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What Is The Last Score You Listened To? (older scores)


Ollie

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The Good Dinosaur by Mychael and Jeff Danna

Oh man, this has some of the finest tunes of the year. In what's largely been a bit of a dry-spell in film music, this is a refreshing album to sit through! It's a well crafted package of heartwarming themes, folksy tunes (sometimes rather Copland-esque), ethnic eclecticism, subtle impressionism and even some fun avant-garde bits. Puts much of Giacchino's output this year to shame. Wonderful stuff.

My only gripe with it is the dry sound, which is something that's often burdened the Danna brothers' work.

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That's WB for you... I love the warm character of that room but it is as dry as a bone especially if you have a big group playing.

Fantastic score though, I agree. A highlight for the year.

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:music:Jaws 2. It's a very strange score. A late 1970's Williams applying his lush and romantic style of that era to his mid-1970's Williams. It feels more ornamented and warmer than its predecessor, which robs the concept of some of its power, but it's a highly entertaining music on its own. I'm not really attached to the OST so the complete presentation worked for me with no reservations. The sound is fantastic, too.

There is only one gripe I have about Intrada's releases of both Jaws scores from Williams... The liner notes talk hardly about the music. It's all about the film and music restoration. The contents of the scores are not discussed at all. Odd. All of which makes Varese's recording good to have.

Karol

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:music:Jaws 2. It's a very strange score. A late 1970's Williams applying his lush and romantic style of that era to his mid-1970's Williams. It feels more ornamented and warmer than its predecessor, which robs the concept of some of its power, but it's a highly entertaining music on its own. I'm not really attached to the OST so the complete presentation worked for me with no reservations. The sound is fantastic, too.

Interesting. I don't have it yet, so I don't know the complete score (I've seen the film once about 15 years ago). But I always thought it distinguished itself from the original score by making the action music even more brutal.

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It might be more brutal but the recording and overall style make it feel more like a fairy tale type of thing. Hard to explain. Maybe it's because the original score sounds so raw and dry. It's a subjective thing, of course.

Karol

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I find the music for the shark far less threatening and more humorous in the sequel. It's a bit over the top and campy in a 1941 kind of way.

Hollow Man

A Musical History of Disneyland

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Coma, 1992 Bay Cities album.

Christian Clemmenson might think I'm "deranged" for enjoying music like this, but I get my kicks from Goldsmith's grim, frantic suspense classics like this.

The presentation is better on this album than the more fragmented FSM release, but I enjoy that version too.

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I find the music for the shark far less threatening and more humorous in the sequel. It's a bit over the top and campy in a 1941 kind of way.

This. But then, who would want to listen to a lineup of 1-minute cues of frantic rubber shark action? The good action scenes Szwarc did (Water Skier, Eddie's Death) have great set pieces, then you are pretty much done with that until the finale and what's left that is truly great about JAWS 2 is the moody underwater scoring, the menu and the glorious americana hymn that is the end credits.

Apart from the longer main title i can't see a single reason to own this new set.

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People love bottle caps.


Fantastic score though, I agree. A highlight for the year.

Some cues, yes. Others, not so much - mainly the score-y type cues and, quelle surprise, it needs a good editor. Wouldn't rate it that much above INSIDE OUT.

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It's highlights soar much higher than those of Inside Out.

In fact, it's one of the most satisfying Pixar scores I've heard in a while. I do agree that the album could benefit from a better edit.

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Apart from the unexpected rustic touch and the occasional sesame street feeling the dramatic parts are musically not much to write home about. Very typical ostinato building blocks that aren't interesting to listen to.

Love the little Tiomkin moment in 'Bloodhounds' (and 'Run with the Herd')...just like Burwell's river crossing scene in TRUE GRIT it probably will elevate the movie.

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I can agree on some of the lackluster ostinati, but even in the action department, I'd hardly call any of it pedestrian. You've got to love that the Dannas dare to employ stuff like Goldenthal-esque brass clusters in animated films of this nature (ex. Fight Them Rustlers).

But the real highlight, as Grey mentions, are the fantastic tunes in this score. It ranges from characteristic Danna mysticism ("Fireflies"/"Orphans"/"Arlo's Vision"), Western Tiomkin-esque bounciness ("Bloodhounds"), your classic Americana brass chorales, and some other really soaring melodies (second half of "Run With the Herd"). Like Giacchino could really learn from these guys about how to write a proper theme!

Definitely one of the finest efforts of the year.

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I am not disagreeing that it's nice and distinctive but like with SPECTRE i think there's a bit of hyperbole involved. Though the year wasn't exactly ripe with finest efforts, so maybe not.

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Yeah, it hasn't exactly been a spectacular year for film music, so I'll take what I can get!

Still not really onboard the Spectre hype train though...

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Raiders of the Lost Ark by John Williams: Among the most perfect film scores I know. Everything seems to fall into place so organically.

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That thing just lacks the Powell Thing and it's so slow.... I prefer the Shrek theme.

...

Out of this year's scores I've still only listened to Jupiter Ascending, Ant-Man, Inside Out, Jurassic World, Fury Road, The Martian, Pan and Rogue Nation. I'm so far quite unimpressed. I didn't care for most of Inside Out. I like some of the InGen music in Jurassic World (the only thing to like in the entire movie). I remember snippets of Fury Road, and a pair of tracks from The Martian (like Hexadecimals), and a theme from Pan. And the last bit of Commitment from Jupiter Ascending. Edit: Oh, I completely forgot I'd listened to Age of Ultron, too.

I have six other scores in mind and then the whole non-Hollywood area of which I'm totally ignorant this year. This evening I'm going through Wolf Totem, Crimsom Peak and Carol.

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I always liked the Shrek one as a kid because they used it to build up to that triumphant little melody as a capper. It's not very interesting on its own.

Though naturally I prefer this cue to the one Chaac posted ;)

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