Naïve Old Fart 9,533 Posted October 27, 2020 Share Posted October 27, 2020 7 hours ago, crocodile said: QBVII is amazing! It is, indeed. It's a very good score. 7 hours ago, Jurassic Shark said: But it's so boring! Shut up! Suck it up, dude. QBVII is a good score Jurassic Shark 1 Link to comment Share on other sites More sharing options...
Marian Schedenig 8,193 Posted October 27, 2020 Share Posted October 27, 2020 For some reason, QBVII has never clicked with me. I don't know what I'm doing wrong. Link to comment Share on other sites More sharing options...
Jurassic Shark 12,079 Posted October 27, 2020 Share Posted October 27, 2020 It's not you. Link to comment Share on other sites More sharing options...
Tom Guernsey 2,284 Posted October 27, 2020 Share Posted October 27, 2020 24 minutes ago, Marian Schedenig said: For some reason, QBVII has never clicked with me. I don't know what I'm doing wrong. Interesting. As it's for a miniseries I guess it is pretty long (at least the re-recording is) and the show, based on what I know of it, is presumably fairly talky. Having said that, it's quite dramatic and surprisingly less subdued than might be expected. The main theme is pretty strident. However, I think it's worth persevering with and I'm enjoying this round of listening to it. Link to comment Share on other sites More sharing options...
publicist 4,643 Posted October 27, 2020 Share Posted October 27, 2020 I'm not to keen on the romantic parts but the jewish remembrance cues and the Mummy-like desert cues are great. Also the whispering voices that *haunt* Hopkins during the trial were pretty radical for the time in movie music (1974). Link to comment Share on other sites More sharing options...
Bilbo 3,709 Posted October 28, 2020 Share Posted October 28, 2020 I love the whole score but this track: 🤤 Link to comment Share on other sites More sharing options...
crocodile 8,017 Posted October 29, 2020 Share Posted October 29, 2020 An American Tail. This first score for an animated film from James Horner is one of his absolutely finest. If you eliminate the songs from the equation, that is. The remaining 60 minutes are just a perfect listening experience. Karol publicist 1 Link to comment Share on other sites More sharing options...
Jay 37,367 Posted October 29, 2020 Share Posted October 29, 2020 I almost never like hearing songs in the middle of a nice score program Link to comment Share on other sites More sharing options...
Wojo 2,453 Posted October 29, 2020 Share Posted October 29, 2020 The songs absolutely belong in The American Tail, unless you've never seen the movie and didn't grow up with it. Link to comment Share on other sites More sharing options...
Kasey Kockroach 2,344 Posted October 29, 2020 Share Posted October 29, 2020 Fievel Goes West has both fewer songs and better songs. Link to comment Share on other sites More sharing options...
Faleel 5,350 Posted October 29, 2020 Share Posted October 29, 2020 1 hour ago, Jay said: I almost never like hearing songs in the middle of a nice score program Bold of you to seperate songs from score. Link to comment Share on other sites More sharing options...
