Wojo 2,453 Posted February 11, 2012 Share Posted February 11, 2012 You can do that yourself to any score, regardless of how many or few tracks the creator makes. Link to comment Share on other sites More sharing options...
Incanus 5,715 Posted February 11, 2012 Share Posted February 11, 2012 You can do that yourself to any score, regardless of how many or few tracks the creator makes.Yup but I am lazy and would also love to name tracks something other than track 3 Part IV. Since I have no great affection for the film itself I can't be bothered to watch the movie to find out where the separate cues go and where should I divide the longer tracks. Link to comment Share on other sites More sharing options...
Wojo 2,453 Posted February 11, 2012 Share Posted February 11, 2012 To your left, a rock, and on your right, a hard place. Enjoy the view. Link to comment Share on other sites More sharing options...
Incanus 5,715 Posted February 11, 2012 Share Posted February 11, 2012 To your left, a rock, and on your right, a hard place. Enjoy the view. Yes a prison of my own making if there ever was one. Link to comment Share on other sites More sharing options...
crocodile 8,018 Posted February 14, 2012 Share Posted February 14, 2012 Mary Shelley's Frankenstein by Patrick Doyle (which I listened to for the very first time) and Medal of Honor: Frontline by Giacchino.Karol Link to comment Share on other sites More sharing options...
Quintus 5,399 Posted February 14, 2012 Share Posted February 14, 2012 Did the latter live up to its high regard? Link to comment Share on other sites More sharing options...
crocodile 8,018 Posted February 14, 2012 Share Posted February 14, 2012 Um... no. But I think it is the strongest Giacchino album. Has a certain dramatic depth, which is far to come by in video game scores. Did you ever give it a try?Karol Link to comment Share on other sites More sharing options...
Quintus 5,399 Posted February 14, 2012 Share Posted February 14, 2012 Only when I played the game about ten years ago. I remember all of Gia's various WWII game music pretty well; in that I remember thinking it was novel at the time - "hey, they're using stirring orchestral music in a video game, cool!"It went no further than that, because even then it felt rather shallow and by-the-numbers. Yeah, I much prefer Jeremy Soule's Company of Heroes music. Link to comment Share on other sites More sharing options...
crocodile 8,018 Posted February 14, 2012 Share Posted February 14, 2012 Never played any of the games, but the album is surprisingly coherent and well constructed. Feels more like a film score in this sense. If there is one Giacchino CD which I would recommend to someone who generally doesn't like him, then it would be this one. While the first two scores felt like a light-hearted pastiche of Williams (in a way), this one elevates the series into more dramatic heights.Karol Link to comment Share on other sites More sharing options...
Quintus 5,399 Posted February 14, 2012 Share Posted February 14, 2012 I know, I've been told this before. I really need to get my memories out of my head and listen to the actual album. Link to comment Share on other sites More sharing options...
crocodile 8,018 Posted February 14, 2012 Share Posted February 14, 2012 Oh BTW Frankenstein is amazing. It's almost like a concert piece. There is this operatic and grand feel to it. I can now see why modern Doyle doesn't excite as many people. It was a well spent 1 penny (that's how much I paid for it).Karol Link to comment Share on other sites More sharing options...
Quintus 5,399 Posted February 14, 2012 Share Posted February 14, 2012 Hmm, Doyle. How are the orchestrations? Is it that pastoral English stuff he does? Link to comment Share on other sites More sharing options...
crocodile 8,018 Posted February 14, 2012 Share Posted February 14, 2012 Not quite... What's funny James Horner's danger motif makes and appearance at 0:42 (in The Creation, that is). Karol Link to comment Share on other sites More sharing options...
Koray Savas 2,251 Posted February 14, 2012 Share Posted February 14, 2012 Giacchino's MOH scores are just that, Giacchino's. None of it sounds like Williams honestly, and I never understood the "pastiche" comparisons. All four of the scores are brilliant. Link to comment Share on other sites More sharing options...
crocodile 8,018 Posted February 14, 2012 Share Posted February 14, 2012 When I hear all these scherzos and Nazi theme, I immediately think Indiana Jones and the Last Crusade. It's not like I don't enjoy them, but the real Michael Giacchino for me starts to emerge in Frontline, and then is fully formed by Airborne. You can then hear his very specific harsh orchestrations and all that. I can then say: that's him and no one else.Karol Link to comment Share on other sites More sharing options...
