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


Ollie

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Now we finally have it, the oft-requested dump of expository filler material to complete 'L. A. Confidential', a move that Goldsmith's wisely compiled 30-minute album eschewed. It's an oddity: a rare case of a really good movie that also catched on with audiences, but the lean material demanded hard-boiled restraint. Goldsmith just hadn't to do a lot, in sharp contrast to the many bad pictures he was scoring.

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Blade Runner (Vangelis) OST

I really don't understand this soundtrack. Aside from some snippets here and there which are from the film, is this music inspired by  the film or is it unused music?

When are we gonna get the true original soundtrack?

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Knowing this was years after Alien, I wouldn't be surprised if Ridley Scott demanded a lot of stuff to be rewritten for the final cuts. The workprint has instances of scenes with different music that likely were the earlier ideas Vangelis had before he was asked to write new material.

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On 18/11/2022 at 6:53 PM, Edmilson said:

The album cover looks like Hopkins and Baldwin are taking a massive dump in the woods :lol:

 

If you think that's normal then clearly you need more fiber in your diet.

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8 hours ago, filmmusic said:

Blade Runner (Vangelis) OST

I really don't understand this soundtrack. Aside from some snippets here and there which are from the film, is this music inspired by  the film or is it unused music?

When are we gonna get the true original soundtrack?

The OST was first released in 1994, and featured a mixture of original music, some unused score, and music created for the CD.

The 2007 3-CD set features the OST, another CD of unreleased score, and a third "inspired by" disc.

There are many boots of BLADE RUNNER.

The closest that I have heard to a complete score, is a boot from Eastern Europe (Hungary, I think). It features all of the "chase" music heard at the climax of the film, and it has a few decent source cures (Gail Laughton).

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I don't know the score very well at all but I'd jump on a proper expansion very quickly. Hell, I'd even kinda happily take just an OST release without the stupid dialogue and sound effects!

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ab67616d0000b273fd142f6eeaa7efc80c820dd9

 

Since Elfman's WHITE NOISE wasn't the electronic fest I had expected and hoped for, I return to this 2015 Baumbach film instead, with a moody shoegaze/electro score by Warenham & Phillips (who also appear on WHITE NOISE with a song at the end). Nice stuff!

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A deep and moving well developed score made of 5 great suites. A proof that Zimmer once had a more traditional approach to film scoring... and well it was a period where movies where still movies... 

 

The House of the Spirits (1993)

 

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Absolutely echo the love for The House of Spirits - a real orchestrally-deep melodic score (that clearly influenced Poledouris for August's version of Les Miserables).

 

Man, why is Zimmer wasting he's time on these soundscape projects like The Son....go back to this:

 

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While this 2000 score never reaches the ambitious and emotional heights of a certain other, earlier Joffe/Morricone collab, I dig the combo of baroque, choir and contemporary harmonies all meshed together in typical EM style.

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Gods%20Must%20Be%20Crazy.jpg

 

My favourite comedy of all time (along with its sequel) -- although the quirky culture collision thing probably isn't PC these days. I don't care. Boshoff's score is part orchestral, part poppy, with some ethnic elements interweaved. Plenty of pan pipes, or some variation thereof. Opening track sounds more Balkan than anything South African.

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15 hours ago, crocodile said:

:music: Lifeforce by Henry Mancini and Michael Kamen. Some of Mancini's work sounds like serious symphonic work rather than a score to a B-grade movie.

 

Karol

Yes. I don't understand, why for example Poledouris' Conan (another great ösymphonic score for expensive trashy fantasy) is so popular, but this one seems to be hardly known. It is really great.

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ab67616d0000b27309eb26d1d49d2b3156ce0a1a

 

The combination of piano, glockenspiel, aching strings (and a saw!?) -- all in a stark, detached, satirical mode -- was always more reflective of Euro films of the 60s an 70s, IMO, so I wouldn't be surprised if Jae-il found some inspiration there. And then there are the "plucky" style elements which are more Desplat. Album is a bit too long at 54 minutes, but some good cues throughout. Hadn't really listened to this since it came out.

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49 minutes ago, GerateWohl said:

Yes. I don't understand, why for example Poledouris' Conan (another great ösymphonic score for expensive trashy fantasy) is so popular, but this one seems to be hardly known. It is really great.

What was funny, I was thinking that especially during the opening 20 minutes and then started reading liner notes and finding out this segment of the film is exactly the reason why Mancini wanted this job. The album is worth having for this section alone.

 

Karol

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1 hour ago, GerateWohl said:

Yes. I don't understand, why for example Poledouris' Conan (another great ösymphonic score for expensive trashy fantasy) is so popular, but this one seems to be hardly known. It is really great.

