What is the last score you listened to?

[Andy 4,142]

I.Q. (Jerry Goldsmith) - I am shocked at how much I actually enjoyed this. I popped it in, ready to cringe (recalling having seen the movie back when it debuted). Truthfully, some of the doo-wop parts made me wanna hit the skip button, but then Goldsmith brought the strings in and made it work. It's fun, it's light, and it's (can't believe I'm saying this) cute. File under guilty pleasure.

I have not listened to SECONDS in its entirety yet, so I'll wait to comment on it, but so far, this looks like $10 well spent.

[crocodile 8,020]

The Wolfman by Danny Elfman: After a few listens this score has really gotten under my skin. The 4-note main motif is extremely malleable and stretches to interesting and powerful variations in the running time of the album. At first it sounded like the music had no variety but Elfman actually retains a certain atmosphere throughout the album but succeeds in bringing something new to every version of the main thematic material. It is not a cheerful listen by any means but the gothic and classic horror feel are a joy to hear. The music broods and unleashes short burts of orchestral mayhem at suitable interwalls to retain aural interest. After spotting the obvious Kilar influences, I have completely forgotten about them as Elfman really follows his own insticts with the rest of the score. You could say this is darker and less romantic (and surprisingly less action filled) sibling of the Sleepy Hollow.

Pretty much sums up my feelings.

As for the Kilar references... I'm not so sure anymore. I listened yesterday to WIlliams' own Dracula score and it looks like Elfman did emulate this one as well. Ah, the good ol' Transilvanian horror music.

Karol - who enjoys a more sombre and slow feel to the score very much (as opposed to many people)

[publicist 4,643]

As for the Kilar references... I'm not so sure anymore. I listened yesterday to WIlliams' own Dracula score and it looks like Elfman did emulate this one as well. Ah, the good ol' Transilvanian horror music.

The only inspiration i hear is indeed THE BRIDES from Kilar's DRACULA, but even that seems so vague that i honestly don't know if there are former references (like the old Universal or Hammer stuff) the modern fan just has no clue about.

I listened to

which is another proof that real soundtrack accomplisments are to be found far beyond the shores of L. A. these days. I talk about 2 to 11 minute pieces which have solid musical structure and contrast the hard-to-digest horror/dissonant stuff with sophisticated melodic writing, nicely culminating in the final track, DAYBREAKERS. Chris Gordon has scored a winner with last year's MAO'S LAST DANCER and this is another example of what a distinguished composer can bring to the table if they only let him (or her). It may not be to everyones taste, but i encourage everyone to lend an ear to Immolation, On The Run , Fermentation Tank, Ambush, Resurrection, In The Sun and Spreading The Cure as well. It's really good stuff.

[Jay 37,374]

Jerry Goldsmith - Innerspace (La La Land CD)

Meh. Nothing here really grabbed me. I'll give it another listen sometime soon, but then will probably have to rent and watch the movie before listening again.

Christopher Young - Spider-Man 3 (80 minute promo)

Wonderful score! The 45 minute version never dragged, and neither does this 80 minute version! I love all the themes, the action music, the quiet music. Great score.

[indy4 155]

The Reivers:

A very good score! Unlike anything I've heard from Williams before, another sign of his great versitility. The strongest point for me are those harmonica renditions of one of the main themes, heard in "Main Title" and "Lucius Runs To Corrie/Back Home." They're so nostalgic and peaceful, just fantastic.

[Datameister 2,044]

Wonderful score! The 45 minute version never dragged, and neither does this 80 minute version! I love all the themes, the action music, the quiet music. Great score.

Really? I haven't heard any of the music apart from the film, but I remember being thoroughly unimpressed in the theater. Sounded to me like it was just a direct rehash of material from the first two films, with one or two cool new themes thrown into the mix. Maybe I was mistaken.

[Richard Penna 3,695]

What's heard in the film is indeed a rehash of previous themes, but much of that was rescored by Lurie and Debney.

Young's originally composed score is far more original and tidily presented particularly with a new love theme. Unfortunately there's an unusual legal situation with Elfman preventing Young's sole work being released.

[indy4 155]

The Lord of the Rings trilogy--still awesome.

[Datameister 2,044]

What's heard in the film is indeed a rehash of previous themes, but much of that was rescored by Lurie and Debney.

Young's originally composed score is far more original and tidily presented particularly with a new love theme. Unfortunately there's an unusual legal situation with Elfman preventing Young's sole work being released.

Oh, interesting. I didn't know this.

[Naïve Old Fart 9,554]

Stepmom

*yawn*

I am forced to agree with you. It's pretty much wallpaper, isn't it? Nice guitar, tho'.