Popular Post publicist 4,643 Posted October 31, 2020 Popular Post Share Posted October 31, 2020 'Raggedy Man' is an interesting link in Jerry Goldsmith's career, tying together his complicated and tense Stravinsky writing with the relaxed rural americana of 'The Waltons' and the (then) newfound affection for Ravel's impressionism (the main theme is a lullaby Goldsmith composed for one of his children). It's interesting also in the sense that this Jack Fisk/Sissy Spacek WW2 period drama about a single woman raising two boys in small-town Texas would afford a score so much room to tell its intimate tale - and alas, it wasn't to be. Watching the movie you realize that even in the early 80's, filmmakers that weren't Steven Spielberg were wary of giving the music too much power. The result plays a bit like a castration, where structurally important parts are just cut off or muted to the point of inaudibility. Which in 'Raggedy Man's case is especially sad, because of what they decided to mute. It's mostly the Ravellian impressionist writing for the boys and their sense of discovery and adventure. It's the most dream- and fantasy-like, so you can see what was bothering them, but in terms of storytelling, Goldsmith clearly understood it was this part to strengthen, seeing it as vital to the film's overall impact. Case-in-point is the long kite-flying sequence (together with the Runaways cue following it, it makes up almost half of the album's running time, though this style pops up in other cues). As the story unfolds, Spacek falls in love with a sailor on shore leave, is threatened by the male townsfolk who scorn her as a loose woman, and protected by a mysterious disfigured stranger who is never shown but in silhouette etc. While Spacek seems to fear him, he ultimately provides her to move out of the unloved town and with the ability to move on with her life. Goldsmith's decision to weigh in so heavily on the boy's POV makes sense, as they clearly are Spacek's raison d'être, and frankly the movie's, too. One of them is E. T.'s Henry Thomas, with this movie being the reason he was cast in that, btw. So while this is certainly not overly important in the composer's oeuvre, it's a lovely and varied score that is intelligently written and orchestrated splendidly (listen to two great americana scherzos in the last 02:00 of 'The Kite' and 01:30 of 'Runaways). It's also a small precursor to the present philosophy of mistrusting real music, more often than not, subduing it into a supporting role in the background or making it appear as source music. Tom Guernsey, Brundlefly and Incanus 3 Link to comment Share on other sites More sharing options...
Bespin 8,483 Posted October 31, 2020 Share Posted October 31, 2020 It's been a while since I listened to some good John Williams. The best of the best! Star Wars '77 (2018 OST demastered edition) Schindler's List (anniversary edition) Raiders of The Lost Ark (OST) The Witches of Eastwick (OST) Harry Potter Year One (expanded) A.I. Artificial Intelligence (expanded) Superman (remastered OST) CE3K (Remastered OST + disco track!) Jaws (remastered OST) E.T. (remastered OST) Tom Guernsey 1 Link to comment Share on other sites More sharing options...
publicist 4,643 Posted November 2, 2020 Share Posted November 2, 2020 Almost suspiciously melodic for a tv series, this gently flowing romantic score (with occasional dramatic outbursts) is a nice surprise. It's not especially deep or original (and certainly can't sustain a 72-minute release) but it's longing theme and the comparably symphonic layout make it a keeper. Tonally it's close to the more european JW drama scores (without the true set pieces). Link to comment Share on other sites More sharing options...
Tom Guernsey 2,284 Posted November 6, 2020 Share Posted November 6, 2020 Seem to have ended up having a dog racing/outdoor adventure themed week of listening, who knew there were quite so many films and scores about dog racing and/or adventures?! As a result, I ended up giving both Call of the Wilds a listen, at least the one by John Powell which is great fun, although I still can't say I remember it hugely after it's finished, enjoyable though it is and the one by Lee Holdridge, which is a bit more serious and less frenetic than the Powell (perhaps inevitably), and which features a descending four note motif that in a major key sounds like Jerry's Supergirl theme and in a minor key sounds like Last of the Mohicans. Random. Then of course there's Horner's Balto, which for me probably has the most memorable thematic material, although a close second would be Joel McNeely's Iron Will, a score I always enjoyed and kinda wished he'd written more like. Admittedly it's a pastiche mashup on a theme (or two) of John Williams, but no less enjoyable for that. Funny that the two most memorable are the two that probably borrow most heavily from elsewhere. Also listened to Eight Below and Togo by Mark Isham - there's a scoring niche for you. Eight Below is enjoyable although I couldn't quite get into Togo somehow. Will have to give it a further listen. Guess I should stick on Bruce Broughton's Homeward Bound scores next... Link to comment Share on other sites More sharing options...
publicist 4,643 Posted November 6, 2020 Share Posted November 6, 2020 There#s aslo Snow Dogs, but that got a dog of a score. Link to comment Share on other sites More sharing options...
