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


Ollie

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2 hours ago, Fabulin said:

Are there a lot of differences from the OST? Better quality, or something?

Well I was asking about Sleeping Beauty because that's one I haven't listened to yet. However, based on my experiences with the other sets, The Lion King included, but mainly the great expansions of Pocahontas, The Little Mermaid, and, chiefly, The Aristocats, I would presume that the sound quality is improved, and there is definitely much more music content. 

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4 hours ago, Jurassic Shark said:

That's hail.

You should tell that to Chris Young, not me! 

3 hours ago, crocodile said:

:music: Star Wars: The Empire Strikes Back. Perfection.

 

Karol

It pretty much is. Everything in that score just falls into place to form a perfect dramatic operatic whole.

 

The Wolfman by the Elfman: I really dig the at times brooding fateful atmosphere and the terse violently churning qualities of this score and come back to it quite often. 

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The Wolfman is the kind of score I was expecting to mark a new mature stage in Elfman's career. Seemed like such a logical progression. It didn't quite work out this way for the most part...at least in terms of his film work... but thank god for his concert works.

 

Karol

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I slipped towards, what might some consider the dark side...David Arnold's Die Another Day and Tomorrow Never Dies. 

 

seriously considering the LLL expanded for DAD. My CD (brought when it came out in 2002) has packed up..

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William Alwyn's The Crimson Pirate is the definition of a great classic adventure score.  Love this suite from one of the Chandos compilations.

 

:love2:

 

 

 

18 minutes ago, Sir Hilary Bray said:

I slipped towards, what might some consider the dark side...David Arnold's Die Another Day and Tomorrow Never Dies. 

 

seriously considering the LLL expanded for DAD. My CD (brought when it came out in 2002) has packed up..

 

No one around here considers that the dark side!

 

The LLL releases for TWINE and DAD are pitch perfect.

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:music: Superman: The Movie. Another perfect score. The new LLL makes it sound like a brand new movie. Not that there was anything wrong with Rhino or Blue Box (I've got those too) but this just sounds terrific. This new edition actually renewed my interested in this music.

 

Karol

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20 minutes ago, crocodile said:

:music: Superman: The Movie. Another perfect score. The new LLL makes it sound like a brand new movie.

 

Due to the improved sound quality?

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3 minutes ago, Jurassic Shark said:

 

Due to the improved sound quality?

Yeah. The previous two editions didn't really sound bad. It's just that this is better.

 

Karol

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Enjoyed a pleasant impromptu listening session of Pandora: The World of Avatar with @Ghostbusters II.  Very nice park music.  Good vibes through out.  My favorite tracks were probably "Magic of the Land," "Spirits of Mo'ara", and "Raggatar."  I probably enjoy those more than the actual Avatar OST.

 

It's unclear exactly how much Horner worked on it before he passed, but Franglen did an admirable job completing the project.

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I enjoy it more than the movie score. The first few tracks are a bit of a slog to get through with excessive jungle noise and native chanting and the last several tracks should be omitted entirely. The actual symphonic music in there is great. I like it more than the Galaxy's Edge track. It's like Horner's still releasing music from beyond the grave.

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3 minutes ago, Ghostbusters II said:

I enjoy it more than the movie score. The first few tracks are a bit of a slog to get through with excessive jungle noise and native chanting and the last several tracks should be omitted entirely. The actual symphonic music in there is great. I like it more than the Galaxy's Edge track. It's like Horner's still releasing music from beyond the grave.

 

And the last four tracks are pretty bad muzak.  So it's really just tracks 5 - 8 that are worth listening to.  But they're really good!

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18 minutes ago, Ghostbusters II said:

the last several tracks should be omitted entirely. 

 

15 minutes ago, Disco Stu said:

And the last four tracks are pretty bad muzak.  

 

Isn't that what he already mentioned?  Or is there an even longer release than the normal 12 track one?

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The Patriot by John Williams

 

Medal of Honor: European Assault by Christopher Lennertz

 

Band of Brothers by Michael Kamen

 

The Boy in the Striped Pajamas by James Horner

 

Papillon by Jerry Goldsmith

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Avengers: Age of Ultron

 

Started watching the film on Netflix and got bored, but not before noticing Elfman's 'It Begins'. I've now listened to most of the score - great stuff.

