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


Ollie

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Well, usually I use "The Penguin Guide" method and abreviations to tag my digital files.

 

The general concept is to begin with the composer, the soloists, the orchestra, then finally, the conductor.

 

'S' for Symphony, 'O' for orchestra, 'Philh' for, well, etc, etc.

 

Ex.: Bernard Herrmann, Orla Boylan, Martin Roscoe, BBC Philh, Rumon Gamba

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1989 really was the year of my film music "musical awakening", I was 15 yo. From J.S. Bach, I switched directly to John Williams and Danny Elfman.  The 3 Star Wars were some of the the first CDs I purchased (some on the Columbia Club!).

 

Then in the summer of 1989, Tim Burton's Batman was released...

 

1989 - Part I

Erich Kunzel - A Disney Spectacular
Danny Elfman - Batman
Erich Kunzel - Chiller
James Horner - Field of Dreams

 

1989 - Part II

John Williams - Indiana Jones and the Last Crusade
John Williams - Salute to Hollywood
Alan Silvestri - The Abyss

Various - The Music Teacher

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Loves's Labour's Lost - Patrick Doyle

 

Rarely gets mentioned when it comes to Doyle's work. Even though for me one of his best. It is kind of his emulation of a Golden Age score. Probably, it is not so popular because the movie is so bad or because on the score the musical songs are more in focus. But the combination of both is really a great listen (if you like such wasteful exuberant music).

 

 

 

 

 

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1 hour ago, LSH said:

image.jpeg

 

Possibly the best theme ever.

From the talk I went to with Jerry and director Lee Tamahori they mentioned that the opening credits sequence was temped with Last of the Mohicans which Jerry wasn’t super thrilled about but fortunately found entirely his own voice for the main theme and wrote, as you say, one of his best themes. Absolutely super and surprisingly lyrical too. 

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2 hours ago, Tom Guernsey said:

From the talk I went to with Jerry and director Lee Tamahori they mentioned that the opening credits sequence was temped with Last of the Mohicans which Jerry wasn’t super thrilled about but fortunately found entirely his own voice for the main theme and wrote, as you say, one of his best themes. Absolutely super and surprisingly lyrical too. 

 

Interesting. Thanks for that little tid-bit.

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Summer days drifting away...

 

John Powell - How To Train Your Dragon 2 - Expanded Score
John Williams - War of the Worlds - Expanded Score
John Williams - Minority Report - Expanded Score
James Newton Howard - Wyatt Earp - Expanded Score

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37 minutes ago, Marian Schedenig said:

Is that a custom cover for Marnie, or was it re-released with a new cover? Mine looks like this:

OS01NTEyLmpwZWc.jpeg

Must be a custom cover as mine looks like that too. A very fine custom cover though which I’m quite inclined to use. 

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36 minutes ago, Tom Guernsey said:

Must be a custom cover as mine looks like that too. A very fine custom cover though which I’m quite inclined to use. 

 

You have to know Varèse Sarabande asked artists to paint (real paintings) their covers in that period.

 

Is it pretty? No.

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3 hours ago, Bespin said:

 

You have to know Varèse Sarabande asked artists to paint (real paintings) their covers in that period.

 

Is it pretty? No.

Oh yes I know that! I should have made it clearer. Some of them are really good, others less so. The one for their otherwise fine Jaws re-recording is especially off the mark. But I do especially love the covers for 2001 and Vertigo. 

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Listened to a few Basil Poledouris score the last few days.

 

Conan The Destroyer, Flesh + Blood, Robocop, Lonesome Dove, Quigley Down Under, Free Willy & Lassie.

 

My favourites are definitely Lonesome Dove & Quigley Down Under. And I have a soft spot for Lassie.

 

On to Starship Troopers & For The Love Of The Game

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18 hours ago, Marian Schedenig said:

Is that a custom cover for Marnie, or was it re-released with a new cover? Mine looks like this:

OS01NTEyLmpwZWc.jpeg

It's custom I believe. I found it on a google search. My actual cover is like the one you showed. I guess I should have posted the actual covers instead of the one's I'm currently using. Sorry. 