Tom Guernsey 2,284 Posted November 6, 2020 Share Posted November 6, 2020 16 minutes ago, publicist said: There#s aslo Snow Dogs, but that got a dog of a score. John Debney? Not sure if I have that one. Or if it even got a release. He’s usually reliable if not always inspired. Link to comment Share on other sites More sharing options...
publicist 4,643 Posted November 6, 2020 Share Posted November 6, 2020 It's just irrelevant. You may try this one, very Horner-ish but it's an OK addition: Link to comment Share on other sites More sharing options...
Tom Guernsey 2,284 Posted November 6, 2020 Share Posted November 6, 2020 3 hours ago, publicist said: It's just irrelevant. You may try this one, very Horner-ish but it's an OK addition: I don't own the Debney, but I can almost imagine what it's like, pleasant and tuneful, but unmemorable. I'll have to try the Koutselinis score then, always up for a bit of fake-Horner! Link to comment Share on other sites More sharing options...
Jay 37,367 Posted November 6, 2020 Share Posted November 6, 2020 John Powell - How To Train Your Dragon (Deluxe Edition) I like this score more now than ever before! James Horner & Simon Franglen - The Magnificent Seven Just not very interesting Revo - Bravely Default: Flying Fairy Absolutely brilliant score Ludwig Goransson - The Mandalorian (Season 1 OSTs) I love it! Michael Giacchino - Travelogue Volume 1 Meh. Some really nice, loungey music, and a pretty terrific climax, but it's all completely ruined by dialogue in every track. Michael Giacchino - Rogue One (Complete) I thought finally hearing the whole thing would change my opinion, but nope. I don't like it. Too much of it is just ripped off from his own earlier action scores or JW stuff. I don't think getting this clean instead of covered in sound effects will change my opinion either Nubuo Uematsu - Final Fantasy IV Just one of my favorite scores of all time John Williams - The BFG Tis the season! I like this score more all the time John Williams - Attack of the Clones (Complete) It's amazing how much of this score we have clean thanks to video games and blu ray rips! The few pieces with dialogue echo left are unfortunate but boy, I love this score and it just plays great in completely form David Arnold - The World Is Not Enough (Complete) FANTASTIC Michael Giacchino - Let Him Go ZZZZZZZZZzzzzzzzz Completely unmemorable Incanus 1 Link to comment Share on other sites More sharing options...
Tom Guernsey 2,284 Posted November 6, 2020 Share Posted November 6, 2020 Extreme Prejudice (Jerry Goldsmith) - Kinda cheesy, but actually much more enjoyable than I thought it would be based on its reputation. Sphere (Elliot Goldenthal) - Typically fine mixture of drama and horror, not quite the level of Alien 3 but a great work, would be good to have more of this one sometime. Incanus 1 Link to comment Share on other sites More sharing options...
blondheim 1,157 Posted November 6, 2020 Share Posted November 6, 2020 I have been pulling out a lot of 80s Horner recently. I needed 1988 so I grabbed for Willow since expanded Land Before Time was on its way. I rewatched the film before pulling out the CD and it really is amazing in context. I also discovered the LP sequencing for Willow was slightly different and so, wanting to give it a try, I re-ordered it when I listened to the soundtrack and I much prefer it that way, actually. Then I listened to Natty Gann, since it is basically the previous installment in the series of scores that led to Land Before Time. It is a beautiful score. The album is terrific as well. I took on Project X, which is a score I am not overly familiar with. Haven't seen the movie in years (and don't have a free trial for that streaming service unfortunately) I like to watch the film again before diving into a score again so I can take into account what kind of a score it is before judging the album. I believe they are scores first, albums second. But alas. From the album alone, I am really not sure how I feel about this score. Sections of it feel inspired, and then other sections just feel lazy? Shoot me for saying so if you must, perhaps further listens will prove me wrong. The End Credits cue is wonderful, though. Nothing wrong with it at all. Link to comment Share on other sites More sharing options...
bruce marshall 1,315 Posted November 6, 2020 Share Posted November 6, 2020 ......"Haven't seen the movie in years....i like to watch the film again before diving into a score again so I can take into account what kind of a score it is before judging the album. I believe they are scores first, albums second. ....". I like your attitude. I just purchased the LLL TWO MULES FOR SISTER SARA complete score. Gonna rewatch the film - which I haven't seen in years- before listening! Link to comment Share on other sites More sharing options...
