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

[Gruesome Son of a Bitch 6,488]

Spider-Man 2

[Bilbo 3,709]

Spotlight - Howard Shore

 

Danger Motif at the Gates - James Horner 

[Kasey Kockroach 2,344]

Doctor Strange by Mikel Jeakeeno

Felt like giving this a try. We'll see if this goes anywhere interesting. 

[Incanus 5,715]

The Departed by Howard Shore: While I am not usually a huge fan of solo guitar this score is pretty fantastic showcase of the instrument both acoustic and electric and has a really catchy main theme.

[Kasey Kockroach 2,344]

Beastmaster 2 by Robert Folk

 

Holy crud, now THIS is some nutritious music! I wish we had a Tremors album, but this may be the next best thing. 

[Koray Savas 2,251]

3 hours ago, kaseykockroach said:

Doctor Strange by Mikel Jeakeeno

Felt like giving this a try. We'll see if this goes anywhere interesting. 

Reference to the radio broadcast from MOH?

[Matt C 454]

The Amazing Spider-Man - James Horner

 

Some fantastic highlights, and while his Spidey theme isn't as good as Elfman's, it was gratifying to see him tackle his final big blockbuster after Avatar. It's a shame he didn't do the sequel (due to the Gwen Stacy denouement), but a very enjoyable theme and several motifs. Hearing the Titanic synthetic boy choir in "Becoming Spider-Man" feels appropriate, like a true coming-of-age film.

[John 2,032]

Batman Begins - Hans Zimmer and James Newton Howard.  

 

[Incanus 5,715]

A History of Violence by Howard Shore: Another of those Shore scores that seems to carry vestiges of the Lord of the Rings about it although perhaps it should be worded that LotR carries Shoreisms about it and those are also found in this one in abundance. The music in the Shore/Cronenberg tradition is darkly hued and moody with some measure of emotional ambiguity but it is also in many ways more conventional than what they usually produce together, perhaps due to the nature of the story and the aspects of good and evil they want to emphasize.

 

Flute and horn duet and perform dialogue as if in battle for the main character's soul with cold keen of sustained upper strings appearing from time to time to trigger the upcoming violence in the film. It can be a bit distracting when these familiar motifs and general soundscape pops up and seem to point to Middle-earth rather than rural America where the story is set. But in the end it is a nice little affiliate score to the composer's magnum opus with humbler thematic identity but strong enough dramatic impetus of its own to carry the listening experience. While not up there with his best the moody pensive quality of the score appeals to me quite a bit.

[Naïve Old Fart 9,533]

Thanks for that, Inky. I like the film, so I'll check the score out. 

[publicist 4,643]

 

[Naïve Old Fart 9,533]

Nice.

Pub, have you heard Neil Hanlon's version of THE GOOD LIFE, from GANGSTER #1 ?

[crocodile 8,017]

A bunch overlooked Elfman scores this morning: Wanted (criminally overlooked!), The Wolfman and Sommersby.

 

 Terminator: Salvation (another overlooked one)

 

Karol

[Bespin 8,483]

History!

[#SnowyVernalSpringsEternal 10,265]

People hate those boring historical scores, Besp. Better post about Star Wars.

[Disco Stu 15,495]

Don't think I know of any mothers on the forum, but HAPPY MOTHER'S DAY

 

Here's some appropriate film music from our old friend Henry Mancini  

 

 

[Faleel 5,350]

Star Trek: The Motion Picture. 

[publicist 4,643]

7 hours ago, Disco Stu said:

Don't think I know of any mothers on the forum, but HAPPY MOTHER'S DAY

 

 

[Naïve Old Fart 9,533]

 Oh, mother! Blood! Blood!

[Bilbo 3,709]

Michael Collins - Eliot Goldenthal

 

The Wind that Shakes the Barley - George Fenton.

 

The lesser film has the better score and the better film has the lesser score. Fenton's score is effective in the film however and he makes great use of Óró Sé Do Bheatha Abhaile. 

 

Golenfhal's score is just excellent and I wish we had the whole thing.

[Naïve Old Fart 9,533]

  TRON LEGACY.

7 1/2 years in, and it's still the best OST this decade.

[John 2,032]

Better than the movie, that's for sure.

[Naïve Old Fart 9,533]

It's certainly one of the things that I liked most about it. Can any film with Jeff Bridges be that bad?

[#SnowyVernalSpringsEternal 10,265]

Jeff Bridges is actually quite bad in it.

[Naïve Old Fart 9,533]

Which Jeff Bridges?

[#SnowyVernalSpringsEternal 10,265]

Both

[Incanus 5,715]

The Lion in Winter by Richard Hartley

[#SnowyVernalSpringsEternal 10,265]

Wrong one!

[Naïve Old Fart 9,533]

22 minutes ago, Incanus said:

The Lion in Winter by Richard Hartley

 

Again? You must like it.

[bollemanneke 3,348]

The Amazing Spider-Man - James Horner. Terrific, my favourite superhero score so far.

[Jay 37,364]

It's a good score, but I mean, better than Elfman's Batman / Returns?  Pish posh!

[bollemanneke 3,348]

The only superhero Elfman score I know is Batman and I liked it so much I'll never listen to the others. My main problem with Elfman is that he never ever sounds noble or serious. With Spider-Man, I only heard 'Hahaha, I can walk on buildings!' Horner wrote music about someone taking responsibility and saving people.

[#SnowyVernalSpringsEternal 10,265]

I agree!

[Jay 37,364]

5 minutes ago, bollemanneke said:

Horner wrote music about someone taking responsibility and saving people.

 

Great point!  Horner's score excels in that regard.

 

Have you heard John Williams' Superman score?