[Trent Hoyt 13]

I have been listening to Varese Sarabande: A 30th Anniversary Celebration. Lots of music to listen to on this 4 disc set and its very cost effective.

[Ollie 1,059]

I have the first two volumes and while they feature quite a bit of good stuff I find once you get past the big name composers, the rest starts to sound the same.

[Charlie Brigden 7]

RATATOUILLE, my favourite Giacchino. Stunning as always.

[Diego 21]

Black Sunday of which I already gave my thoughts on the Black Sunday thread.

Players. Nice one, the love theme reminds of The Twilight Zone.

[Richard Penna 3,695]

Bits from all 3 LotR CR sets.

I've taken a very long break from the series, and I must be in the right mindset tonight - brilliant and nostalgic music

I think Two Towers remains my favourite of the three. It has such a wonderfully rustic and clear quality.

[Wojo 2,453]

Strange, that's my least favorite.

[Richard Penna 3,695]

RotK is actually my least favourite, because I think that some bits that were written during his '6 mins a day' phase kind of show a bit, and there's a lot more filler.

[crocodile 8,020]

RotK is actually my least favourite, because I think that some bits that were written during his '6 mins a day' phase kind of show a bit, and there's a lot more filler.

I thought Shore was writing TTT under much more difficult circumstances than in the case of ROTK. I can be wrong though.

Karol

[John Crichton 4]

TTT shows much more signs of rush and filler than RotK, which for its length has surprisingly little filler.

[Quintus 5,399]

TTT still has some spectacular highlights, nonetheless.

[John Crichton 4]

It does. I actually enjoy it much, much more than I used to. The opening sequence through the Gandalf/Balrog fight and Theoden Rides Forth are two of the finest cues of the series.

[Quintus 5,399]

That they are.

[Trent Hoyt 13]

I have the first two volumes and while they feature quite a bit of good stuff I find once you get past the big name composers, the rest starts to sound the same.

I have noticed that myself. I find myself checking the track titles and being surprised that is a different film.

[Morlock 11]

As per my conversation with Marian a few weeks back- I found a way into a Goldsmith mood. Strangely, it started with Rudy, hardly a great score. But it led to Hoosiers (also not a great score), and that got the ball rolling. Been having a great time. Started with a whole lot of the Varese box set. Listened to The Detective, which is decent, S*P*Y*S, which I always enjoyed, and whole lot of other selections...but my favorite disc is #2. The westerns are fantastic. I recalled being kind of down on Bad Girls in the past, but I loved it this time, and 100 Rifles is always fun, as is Rio Conchos. Nice theme for Justine, Agony and the Ecstasy Prologue as well.

That got me in the mood for I think the only Goldsmith western I have on its own CD, The Way of the Gun. Really good score, with a great theme. Lionheart, Volume 2 followed, which I forgot jsut how melodic and fun it is. Next on the playlist: Basic Instinct (original OST, don't have the expanded one), Patch of Blue, Mephisto Waltz/ The Other, and Twilight Zone. It's at this point that I feel really bummed out that I don't have so many of the awesome Goldsmith scores released recently (or even not so recently). Islands in the Stream, The Boys from Brazil, Inchon, Players, Freud, I.Q., Lonely are the Brave, In Harm's Way, One Little Indian...and, of course, the Williams and other goodies. Damn.

[Naïve Old Fart 9,554]

As per my conversation with Marian a few weeks back- I found a way into a Goldsmith mood. Strangely, it started with Rudy, hardly a great score. But it led to Hoosiers (also not a great score), and that got the ball rolling. Been having a great time. Started with a whole lot of the Varese box set. Listened to The Detective, which is decent, S*P*Y*S, which I always enjoyed, and whole lot of other selections...but my favorite disc is #2. The westerns are fantastic. I recalled being kind of down on Bad Girls in the past, but I loved it this time, and 100 Rifles is always fun, as is Rio Conchos. Nice theme for Justine, Agony and the Ecstasy Prologue as well.

That got me in the mood for I think the only Goldsmith western I have on its own CD, The Way of the Gun. Really good score, with a great theme. Lionheart, Volume 2 followed, which I forgot jsut how melodic and fun it is. Next on the playlist: Basic Instinct (original OST, don't have the expanded one), Patch of Blue, Mephisto Waltz/ The Other, and Twilight Zone. It's at this point that I feel really bummed out that I don't have so many of the awesome Goldsmith scores released recently (or even not so recently). Islands in the Stream, The Boys from Brazil, Inchon, Players, Freud, I.Q., Lonely are the Brave, In Harm's Way, One Little Indian...and, of course, the Williams and other goodies. Damn.

