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


Ollie

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I'm still on that Gerhardt album this morning! :wub:

  • CD04-Max Steiner-Gone With The Wind

 

The next two will be...

  • CD05-Alfred Newman-Captain From Castile
  • CD09-Erich Wolfgang Korngold-Elizabeth And Essex
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4 minutes ago, Raiders of the SoundtrArk said:

I should try this one one day but for know I'm trying Schindler's List (the Recording Sessions) never had the time before. Damn it's four hours long.

 

The OST is all you need.

 

And if you look for an alternative way of listeningt to it, use the two film versions released on the Anniversary Edition:

 

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I compiled a 230-minute list compiling all of the MCU scores in the release schedule order. It is probably too long but I tried to include as many themes as possible and feature the sheer majority of instances where some of these themes appear in different score to create some sense of coherence. At this length it is probably bit unwieldy and I might trim bits and bobs to make it flow better. I am surprised to discover I remember more music from those films than I expected:

 

 

Karol

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Today was the day of manly action scores:

 

Jerry Goldsmith's The Last Castle: Pretty good, although the best action cue was actually written by Mark McKenzie. But the highlight of the score in general is The Flag.

 

Alan Silvestri's Judge Dredd: Super fun! I really like those 90s Silvestri action scores. Also, is it just me or is he an underrated creator of earworm themes? 

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I meant, underrated as a composer of catchy, memorable themes. 

 

He wrote the main themes for Back to the Future, Forrest Gump and The Avengers, which made a lot of success even outside the film music fans bubble, and also the themes for Judge Dredd, The Mummy Returns, Van Helsing and Captain America, which I actually think are quite the earworm and easy to remember.

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3 minutes ago, Bespin said:

I love Alan Silvestri, but sorry, no MARVELS in my CD collection. 

 

(except few Danny Elfman)

That's too bad. There's some good stuff there even if there get quickly quite expensive I have to say.

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9 hours ago, Edmilson said:

Jerry Goldsmith's The Last Castle: Pretty good, although the best action cue was actually written by Mark McKenzie. But the highlight of the score in general is The Flag.

 

Really? I know exactly why Goldsmith farmed that cue off to McK, it's 6 minutes of huffing and puffing, with no real dramatic development. Agree with the highlight (best cue together with The Rock Pile).

 

 

 

A baroque Legrand fairy tale score/musical is just nothing i can resist.

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Is this the only (quality) re-recordings album entirely dedicated to Alan Silvestri's works?

Any way, I love it! I just purchased the FLACs (yes I know it's free on Spotify, but you know...), because the album seems to be sold especially in Europe, and I'm... well, my Canadian dollars, are allergic to Euros...

 

Alan Silvestri / Brussels Philharmonic, Dirk Brossé - Alan Silvestri at Film Fest Gent (2015)

 

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1 hour ago, Bespin said:

Is this the only (quality) re-recordings album entirely dedicated to Alan Silvestri's works?

Any way, I love it! I just purchased the FLACs (yes I know it's free on Spotify, but you know...), because the album seems to be sold especially in Europe, and I'm... well, my Canadian dollars, are allergic to Euros...

 

Alan Silvestri / Brussels Philharmonic, Dirk Brossé - Alan Silvestri at Film Fest Gent (2015)

 

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I think there might be a Silva Screen compilation but I don’t think they ever captured the incisive brass playing required for Silvestri’s music. Otherwise yes this would be it. A decent selection and well played. The old Voyages compilation got much play in my youth but it’s mostly taken from original score recordings (except Who Framed Roger Rabbit and Forrest Gump I think although the performances of those suites are superb). 
 

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I'm not a fan of the The City Of Prague Philh recordings, they seems uneven. For me, they represent "El cheapo" recordings.

 

Oh I almost forgot he composed the score for The Bodyguard! (Can I reintroduce the OST in my Official CD collection?) :lol:

 

Where do you see his name on the CD???? That's a shame.

 

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1 minute ago, Bespin said:

I'm not a fan of the The City Of Prague Phil. recordings, they seems uneven. For me, they represent "El cheapo" recordings.

Some of them are good, especially the DISASTERS! record.

THE BEES ARRIVE is a great rendition (and, at the time, it was the only place where one could hear the full film version), and the Main Title from THE TOWERING INFERNO is better then the RNSO's version.

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31 minutes ago, Naïve Old Fart said:

Some of them are good, especially the DISASTERS! record.

THE BEES ARRIVE is a great rendition (and, at the time, it was the only place where one could hear the full film version), and the Main Title from THE TOWERING INFERNO is better then the RNSO's version.