[Marian Schedenig 8,193]

Elfman's scores usually go, "I'm Elfman". Perhaps that's why his Batman theme is so good. The rest of the score though...

[bollemanneke 3,348]

Um, I have (and love) the Superman fanfare and love theme performed by the Boston Pops, but still need to listen to the entire score, probably only when I get around to watching the film.

[Jay 37,364]

You might end up liking it more than Horner's Spider-man score.

[#SnowyVernalSpringsEternal 10,265]

Its far better!

[Kasey Kockroach 2,344]

A Visitor in San Diego is one of my top absolute favorite Williams cues ever. 

Pardon me for succumbing to the urge to exclaim that. 

[Incanus 5,715]

11 hours ago, Richard said:

11 hours ago, Incanus said:

The Lion in Winter by Richard Hartley

Again? You must like it.

I think you are mixing this with my mini review of this score in the Recently purchased CDs thread. I only got the CD yesterday. And yeah I do have soft spot for this one, maybe because I like the film and the performances so much. Not that I don't love Barry's 1968 version which is a classic in my book, not only for the composer but for the film music genre. The new version is much subtler and makes less of an independent statement and focuses on enhancing the words with quiet melodic instrumental and orchestral lines and the time period with abundant source music for choruses, recorders and lute. As such it is not such a memorable experience as Barry's is but it is a fine dramatic score none the less.

 

Hartley's score has subtle thematic strain going on and I like how he gradually introduces his family/love theme over the course of the film in spots where the genuine emotions and intentions of the often double dealing scheming main characters peek through and finally unveils it fully in the climactic All I Ever Loved. At points like Eleanor of Aquitane, Get Me a Priest and Revenge Hartley's music seems to take its cue from Barry's style of scoring as more dramatic and choir enhanced writing emerges and these moments are reserved for the major dramatic turns in the play. Often the composer provides almost Thomas Newman-like woodwind and atmospheric writing which is highly effective and at times very beautiful but the brevity  of many tracks leaves you wanting for more.

[Disco Stu 15,495]

Angels in America - Thomas Newman

 

One of Newman's best works.  I especially love that theme used in such gorgeous cues as "Ellis Island" and "Bethesda Fountain."

[Gruesome Son of a Bitch 6,488]

On 5/15/2017 at 11:54 AM, bollemanneke said:

The only superhero Elfman score I know is Batman and I liked it so much I'll never listen to the others. My main problem with Elfman is that he never ever sounds noble or serious. With Spider-Man, I only heard 'Hahaha, I can walk on buildings!' Horner wrote music about someone taking responsibility and saving people.

 

The Elfman Spider-Man theme sounds like an inverted Batman theme. The Doc Ock theme from SM2 is a shameless ripoff of the Penguin's theme from Batman Returns, which he already ripped off in The Nightmare Before Christmas.

 

My favorite stuff from his Spider-Man scores is typically the more tender music. "A Really Big Web" from SM2 is wonderful.

[Kasey Kockroach 2,344]

Dawn of the Planet of the Apes by Michael Giacchino

I've always been a tad disappointed the critics didn't seem to care for this score, as I think it's one of his better ones. Easily the best-sounding Giacchino album (in terms of sound quality)!

[Incanus 5,715]

On 17.5.2017 at 5:48 AM, Disco Stu said:

Angels in America - Thomas Newman

 

One of Newman's best works.  I especially love that theme used in such gorgeous cues as "Ellis Island" and "Bethesda Fountain."

Among my top 5 Newman scores for certain. I have a personal fondness for the main title theme that is one of those brilliant effortless Newman compositions and it is a shame it is ever used on one other track on the album (and I think in the show as well). 

 

On the Beach by Christopher Gordon: Well I took my time discovering this 1999 score but after a couple of listens I have to say I think I have should have gotten this sooner. Pretty much terrific all around this music is in turn sombre and elegiac, energetic, sprightly and soaring, boasting excellent and very trademark Gordon orchestrations that have very classical feel and bring to mind the bright British film and concert hall music.

 

While the subject matter of the film might bestow its definite elegiac and sombre imprint on the music, Gordon finds great inspiration from it to depict both the horrific grandeur of a dying world and the love, light, fragility and sadness of humanity in these circumstances with his central melodies and ends it all in a terrific long emotional suite The Burial Cloud including gorgeous choral laments of Lacrimosa and Lux Perpetua and a calm orchestral denouement of From the Beach, Silently Weeping. Excellent stuff!

[John 2,032]

Jurassic Park - John Williams

 

Currently listening to "Dennis Steals the Embryo". Man, what a fun track.

[Simon McBride 113]

Nausicaä of the Valley of the Wind OST

 

As much as I love this move and the music with it, as a soundtrack, it's not that good. The audio quality itself is pretty low, but it's not that big of a problem to me. There isn't much thematic material. The stylistic range is too broad to feel proper for a soundtrack. The tracks themselves are fine, but as a whole, it's just not that great. I'll probably stick with the concert arrangements.

[crocodile 8,017]

 The Alien Trilogy (Goldsmith/Horner/Goldenthal) performed by RSNO/Eidelman

 

 

Karol

[Matt C 454]

Alien Covenant - Jed Kurzel

 

Score-wise, it's more solid than Prometheus. Kurzel tries to emulate Goldsmith in places (no conch or didgeridoos), even referencing two motifs several times, but he doesn't come close to that level of uneasiness and tension. A good deal of it is pleasantly orchestral, with electronics and synths used sparingly.

[crocodile 8,017]

Godzilla. I just love how the title sequence states "monster communicates through music composed and conducted by Alexandre Desplat".

 

 

Karol

[Unlucky Bastard 7,782]

22 minutes ago, Matt C said:

(no conch or didgeridoos)

 

He should have. He's Australian!