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


Ollie

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Don Davis - Warriors of Virtue.

I had no idea this score would be so fun to listen to! It has some really exciting brass writing. Some moments sound like he's channeling David Arnold LOL. Really fun score!

And James Horner.

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Listening to the Rhino release of Superman right now. I still want the Blue Box someday, but the sound quality on this release isn't as bad as I remembered. It's perfectly listenable. Definitely got that vintage LSO sound. And of course, the music itself is fantastic. A lot of inventive, exciting, appropriate writing that fits firmly within Williams' late-70s sci-fi/adventure/fantasy sound without feeling derivative or repetitive. I generally haven't connected as much to this score as, say, Star Wars or Raiders, despite having a lot in common stylistically, but I was exposed to those earlier and enjoy their respective films a lot more, so I'm trying to overcome my bias and really enjoy this score to the best of my ability.

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Alien resurrection (John Frizzell, La-La Land 2CD release)

This was a nice treat, and there is some great music, especially the End Credits, that was not on the OST CD.

Very enjoyable, and sounding great to my ears.

Yay! Glad someone else likes this score. For whatever reason, I've loved A:R since I first heard it. Was really excited when LLL put out the complete.

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Listening to the Rhino release of Superman right now. I still want the Blue Box someday, but the sound quality on this release isn't as bad as I remembered. It's perfectly listenable. Definitely got that vintage LSO sound. And of course, the music itself is fantastic. A lot of inventive, exciting, appropriate writing that fits firmly within Williams' late-70s sci-fi/adventure/fantasy sound without feeling derivative or repetitive. I generally haven't connected as much to this score as, say, Star Wars or Raiders, despite having a lot in common stylistically, but I was exposed to those earlier and enjoy their respective films a lot more, so I'm trying to overcome my bias and really enjoy this score to the best of my ability.

:thumbup:

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Yesterday I listened to :

Identity- Alan Silvestri

Very textural and atmospheric. Proving Silvestri's range. You can barely hear Silvestri's style in the score. It's also very Hermannesque and reminds of a little bit of Elfman's Dolores Claiborne, which is also of course very Hermannesque. "Settlin In" sounds very T. Newman like. I found the score interesting and a little disturbing at times.

Ricochet- Alan Silvestri

A very dark and loud Silvestri score. I hope some day this gets an expansion b/c it's missing some good cues. Can't get enough of those Main Titles. Ice-T's title song is very dirty and raw. I know it's Ice-T, but still. It's odd that varese included that. They usually don't include songs on their albums. A good score none the less.

Ghost- Maurice Jarre

The milan 2005 remastered. Was a nice album eventhough it was still missing some tracks. They still haven't put the film version of Sam defeating Carl on the album. They had the original album version (which was different from the film) and an alternate synth version ( which reminds me a lot of Jarre's No way Out like most of the score. The interview at the end was okay. Some of the stuff Jarre mentioned is already in the liner notes plus it didn't have him talk about Ghost. Why put it on the album. I did find the part where he talks about his process of scoring a bad movie interesting, but why was this interview on the album. They still could've added more music on the album interview included. It's a little over 55 mins (with interview). With that said I'm happy I finally have a copy.

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The Informant! - Marvin Hamlisch

A fun, tongue in cheek throwback score to the Hamlisch scores and sound of the 1960s/1970s.

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Indiana Jones and the Last Crusade by John Williams

Minority Report by John Williams

Capricorn One by Jerry Goldsmith

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A few thoughts on these three scores I mentioned:

Indiana Jones and the Last Crusade: To me it has been always very difficult to decide which Indiana Jones score to prefer over the others. They all exhibit unique qualities and commonalities that make them endearing each in their own way. To me TLC has always been the most optimistic of the Indiana Jones soundtracks. Williams' orchestrations, the atmosphere and the musical ideas all contribute to this feel. I love how Williams manages to maintain the Indy feel in the music without resorting to quoting the Raiders March all of the time as Spielberg remarks in the liner notes.

The action set pieces in this score can only be described as pure fun. Williams still very much utilizes his old idea of these action scenes being almost ballets where he performs the death defying stunts with the main characters, following their moves with such deft hand that only a couple of composers can pull off something like this and still look good. I can honestly say that all of the action music in the score is engaging, thematic and motivic in the best tradition, the Scherzo for Motorcycle and Orchestra being perhaps the most memorable along with the Belly of the Steel Beast sequence.

