell is music from Episode 5 ('...And Found'), with the terrific rendition of the Sun/Jin material?

Yes the albums are chronological. I think the CDs by necessity skip some episodes in their track selection. Just too much material to put on one disc.

From Lostpedia: This (Season 2) soundtrack does not contain any scores from the following episodes: "Adrift", "...And Found", "Abandoned", "The Hunting Party", "The Long Con", "Lockdown", "Dave", "Two for the Road", "?" and "Three Minutes."

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Yes, the albums are chronological. The booklets tell you which episode every track is from. Do you not have the booklets?

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Yes, the albums are chronological. The booklets tell you which episode every track is from. Do you not have the booklets?

Season 1 or 2 album (or both) has some errors in listing cues from episodes. I don't remember what it was exactly, but there was definitely something wrong there.

Karol

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There's more music for Star Trek IV than people seem to remember. There's still some good sequences like "Departing Vulcan", the distress call from Earth that I'd love to listen to outside of the film.

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Miklós Rózsa a Centenary Celebration: A terrific 3-disc compilation of maestro Rózsa's most memorable and even less known scores. Some performances are, if truth be told, a bit off or weak (mainly by Hamburg Concert Orchestra and choir) but as a whole this set presents a wide range of the composer's formidable talent and style from several decades. And what a delightful and glorius music this man composed, a true artist, and whose music speaks as eloquently in and outside a film.

Highlights for me are the New England Concerto and the Spellbound Concerto, Jungle Book and Julius Caesar but truly nearly every track offers superb moments.

One thing that really leaps off all Rózsa's music is the enormous passion, not only evident in highly dramatic or even melodramatic pieces he wrote, but also in the intergrity of the compositions themselves as pure music.

Luckily this set also shows the intimate writing in which the composer equally excelled even though he is mostly remembered for his fanfaric fare for biblical epics.

Wonderful stuff for a fan of golden age and of film music in general.

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Basil Poledouris - Robocop (2010 Intrada)

Now THIS is the way to listen to this score. Just listening to it complete and in proper order is MUCH improved over the OST, but the sound quality is also greatly improved as well. I enjoyed getting to hear the development of themes and ideas properly. I might make a personal playlist cutting out some of the news/commercial stuff, and I don't get why Across The Board was combined with End Credits into one track. But I have nothing bad to say about it really!

Seeing Robocop on the big screen last week as well as revisiting the score made we want to revisit two out Paul Verhoeven scores:

Jerry Goldsmith - Total Recall (Varese Deluxe)

Wow. I hadn't listened to this in YEARS... in fact I still probably haven't heard the Deluxe version half as many times as I've heard the OST - but its as great as ever. The action music is the highlights, and its interesting how similar they all sound to each other, while each being different at the same time. Like you instantly know its an action cue from Total Recall, but they all sound differently enough they never get repetitive. Great stuff.

Jerry Goldsmith - Basic Instinct (Prometheus Complete)

This is an interesting score for me because its basically built around the 2 main themes. Every time one of them plays, it sounds exciting and makes me want to hum along. And even though there aren't THAT many different variations of the themes throughout the score, they sound GREAT every single time. I think this film was scored perfectly, the music really enhances the film more so than a lot of scores do. Excellent excellent stuff here.

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John Powell - How To Train Your Dragon

Wow, a 70 minute plus score CD from Varese! Excellent! I liked the music, but as I was doing a million other things while listening, I couldn't give it the full attention it deserved, and no themes have stayed with me after listening. But I liked it enough to want to check it out again. I like some Powell scores, like Bolt (both OST and promo).

Michael Giacchino, Chad Seiter, and Chris Tilton - Fringe (OST)

A very nice CD. Again was doing a bunch of stuff while listening, but enjoyed the music the whole time. It didn't remind me of any specific moments from the show, but it captured everything the show can be (creepy, thrilling, funny, otherworldly, etc). And its impressive that for a CD with music by 4 different composers (JJ Abrams is credited with the main title music), it flows really well and you never notice a jump from composer to composer.

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Good lord I'm lovin' the Fringe score. Why couldn't the 1 episode I've seen contain this kind of music? Even the main title theme by Abrams is fantastic. Tilton's work is by far the best IMO. Seiter's is more on the "ominous tone" side, although "The Light Fantastic" is superb. Giacchino's two cues were alright, not even close to any of his other material.

Chris Tilton really needs to score a film.

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Jaws, CE3K original album presentation, Superman, Schindler's List, ROTLA, Home Alone 2 and Sabrina.