 

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1 hour ago, Indianagirl said:

It's custom I believe. I found it on a google search. My actual cover is like the one you showed. I guess I should have posted the actual covers instead of the one's I'm currently using. Sorry. 

 

No need to apologise, lots of people round here are suckers for some fine custom cover art and that one is pretty great!

 

Speaking of which, I realised I didn't have the lovely suite for cello and orchestra that JW arranged from Memoirs of a Geisha so gave that a spin. Absolutely terrific half hour summation of the best moments with predictably wonderful performances by Yo-Yo Ma and the Chicago Symphony Orchestra conducted by JW. I found some rather lovely artwork online (not sure what release it went with) but only in fairly low resolution, does anyone have it in better resolution?

image.png

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Lair - John Debney & Kevin Kaska

 

One of the best scores of the last 20 years. And I don't mean just game scores.

This is terrific musical storytelling of the highest order.

With at least 6 themes it's a very well thought out score, which I love.

 

The action music, because it's a game, is there in abundance and it's mindblowingly good.

 

Now that I hear it again. This score nicely fits next to The Orville. Magnificent orchestral writing.

 

Now give Debney that big fantasy or action film where he can use the orchestra.

Would love for him to maybe score Fantastic Four with a big orchestra & choir.

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20 minutes ago, crocodile said:

It might be bit much in terms of sheer noise but definitely a lot of fun.

 

Karol

 

You are indeed out of breat after 99 minutes. Hahaha

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Summer sun, something's begun...

 

James Horner - Aliens - Expanded score
Alan Silvestri - Back To The Future - Expanded score
James Horner - Krull - Expanded score
John Williams - Dracula - Expanded score

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My latest score rip project, It Happened in Europe/Somewhere in Europe, a 1947 classic about the horrors of war through the eyes of children left alone, cast out of society, growing hardened against it, but being taught humanity and empathy again by an old conductor they come across and initially want to hang in an old ruined castle, partially shot in war ruins with actual war orphans. The composer's profile mostly includes songs, music set to poems, operettas, theatrical incidental music, and film scores mostly from the first decade of sound film. The score features a mix of Golden Age scoring and almost mickey mousing - in some places it even has to carry the entire soundtrack with no foley or dialogue, like the section at 2:24-3:30 where it scores a train carriage's door closing, the train starting up, then speeding away after a kid's thrown out of the window to be saved. There's a fanfare for the castle and a march for the band of kids, playing in more or less motivated renditions, and recurring melodies for grief, sneaking around, motivated preparations around the castle, and a bassoon figure for the conductor, who also helps introduce pieces by others - he plays Beethoven's Für Elise and Moonlight Sonata on the piano and teaches the kids La Marseillaise, who take it up on the harmonica and whistle it as their anthem - the score also references the Rákóczy March in the finale when he says goodbye to the kids, now safe and legally owners of the castle. The relationship between diegetic music and score also gets interesting - Marseillaise as mentioned before is partly the former, but is also quickly built into the score; and the castle's fanfare is "composed" by the conductor at the piano after their relationship grows and the kids' energies are turned productive to help reconstruct the ruined home.

 

 

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Summer fling, don't mean a thing...

 

Ennio Morricone - Once Upon a Time in the West (OST)
Hans Zimmer - The Dark Knight Rises (OST)
Howard Shore - Twilight: Eclipse (OST)
Danny Elfman - Spider-Man 2 (The Score)

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On 27/07/2022 at 10:02 AM, Andy said:

Holy moly!  Is To Kil a Mockingbird ahead of its time?  Seems to have set the template for so many dramatic sounding scores like Randy Newman's The Natural and James Horner's Cocoon. What I wouldn't give to have the original recording with Williams on the piano.  This is brilliant.  I've listened to my share of Elmer Bernstein, but this seems to transcend a lot of his style to be its own thing.  Soooo good.

 

What's the story with the original tapes?  Are they known to be destroyed, or just not found yet?

 

 

TKAMBa-int7166_1600a.jpg

According to Intrada,tapes exist but the estate won't license them

Astards!

 

 

SHOCK TREATMENT

 

Goldsmith at his early, innovative peak.

Love this score.