Quintus 5,399 Posted February 14, 2012 Share Posted February 14, 2012 Not quite... That was like Hans Zimmer meets Danny Elfman meets James Horner. It was chaos, but I might be in agreement with it. Needs more time... That's more like the Doyle I know - lush strings and nice enough, but never quite tickling my fancy. Again though, it could be a grower. Link to comment Share on other sites More sharing options...
crocodile 8,018 Posted February 14, 2012 Share Posted February 14, 2012 It's the kind of score where its composer is still looking for his own voice, but his enthusiasm and energy make up for any shortcomings.Karol Link to comment Share on other sites More sharing options...
Gruesome Son of a Bitch 6,488 Posted February 14, 2012 Share Posted February 14, 2012 EPCOT Center's 1982 entrance medley. Musically inspiring all to be forward-thinking and optimistic like EPCOT Center itself. To believe in the promise of tomorrow. There is, after all, a great big beautiful tomorrow shining at the end of every day. Link to comment Share on other sites More sharing options...
Faleel 5,359 Posted February 15, 2012 Share Posted February 15, 2012 Ghost Protocol - Michael GiacchinoThe Kremlin with anticipation theme sounds a bit like the Romulan theme from Balance of Terror.... Link to comment Share on other sites More sharing options...
KK 3,307 Posted February 15, 2012 Share Posted February 15, 2012 Listening to Christopher Young's awesome score for Bless the Child. A haunting score that is truly impressive. Lux Aterna is freakin awesome!!!It is a terrific score but I would have personally liked for Young to divide the music into more tracks so that navigating to your favourite part of the score would be a bit easier.I personally really enjoy the symphony like arrangement of the score. But if you're just stopping by for a short visit for highlights, then I can see the problem.Giacchino's MOH scores are just that, Giacchino's. None of it sounds like Williams honestly, and I never understood the "pastiche" comparisons. All four of the scores are brilliant.The first score has some very clear Williams' inspirations, but the rest of the scores are clearly Giacchino. But as you said, the first three (the fourth one was good but didn't quite live up to its predecessors) scores are brilliant How did you find Christopher Lennertz's scores? Link to comment Share on other sites More sharing options...
Koray Savas 2,251 Posted February 15, 2012 Share Posted February 15, 2012 I didn't really appreciate Airborne the first time I heard it, but coming back to it with the LLL box set and listening to all his scores in order - it was like hearing a completely different score. The level of development and orchestration from older themes blew me away.Lennertz did probably the best job that could have been expected. I really love Rising Sun, but the other scores seem a bit too short for any real development. Regardless, there are some great cues amongst the whole. Link to comment Share on other sites More sharing options...
Wojo 2,453 Posted February 15, 2012 Share Posted February 15, 2012 For some reason, I had a melody from Heavy Metal in my head all day, so I listened to that after work. Link to comment Share on other sites More sharing options...
Incanus 5,715 Posted February 15, 2012 Share Posted February 15, 2012 Listening to Christopher Young's awesome score for Bless the Child. A haunting score that is truly impressive. Lux Aterna is freakin awesome!!!It is a terrific score but I would have personally liked for Young to divide the music into more tracks so that navigating to your favourite part of the score would be a bit easier.I personally really enjoy the symphony like arrangement of the score. But if you're just stopping by for a short visit for highlights, then I can see the problem.Yes when you are in the mood the longer presentation works very well. But if you would like to get to that single wonderful choral or horror track (there are obviously individual cues put together into long suites on this one) then you have to fast forward or edit the suites down into individual cues. Young is one of the composers who can go very dissonant and harsh without the listening experience suffering from it. He without a doubt is also one of the most innovative and creative composers working in Hollywood, his music often using avant garde or unusual techniques both orchestral and choral. This is often lost under the label of "horror scoring" which he has done so long so effectively but he uses them in other material as well. Bless the Child is a good example of his great blend of very unsettling tones and harmonious choral majesty.I see Michael Giacchino's Medal of Honor scores as a gradual progression from the shadow of his favourite composers into finding and utilizing his own voice. His music for the games shares a spirit similar to Williams' adventure scores and should I say homages them or alludes to them very effectively while the composer spins his own ideas and personality into the scores. Medal of Honor Frontline is a wonderful score that simply struck a chord with me, even more than the previous scores or Airborne. He blends operatic and serious tones with his adventure scoring with entertaining and moving results.Spitfire Grill by James Horner: A charming smaller Horner score with lovely themes and unique atmosphere. This is to Horner what Fried Green Tomatoes was to Thomas Newman, a heart warming tale with a dash of local American colour and good old fashioned orchestral writing. There is a delicate rather magical feeling to half of the score dealing with the mystical forest aspect of the story, which would later pop up in other Horner's nature related scores, jaunty Americana quality to describe to locale and classic sweeping dramatics from this master of melodrama. Together they form an engaging and memorable 60 minute listening experience that is lyrical and soothing. I wish Horner would do more small and independent films since it seems to bring unique things out of him. Link to comment Share on other sites More sharing options...
crocodile 8,018 Posted February 15, 2012 Share Posted February 15, 2012 W.E. by Abel KorzeniowskiPleasant. Somewhat predictable, but pleasant.Karol Link to comment Share on other sites More sharing options...
