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

[Naïve Old Fart 9,551]

That's an interesting hypothesis, @publicist.

I would argue that the orchestras were of a better calibre, the recording facilities were higher quality, and rerecording an OST was cheaper than the repeat fees, for the original recording.

JW, and Jerry were, probably, Anglophiles, as well: they liked England.

[publicist 4,643]

1 minute ago, Naïve Old Fart said:

JW, and Jerry were, probably, Anglophiles, as well: they liked England.

 

I don't think it had to do with recording facilities (they were living there and for *just* recording music once in a while you could hop on a plane). I think both spent at least 1 or 2 years of their life there, which makes the Anglophile angle the more logical conclusion. 

 

Probably had also something to do with the studio system in Hollywood dying around that time, which opened schedules quite a bit, i imagine (Fox even closed down, more or less, for a year or so).

[Naïve Old Fart 9,551]

Also, remember that, in the 70s, the £ was very strong against the $, so recording either an OST, or an "OST", was a good financial move.

[Bespin 8,484]

James Horner - Field of Dreams (remastered original soundtrack)

 

[publicist 4,643]

I may offend fans of this movie/score (which seems to affect especially americans, i found the movie rather hard to sit through), but when push comes to shove, 'The Place where Dreams come true' is the only cue i need from that and it also has a satisfying narrative throughline which the rest lacks. Apart from that it's Horner in his wishy-washy new age mode and here and there the mellow main theme pops up, but it's really a much overrated score, imho.

[Jay 37,371]

Jerry Goldsmith - The Mummy (Intrada Complete)

 

This is a fun score, with fun action music!  The themes never stick with me after listening, but I finally rewatched the film the other weekend and now I think they will on subsequent listens.  Cool use of percussion in this score

 

 

Elmer Bernstein - Stripes (LLL)

 

Fun score!  The album is nicely balanced with Stripes March and Winger's Theme being nice and different from one another and each being really good themes.  there's a fun part that sounds like The Rebel Fanfare, too!

 

 

Danny Elfman - Darkman (LLL)

 

A nice score from Danny's golden era.  Not one of my favorites from the era, but it's good. Nice and moody, and kooky at a few times.  Seeing the film again helped me appreciate what it's doing. I guess overall I like his scores that work in choir, which this one does not apart from some short kooky bits

 

 

Danny Elfman - Dolores Claiborne (Varese Deluxe)

 

My first time hearing this score outside of the Music For A Darkened Theater suite - it's good! Nice autumn listening.

[filmmusic 1,837]

The BFG (John Williams)

Top notch textures and orchestration of course, but aside the main theme I cannot connect to this score.

[Jay 37,371]

Brian Tyler - Now You See Me

 

First time listening to this in a while.  I still love it, but the repetitions on the Soundcloud album are really annoying.  I wish this score was popular enough for a specialty label to expand (it was recorded in London, so no AFM fee crap)

 

 

Brian Tyler - Now You See Me 2

 

Even longer since I heard this one and boy, it hasn't aged well. Some of the new ideas are nice, but the rest are bad new ideas (dubstep...), new arrangements of the first film's themes, re-recordings with minor changes from the first score, and straight up needle-dropping in some NYWM1 cues (tracks 6, 7, and 8 all do this).  Weird.

 

 

Michael Kamen - Die Hard With A Vengeance

 

Listened to some guy's re-creation of the film edits.  Man, McTiernan really had his music editors frankenstein together some pretty wild creations with a lot of repetition (that admittedly you don't really notice when watching the film)

[Bespin 8,484]

Jerry Goldsmith - Rudy The Deluxe Edition

 

[Brundlefly 2,385]

It is much less painful to look at in its physical form.

[MrJosh 892]

Alien Resurrection - John Frizzell

 

I found it both haunting and exciting when I first saw the movie, and I still do. I think it's a great score with a really nice use of electronic elements to add creepiness to the music, without being over the top. 

