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

[Jurassic Shark 12,076]

Star Wars: The Farce Awakens

 

Star Trek: Insurance

[Raiders of the SoundtrArk 2,433]

Blade Runner 2049 by Hans Zimmer and Benjamin Wallfisch

I think this one need time for me to be properly appreciate, each time I listen to it again I like it more, maybe one day I'll even love it...

 

The Book Thief by John Williams

Nothing better than a gentle and beautiful Williams score to end the week-end. Perfect!

[crocodile 8,016]

 Solo: A Star Wars Story (Deluxe). It is one of these few scores that entertain from start to finish. I don't think there is a single weak track on this release. The themes are all distinctive and applied well throughout. The score itself is a lot of fun and full of colour that you rarely find in film music these days (that's probably exactly why the mix in the film is bit of a letdown). And while John Powell's style is quite different from John Williams' it actually is a good thing. I sort of believe that that emulating someone's style is just as annoying as mocking someone's accent. It's artistically uninteresting and, quite frankly, just really dull. So I appreciate John Powell doing his thing for the most part. He has enough chops to use Williams material confidentially and his own stuff works very well with it. If there's any criticism I might have is that Powell's music tends to be extremely loud and I often feel exhausted by the action music. And since both the early heist scene and mine mission/Kessel sequences are now combined into 10-minute pieces it can be a bit much. I find the score is at its best during more quiet and inconspicuous underscore moments.

 

Karol

[bruce marshall 1,315]

11 hours ago, GerateWohl said:

I just knew the score of Krull, then watched Wolfen and, yes, I can confirm.

It's just a pitty that they didn't put the accoustic version of "Du bist alles" on the disc that we get to hear in the show, just the pop version. 

That's the only song I liked and, yeah, the arrangement sucks!

TBH I didn't care for any of the songs or period/source cues in VOLUME two.

The first series was practically a musical so it's understandable there would be less emphasis on music this time.

Not a purchase for me this time.

[Jay 37,364]

13 minutes ago, crocodile said:

 Solo: A Star Wars Story (Deluxe). It is one of these few scores that entertain from start to finish. I don't think there is a single weak track on this release. The themes are all distinctive and applied well throughout. The score itself is a lot of fun and full of colour that you rarely find in film music these days (that's probably exactly why the mix in the film is bit of a letdown). And while John Powell's style is quite different from John Williams' it actually is a good thing. I sort of believe that that emulating someone's style is just as annoying as mocking someone's accent. It's artistically uninteresting and, quite frankly, just really dull. So I appreciate John Powell doing his thing for the most part. He has enough chops to use Williams material confidentially and his own stuff works very well with it.

 

I agree with Crocs

 

13 minutes ago, crocodile said:

If there's any criticism I might have is that Powell's music tends to be extremely loud and I often feel exhausted by the action music. And since both the early heist scene and mine mission/Kessel sequences are now combined into 10-minute pieces it can be a bit much. I find the score is at its best during more quiet and inconspicuous underscore moments.

 

Karol

 

Well, except for this part

[bruce marshall 1,315]

Just to confirm what Jay said.

When we refer to an " ost" we mean an LP or CD that came out concurrently with the film.

Usually, arranged by the composer .

[bruce marshall 1,315]

19 hours ago, Thor said:

 

..:

 

 

Not technically a soundtrack (so I could have posted it in both the rock/pop thread and the electronic thread), but several of the cues were used in season 3 of TWIN PEAKS. I just adore Johnny Jewel's dreamy soundscapes.

Thor

This looks like the JJ soundtrack to TWIN PEAKS

Should I get this one?

[redishere 697]

On 3/18/2021 at 10:39 PM, Thor said:

 

That's Brian with an I, but yeah -- great composer. Although I've struggled to get into some of his non-film albums.

I get what you mean: I prefer his more "filmic" work. I find Morceau Subrosa quite relaxing, and the orchestral parts in These Hopeful Machines definitely made me happy! I'm not that into trance music, unfortunately: but yeah, you can tell he knows his stuff.

As for the Brian with an "i"… weird, on wikipedia it was written as Bryan, which I found weird: but soon enough I realized it was an error in the Italian page. 

[Raiders of the SoundtrArk 2,433]

Boy Erased(FYC) by Danny Bensi & Saunder Jurriaans

A nice score with some nice piano arrangements.