I would agree, some of their albums are great - the two Bond, Back in Action albums and their John Barry recordings are great (the 4CD collection is probably the best summation of Barry's career in a single set and a fine companion to the two Moviola albums that Barry conducted, although their Bond performances are a lot more lively than Barry's own re-recordings). Their Goldsmith recordings aren't bad either; the suite from the Omen is worth a listen and yeah, their recording of music from the Swarm is really good. But they have never been great at John Williams, their Jurassic Park collection that I bought in my early collecting years was superseded very quickly by, well, By Request, and the Spielberg/Williams albums.

 

The City of Prague Phil definitely got better, but never quite mastered JW's more difficult writing. Silvestri, as I noted earlier, requires pretty incisive brass playing (it's part of his style) and their playing just isn't precise enough so it sounds sloppy. Both write pretty tricky brass parts too (unlike John Barry where it's much simpler, even in most of the Bond stuff). Although as I said, their recording of the suite from Black Sunday (years before the score got released) was pretty decent and a really good summation of the best bits. Although, I think they cut some of it out when it appeared on other albums. A shame, it's a really good suite and perfectly decently performed. That's the kind of thing that would go in my fantasy "Rare and Unreleased" JW compilation...

 

Although Silva's old JW recordings are still better than the Naxos recording of Williams' music from the 90s, which had some truly terrible playing before Naxos became the great label it is today. The only thing that I liked from A Second Change from The Accidental Tourist as it was pretty much the only way to hear any of it then. The performance was quite decent too. I would add that Naxos' recent recordings of most, if not all of JW's concertos under Leonard Slatkin, are superb - indeed, I prefer Slatkin's take on both the Cello Concerto and Five Sacred Trees (Bassoon Concerto) to Williams' own and the recording is much better on both too.

 

Currently listening to the Flim-Flam Man from Goldsmith at Fox Volume 2 (I have no reason to buy Volume 1 as I own both, but it's killing my collecting OCD!). Honestly had no idea what it would be like, but rather fun! Actually a nice companion to some of those older Williams scores such as The Reivers and Missouri Breaks. Certainly cut from the same cloth.

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12 minutes ago, Naïve Old Fart said:

@Tom Guernsey,

That's "A Second Chance", otherwise, I agree with all that you posted :)

That's the one! I had originally typed "A New Life" for some reason but managed to at least avoid that epic JW fail lol.

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2 hours ago, Bespin said:

I'm not a fan of the The City Of Prague Philh recordings, they seems uneven. For me, they represent "El cheapo" recordings.

So true. The only re-recording I find pretty good is the Complete score from Lawrence of Arabia

 

The Book Thief by John Williams

Perfect from beginning to the end.

 

Aliens (The Deluxe Edition) by James Horner

One of my favourite Horner's score, truly in the legacy of Goldsmith.

 

Forever Young (LLL) by Jerry Goldsmith

Well it's Goldsmith so it's great as always.

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6 minutes ago, Raiders of the SoundtrArk said:

So true. The only re-recording I find pretty good is the Complete score from Lawrence of Arabia

 

 

The recordings produced by Fitzpatrick for the Tadlow and Prometheus labels are of higher quality than the Silva Screen recordings. I reckon Tadlow/Prometheus pay for the necessary rehearsal time.

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51 minutes ago, Raiders of the SoundtrArk said:

Fun fact: David in Prometheus loves Lawrence of Arabia....

Are the two meant to be linked?

 

Yes. David / David Lean, geddit? ;)

 

In all seriousness, there are numerous links. There is David's God-like aspirations; to create. Or his desire to 'blend in'. Just to mention two. Both PROMETHEUS and COVENANT are filled with awesome, intertextual references that mirror the story elements.

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12 hours ago, Tom Guernsey said:

Currently listening to the Flim-Flam Man from Goldsmith at Fox Volume 2. Actually a nice companion to some of those older Williams scores such as The Reivers and Missouri Breaks. Certainly cut from the same cloth.

 

It's rumored to be Williams playing the the honky-tonk piano on this score.

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ab67616d0000b273fd97578faf37c583309c387a

 

One of my absolute favourite scores from 2011. A cross between Delerue-ian bittersweetness and Williams-esque pastoral writing. Only 19 minutes long, but not a dead moment.

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18 hours ago, Thor said:

 

Yes. David / David Lean, geddit? ;)

 

In all seriousness, there are numerous links. There is David's God-like aspirations; to create. Or his desire to 'blend in'. Just to mention two. Both PROMETHEUS and COVENANT are filled with awesome, intertextual references that mirror the story elements.

This whole Prometheus craddle of mankind story was such a bad joke. At last the billionaire meets the makers they just kill him laughing. No message, no clue, no understanding, just foodchain. 

It reminded me of Scott's Hannibal, where two antagonists spend almost two thirds of the movie looking for eachother because they have an open bill and they impacted eachothers life so much. Then they meet and without any conversation the one guy just tries to kill the other and gets himself killed by stepping into his own trap. End of the storyline.