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For May the 4th:

Star Wars: The Phantom Menace by John Williams (Complete Score)

HIGHLIGHTS CUES: The Arrival, The Droid Invasion, Theed Palace Arrival, You're Under Arrest, Escape from Naboo, It's Working, The Flag Parade, Anakin's Great Victory, and the entire third act.

Star Wars: Attack of the Clones by John Williams (Complete Score)

HIGHLIGHT CUES: The love theme, Chase Through Coruscant (say what you will, it's pretty darn cool!), Yoda and the Younglings, Finding Kamino, Jango's Escape, Anakin's Revenge, On the Conveyor Belt, The Love Pledge, and Entrance of the Monsters.

 

And just in time for Revenge of the 5th yesterday, conveniently:

Star Wars: Revenge of the Sith by John Williams (Complete Score)

HIGHLIGHT CUES: Boys Into Battle, General Grievous' theme, Anakin's Dream (a really good cue, with a heart-aching Across the Stars usage), Arrival on Utapau, I Am The Senate, News of the Attack, Moving Things Along (one of my favourite cues from the entire trilogy), It Can't Be (such pathos), and most of the third act (I'm non-partial to Battle of the Heroes).

 

It's such a pity that Attack of the Clones often gets pushed to the back when talking about favourites from the Prequel Trilogy, because it's a very, very good score. Nonetheless, I do prefer The Phantom Menace and Revenge of the Sith to it. 

 

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TPM>>>>>RotS=>AotC for the scores

AotC>>>>RotS>>>>>>>>>>>>>>>TPM for the OSTs

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4 minutes ago, The Illustrious Jerry said:

I hate to have to do that. But if I did have to:

 

TPM=AOTC=ROTS

 

Of course, they are different. Each has their own moments that soar, and it's impossible for me to pick.

 

Well, you did pick TPM is your previous post! ;) That's nothing to be ashamed about!

 

2 minutes ago, Holko said:

TPM>>>>>RotS=>AotC for the scores

AotC>>>>RotS>>>>>>>>>>>>>>>TPM for the OSTs

 

Geez, you'll soon run out of >.

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On 7/28/2017 at 9:47 AM, Disco Stu said:

Fried Green Tomatoes - Thomas Newman

 

I. LOVE. THIS. SCORE. :wub2:

 

Listened this morning, I still love Fried Green Tomatoes.  An evocative, bittersweet score from T. Newman, brimming with personality, probably the first score that truly sounds like A THOMAS NEWMAN SCORE.  My mom was always a sucker for southern period dramas like this (and Miss Daisy, Steel Magnolias, The Help and The Long Walk Home), so I've got a lot of affection for the film too.

 

MI0001822618.jpg

 

 

On 2/15/2012 at 12:25 AM, Incanus said:

Spitfire Grill by James Horner: A charming smaller Horner score with lovely themes and unique atmosphere. This is to Horner what Fried Green Tomatoes was to Thomas Newman, a heart warming tale with a dash of local American colour and good old fashioned orchestral writing. There is a delicate rather magical feeling to half of the score dealing with the mystical forest aspect of the story, which would later pop up in other Horner's nature related scores, jaunty Americana quality to describe to locale and classic sweeping dramatics from this master of melodrama. Together they form an engaging and memorable 60 minute listening experience that is lyrical and soothing. I wish Horner would do more small and independent films since it seems to bring unique things out of him.

 

I was searching the archive for previous Fried Green Tomatoes discussions and found this ancient post, Inky.  I've actually never heard this Horner score!  Going to check it out today if I can.

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It's one of the best Thomas Newman scores in recent memory. And Ready Player One was one of the best recent Silvestri scores. They're no match for Williams of course but who can possibly expect that?

 

Karol

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Funny you should mention it! I just listened to a shortened playlist for Newman's Bridge of SpiesI know the album wasn't long or tiring to begin with, but this was just selections of my favourite cues perfect for my morning coffee.

 

It goes:

Rain

Ejection Protocol

Sunlit Silence

Standing Man

Glienicke Bridge

The Homecoming

End Credits

 

And I must say that this is one of my favourite Newman scores of all time. It's such a good score. Ejection Protocol and Sunlit Silence are top notch Newman, and Glienicke Bridge is a whopping ten minutes of build-up with a worthy finale, followed by the pinnacle that is Homecoming and the dazzling End Credits, where the choir gets into it. That triple punch is a knockout finale for this score.