 

Because (even though I don't like either movie) Conan is more successful with it's ambitions. Lifeforce is ambitious as all get out and has a score to match. But beyond the music it fails on almost every level.

 

I don't like Conan but I can see why lots of people do. Lifeforce is just dreck.

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15 minutes ago, crocodile said:

What was funny, I was thinking that especially during the opening 20 minutes and then started reading liner notes and finding out this segment of the film is exactly the reason why Mancini wanted this job. The album is worth having for this section alone.

 

Karol

Yes, and after all it was hardly used, because that sequence was heavily cut down in the final movie.

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This was one of my favs in 2013, even though it carries its SCHINDLER'S LIST inspiration on its sleeve. Sometimes blatantly. And some of the strings sound sampled, I hear now. But a bit more Slavic at times than SL. Wonder what came of Beck?

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Jerry Goldsmith - L.A. Confidential (Varese Deluxe)

 

Man, the new 45 minute Deluxe program is a big improvement over the old 30 minute score album.  The score has more room to breath and has a better flow this way.  For a noir film, a cue or two in here sounds like it would have fit into his Alien score!

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The best thing about L.A. Confidential is for me, that it is a late Goldsmith score works with hardly any synthesizers and focusses on accoustic instruments. Yes, some synthetic percussion here and there, some sequencing, but that's it.

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Every, EVERY OSTs by John Williams released after 1993 must be listened in the most chronological way possible, or as their FYC presentation.

 

The model "main theme + concert suites" at the beginning of the OSTs killed me.

 

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ab67616d0000b27384422c560e0472570083a3aa

 

One of the best and most interesting Nordic scores of 2015 (to be precise, it's a Finnish film, but with a Dutch composer). Especially the few times Wilden taps into the religious-pastoral sound I love so much, and which bears a resemblance to Williams' excursions into the same ("Arresting Grandpa", for example).

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38 minutes ago, crocodile said:

:music: Stepmom. You know, people might argue over the overall merits of this score, and that's fair, but there's no denying the main theme is a real showstopper. In my book, it probably would rank higher than many other tunes from Williams' more "esteemed" works.

 

 

Karol

It is probably my most favourite Williams theme ever.

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21843.jpg

 

Another semi-recent favourite (from 2013) that I haven't played in a while, but that I dug back then. Americana with a lyrical, melancholic twist, this was Talmi's breakthrough score as far as I'm concerned. Still lovely.

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On 23/11/2022 at 6:58 AM, Tallguy said:

 

Because (even though I don't like either movie) Conan is more successful with it's ambitions. Lifeforce is ambitious as all get out and has a score to match. But beyond the music it fails on almost every level.

 

I don't like Conan but I can see why lots of people do. Lifeforce is just dreck.


Do you enjoy any of the Hammer Quatermass movies?  Lifeforce does not fail as an homage to those old cheesy British sci fi flicks. 
 

It’s a cult film that will forever live rent free in my mind. 
 

@crocodileStepmom is easy to love.  I think it’s greatest crime is the title.  Really, Chris Columbus? Do you want people to go see your film?  “Stepmom”?  That and the cover art.   I think we have a score being judged by its cover. 

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2 hours ago, Bespin said:

In the mood for Rota.

 

  • Paul Bateman, City of Prague Philh O - The Godfather - Trilogy I • II • III
  • Nino Rota – The Essential Film Music Collection [City of Prague Philh O]

 

Primary

 

Primary

A really great survey of Rota between them even if there is a fairly healthy amount of competition from classical labels but the selections tend to be more samey than those on silva.

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If you only need 3 Fieldings in your life, get the two "Film Music" compilations as well as the iconic WILD BUNCH (plus - as a Williams fan - maybe the non-film albums FIELDING'S FORMULA and HOLLYWOODWIND JAZZTET, since JW plays piano on them). It's often more cerebral than straight-up emotional, but it's always fascinating to get lost in Fielding's merging of contemporary classical, jazz and traditional idioms. Love the Bach-ian variations in THE NIGHTCOMERS, in particular.

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Another post from one of my favorite corners of film scoredom: fully orchestral early-to-mid-90s family film scores.

 

 

Today it's William Ross and his score for the very rough-round-the-edges but charming Little Rascals, from 1994.

 

He clearly had a lot of fun melding the contemporary 90s sensibility with the classic 30s comedy short style.  Special notice to the track "The Big Race" where Ross adapts the William Tell Overture for a rousing and funny 7 minute action cue!

 

 

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'The Nightcomers' is a favourite, it's lively and combines Fieldings detached intellectual style (think Alex North) with warm pastoral english-countryside cues and faux-classical cues (knowing Fielding, it probably is based on a classical source, though i don't know which). 

 

 

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