Popular Post publicist 4,643 Posted November 7, 2020 Popular Post Share Posted November 7, 2020 Two new Spotify additions of old stuff i still own somewhere. John Barry did one of his own brilliant concept scores for a 60's Berlin spy thriller about neonazis on the rise (George Segal is out to fight them!!). The main theme is a kind of wistful Third Man calliope tune, written for a recurring thing that haunted Barry, of children of a school class that kept reappearing. The allusive tone pins the still-innocent children as possible victims of the pied-piping nazis (you just may believe it, as the head nazi is played by Max von Sydow). The score is technically simple and doesn't even carry the 34 minute running time without repeating itself heavily, but as usual, it's the overall effect Barry is after, and that works beautifully. Even Steven Spielberg once commented on it. If that score would be done today by Hans Zimmer, he would get 50 magazine articles about it and probably Oscars and Golden Globes. 25th Hour is a Spike Lee drama is about the last 24 hours drug dealer Monty spends before he begins a seven-year prison sentence. It's set in NYC shortly after the attacks of September 11, 2001. Blanchard's melancholic score integrates symphonic sounds, arabic vocalise, sprinkles of Irish folklore and jazz/blues elements. A solidly crafted orchestral composition, which runs for too long but in the two ultimate tracks running 18 minutes you get all you need out of it. It's the kind of drama score we hardly get to hear anymore. I must say, i really appreciate Spotify as time goes by, it even re-introduces me to my old stuff which i have long forgotten about. Incanus, Tom Guernsey and Naïve Old Fart 3 Link to comment Share on other sites More sharing options...
A24 4,337 Posted November 7, 2020 Share Posted November 7, 2020 A serviceable and autumnal score ... Link to comment Share on other sites More sharing options...
Naïve Old Fart 9,533 Posted November 7, 2020 Share Posted November 7, 2020 THE QUILLER MEMORANDUM is not only one of my favourite Barry scores, it's one of my favourite Barry-scored films. "That's where you are, Quiller...in the gap" Link to comment Share on other sites More sharing options...
publicist 4,643 Posted November 7, 2020 Share Posted November 7, 2020 16 minutes ago, Naïve Old Fart said: THE QUILLER MEMORANDUM is not only one of my favourite Barry scores, it's one of my favourite Barry-scored films. "That's where you are, Quiller...in the gap" It's actually rather bad, though with great production values. But to have these cartoon nazis planning a new national socialism in Bond-villain underground lairs, it's just all so wrong i don't know where to start. Link to comment Share on other sites More sharing options...
Naïve Old Fart 9,533 Posted November 7, 2020 Share Posted November 7, 2020 I like it for Berlin in the 60s, Alec Guinness' insinuating Pol, and the general atmosphere. Link to comment Share on other sites More sharing options...
publicist 4,643 Posted November 7, 2020 Share Posted November 7, 2020 8 minutes ago, Naïve Old Fart said: I like it for Berlin in the 60s, Alec Guinness' insinuating Pol, and the general atmosphere. I love all those british Berlin 60's thrillers for their setting and atmosphere (it's my home town after all), but Quiller is the worst of them. The Michael Caine one is probably the greatest. Link to comment Share on other sites More sharing options...
crocodile 8,017 Posted November 7, 2020 Share Posted November 7, 2020 The Land Before Time The Last Castle War of the Worlds Violin Concerto (Shaham) Yo-Yo Ma Plays the Music of John Williams Karol Incanus 1 Link to comment Share on other sites More sharing options...