Can't believe we have it in STEREO- PHONIC SOUND

 

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5 hours ago, bruce marshall said:

According to Intrada,tapes exist but the estate won't license them

Astards!


Oh that’s a cryin shame.   Maybe if they got a persuasive letter from Mr Williams’s people since he played in the recording.   Historically significant, I’d say. 

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On 22/10/2021 at 7:52 AM, Stu said:

I am once again listening to The Outsiders.  "Sunrise" is such an achingly perfect cue.  I've posted before that it reminds me of To Kill a Mockingbird musically and it also occurs to me that they can be related thematically as well.  Both being at least partially about how you can never have the innocence of childhood again once lost.

 

Also don't think of this cue as an instrumental version of a Stevie Wonder song, the film cue written by Carmine Coppola came first, and then Stevie Wonder gave it lyrics and a pop song recording afterward.

 

 

 

And it's such a horrible tragedy what Francis Coppola did to his own father's score for the "complete novel" cut of the movie, which is currently the only one in circulation.  I find it unwatchable.

 

To use a quote from another Coppola movie, "Look how they massacred my boy"

 

 

 

I'll never get enough of this cue.

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Let's take the Memory Lane this sunday...
  • Erich Kunzel - Mega Movies (2000)
  • RLPO - Great Movie Themes (2007)
  • Marc Shaiman - Memory Lane (Junk in my Trunk) Mini-Album featured on The Bucket List OST (2008)
  • LSO - The Genius of Film Music 1980s-2000s (2018)
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Oh I had completely forgotten this great arrangement where the Main theme directly segue into The Flag Parade!

 

Screenshot_20220731-120532_foobar2000.jpg

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:lovethis:  :worship:  :heart:  :thumbup:  :woop:  :rock:   :remybussi:

@LSH, you might just get the impression that I like this score. I've loved this score for over 30 years.

From the Main Title (which could be a Toto instrumental - and there's nowt wrong with that!), to the Copland-esque Fanfare, it's blissful JNH.

My favourite Howard score, bar absolutely none!!!

Favourite cue: MACK AND CLAIRE'S DREAM, but, hey fuck it: it's all brilliant.

1 minute ago, Naïve Old Fart said:

 

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:music: Windtalkers. The thamatic core of this score is rather underwhelming, true, and no one will argue this is Horner’s finest hour. But given the current film music landcape, I find it really funny that people regarded this type of action cue generic some 20 years ago:

 

 

Karol

 

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On 26/7/2022 at 7:01 AM, Indianagirl said:

image.jpeg

 

I'm really starting to develop a love for old Hollywood scores. 

Interesting. I didn’t know that McNeely re-recorded Rebecca as well. Wonderful score. Probably my favorite of Waxman. I have Slovak Radio Symphony Orchestra recording which is good. Any comparison by anyone?

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26 minutes ago, GerateWohl said:

Interesting. I didn’t know that McNeely re-recorded Rebecca as well. Wonderful score. Probably my favorite of Waxman. I have Slovak Radio Symphony Orchestra recording which is good. Any comparison by anyone?

Although it has less music, I prefer the McNeely recording, the performance and recording are both better in my estimation. As it's a Varese re-recording from the 90s, there are the inevitable complaints about more of a concert hall acoustic, but it's not really an issue for this music unless you do prefer your classic scores with zero reverb! Both worth listening to and I agree, it's a wonderful score. 

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Speaking of which, I recently re-watched Rebecca, and found that it's a good example of how undermixed scores are not an exclusively modern thing. Waxman's climactic cue is mixed so low that a critical portion is entirely drowned out by the sound effects of the fire. I actually think the film's ending would have considerably more impact if the score were mixed properly.

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Summer heat, boy and girl meet...

 

Danny Elfman - Black Beauty - Expanded Score
John Williams - Jurassic Park - NEW Expanded Score
James Horner - The Rocketeer - Expanded Score
Michael Kamen - Robin Hood Prince of Thieves - Expanded Score

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Two of my favourite sixties thriller scores again, both composers using instruments in a chamber setting in unsettling registers (Mancini: detuned piano, Barry: alto flutes). 

 

The films are also two fine examples of the genre.

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