Another wonderful aspect of this score are the new themes. Outside the Raiders March Williams has practically reinvented the thematic catalogue for each Indy film and here he excels yet again. The McGuffin receives a spot on musical identification full of religious awe and sense of history, the escapades of father and son have their brilliant adventure motif in the Scherzo, Grail Knight theme, the deliciously pompous Nazi theme, The Jones family theme all seem to mesh perfectly with the story and paint vivid images on their own. And Williams went a bit beyond and composed own themes for the prologue with its Cross of Coronado and Man in the Panama hat motifs.

Williams also embraced very open emotionalism in this score which overflows with heart tugging melodic content and brilliant magniloquent thematic statements. There are hints of film noir influences and nostalgically old fashioned feel e.g. in the map sequences, especially when the action moves to Europe. Cues like Journey to Austria and To the Blimp simply ooze with fatal dramatism that is hard to resist. Elsa, being the femme fatale of the story, has her seductive musical moments with the sultry saxophone and swooning strings. You can really hear Williams having fun with this score and the film allows all these grand gestures.

I have praised Minority Report so much in the past that I will refrain from doing so again. Let's just say that is another winner in my book.

Capricorn One: I bought the re-recording Goldsmith himself made of the score, re-released by the Collector's Choice label a few years ago. This has to be the prototype Goldsmith action/suspence score. The main title theme's influence with its mixed meters and in-your-face attitude has found stylistically its way to many other Goldsmith scores and has been copied by others. It is absolutely marvellous piece of music that is nearly overflowing energy and drama. Breakout cue is not without merit mentioned as one of Goldsmith's greatest cues and it uses the main theme to maximum effect. I particularly love the swirling strings and horns and rising brass lines at the finale of the track. The love theme is a bit cloying, especially in the 70's disco arrangement but in the score proper Goldsmith integrates it really well, like in the track Bedtime Story where the it is presented in an ethereal guise on harp and piano and strings that do justice to the lyricism of the melody without overdoing the saccharine qualities.

The suspence music in this score is superb in its slowburning, less-is-more style. These days I really miss such mastery of orchestra in creating suspence and sense of danger and threat that Goldsmith exhibits here. This music continually maintains your interest and has clear dramatic arc on its own while blending in with the body of the score. I am really glad I got this classic Goldsmith score.

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They should do a 2CD set of Capricorn One sometime. The two recordings can't be more different from each other. I love the album version too btw. I'm listening to it at this very moment. :)

Karol

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A few thoughts on these three scores I mentioned:

Indiana Jones and the Last Crusade: To me it has been always very difficult to decide which Indiana Jones score to prefer over the others. They all exhibit unique qualities and commonalities that make them endearing each in their own way. To me TLC has always been the most optimistic of the Indiana Jones soundtracks. Williams' orchestrations, the atmosphere and the musical ideas all contribute to this feel. I love how Williams manages to maintain the Indy feel in the music without resorting to quoting the Raiders March all of the time as Spielberg remarks in the liner notes.

The action set pieces in this score can only be described as pure fun. Williams still very much utilizes his old idea of these action scenes being almost ballets where he performs the death defying stunts with the main characters, following their moves with such deft hand that only a couple of composers can pull off something like this and still look good. I can honestly say that all of the action music in the score is engaging, thematic and motivic in the best tradition, the Scherzo for Motorcycle and Orchestra being perhaps the most memorable along with the Belly of the Steel Beast sequence.

Another wonderful aspect of this score are the new themes. Outside the Raiders March Williams has practically reinvented the thematic catalogue for each Indy film and here he excels yet again. The McGuffin receives a spot on musical identification full of religious awe and sense of history, the escapades of father and son have their brilliant adventure motif in the Scherzo, Grail Knight theme, the deliciously pompous Nazi theme, The Jones family theme all seem to mesh perfectly with the story and paint vivid images on their own. And Williams went a bit beyond and composed own themes for the prologue with its Cross of Coronado and Man in the Panama hat motifs.