Naïve Old Fart 9,533 Posted November 7, 2020 Share Posted November 7, 2020 4 hours ago, publicist said: The Michael Caine one is probably the greatest. You mean FUNERAL IN BERLIN? It's not bad, but THE I.P.C.R.E.S.S. FILE well and truly kicks its ass! Link to comment Share on other sites More sharing options...
Bespin 8,483 Posted November 7, 2020 Share Posted November 7, 2020 A little time travel with some OSTs of scores recently expanded or reissued. James Horner - The Land Before Time (Original OST) Jerry Goldsmith - The Last Castle (OST) Jerry Goldsmith - Hoosiers (OST) James Horner - Casper (OST) Ennio Morricone - The Thing (OST) Joel McNeely - Shadows of the Empire JW - The River OST James Horner - Legend of Falls OST Incanus and Tom Guernsey 2 Link to comment Share on other sites More sharing options...
publicist 4,643 Posted November 7, 2020 Share Posted November 7, 2020 3 hours ago, Naïve Old Fart said: You mean FUNERAL IN BERLIN? It's not bad, but THE I.P.C.R.E.S.S. FILE well and truly kicks its ass! What has Ipcress to do with movies set in Berlin? Link to comment Share on other sites More sharing options...
Bespin 8,483 Posted November 8, 2020 Share Posted November 8, 2020 Jerry Goldsmith - US Marshals OST okay.... Danny Elfman - Darkman OST ZZZzzz... Danny Elfman- Dolores Claiborne OST JW - Rise of Skywalker OST Not Mr. Big and Incanus 2 Link to comment Share on other sites More sharing options...
Bespin 8,483 Posted November 8, 2020 Share Posted November 8, 2020 Jerry Goldsmith - The great train robbery remastered OST Howard Shore -The song of Names JW - Minority Report (Expanded score) Jerry Goldsmith - Air Force One remastered OST Danny Elfman - Mission Impossible The Score OST James Horner - An American Tail OST Incanus 1 Link to comment Share on other sites More sharing options...
Bespin 8,483 Posted November 9, 2020 Share Posted November 9, 2020 JW - Far and away (expanded) Howard Shore - Sliver (expanded) Danny Elfman - MIB International OST Goldsmith - Raggedy Man OST Goldsmith - Planet of the Apes (remastered OST) JW - Monsignore (expanded) Randy Edelman - Backdraft II Incanus 1 Link to comment Share on other sites More sharing options...
Tom Guernsey 2,284 Posted November 9, 2020 Share Posted November 9, 2020 Stuart Little (Alan Silvestri) - If you can get over how sickly sweet this score, it's really terrific stuff. Some of Silvestri's most memorable and charming themes, but with the unexpected delight of the Boat Race, which I think is one of his most thrilling action cues. Jurassic Shark 1 Link to comment Share on other sites More sharing options...
Jurassic Shark 12,079 Posted November 9, 2020 Share Posted November 9, 2020 It's a fun score, but I prefer Mouse Hunt. Link to comment Share on other sites More sharing options...
Tom Guernsey 2,284 Posted November 9, 2020 Share Posted November 9, 2020 11 minutes ago, Jurassic Shark said: It's a fun score, but I prefer Mouse Hunt. I'm going to be boringly diplomatic and say that I enjoy them both for different reasons. Mouse Hunt is perhaps more fun and mischievous, Stuart Little being more sweet and sweeping. Both great scores though, I miss Silvestri scores of that quality. I enjoyed the Witches more than most people seemed to, but I still can't really remember much about it... another film with mice. Very specific. Link to comment Share on other sites More sharing options...
publicist 4,643 Posted November 9, 2020 Share Posted November 9, 2020 Because the season demands it: 1. Goldsmith fairy tale impressionism 2. Halloween-Silvestri, when he still could do playful without sounding wake-comatose. Bespin 1 Link to comment Share on other sites More sharing options...
redishere 697 Posted November 9, 2020 Share Posted November 9, 2020 Gosh it's been awhile since I logged in JWFan. Thanks to Covid, it's been a weird spooky season. But this helped. (I don't even know if the complete score is available anywhere) Jurassic Shark 1 Link to comment Share on other sites More sharing options...