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I'm not going into the whole PROMETHEUS/COVENANT debate again, neither here nor in the ALIEN thread. It takes too much out of me. But I'm a passionate and avid defender of both, and was even on national news to talk about it. I can, however, link you to these two articles of mine that I've run through Google Translate for anyone interested. Here and here.

 

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ab67616d0000b273b15f047b8bcff8fd58a673e4

 

How we change! I used to find this extremely boring in the 90s, and proceeded to sell off my CD. But now, I absoutely love it in its slow, powerful, impressionistic painting of the icy surroundings.

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1 hour ago, Thor said:

I'm not going into the whole PROMETHEUS/COVENANT debate again, neither here nor in the ALIEN thread. It takes too much out of me. But I'm a passionate and avid defender of both, and was even on national news to talk about it. I can, however, link you to these two articles of mine that I've run through Google Translate for anyone interested. Here and here.

Thank you for sharing this. I understand that you are done discussion. But I heavily disagree with your statement about "complex life philosophy". The philosophical content of the movie fits into a lunch box and is terribly boring and shallow. And, worst of all, overloads the original film with background that sucks the whole charm out of "the one peculiar incident in a gigantic univers" to "the only incident in a very very mono-thematic univers".

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Yes, I obviously totally disagree with you, but I refer back to the articles for the specific points regarding the complexity. It should be fairly understandable, despite the Google Translate limitations.

 

I hope we can keep this to 'now playing' posts.

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Agreed. ROMEO & JULIET is a classic, of course, and I would maybe go so far as to call BUTTERFLY an underrated classic, if there is such a thing. Both fine examples of the lyrical romance that the Italians do so well. Even evident in contemporary Italian composers like Stefano Caprioli and Pericle Odierna.

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Yasunori Mitsuda / ACE(TOMOri KUDO, CHiCO) / Kenji Hiramatsu / Manami Kiyota - Xenoblade Chronicles 2 (OST)

 

When you decide to listen to a 5 1/2 hour OST album, you only listen to one album in a work day.  And every minute of it was great!

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ab67616d0000b27340689c2b40902e6de3236100

 

Theatre score by my good friend Eirik (who also wrote the opening theme for my podcast Celluloid Tunes), for a play based on the famous Astrid Lindgren book. Beautiful, ethereal textures - mix of electronics and acoustic elements, like a string section or voices. Next to the Morricone-infused score for the children's film DE TØFFESTE GUTTA [THE TOUGH GUYS], this might be his best work to date.

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Just now, Jurassic Shark said:

Shit, for a moment there I thought the original music to the film had finally been released.

 

Alas, no. For now, there's only the two tracks on the Isfält compilation.

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5 minutes ago, Thor said:

 

Alas, no. For now, there's only the two tracks on the Isfält compilation.

 

I know that Movie Score Media are looking into the rights and master access for this score, after I made an inquiry to them about this and Ronja Røverdatter last year. Fingers crossed.

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One of the JW Facebook groups did a retrospective of his Spielberg scores for each decade from 40 to 10 years ago. From oldest to newest you get Raiders, Hook, AI, then War Horse and Tintin most recently. Ironically, this’ll be the first XXX1 decade without a new Williams score for Spielberg.

 

Each of these is a pretty great example of his writing during each period of his career; the epic late 70s/early 80s style as he hit his stride in Raiders, the latter part of his bustling mid-80s/early 90s style with Hook, then more contemplative, less busy writing for AI and War Horse; these two feel more similar in the phase of his career, style wise, than the others, different though the music is. And Tintin is almost a fun throwback to his Indiana Jones/80s/90s style although perhaps the only one of those score that isn’t quite a classic, great though it is.

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I have been listening to this almost constantly for the past week or so. It's a textbook example of how you adapt film/video scores into concert works. I'm looking at you Howard Shore! Also, recording and LSO performance are both marvelous.

 

Karol

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1 minute ago, Jay said:

Have you been listening to just the first volume, or all 5?

You mean Distant Worlds? No, it's the symphony album for now. Will get to those eventually. I've got 30+ new album that I didn't have time to unwrap yet.

 

Karol

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6 minutes ago, Jay said:

Yea, my bad, I mistook Final Symphony for Distant Worlds. Woops! 

What do you think about the LSO album? As someone familiar with the material?

 

Karol

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On 5/13/2015 at 12:10 PM, Jay said:

London Symphony Orchestra - Final Symphony

This was awesome! I especially loved the selection from Final Fantasy VI, what a powerhouse!

Listening to this made me realize I really need to familiarize myself with the later FF scores; Since I've only played 1-6, I simply don't really know the scores to 7+ much at all!

Nobuo Uematsu – Final Symphony - Music From Final Fantasy VI, VII and X

 

 

 

I actually just listened to it again recently going through my physical collection but apparently I didn't post here when I did.  Basically I liked it a lot still; now that I'm family with FF VII's music that whole section was the new highlight for me.

 

I don't like the opening track that has nothing to do with the games though

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