Williams also embraced very open emotionalism in this score which overflows with heart tugging melodic content and brilliant magniloquent thematic statements. There are hints of film noir influences and nostalgically old fashioned feel e.g. in the map sequences, especially when the action moves to Europe. Cues like Journey to Austria and To the Blimp simply ooze with fatal dramatism that is hard to resist. Elsa, being the femme fatale of the story, has her seductive musical moments with the sultry saxophone and swooning strings. You can really hear Williams having fun with this score and the film allows all these grand gestures.

I have praised Minority Report so much in the past that I will refrain from doing so again. Let's just say that is another winner in my book.

Capricorn One: I bought the re-recording Goldsmith himself made of the score, re-released by the Collector's Choice label a few years ago. This has to be the prototype Goldsmith action/suspence score. The main title theme's influence with its mixed meters and in-your-face attitude has found stylistically its way to many other Goldsmith scores and has been copied by others. It is absolutely marvellous piece of music that is nearly overflowing energy and drama. Breakout cue is not without merit mentioned as one of Goldsmith's greatest cues and it uses the main theme to maximum effect. I particularly love the swirling strings and horns and rising brass lines at the finale of the track. The love theme is a bit cloying, especially in the 70's disco arrangement but in the score proper Goldsmith integrates it really well, like in the track Bedtime Story where the it is presented in an ethereal guise on harp and piano and strings that do justice to the lyricism of the melody without overdoing the saccharine qualities.

The suspence music in this score is superb in its slowburning, less-is-more style. These days I really miss such mastery of orchestra in creating suspence and sense of danger and threat that Goldsmith exhibits here. This music continually maintains your interest and has clear dramatic arc on its own while blending in with the body of the score. I am really glad I got this classic Goldsmith score.

Always a pleasure to read your opinions and analysis, Mikko :) It's very hard to disagree with you

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Mars Needs Moms by John Powell

The main theme is based on one of the themes from Ice Age movies, which I really liked and it wasn't developed in there. So I don't mind it being reused here. At all.

Karol

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Ponyo by Joe Hisaishi

God, I love this score. I'd seen members here recommend it, but never checked it out until a few weeks ago. There are many breathtaking passages, much of which sound like an improved "Ilia's Theme" from STTMP. "Ponyo's Sister's" has to be my favorite track. It's pretty brief, but I found myself replaying it constantly. It popped into my iPod's Top 25 songs after about a week, and deservedly.

The Piano by Michael Nyman

I am enjoying this a lot lately, as well. It reminds me a lot of The Hours in style and quality. Works wonders in the film. I love "The Heart Asks Pleasure First." It's so lovely. I know there is a lot of piano in this score, but I guess what I find most impressive was that I didn't feel like the piano was the main focus of the score. Any composer would see a movie about a piano and just make a piano based score, but many of the tracks have no piano at all, and if they do, it is often not the focus. I realize there's plenty where the piano is focused, but it sounds more even than I would expect.

On a side note, I can't believe this was not up for the Oscar for best score. I hate to say it, but in the week of listening to this score, I've probably gotten more listening out of it than I ever did Schindler's List. I don't want to deny Williams an oscar because he deserves so many more than he has, but I wouldn't have minded if Nyman won that year.

L.A. Confidential by Jerry Goldsmith

Meh, it's just boring. Some good, some bad. I don't really connect with it at all. Since many have compared it to Titanic, I gotta say, Titanic is far better than this.

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Star Wars Trilogy: The Original Soundtrack Anthology, in intended disc 1-4 listening order. It's beautiful! It's like your first love that you never forget. It's never the same again.

Even if the complete scores are remastered, remixed and sound the best they ever did, I'll still go back this.

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Cool thought. I haven't listened to that program in a long time.

Krull

Why, oh why don't I like this score more? It's got some lovely long line melodies, and it shares so much musical DNA with the explosively emotional Star Trek II. And yet... it seems to blow its wad too soon and go nowhere but sideways. It's still got some swell vintage Horner sound, and yet, comparing it to Trek II is like comparing Randy Quaid to Dennis Quaid. Similar DNA, but a world of difference.

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Star Wars Trilogy: The Original Soundtrack Anthology, in intended disc 1-4 listening order. It's beautiful! It's like your first love that you never forget. It's never the same again.