[crocodile 8,016]

 Godzilla (complete score). I think Desplat managed to successfully capture the morbid tone of the original score without ever quoting it. The score strikes a nice balance between the Japanese influence, big Hollywood monster tradition of old and the requirements of the 2010's blockbuster. It's a very finely crafted score. The only thing I don't like about it is the rather underwhelming recording and mixing of the mammoth orchestra. It never really sounds that big so why even bother?

 

Karol

[Thor 7,504]

3 hours ago, bruce marshall said:

Thor

This looks like the JJ soundtrack to TWIN PEAKS

Should I get this one?

 

Sure, THEMES FOR TELEVISION is great, although - again - it's not technically a soundtrack. I believe this is a collection of cues that Jewel wrote, intended for Lynch to use in TWIN PEAKS, but none of it was used - except fragments of one of the tracks. Between this and WINDSWEPT, it's all a rather confusing affair. I don't have total overview myself. Just think of them as great Johnny Jewel albums and forget about the TWIN PEAKS connection.

[GerateWohl 4,369]

12 hours ago, crocodile said:

 Solo: A Star Wars Story (Deluxe). It is one of these few scores that entertain from start to finish. I don't think there is a single weak track on this release. The themes are all distinctive and applied well throughout. The score itself is a lot of fun and full of colour that you rarely find in film music these days (that's probably exactly why the mix in the film is bit of a letdown). And while John Powell's style is quite different from John Williams' it actually is a good thing. I sort of believe that that emulating someone's style is just as annoying as mocking someone's accent. It's artistically uninteresting and, quite frankly, just really dull. So I appreciate John Powell doing his thing for the most part. He has enough chops to use Williams material confidentially and his own stuff works very well with it. If there's any criticism I might have is that Powell's music tends to be extremely loud and I often feel exhausted by the action music. And since both the early heist scene and mine mission/Kessel sequences are now combined into 10-minute pieces it can be a bit much. I find the score is at its best during more quiet and inconspicuous underscore moments.

 

Karol

Mostly agree. Even though the music on itself is fine in the movie the scenes seemed sometimes overscored. The space harbour scene for example, after Q'ira and Han got separated. A scene where Han pulls back, tries to hide in the croud where quiet suspensive music would have been appropriate Powel chose to underscore the big emotion of the separation of Han and Q'ira, but which does not match the action on screen where Han has other problems in the meantime.

 

Apart from that to me the biggest weakness of the score is the end titles suite. That is not a suite it is just a rough edit of plugging pieces together without any transition.

 

Apart from that, everything you wrote.

[Thor 7,504]

 

I try to listen to a little bit of lyrical Morricone every day, so that I can properly acquaint myself with all these new acquistions. From the cover, this looks like something from the 60s or 70s, but it's actually from 1999. Elegant waltzes and über-romantic through and through - but with occasional mood breakers, typical Morricone.

[Raiders of the SoundtrArk 2,433]

The Bridge on the River Kwaiby Malcolm Arnold

Great score, although the sound quality is quite awfull on the one I've got. Dunno if there has been a restoration or expansion of that one.

 

Breaveheart by James Horner

An Horner's classic. Not my favourite though even if the Love theme is absolutely terrific, I don't fancy that much the action cues (well on an Horner's level I mean).

[Edmilson 7,456]

Just now, Raiders of the SoundtrArk said:

Breaveheart by James Horner

An Horner's classic. Not my favourite though even if the Love theme is absolutely terrific, I don't fancy that much the action cues (well on an Horner's level I mean).

 

Agreed. The love theme and the emotional parts are top-notch, but the action music is a little boring, just a inferior reprise of Legends of the Fall's Revenge.

 

With Titanic is the other way around: I don't like the romantic cues, but the action music for the sinking is amazing.

[Thor 7,504]

Ah, BRAVEHEART. Certainly among my top 10 Horners, maybe even top 5. It's so ingrained in my DNA as a 'classic cornerstone score' at this point, I really have very little new to say. Probably among my first 30 soundtrack CDs way back in the 90s. But there's that story from the James Horner concert in Vienna, which I may or may not have shared before?