Sorry, dude, must disagree: "Hoosiers" is one of the best Goldsmith scores of the 80s, along with "Runaway", "Link", and "Extreme Prejudice".

[Ollie 1,059]

That got me in the mood for I think the only Goldsmith western I have on its own CD, The Way of the Gun.

I think you mean Hour Of The Gun.

[Morlock 11]

D'oh! I do indeed. Good stuff. Mephisto Waltz is more interesting than I remembered. @Richard: Don't have Runaway or Link, but I listened to Extreme Prejudice once, and couldn't stand it.

[Charlie Brigden 7]

I absolutely adore A PATCH OF BLUE. And then stuff like TWILIGHT'S LAST GLEAMING, or even the more comedy-orientated scores such as MATINEE or THE 'BURBS. As for westerns, you can do worse than BREAKHEART PASS.

[Marian Schedenig 8,211]

I guess the only time in the last 10 years I've listened to The Other was after Goldsmith died and I went through my entire Goldsmith collection. It never grabbed me much... perhaps I should give it another try.

Sorry, dude, must disagree: "Hoosiers" is one of the best Goldsmith scores of the 80s

I don't know Hoosiers yet, but I adore Rudy.

[Neimoidian 14]

CEo3K

I have played this score many times before, but I feel like I haven't really listened to it until now. I noticed so many things this time around. Things that I would either not pay any attention to or not appreciate during my previous listenings. Particularly I refer to the latter part of the score comprising very modern music, full of seemingly unpleasant sonoristic techniques, which - maybe except for Wild Signals never used to appeal to me. Hoverver, my appreciation fot that kind of music has grown significantly over the years, so this time I kind of listened to CE with new ears. What a terrific experience that was!

[Jay 37,374]

Michael Giacchino - Star Trek (Datameister Complete)

I still like this score a lot, and hope a Vol 2 CD release is imminent.

Bear McCreary - The Plan & Razor

Didn't do a ton for me. I've always liked the BSG music, but never LOVED it... while I feel each season CD release was better than the last, this one didn't catch my ear as much. Need to give it another listen though.

Michael Giacchino - The Incredibles (Complete)

Upon this listen, I liked this score more than I ever have before! Perhaps because it was my 4th or 5th time doing so and I recognized the themes more, or perhaps the complete score is just a better listening experience than the OST. Whatever, I'm really looking forward to giving the Ratattouille and Up C&C promos a spin real soon

[Maglorfin 196]

ID4, my appetite being of course whetted by the LLL complete score announcement/confirmation.

[Richard Penna 3,695]

I should take out my ID4 DVD (wow, I still have those) and take a look at the finale. I remember there being some great brass material during the attack on the ground.

[Jay 37,374]

Me too Maglorfin, I listened to the World Records boot of ID4 last night. Man, what great music. And possibly the best sounding boot ever?

Then I listened to the rear channels of the DVD for the film version of The Virus and The Day We Fight Back - wow wow ! Amazing music! Such a shame it was never bootlegged, can't wait to get hear it on the new LLL set!

[Ollie 1,059]

I have thrown out almost all of my old shoes and will not wear them anymore.

I've been listening to The Shining quite a bit, that would be Wendy Carlos' version. Some very interesting ideas by her that never made it into the final film. The liner notes are somewhat amusing as she seems to express some frustration and a "I should have known better" attitude in some cases when dealing with Kubrick.

But the score is very atmospheric and the music on it's own can be very effective in creating an unsettling mood. The basis for the theme is based on Hector Berlioz' interpretation of the "Dies Irae". And according to the notes, Kubrick would not accept any other version of Dies, unless it was the Berlioz version.

[crocodile 8,020]

A Single Man by Abel Korzeniowski

Very nice score. The CD is delight from start to finish. Even with tracks from other composers. I particularly like Umebayashi's reworking of Herrmann's music from Vertigo. A very nice surprise. 2010 sounds good already.

The Wolfman by Danny Elfman

Karol

[Incanus 5,716]

Far and Away by John Williams I hadn't listened to this in a good while and really forgotten how wonderful this score is. Great symphonic music with Irish flavour and rambunctiuous Americana and the music just bursting with emotion. What struck me during the listen was how Williams utilizes synthesizer tones in the score. Very subtle but very effective, enhancing the natural sounds of the orchestra, extending them a bit for a specific effect. Also I have always loved the extremely melodic and comically charged Irish fight music in the score that provides a jaunty down to earth feel for the Irish roots of Joseph.