 

The sound quality on the LLL expanded release is fantastic. In my headphones, I feel like I'm sitting in the room. Percussion in particular sounds very 'real' with the bass drum having such weight and presence. 

 

I like the incorporation of a bit of Goldsmith's Alien music near the beginning of the score, the action music with healthy doses of horn rips/trills, and the softer moments have both an unsettling-ness and a beauty to them. 

 

I'm also really glad LLL included the Main Title without the electronics because I like hearing it both ways. 

 

[Edmilson 7,466]

The Ring - Hans Zimmer

 

A surprisingly good horror score that gives credit to two of my Zimmer theories:

1. The best era for Zimmer was from the mid-90s to the mid-2000s (specifically, until At World's End);
2. Gore Verbinski was his best partnership with a director.

The Ring's score is mostly written for piano and strings and revolves around a few themes. In a way, it's not that different from many understated suspense/thriller scores from those days (it reminded me the most of JNH's The Sixth Sense). Still, it creates an amazing atmosphere. Also, it was nice to hear seeds of what we'd hear in later Zimmer scores, like The Da Vinci Code, Batman Begins, Sherlock Holmes, etc.

[Faleel 5,359]

1 hour ago, Edmilson said:

The Ring - Hans Zimmer

 

 

1. Gore Verbinski was his partnership with a director.

 

It certainly was his partnership.

 

 

[Edmilson 7,466]

"Of all the partnerships Hans Zimmer had with a director, this was certainly one of them". 

 

Okay, I fixed the post.

[Faleel 5,359]

It's Zimmerin time.

[Thor 7,517]

11 hours ago, Edmilson said:

1. The best era for Zimmer was from the mid-90s to the mid-2000s (specifically, until At World's End)

 

Again with the age difference between us, I think, but his best was ca. 1988 to 2000.

[Tallguy 3,401]

I was just reminded that Zim wrote the theme to The Critic!

[Jay 37,371]

It (doesn't) stinks!

[Raiders of the SoundtrArk 2,433]

All the King's Men by James Horner

Beautiful

[crocodile 8,017]

1 hour ago, May the Force be with You said:

All the King's Men by James Horner

Beautiful

Really great, and largely underappreciated, James Horner score. It feels bit weightier than usual.

 

Karol

[Bespin 8,484]

Highlights from some Michael Kamen scores:

• Band of Brothers
• Back to Gaya
• Don Juan deMarco (Has amado una mujer de veras?)
• The Iron Giant
• Lethal Weapon (Meet Martin Riggs)
• Robin Hood Prince of Thieves

[Bespin 8,484]

The release of the 149th studio album of John Williams next week, The Fabelmans (his 109th soundtrack album), inspire me a selection of highlights from these scores and albums:

• Cinema Serenade (w Itzhak Perlman) (Scent of a Woman)
• A Gathering of Friends (w Yo-Yo Ma) (Schindler's List Theme)
• HP and the Sorcerer's Stone OST
• HP and the Chamber of Secrets OST
• HP and the Prisoner of Azkaban OST
• Indiana Jones and the Crystal Skull OST (Raider's March)
• Jaws OST (Main Title)
• Jurassic Park OST
• Memoirs of a Geisha OST (Sayuri's Theme)
• Obi-Wan Kenobi (Obi-Wan)
• The Phantom Menace OST
• Attack of the Clones OST
• Revenge of the Sith OST
• A New Hope OST
• The Empire Strikes Back OST
• The Force Awakens OST
• Schindler's List OST

[GerateWohl 4,371]

The Black Dahlia - Mark Isham

This score is obviously inherrited from L.A. Confidential, which was inherrited from Chinatown. But somehow, at least at the moment I prefer this score over the two others. It is much more dynamic and much less catchy. But at the end this is the charm of this score. It has in a way the same kind of appeal to me like Williams' War of the Worlds. Highly dynamic, rough melodies, but nothing getting stuck immediately. But that also keeps it fresh and cool somehow. Isham plays the trumpet here himself, which is great.