 

I was at James Horner's concert in Vienna in 2013, as were several others here, I know. I sat just a couple of rows behind him, and can be seen in the BluRay release of the concert. I also had a breakfast interview with him earlier in the day. So I got plenty of my own "Horner fix". But during the concert, I was sitting next to a young girl - she can't have been more than 15-16 years old. In her lap was a plastic folder with a couple of CD booklets and posters that she obviously wanted signed at some point - most prominently BRAVEHEART. When selections from BRAVEHEART were eventually played, I could see in the corner of my eye that she was moved to tears - and as a result, so was I. Not really because of the music itself, which I'd heard a million times before. But because of her reaction. Memories kept flooding back about my own formative years, when I got into film music and Horner. There was also something almost 'mythological' about it - the timeless quality of his music that recruited new fans more than half my own age. It all became quite overwhelming. Thinking about it now, after his death, moves me all over again.

 

So yeah - generation-crossing score that continues to be a reference point to this day, I guess was my point. If I had any.

[Jurassic Shark 12,076]

It's okay.

[Thor 7,504]

 

Today's "soft start of the day" goes to this - one of Horner's most underrated efforts.

[Raiders of the SoundtrArk 2,433]

Bright (FYC) by David Sardy

Nothing fancy just a regular modern score

 

Bullitt by Lalo Schiffrin

Now that's what I'm talking about. Great score with awesome guitar riffs and flute's solos. Loved it!

[Thor 7,504]

 

James doesn't get more romantic than this, just lovely. Also a few great "urban" soundscapes (i.e. kinda jazzy) that he does so well. I believe JNH was Streisand's boyfriend at this time.

[Unlucky Bastard 7,782]

JNH musta like her big schnoz

[LSH 969]

34 minutes ago, Thor said:

I believe JNH was Streisand's boyfriend at this time.

Where did you hear/read that?

[Jay 37,364]

A 2 second google search brought me this

 

https://www.ranker.com/list/men-who-barbra-streisand-has-dated/celebrityhookups

[Romão 2,274]

Didn't he also date Rosanna Arquette?

[Jay 37,364]

A 2 second google search brought me this

 

https://www.whosdatedwho.com/dating/james-newton-howard-and-rosanna-arquette

[Jay 37,364]

James Horner - Black Gold (OST)

 

I like it!  It's not splashy, or groundbreaking, or anything anyone would consider one of his best or most important works, but the atmosphere it creates is really great.  It grabs you right away and takes you on a ride that culminates with a really great final 3 tracks that conclude everything amazingly.  Horner's 4 Annaud scores are all really interesting

[crocodile 8,016]

3 minutes ago, Jay said:

James Horner - Black Gold (OST)

 

I like it!  It's not splashy, or groundbreaking, or anything anyone would consider one of his best or most important works, but the atmosphere it creates is really great.  It grabs you right away and takes you on a ride that culminates with a really great final 3 tracks that conclude everything amazingly.  Horner's 4 Annaud scores are all really interesting

It has that in common with Wolf Totem. Both scores are far from groundbreaking in any way but they offer well rounded listening experiences under 60 minutes. Very well put together albums  which I listen to quite regularly.

 

Karol

[Jay 37,364]

I agree!

[Naïve Old Fart 9,531]

His other three scores for JJA are good, but they can only fall prostrate at the altar of THE NAME OF THE ROSE.

[Jay 37,364]

Danny Elfman - Serenada Schizophrana

 

This was fun!  I think I had only listened to it once before.  Elfman unencumbered with a film to be writing for, and just having his brain concoct a bunch of wacky ideas that actually gel together nicely is treat.  I'll have to listen to this more often!

[crocodile 8,016]

Everything Elfman writes outside of the film medium is way way better than his film work. I absolutely adore Serenada, Rabbit & Rogue and Eleven Eleven concerto. And even projects somewhat tied to (but not restricted by) narrative fare quite fell - The Unknown Known, Iris, Standard Operating Procedure.

 

Karol

[Naïve Old Fart 9,531]

On 3/28/2021 at 9:31 PM, Raiders of the SoundtrArk said:

The Book Thief by John Williams

Nothing better than a gentle and beautiful Williams score to end the week-end. Perfect!

It's a lovely score, a late-flowering masterpiece.

[Raiders of the SoundtrArk 2,433]

The Burbs (Deluxe Edition) by Jerry Goldsmith

Absolutely great! Really funny as the movie is.

