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


Ollie

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14 minutes ago, Stefancos said:

Not a film score though.

No, but it is more of a filmic score thanks to fluidity of narrative. It feels like one, definitely.

 

The Monkey King 2 or High-Rise would take the film score crown.

 

Karol

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Good score!

 

 

 

Very lean orchestrations, even for Chattaway on Star Trek. Parts of the battle music sound like they were composed on a piano with two hands, quickly notated, transcribed to 45 piece orchestra without much added.

Yet there is a sort of Goldsmith-like efficiency to it all! No surprise, since Jay Chattaway on Star Trek always sounded like a TV budget 90's Goldsmith. Very streamlined, very rhythmic, very horn driven action music. 

 

Solid and punchy action/dirge score, with a terrific cliffhanger cue.

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18 hours ago, Stefancos said:

Who are you responding to KK?

Please don't call me KK! :stick:

 

The Shadow by Jerry Goldsmith: What Batman might have sounded like if Jerrald had scored it perhaps minus the Orient signifying heavy percussion. On the whole a very entertaining piece of writing from Goldsmith but while I like the old fashioned main theme the other thematic material could be a bit more memorable, especially for the villain.

 

The Phantom by David Newman: There are some sweet adventure music moment (leanings on Goldsmith and Williams abound) this one doesn't quite reach excellence but remains a decently fun action/adventure outing from Newman. Then again it must have taken enormous fortitude of mind not to write something as silly as Billy Zane in purple spandex and a black mask running around beating up James Remar and Treat Williams.

 

Avatar by James Horner: The three hour complete score is somewhat a lengthy wade through but all the self-referencing and obvious temp-track bleeds aside there are some really neat moments in this score and it manages to paint a complementary musical world to the visuals of the movie. The OST did include most of the highlights but the early exploration music for Pandora and the added 10 minutes of action material from the finale do provide some extra highlights. The whole thing is a sort of "best of Horner old and new" compilation.

 

 

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It is pretty decent stuff although my dislike of the Windsong melody kind of ruins long swathes of the score for me. For some reason that melody just rubs me the wrong way.

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1 hour ago, Incanus said:

It is pretty decent stuff although my dislike of the Windsong melody kind of ruins long swathes of the score for me. For some reason that melody just rubs me the wrong way.

 

Main theme or Windsong? (two different things)

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Master Incanus is one of the few remaining sane members on the forum. You know, the kind that actually realizes a score like Arrival is nothing more than sound design labelled "music", and the kind that still worships the One True God called "Symphony Orchestra"!

 

May he be blessed! May he and his verbose way of writing live forever!

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3 hours ago, BloodBoal said:

You know, the kind that actually realizes a score like Arrival is nothing more than sound design labelled "music".

 

Thats because you're wrong!

 

3 hours ago, BloodBoal said:

 and the kind that still worships the One True God called "Symphony Orchestra"!

 

As do I! I'm simply more open to what one can do with the symphony orchestra! 

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15 hours ago, KK said:

As do I! I'm simply more open to what one can do with the symphony orchestra! 

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Actually a very good compilation of the Boston Pops recordings.

 

I reconstitued the playlist using the original CDs.

 

The Very Best of John Williams and the Boston Pops (1998, Reader's Digest, I-21-179, Compilation; Boston Pops O/Williams)

 

popsverybest3.jpg

 

popsverybest2.jpg

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Bespin just out of curiosity I would like to ask, how come you, the man of order and method, like to present CD track lists in that very jumbled and rather messy way? Wouldn't a list be a clearer way to communicate the content of such a box even if it would lengthen the post/info a bit.

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1 hour ago, Incanus said:

Bespin just out of curiosity I would like to ask, how come you, the man of order and method, like to present CD track lists in that very jumbled and rather messy way? Wouldn't a list be a clearer way to communicate the content of such a box even if it would lengthen the post/info a bit.

 

Well, sorry, that's a copy-paste of my website. My list, because it's what it is, at the base, is intended to be printed or used in a book, almost as is.

 

That's the "compact" common way of doing it.

 

As a result, I am able to put ALL the albums of John Williams as a performer are on a SINGLE web page. Then we can have a big big fun using the search engine... :)

 

Then, I totally understand your point, that's not the prettiest way to show the content of an album in a post.... ;)

 

EDIT: I've posted the images instead ;)

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Another weekend, another Morricone/Tornatore collaboration. In the proud italian tradition of sprawling, multi-generation dramas about heroic communists, this is really an ode to Sicily: the opulent overture takes all but 30 seconds for another one of those big, plushy Morricone string thingies before taking a surprising turn into what best could be described as a rustic, earthy collage of the country. Sicily has a proud tradition of folk songs, expression of a long peasant tradition, and it's not only elated tarantellas but also outspoken lamentations and Morricone creatively draws from that, featuring several male vocalists and a duduk-like instrument that ping pong with the the expansive string backing. At the 7-minute mark, he indeed takes the collage idea to its literal conclusion, taking what appears to be recording snippets of sicilian daily mixing them with the score. It's a wonderfully creative, unexpected way of getting into the story's groove (refreshingly un-Hollywoodian, too).