Even if the complete scores are remastered, remixed and sound the best they ever did, I'll still go back this.

Agreed. I have too many fond memories of that set. Saving up for what seemed like forever to be able to buy it, then listening to it over and over and over and over and over....before I cared about edits, channel flips, etc. It was bliss.

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Ponyo by Joe Hisaishi

God, I love this score. I'd seen members here recommend it, but never checked it out until a few weeks ago. There are many breathtaking passages, much of which sound like an improved "Ilia's Theme" from STTMP. "Ponyo's Sister's" has to be my favorite track. It's pretty brief, but I found myself replaying it constantly. It popped into my iPod's Top 25 songs after about a week, and deservedly.

Ponyo on the Cliff is such a wonderful score that has typical of Hisaishi feel of blending classical and modern sensibilities in a respectful way. Tchaikovsky comes to mind the most for some reason. I found the Ride of the Valkyries inspiration in Ponyo's Flight and other cues a good natured nod to the masters. One of my favourite Hisaishi scores for certain.

The Piano by Michael Nyman

I am enjoying this a lot lately, as well. It reminds me a lot of The Hours in style and quality. Works wonders in the film. I love "The Heart Asks Pleasure First." It's so lovely. I know there is a lot of piano in this score, but I guess what I find most impressive was that I didn't feel like the piano was the main focus of the score. Any composer would see a movie about a piano and just make a piano based score, but many of the tracks have no piano at all, and if they do, it is often not the focus. I realize there's plenty where the piano is focused, but it sounds more even than I would expect.

Nyman's use of piano in the score is well balanced. It is the focus yet it does not become too dominant element over the orchestra, which in typical Nyman fashion is quite small ensemble with its selection of woodwinds (like saxophones etc.) to create a distinct mood and style. The simple melodies that evoke the main characters' home and past are affecting and balance deftly between old and modern in their style. It took a while to get into some portions of this score but once I did it became a favourite of mine. :)

L.A. Confidential by Jerry Goldsmith

Meh, it's just boring. Some good, some bad. I don't really connect with it at all. Since many have compared it to Titanic, I gotta say, Titanic is far better than this.

I am extremely partial to this particular Goldsmith sound. I guess it is because I am a huge film noir fan and this score exudes the spirit in spades. As a whole it is a gritty and tough score that might take some time to appreciate. The short album does not actually help the matter. I wish they would release a complete score someday. Oh and I have never heard anyone comparing Titanic to L.A. Confidential but they were certainly nominated for an Oscar the same year.

Krull

Why, oh why don't I like this score more? It's got some lovely long line melodies, and it shares so much musical DNA with the explosively emotional Star Trek II. And yet... it seems to blow its wad too soon and go nowhere but sideways. It's still got some swell vintage Horner sound, and yet, comparing it to Trek II is like comparing Randy Quaid to Dennis Quaid. Similar DNA, but a world of difference.

I agree. Krull is a score where Horner tries too hard to sound epic and somehow in the enthusiasm and fervour and with me he misses the mark a bit. Even the beginning with its cooing female choir and out-of-breath fanfares soon trip over on themselves in sheer attempt to impress. By the end of the score I am completely exhausted by its overbearing character. Still I have to admit the music has several excellent passages but as a whole it does not quite come together. On a positive note there is no danger motif present, as far as I can remember.

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Independence Day by David Arnold: This score is full of heroic orchestral glory like Krull but for some reason it sits so much better with me. It is hard to explain what separates these two. Arnold's music is just as robust, well orchestrated, rousing and thematic but is in my ears a much more pleasurable listening experience. I guess it is the individual nuances that make the difference here. Arnold's music is a modern classic with everything in the right place from the most devilish rendition of the alien music to the haunting choral interludes that signal the losses of the humanity and to the rousing fanfares and the utterly infectous action music that final overcomes the musical menace of the alien death march.

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Glory - James Horner

Probably one of the most unoriginal scores that James has ever penned, but in the top 10 most effective scores in the film/album in his career.