 

Bad Times at the El Royale by Michael Giacchino

Certainly a very curious Giacchino score, all things considering. I really do enjoy The Suite at the El Royale. It's catchy, sometimes electric, but it's pretty steady, even for a 74 minute album. There were not a large number of stand-out moments initially. 

 

Spider-man: Homecoming by Michael Giacchino

A 40 minute playlist as per the recommendation of @Jay in the score's respective thread. Super, super fun! Academic Decommitment has got to be one of the grooviest tracks of that year. Giacchino's main theme is memorable enough. The Vulture theme is also pretty stellar. Overall a great score and a good playlist, although I would've made room for An Old Van Rundown, as that is a personal favourite.

 

Isle of Dogs by Alexandre Desplat

I hadn't listened to this since the Oscar nominees were announced. I really enjoy this score, even more now. It's quirky Desplat fun at its best. For a while I only listened to the End Titles, which gathers most of the highlights, but the entire score is really delightful. To go between this and one of my other favourite Desplat scores as of late, The Shape of Water, is mesmerizing.

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Just now, The Illustrious Jerry said:

And I must say that this is one of my favourite Newman scores of all time. It's such a good score. Ejection Protocol and Sunlit Silence are top notch Newman, and Glienicke Bridge is a whopping ten minutes of build-up with a worthy finale, followed by the pinnacle that is Homecoming and the dazzling End Credits, where the choir gets into it. That triple punch is a knockout finale for this score.

 

It's definitely nothing new for him, it sounds like his American period dramas always sound, but he's firing on all cylinders!  It's one of the best examples of that particular subgenre of T. Newman scores.

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X-Men OST

 

I don't know what this is because it isn't in the MCU. The score is really good. This Michael Kamen guy shows a lot of promise. I hope he does more Marvel scores because it definitely blows away everything from the Disney franchise.

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McCreary doing Yared et al., with a classicist chamber-based approach. Certainly one of his better ones with attention to instrumental detail (instead of walls of processed sound). Of course it's overlong and doesn't hold one's interest beyond the 30-minute mark but as recall of 90's Miramax fare it's a nice reminder that a memorable theme still can be written and applied to motion pictures (the more operatic last third has a nice Mahler-ian lament sung by female vocalist, it almost feels immodest in 2019 to have a composer provide that piece instead of going to a straight classical piece).

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The Lord of the Rings: The Fellowship of the Ring by Howard Shore

The Lord of the Rings: The Two Towers by Howard Shore

The Lord of the Rings: The Return of the King by Howard Shore

 

Yesterday I decided to go on a The Lord of the Rings OST marathon, as I am almost complete in my annual viewing of the special extended editions (films which I'd love to share my thoughts on properly, but it would be a real mammoth of a thing to do). It's impossible to pick a favourite out of these, IMO. Rather, it is best to just appreciate as one culminative masterpiece, which it is.

 

If Beale Street Could Talk by Nicholas Brittel

I really cannot say enough times how pleased I was with Brittel last year, between this and VICE. Filled with the lush and warm sound of the cello, If Beale Street Could Talk is pleasing to listen to. It comes across as an adagio for strings. Highlights off of the OST include Eden (Harlem), Agape, Eros, The Children of Our Age, and Keeper of the Keys and Seals.

 

Creed II by Ludwig Göransson

I think that Göransson shows a lot of promise, what with his breakthrough in Black Panther and his steady duo with Creed. I have high hopes for The Mandalorian. His theme for Creed fits into the classic Rocky music with ease. In this case, I went with a shortened playlist, as the OST includes a lot of R&B and hip-hop tracks, some of which are mixed well with the score (eg. Runnin') but aren't matching with my tastes. I just want the score. So here's my playlist, one that I'd recommend, of the best six tracks in a listenable order, IMO:

 

Wheeler Fight

The Public Challenge

Drago's Walk Out

Fight in Moscow

It's Your Time 

Family Visit

 

Drago's Walk Out, Fight in Moscow and Wheeler Fight are top-notch, especially the former. 

 

Sabrina by John Williams

Relaxing, refreshing and romantic. I found the OST in a bargain bin beside Dances With Wolves, so it wasn't a bad pick up. The opening theme is beautiful, and the party sequence is ten minutes of easy-listening bliss. This was a very welcome Williams score for a rainy Sunday afternoon.

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