When I saw the movie I wanted this score, but I didn't find it anywhere at that time. Triggered by the recent discussions here about Isham scores I remembered this one. Now at last I got it and it is really great.

Also as an OST score album this one works much better for me than L.A. Confidential and Chinatown. But without the other two this one would probably Not exist.

 

Another side note. As this is again a great score for a Not so great Brian de Palma movie, just like Williams' The Fury and Herrmann's Obsession, I thought, it might be worth exploring more scores for de Palma movies.

[Jay 37,371]

Richard Gibbs - Battlestar Galactica (Mini Series OST)

Bear McCreary - Battle Star Galactica (Season 1 OST)

Bear McCreary - Battle Star Galactica (Season 2 OST)

Bear McCreary - Battle Star Galactica (Season 3 OST)

Bear McCreary - Battle Star Galactica (Season 4 OST)

Bear McCreary - Battle Star Galactica (Best of Season 1-4 Promo)

 

I hadn't listened to these scores in years and I quite enjoyed this revisit.  The way the score evolves from low-budget, small-orchestra, percussion-driven affair to a wonderful blend of that plus strong melodies, fanfares, string quartets, all kind of different vocals, piano sonatas, middle-eastern-influenced music, and all kinds of other ideas, while staying cohesive the whole time, is quite impressive.

 

I've never checked out his scores to The Plan, Razor, Caprica, Blood & Chrome, or the live album yet - I guess I should!

[Thor 7,517]

I remember being surprised to see Richard Gibbs attached. He's obviously done a great number of scores (I enjoyed his BINGO for many years, for example), but to me, he was always an Oingo Boingo man! Not someone I immediately connected with BATTLESTAR: GALACTICA. But yeah -- fine scores. Need to playlist these one of these days, along with many other McCrearys.

[Bespin 8,484]

John Barry - The Lion in Winter [Nic Raine]

 

[Thor 7,517]

 

It's a great film and fine score, but for me it doesn't quite live up to the standards of Robbins' other famous Merchant/Ivory work, like HOWARD'S END, A ROOM WITH A VIEW or his magnum opus THE REMAINS OF THE DAY, with their steely, circular movements. Maybe because it's a little too eclectic.

[filmmusic 1,837]

Ah, Maurice.. A favourite film and score. It was the first gay film I ever saw when I was young, and it made a lot of impact on me.

I have this release:

 

[Disco Stu 15,495]

The Merchant/Ivory Forster trilogy are very important movies for me.  I watch them over and over, just exquisitely told stories.

 

Love the Robbins scores too obviously.

[Thor 7,517]

THE REMAINS OF THE DAY is my favourite (in fact, it's one of my top 10 favourite films of all time), but yes -- all the Forster adaptations are great.

[Disco Stu 15,495]

Heh, I've had this conversation on here before.  But yeah, main point being that 80s to mid-90s period of Merchant/Ivory is just magic.

 

On 20/08/2022 at 12:47 PM, Disco Stu said:

 

I of course adore Remains of the Day: the novel, the film, and the score.  But I have to admit I feel some resentment towards it because I feel it tends to be overrated relative to the three Merchant Ivory Forster adaptations which I like more.  I mean, Howards End has a locked spot in my top 10 films of all time.

 

[filmmusic 1,837]

42 minutes ago, Thor said:

HE REMAINS OF THE DAY is my favourite (in fact, it's one of my top 10 favourite films of all time)

Will you buy the UHD? Or aren't you 4K capable yet?

https://www.blu-ray.com/movies/The-Remains-of-the-Day-4K-Blu-ray/326751/

[Disco Stu 15,495]

I have the "Cohen Collection" HD releases for Howards End and Maurice, as well as the Criterion HD release for A Room with a View.

[filmmusic 1,837]

12 minutes ago, Disco Stu said:

I have the "Cohen Collection" HD releases for Howards End and Maurice, as well as the Criterion HD release for A Room with a View.

Well, unfortunately the Cohen release of Howards End is faulty.

The first version has wrong aspect ratio, and the "corrected" version has wrong gamma.