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Independence Day by David Arnold: This score is full of heroic orchestral glory like Krull but for some reason it sits so much better with me. It is hard to explain what separates these two. Arnold's music is just as robust, well orchestrated, rousing and thematic but is in my ears a much more pleasurable listening experience. I guess it is the individual nuances that make the difference here. Arnold's music is a modern classic with everything in the right place from the most devilish rendition of the alien music to the haunting choral interludes that signal the losses of the humanity and to the rousing fanfares and the utterly infectous action music that final overcomes the musical menace of the alien death march.

Part of this may be due to the performances with Krull:

There are many flubbed notes, as they didn't have any meaningful practice due to time/budget/Horner's illness at the time.

There are also parts of the score that can be more harsh and shrill than Arnold's work.

So these two factors may be affecting your overall listening pleasure, perhaps?

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Krull is too much of a good thing. It's like listening to the latter half of "Stealing the Enterprise" over and over for 80 minutes.

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The Piano by Michael Nyman

I am enjoying this a lot lately, as well. It reminds me a lot of The Hours in style and quality. Works wonders in the film. I love "The Heart Asks Pleasure First." It's so lovely. I know there is a lot of piano in this score, but I guess what I find most impressive was that I didn't feel like the piano was the main focus of the score. Any composer would see a movie about a piano and just make a piano based score, but many of the tracks have no piano at all, and if they do, it is often not the focus. I realize there's plenty where the piano is focused, but it sounds more even than I would expect.

On a side note, I can't believe this was not up for the Oscar for best score. I hate to say it, but in the week of listening to this score, I've probably gotten more listening out of it than I ever did Schindler's List. I don't want to deny Williams an oscar because he deserves so many more than he has, but I wouldn't have minded if Nyman won that year.

Did it have something to do with Nyman using existing themes instead of writing original ones?

The best recording of Piano music I've heard is on Michael Nyman Live. Great stuff.

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The Missing by James Horner

A much better, and darker, version of Legends of the Fall. The album could use some trimming, but I find it to be still very strong effort from Horner.

Medal of Honor: Frontline by Michael Giacchino

Swashbuckling WW2 series veers towards war drama territory. Bold.

Glory - James Horner

Probably one of the most unoriginal scores that James has ever penned, but in the top 10 most effective scores in the film/album in his career.

True. But then again you have to admit that despite all the issues he has also one of the most distinctive voices in film music, in some ways probably even moreso than John Williams himself. In fact it is so distinctive that people authomatically accuse him of plagiarism whenever he's using certain random elements from his repertoire.

And he also provides the best idea for drinking game that I can think of. ;)

Karol

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Star Wars Trilogy: The Original Soundtrack Anthology, in intended disc 1-4 listening order. It's beautiful! It's like your first love that you never forget. It's never the same again.

Even if the complete scores are remastered, remixed and sound the best they ever did, I'll still go back this.

Man, that is so true. I havent listened to the Anthology in years. I just might have to listen to it tomorow.

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Krull is too much of a good thing.

I haven't heard Krull, but that's how I feel about CutThroat Island. The orchestra sounds great, and there are a lot of great ideas and fun moments and so forth...but it's just too much. Too much bombast and volume and excitement and tension, and not nearly enough variety. I know there's plenty of quieter music, too, but something about it doesn't quite do it for me. I own the complete soundtrack, but these days, I usually just listen to my homemade OST-style playlist.

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After reading some journal entries from around the time ROTS came out, I started listening to the last few cues in my complete soundtrack. Wow. It's always so nice to be reminded why you liked a score so much. :) This is probably the least cohesive Star Wars score, and probably the one with the greatest number of missed opportunities...but it can pack such an emotional punch. I love how ROTS - the film and the score - finally took the prequels in a darker, sadder, more mature direction. Don't get me wrong, TPM and AOTC are both delightful scores...superior scores, in some ways. And I'm more attached to them simply because they came along earlier, too. But there's some real good stuff in ROTS, too.

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It has so much fantastic material. I'd say it's either my second or third favorite Star Wars score. Empire Strikes Back is better, and Star Wars might also be better.

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I'd have a hard time considering it "better" than any of the other Star Wars scores, simply because they all seem to do a better job of presenting musical identities that are internally consistent and compatible with each other. ROTS never really "gels" for me, and there are so many opportunities for thematic development and whatnot that seem to have been overlooked. Then you've got cues like "Padme's Rumination" and "Palpatine's TV Set" that are so far removed from what is traditionally associated with Star Wars, too. There are just a lot of things about the score that make it difficult for me to respect it as fully as I respect the others, though they vary, as well.