I can't listen to Home Alone any time other than Christmas. There are a handful of Christmas scores that only come out once a year for me.

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Good lord I'm lovin' the Fringe score. Why couldn't the 1 episode I've seen contain this kind of music? Even the main title theme by Abrams is fantastic. Tilton's work is by far the best IMO. Seiter's is more on the "ominous tone" side, although "The Light Fantastic" is superb. Giacchino's two cues were alright, not even close to any of his other material.

Chris Tilton really needs to score a film.

Wait you watch LOST every week and like JJ Abram's films, but don't watch Fringe? Why not?

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Some of the Fringe episodes are formulaic, but the ones that add to the mythology of the series are pretty good! I'd recommend renting the first season on blu and giving it another chance

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Hans Zimmer, Nick Glennie-Smith, Harry Gregson-Williams, Don Harper, Steven M. Stern, and Russ Landau - The Rock (146 minute boot)

Wow. One I had always wondered about this score was who wrote what. In the film it just says the music's by Zimmer and NGS... then I read an interview that said it was supposed to just be by NGS, but since a Zimmer contribution is playing when the Music By credit was on screen it had to include his name... but then the score CD says its by Zimmer, NGS, and HGW.... and then inside the booklet it lists 2 more additional composers.... combine that with the fact that 4 of the OSTs 8 tracks are lengthy suites of cues from multiple parts of the film... how is one ever supposed to figure out who wrote what?

Well this boot finally explained it all to me by having every cue's individual writers listed as the artist. Neat! And at the end are some of NGS's original demos proving he at least wrote the big action theme that's the highlight of the score. Now as for whether listening to this version is a better listening experience than the OST... well, I dunno. They are very different from each other. The OST is very streamlined, but not in total chronological order. And while I can't remember any specific highlights from the expanded boot that I wish had been on the OST, I'm sure if I had the time to pour through all the music and built my own OST, I wouldn't have made the same choices they did. I dunno. I still enjoy this music despite it not being the "traditional" film score sound that I usually like exclusively. Though I'm sure a contributing factor in that is that I was 17 years old when I first got it :lol:

The Dust Brothers - Fight Club (OST)

It had been YEARS since I'd listen to this. I've listened to the complete score boot a few times since getting that in the last few years, but not the OST. I had forgotten how dramatic of a difference it is between the complete score in chronological order and the OST. The complete score feels like a score, but the OST feels like halfway between an OST of a score and a Dust Brothers album, if that makes any sense. I had forgotten how much music on here isn't in the film and was probably created just for the OST. Good stuff. Haven't seen the movie in years either; Can't wait to find time to watch my blu.

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Currently listening through the Star Wars Anthology. It amazes me how many alternate takes were used. Because I'm SO used to the RCA releases, it's really interesting to hear the slight differences.

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Hans Zimmer, Nick Glennie-Smith, Harry Gregson-Williams, Don Harper, Steven M. Stern, and Russ Landau - The Rock (146 minute boot)

Wow. One I had always wondered about this score was who wrote what. In the film it just says the music's by Zimmer and NGS... then I read an interview that said it was supposed to just be by NGS, but since a Zimmer contribution is playing when the Music By credit was on screen it had to include his name... but then the score CD says its by Zimmer, NGS, and HGW.... and then inside the booklet it lists 2 more additional composers.... combine that with the fact that 4 of the OSTs 8 tracks are lengthy suites of cues from multiple parts of the film... how is one ever supposed to figure out who wrote what?

Well this boot finally explained it all to me by having every cue's individual writers listed as the artist. Neat! And at the end are some of NGS's original demos proving he at least wrote the big action theme that's the highlight of the score. Now as for whether listening to this version is a better listening experience than the OST... well, I dunno. They are very different from each other. The OST is very streamlined, but not in total chronological order. And while I can't remember any specific highlights from the expanded boot that I wish had been on the OST, I'm sure if I had the time to pour through all the music and built my own OST, I wouldn't have made the same choices they did. I dunno. I still enjoy this music despite it not being the "traditional" film score sound that I usually like exclusively. Though I'm sure a contributing factor in that is that I was 17 years old when I first got it :lol:

Nick Glennie-Smith was the original composer, but Bruckheimer and Bay didn't like what he was doing, so they brought in Zimmer to help him out. Glennie-Smith wrote most of the main themes, and Zimmer essentially adapted them into his own score. Gregson-Williams was mostly just the conductor, but did some additional music as well.

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Frankie Starlight by Elmer Bernstein

Amistad by John Williams

Angela's Ashes by John Williams

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