[Thor 7,517]

43 minutes ago, filmmusic said:

Will you buy the UHD? Or aren't you 4K capable yet?

https://www.blu-ray.com/movies/The-Remains-of-the-Day-4K-Blu-ray/326751/

 

I'm not. But some day will be, hopefully.

[crocodile 8,017]

 The Dead Zone. For my money, definitely one of the best Michael Kamen scores and probably his best overall OST album. And yes, I am aware of the Sibelius lift.

 

Karol

[Bespin 8,484]

James Horner - Braveheart (expanded)

 

[Naïve Old Fart 9,551]

19 hours ago, Thor said:

THE REMAINS OF THE DAY is my favourite (in fact, it's one of my top 10 favourite films of all time), but yes -- all the Forster adaptations are great.

THE REMAINS OF THE DAY: the best Merchant Ivory film, bar none (but HOWARDS END comes second ).

[GerateWohl 4,371]

16 minutes ago, Naïve Old Fart said:

THE REMAINS OF THE DAY: the best Merchant Ivory film, bar none (but HOWARDS END comes second ).

You like depressing movies?

I prefer A Room With A View.

[Naïve Old Fart 9,551]

1 hour ago, GerateWohl said:

You like depressing movies?

I prefer A Room With A View.

"Just for the sake of it, make sure you're always frowning - angst! angst! angst!

It shows the world that you have substance and depth" 

 

I like films with a bit of body, and both films you mentioned have that.

On the other hand, I can laugh my ass off at a Carry On flick, so go figure.

[filmmusic 1,837]

The Post (John Williams)

It has its moments, but I think it's one of the weakest efforts of Williams (post-Jaws).

 

The Book Thief (John Williams)

I appreciate it more than I did in my first listens, but still I wouldn't call it a masterpiece.

[Thor 7,517]

On 06/11/2022 at 2:10 PM, GerateWohl said:

You like depressing movies?

I prefer A Room With A View.

 

Actually, I find it to be a pretty lifeaffirming film when all is said and done. An old article of mine, run through Google Translate.

 

 

CD is super rare these days, but a wonderful explorative work from Newman's intensely fruitful period in the late 80s and early 90s. After the aching Americana sound that he does so well, his early synth stuff/small ensemble stuff is my favourite sound of his. 17 minutes of goodness.

[Naïve Old Fart 9,551]

17 minutes?! For an entire CD???!!!!!

"Supper's Ready" lasts longer than that, and that's not even the only track on side 2! 

[Thor 7,517]

Yeah. More like an EP, although it might very well be all the score there was, I don't know. But just perfect the way it is.

[publicist 4,643]

 

[Marian Schedenig 8,207]

1 hour ago, publicist said:

 

A lovely score, but the dialogue over the opening track (the most memorable by far, as far as I recall) really bugs me.

[Thor 7,517]

BAARIA really is Morricone's last great score. I mean, I have a soft spot for COME UN DELFINO, LA MIGLIORE OFFERTA, EN MAI FAIS CE QU'IL PLAIT and LA CORRISPONDENZA, which all came after, but none are quite on that level (and no, I never really warmed to THE HATEFUL EIGHT outside the theme).

 

 

Speaking of Morricone, playing this now, from '72. Lovely. In these FABELMANS times, it's worth noting that other composers can capture childhood very well too. 

[Edmilson 7,466]

Pretty good! It's nice hearing the origins of JW's Potter music. And, being only 30 minutes long, it doesn't outstay its welcome.

[Thor 7,517]

44 minutes ago, Edmilson said:

Pretty good! It's nice hearing the origins of JW's Potter music. And, being only 30 minutes long, it doesn't outstay its welcome.

 

"Pretty good" is the understatement of the day. It's my 6th favourite score of all time!

[Tallguy 3,401]

1 hour ago, Thor said:

 

"Pretty good" is the understatement of the day. It's my 6th favourite score of all time!

 

Just listened. Hey, that's not bad!