But anyway, my original point was a positive one. :P Despite issues I may have with the structure and so forth, ROTS really packs a punch in some important ways, and it was a pleasure revisiting the final reel tonight.

Also, just listened to "Bugler's Dream and Olympic Fanfare Medley", as heard on the Summon the Heroes album, I believe. So. Freaking. GOOD. I know some people don't like having "Bugler's Dream" tacked onto the beginning, and I know Williams' original intro is great, but I love getting to hear Williams' arrangement of "Bugler's Dream", too. And this particular recording is absolutely stunning. The bright blare of low brass in the last tutti chord is goosebump-(etc.)-inducing.

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I haven't heard Krull, but that's how I feel about CutThroat Island. The orchestra sounds great, and there are a lot of great ideas and fun moments and so forth...but it's just too much. Too much bombast and volume and excitement and tension, and not nearly enough variety.

Valid for both scores. But it's also why I've listened to the expanded ID4 only once so far.

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ID4 definitely suffers somewhat from the same syndrome, but I find the complete soundtrack more listenable than the complete CutThroat Island. I'm not exactly sure why that is.

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ID4 definitely suffers somewhat from the same syndrome, but I find the complete soundtrack more listenable than the complete CutThroat Island. I'm not exactly sure why that is.

I guess because ID4 is better score, more varied in content, bombastic at times, but never overbearing in that department.

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I'd have a hard time considering it "better" than any of the other Star Wars scores, simply because they all seem to do a better job of presenting musical identities that are internally consistent and compatible with each other. ROTS never really "gels" for me, and there are so many opportunities for thematic development and whatnot that seem to have been overlooked. Then you've got cues like "Padme's Rumination" and "Palpatine's TV Set" that are so far removed from what is traditionally associated with Star Wars, too. There are just a lot of things about the score that make it difficult for me to respect it as fully as I respect the others, though they vary, as well.

Yeah, for me I need to be in entirely different moods to want to listen to the prequels vs the original trilogy scores. They're very different, but I don't think I could say one is better than the other, they're both great. And they both fit the films they were written for. I do agree that there were some missed opportunities in RotS, like the use of BotH theme throughout the film, or the development of Anakin's theme (although that's really AotC's fault for dropping it). But it's emotional impact is so tremendous I can't help but love it and rank it above most other SW scores.

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Krull, Brainstorm, The Boy In The Striped Pyjamas, The Karate Kid, The Spiderwick Chronicles. All by Horner, of course. He was sure better in the 80's no doubt about that. But now he's better than he was, say, 10 years ago. His music seemed so tired back then. Not the case with his recent work. The Karate Kid doesn't really sound like he's treading water. Not counting the brief Vaughan-Williams quote. ;) And TBITSP is really nice as well. Ironically, two scores are available as download only. Pity.

Oh one more thing: Krull is fantastic music, of course. But I imagine it being completely obnoxious in the film. I've never seen it. Any comments on that?

Medal of Honor: Two Shorts Scores (can't remember names) by Lennertz

They're not bad, but, to be perfectly honest, this isn't a very interesting music. It's got all the might of brass, chorus doing ooohs and aaaahs and stuff. But I can't remember a thing.

I Am Legend by James Newton Howard

Incanus, you should move your post above to the review section. This section has been creating with your contributions in mind really. :) I'm not a big fan of I Am Legend. I think it's a partially-inspired effort from Howard. But some sections of it are really beautiful.

Karol - who, sadly, couldn't purchase La-La Land's Krull

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Oh one more thing: Krull is fantastic music, of course. But I imagine it being completely obnoxious in the film. I've never seen it. Any comments on that?

It is actually the other way around. The film is too obnoxious for the music. Horner's work is something better enjoyed without any images from the film in your mind spoiling the good music. :P

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Horner's work is something better enjoyed without any images from the film in your mind spoiling the good music. :P

That's the impression I get.