Jay 37,367 Posted November 9, 2020 Share Posted November 9, 2020 I couldn't tell you if its complete or not, but the 41 minute OST album was put out on CD by One Way Records in 1997 redishere 1 Link to comment Share on other sites More sharing options...
KK 3,307 Posted November 10, 2020 Share Posted November 10, 2020 The Book of Vision by Hanan Townshend There are some nice sweet melodies and Brahms variations for saxophone here, but they're interspersed with a lot of dull meandering textural stuff. You pretty much just need these cues: We Are Who We Are by Dev Hynes Probably my favourite score of the year at this point. But that doesn't say much. If you're into dynamic, minimalist, impressionistic piano textures, this is a great little treat. publicist 1 Link to comment Share on other sites More sharing options...
Popular Post LSH 969 Posted November 11, 2020 Popular Post Share Posted November 11, 2020 E.T. THE EXTRA-TERRESTRIAL - JOHN WILLIAMS Utterly utterly magical. The last few cues are amongst the best moments of his career. I melt. Bespin, bruce marshall and Incanus 2 1 Link to comment Share on other sites More sharing options...
LSH 969 Posted November 11, 2020 Share Posted November 11, 2020 FAR AND AWAY - JOHN WILLIAMS On a little Williams binge tonight. This is superb. The Land Race cue is one of my favourite pieces of music ever. Bespin and Incanus 2 Link to comment Share on other sites More sharing options...
Bespin 8,483 Posted November 11, 2020 Share Posted November 11, 2020 James Horner - Balto (boff...) James Horner - Apollo 13 Composer's album assembly Wujek Kilar - Dracula OST JW - Dracula OST Tom Guernsey 1 Link to comment Share on other sites More sharing options...
Bespin 8,483 Posted November 12, 2020 Share Posted November 12, 2020 Eliott Goldenthal - Interview with The Vampire Eliott Goldenthal - Michael Collins Eliott Goldenthal - Frida Naïve Old Fart and Tom Guernsey 2 Link to comment Share on other sites More sharing options...
Naïve Old Fart 9,533 Posted November 12, 2020 Share Posted November 12, 2020 These are all great scores, Bes (even though none of them comes close to the brilliance of ALIEN³). Tom Guernsey and Bespin 2 Link to comment Share on other sites More sharing options...
Jay 37,367 Posted November 12, 2020 Share Posted November 12, 2020 Alan Silvestri - The Abyss (Varese Deluxe Edition, with the alternates swapped in place of the final versions) Wow I hadn't listened to this score in a while and fell in love all over again. I love all the early music Silvestri wrote that was more thematic and filled with the love theme. It's a bummer that Cameron had him rewrite so many cues to be less interesting. I love these kind of scores that have great action music, while building to a big, emotional payoff at the end Ludwig Goransson - The Mandalorian (Season 1 OSTs) Can't get enough of this! Lena Raine - Celeste A lifetime classic John Williams - The BFG I like this score more now than I did when it came out. Wonderful themes and so many heartwarming passages John Williams - Lincoln One of the greatest scores of all time Tom Guernsey 1 Link to comment Share on other sites More sharing options...
Naïve Old Fart 9,533 Posted November 12, 2020 Share Posted November 12, 2020 2 minutes ago, Jay said: Alan Silvestri - The Abyss (Varese Deluxe Edition, with the alternates swapped in place of the final version) Wow I hadn't listened to this score in a while and fell in love all over again. I love all the early music Silvestri wrote that was more thematic and filled with the love theme. It's a bummer that Cameron had him rewrite so many cues to be less interesting. I love these kind of scores that have great action music, while building to a big, emotional payoff at the end Couldn't agree more, Jay. It's my favourite Silvestri (with CONTACT coming a close second). Tom Guernsey 1 Link to comment Share on other sites More sharing options...
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