[Thor 7,504]

13 hours ago, crocodile said:

Everything Elfman writes outside of the film medium is way way better than his film work. I absolutely adore Serenada, Rabbit & Rogue and Eleven Eleven concerto. And even projects somewhat tied to (but not restricted by) narrative fare quite fell - The Unknown Known, Iris, Standard Operating Procedure.

 

Karol

 

The "Sereneda" was a landslide. If if it hadn't been for that, the two Morris documentaries you mentioned would probably not have sounded the way they did (well, maybe they would because Morris either works with Glass directly or hires composers that can sound like him). He finally got to pour out his Philip Glass love with that concert piece, and has nurtured it ever since, in the non-blockbuster stuff. Love it!

 

 

This 2010 effort remains my favourite Heffes score to this day. I'm always a sucker for indigenous African music (in this case Kenyan and East African tropes) merging with western styles.

[publicist 4,643]

 

Hardly essential, but still occasionally diverting animation Horner (with a little help from his friends), with a few surprisingly harsh and dissonant touches (Grand Demon Parade). Now on Spotify together with a bunch of new additions, i. e. Fievel Goes West and Batteries Not Included.

[Raiders of the SoundtrArk 2,433]

Willow by James Horner

Finally really getting into that one. I used to find it average before but this morning I just fell in love with it.

[Thor 7,504]

 

Delerue doing the stately music he also did well in LA REVOLUTION FRANCAISE. But this is - thankfully - more downkey as a whole.

[Raiders of the SoundtrArk 2,433]

Alien: Ressurection (LLL) by John Frizzell

A wonderful expansion. Each time I listen to one of those Alien's scores I'm amazed how those 4 composers succeed to build a complete, coherent musical journey while bringing so much new things on each movie.

The Alien's scores are surely a rare pearl.

[LSH 969]

6 hours ago, Thor said:

 

 

This 2010 effort remains my favourite Heffes score to this day. I'm always a sucker for indigenous African music (in this case Kenyan and East African tropes) merging with western styles.

 

If I remember rightly, a cue from this was performed at the WSA in 2012; one with quite prominent vocals ("The Execution"?). Gorgeous stuff.

[Edmilson 7,456]

Mortal Engines - Tom Holkenborg

 

Not as great as Alita, but still pretty good.

[Thor 7,504]

2 hours ago, LSH said:

 

If I remember rightly, a cue from this was performed at the WSA in 2012; one with quite prominent vocals ("The Execution"?). Gorgeous stuff.

 

Yes, it was. In fact, that was the first time I properly discovered Heffes. I knew the name, but hadn't sought out any of his work at this point. That changed after this. Here's a pic I took of him, JNH and Donaggio during the concert's intermission. I think he won the "Discovery of the Year" award that year:

 

 

[Jurassic Shark 12,076]

Why are JNH's fingers so short?

[Thor 7,504]

 

I remember being quite impressed when I heard this in 2014. At this point, I had no idea Dudamel was also a composer, and that he could write so accessible film music/world music combos.

[Jurassic Shark 12,076]

I bought the CD album, but sold it when I discovered it was mostly boring.

[Thor 7,504]

I love it! Sorry there weren't more fanfares and timpani for you.

[Edmilson 7,456]

Yep, it's a pretty great score.

[Thor 7,504]

 

The film was OK. I wasn't as enamoured with it as everyone else. I love THE TREE OF LIFE and I love A HIDDEN LIFE. Not that thrilled with the Malicks inbetween. But I love the score by Townshend. Of course, it's hard to get a grasp of amidst the classical selections in the film, but on CD it shines. Has a kind of shimmering, impressionistic, Debussy-ian quality to it.

[publicist 4,643]

1 hour ago, Thor said:

But I love the score by Townshend. 

 

Most of it is meaningless droning, but this yearning romantic cue (and it's slight variations) is one of the best of the 2010's:

 

 

[Bespin 8,482]

Morricone collected (3CD) 

 

It covers well the 60s and 70s, the years I don't especially like, featuring the "essentials".

 

[Raiders of the SoundtrArk 2,433]

Star Wars: Return of the Jedi  by John Williams

It's been a long time (something like 3 weeks ) that I haven't heard this score. What relief to hear again this perfect score from the Maestro some much emotion each time... the Ewoke Parade, The Emperor's Throne Room, Luke and Leia....