Karol

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Krull, Brainstorm, The Boy In The Striped Pyjamas, The Karate Kid, The Spiderwick Chronicles. All by Horner, of course. He was sure better in the 80's no doubt about that. But now he's better than he was, say, 10 years ago.

And yet, you were taken by THE MISSING. ;)

Listened to SOUL SURFER, SOURCE CODE, LARGO WINCH II, CRYSIS 2 and MARS NEEDS MOMS.

SOUL SURFER (Beltrami) is surely the most ambitious, mixing hawaiian chanting with standard orchestral rhythms and the expected jubilant swells here and there. Beltrami's handling of the orchestra is thankfully largely devoid of the dreaded RCP-virus which has infested mainstream films of late, although it gets rather loud frequently. The low male chants backing it make it unique, though.

SOURCE CODE: Main Title is acceptable, a bit Powell-ish, most of it is negligible underscore.

LARGO WINCH 2: Only two tracks pack a puch, which are LARGO VIRTUOSO and ESCAPE FROM THE CAMP. They are stylish mixtures of glossy european writing embellished with Powell/Arnold riffs, only more sophisticated orchestrated. If the rest would live up to that, it would be a great release, but as it is, there's a lot of inconsequential underscore which reminds you for about 50 minutes that FILM music foremost belongs to a film.

CRYSIS 2: Hans and his cohorts have fun with video games again; there is a catchy sliding electronic sound augmented by e-guitars characterizing the invaders that rises it above the usual vg muck. The main title is a good piece, all the rest is either derived from it or mundane stuff.

MARS NEEDS MOMS: Middle-of-the -road Powell animation score which at least is a bit more sustained as a listening experience than scores like HORTON HEARS A WHO due to the less slaphappy nature of the film it accompanies. There are two defining elements, one is a broad melodic theme associated to the human elements of the story which gets a workout in DRIBBLE'S LOSS and THE SACRIFICE. It is without doubt the selling point of the music, the remains are either playful/sinister motifs for the martians (the orchestraton is playful and engaging, which is certainly Powell's forte) or loud cues with sadly nowhere to go. It's all a testament to Powell's standards, which are far from shabby, but the all amounts to...well, not much. It's a bit like listening to Goldsmith's MOM AND DAD SAVE THE WORLD, where you see how a pro worked his ass off for...well, not much (salary excluded).

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Krull, Brainstorm, The Boy In The Striped Pyjamas, The Karate Kid, The Spiderwick Chronicles. All by Horner, of course. He was sure better in the 80's no doubt about that. But now he's better than he was, say, 10 years ago.

And yet, you were taken by THE MISSING. ;)

LARGO WINCH 2: Only two tracks pack a puch, which are LARGO VIRTUOSO and ESCAPE FROM THE CAMP. They are stylish mixtures of glossy european writing embellished with Powell/Arnold riffs, only more sophisticated orchestrated. If the rest would live up to that, it would be a great release, but as it is, there's a lot of inconsequential underscore which reminds you for about 50 minutes that FILM music foremost belongs to a film.

LW2 was a huge disappointment. I liked the two or three cues, like you, but the rest is just meh.

And, for the record, The Missing was released 8 years ago. I was mainly referring to the post-Zorro 1 scores and before this one. After that I started to get better. ;)

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Return of the King - Complete Recordings

Um, wow, let down a little bit. I get the impression Howard Shore, in scoring this film, thought,"this will go on the album and this won't, so I don't need to try so hard on that." A lot of it sounds really uninspired, and the contrast between this and the amazing moments I am familiar with from the original album is hard to ignore. I dunno... It's a good score. I just don't like listening to the whole thing and not just because it's 4 hours. I find the CR for FOTR much more listenable despite the fact that score never soars as high as this one.

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I think your reaction simply comes from the fact this is a veeeeeery long score and it would be difficult to sit through 4 hours of anything. But, yes, there are some less interesting bits in there.

Karol

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The Shadow & Small Soldiers.

Both of these could use legally released complete versions. While not prime Goldsmith, they both have that feeling that Jerry enjoyed writing them.

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The Shadow & Small Soldiers.

Both of these could use legally released complete versions. While not prime Goldsmith, they both have that feeling that Jerry enjoyed writing them.

Absolutely. Both cool scores, both in need of expansions.

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