 

Morricone was 80 when he wrote the score and while it naturally draws from the maestro's back catalogue, the epic scope ranges from brittle to the earthy, from the cheerful to powerful (an agitated revolution march, that has just the right kind of quichotic futility for the impossible dream of overhtrowing capitalist oppressors) and last but not least to the unblinking nostalgia that has always been a hallmark of the Tornatore collaborations, thinking of 'Cinema Paradiso', 'Malena' or 'The Starmaker'. 

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Most of all, these posts remind me how many Tornatore films I still have to watch. I've only ever seen The Legend of 1900 and Cinema Paradiso, and the former is one of my very dear favourites.

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Rambo II by Jerry Goldsmith

 

Basic Instinct by Jerry Goldsmith

 

The Book Thief by John Williams

 

 

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On 2/21/2017 at 7:15 PM, TheGreyPilgrim said:

L'Odyssée - Alexandre Desplat

 

A cut above the usual piano-and-strings Desplat drama.  Need to revisit it a few more times.

 

Hey Pub, familiar with this one?  Happen to have made a more streamlined playlist from it?

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15 hours ago, publicist said:

 

Another weekend, another Morricone/Tornatore collaboration. In the proud italian tradition of sprawling, multi-generation dramas about heroic communists, this is really an ode to Sicily: the opulent overture takes all but 30 seconds for another one of those big, plushy Morricone string thingies before taking a surprising turn into what best could be described as a rustic, earthy collage of the country. Sicily has a proud tradition of folk songs, expression of a long peasant tradition, and it's not only elated tarantellas but also outspoken lamentations and Morricone creatively draws from that, featuring several male vocalists and a duduk-like instrument that ping pong with the the expansive string backing. At the 7-minute mark, he indeed takes the collage idea to its literal conclusion, taking what appears to be recording snippets of sicilian daily mixing them with the score. It's a wonderfully creative, unexpected way of getting into the story's groove (refreshingly un-Hollywoodian, too).

 

Morricone was 80 when he wrote the score and while it naturally draws from the maestro's back catalogue, the epic scope ranges from brittle to the earthy, from the cheerful to powerful (an agitated revolution march, that has just the right kind of quichotic futility for the impossible dream of overhtrowing capitalist oppressors) and last but not least to the unblinking nostalgia that has always been a hallmark of the Tornatore collaborations, thinking of 'Cinema Paradiso', 'Malena' or 'The Starmaker'. 

I still remember snagging this one for $5 from Amazon due to an incorrect price listing. Great score!

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8 hours ago, TheGreyPilgrim said:

 

Hey Pub, familiar with this one?  Happen to have made a more streamlined playlist from it?

 

1. L’Odyssée (4:39)
3. Autour du globe (3:28)
6. Deep Diving (3:54)
7. La grotte (1:58)
13. Terra Incognita (2:22)
14. Last Flight (4:54)

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14 hours ago, Gnome in Plaid said:

In Dreams (Goldenthal) - My favorite Goldenthal score.  Awesome all the way through.

The Lion in Winter (Barry) - See above; swap out Barry for Goldenthal.

 

ALIEN 3 will always remain my fave EG, but this isn't too shabby, either. FINAL FANTASY is not bad, as is FRIDA.

TLIW is simply astounding!

BTW...the OST, or the Silva?

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The Lion in Winter is also my favorite Barry score. I don't think the differences are that significant between the OST and the Silva, though I do like the effect of an older recording on the voices, which goes along way in establishing atmosphere in a score of this ilk

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19 hours ago, Romão said:

The Lion in Winter is also my favorite Barry score. I don't think the differences are that significant between the OST and the Silva, though I do like the effect of an older recording on the voices, which goes along way in establishing atmosphere in a score of this ilk

 

Agreed. The Silva is one rerecording that I'm happy to listen to - and I have both.

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Add to the list of germans fulfilling patriotic duties - hesitantly - Franz Waxman's wonderful americana score to 'Hemingway's Adventures of a Young Man'. It's of course sophisticated and written by a music epicure but still very emotionally satisfying. Also of all golden age composers, Waxman's tonal language was a huge influence on the young Williams and Goldsmith (Spielberg probably loves him, too).

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