I think that the OST album is very well put together with no dead spots, not even the middle where there are subtle cues for character development. They make the grand finale all the more exciting as things build into the Land Race sequence with a good musical arc. The End Credits bring the album to a close with the best possible note, containing all the main thematic material in one joyous suite that is one of my favourites from the Maestro.

[Neimoidian 14]

No dead spots? What about romance cues then? They are my only problem with this otherwise very good album.

[Richard Penna 3,695]

A Single Man by Abel Korzeniowski

Very nice score. The CD is delight from start to finish. Even with tracks from other composers. I particularly like Umebayashi's reworking of Herrmann's music from Vertigo. A very nice surprise. 2010 sounds good already.

Karol

I saw that on Weds. Score was nice, but it went too far into the classical realm for me to really connect with.

[crocodile 8,020]

I have yet to see it.

Karol

[Richard Penna 3,695]

Good film. Colin Firth thoroughly deserves the oscar.

[gkgyver 1,645]

Alice In Wonderland

I think the score is terrific, but I always find it odd when the music somehow doesn't develop. The action/bombast cues in the middle and the beginning sound like the finale cues, which makes the experience a bit more flat.

[Incanus 5,716]

No dead spots? What about romance cues then? They are my only problem with this otherwise very good album.

Nope, no dead spots for me. The romance cues are fine. Just fine.

Lust, Caution by Alexandre Desplat: In this Desplat's subtlety works wonders. Delightful mix of romance and suspence with beautiful themes.

[Maglorfin 196]

Finally received Black Sunday and gave it a first complete spin. Having never before seen the film or heard the score, I think it's a great early action effort by JW, in a way forecasting many things to come in the years to follow; e. g. the Hotel Lobby sorce cue may be a kind of "ancestor" of Cantina Band, and I love those marching percussion solos in Fight Song #2. Also, the marimba opening of Nurse Dahlia/Kabakov's Card/The Hypodermic immediately reminded me of the marimba opening of The Airport Scene from CMIYC (only it's in a different key). It's always somewhat fascinating to me hearing JW's before-SW action writing, and this is certainly a great example.

And now moving on to ... Misery

[Naïve Old Fart 9,554]

The Reivers:

A very good score! Unlike anything I've heard from Williams before, another sign of his great versitility. The strongest point for me are those harmonica renditions of one of the main themes, heard in "Main Title" and "Lucius Runs To Corrie/Back Home." They're so nostalgic and peaceful, just fantastic.

If you can, get hold of a copy of a J.W./Boston Pops recording called "Music From Stage And Screen", as it has a lot of ureleased music, including the horse-race music near the end of the film. It also has a charming narration by Burghess Meredith. Of course, once you've seen/heard it live (complete with Oliver Ford Davies narration)...

[#SnowyVernalSpringsEternal 10,265]

Shaft In Africa by Johnny Pate and The Four Tops.

Nice addition to the Shaft: His Big Score and More set.

The slipcase very nicely simulates an LP sleeve, it even has the transparant plastic wrapper to protect the LP (CD) against scratches.

[crocodile 8,020]

Wolf by Ennio Morricone

I like it very much. The restrained noiry feel to it is a nice change, as compared to the typical outright horror approach. And underrated gem.

On a side note, it is really baffling for to see what so many people perceive as weak and boring film music. This score is one of these. I hardly can remember anyone giving praise to this music. Most of the opinions are very lukewarm at best. Weird, because I think this is very strong score. Not a big film music fireworks, which seems to be the only thing people appreciate, but a mature, careful and assured writing, which requires patience and, yes, careful listening. The latter seems to be the last thing people are willing to do, which is ironically one of the qualities film score listener ought to have. Pity.

Or maybe I'm not in the mood today...

Karol - who is now (more than often) really tired of all Cutthroat Islands and ID4's of this world.

[Richard Penna 3,695]

Powell's Green Zone.

No themes, doesn't even seem to be any underscore. It's just generic (although not quite MV) rhythms for the entire 50 mins. Any bad vibes you might've heard about the score are true.

[gkgyver 1,645]

El Cid

The re-recording of the complete score.

My god, this is what good film scores used to sound like!

...

Today's film scores, despite of some honourable mentions, are just junk in comparison.

They use the same notes, the same instruments, but it doesn't sound the same.

[Jay 37,374]

John Williams - 1941 (boot)

Randomly decided to listen to this when I needed to listen to something I had already heard before. The more I listen to this score, the more I desire a Complete release.

Michael Giacchino - Ratatouille (Cast and Crew promo)

Fun score! I like that its played by different instruments than most of the film scores I listen to. I need to see the film again though cause seeing it one time in theaters, I have no clue what any of this music underscored.