Marian Schedenig 8,207 Posted February 15, 2012 Share Posted February 15, 2012 It's the kind of score where its composer is still looking for his own voice, but his enthusiasm and energy make up for any shortcomings.Can't agree. Back then, Doyle had a very clear voice of his own. Much Ado About Nothing and Frankenstein are absolute classic Doyle. If anything, his then-established voice was limited in range, with minor projects often sounding rather a lot like his big hits. I've always felt that he lost something of his personal touch when he toned down his typical eccentricities in later years.And of course, I hardly have to repeat this yet again: Frankenstein's love theme is one of the best. There are some fabulous variations on it missing on the album, too. Link to comment Share on other sites More sharing options...
Matt C 455 Posted February 15, 2012 Share Posted February 15, 2012 Ringing in my birthday early by opening Krull and putting it on. It's nice to get a new copy for a decent price, and the sound quality is amazing. The score sounds like it was recorded and mixed yesterday, rather than close to three decades ago. "Quest for Glaive", "Ride of the Firemares", and "Epilogue and End Title" deserve to be turned way up. Link to comment Share on other sites More sharing options...
Romão 2,274 Posted February 15, 2012 Share Posted February 15, 2012 It's the kind of score where its composer is still looking for his own voice, but his enthusiasm and energy make up for any shortcomings.Can't agree. Back then, Doyle had a very clear voice of his own. Much Ado About Nothing and Frankenstein are absolute classic Doyle. If anything, his then-established voice was limited in range, with minor projects often sounding rather a lot like his big hits. I've always felt that he lost something of his personal touch when he toned down his typical eccentricities in later years.And of course, I hardly have to repeat this yet again: Frankenstein's love theme is one of the best. There are some fabulous variations on it missing on the album, too.Spot on, Marian, I agree 100% Link to comment Share on other sites More sharing options...
ZackR 95 Posted February 16, 2012 Share Posted February 16, 2012 EPCOT Center's 1982 entrance medley. Musically inspiring all to be forward-thinking and optimistic like EPCOT Center itself. To believe in the promise of tomorrow. There is, after all, a great big beautiful tomorrow shining at the end of every day.Yes, I am a total sucker for Disney theme park music. Good choice! Link to comment Share on other sites More sharing options...
indy4 155 Posted February 16, 2012 Share Posted February 16, 2012 The Terminal Link to comment Share on other sites More sharing options...
Admiral Holdo 16 Posted February 16, 2012 Share Posted February 16, 2012 Listened to 1941 today. That is a great score right there, let me tell ya.EDIT: Just found Clemmenson's review. I don't care for the JWFan vs. Filmtracks sentiment (except as something Mark Twain might have appreciated), but he's wrong on this one. Or maybe he's right, and we've all been driven mad by the score. Link to comment Share on other sites More sharing options...
Incanus 5,715 Posted February 16, 2012 Share Posted February 16, 2012 The Terminal I was listening to it this morning. Very Link to comment Share on other sites More sharing options...
crocodile 8,018 Posted February 16, 2012 Share Posted February 16, 2012 It's the kind of score where its composer is still looking for his own voice, but his enthusiasm and energy make up for any shortcomings.Can't agree. Back then, Doyle had a very clear voice of his own. Much Ado About Nothing and Frankenstein are absolute classic Doyle. If anything, his then-established voice was limited in range, with minor projects often sounding rather a lot like his big hits. I've always felt that he lost something of his personal touch when he toned down his typical eccentricities in later years.And of course, I hardly have to repeat this yet again: Frankenstein's love theme is one of the best. There are some fabulous variations on it missing on the album, too.Spot on, Marian, I agree 100%I can't hear that voice. sadly. But then again, I'm not that familiar with his older works. Now I think he's got a very distinct, somewhat streamlined style, which I can identify.Anyway, I didn't intend that remark to sound negative, for I enjoy Frankenstein quite a bit. It's a classy music.Karol Link to comment Share on other sites More sharing options...
Incanus 5,715 Posted February 16, 2012 Share Posted February 16, 2012 In all honesty a lot of Doyle's early stuff sounds rather clunky in places and I have a feeling Lawrence Ashmore did a lot for his orchestration and sound in the beginning of his career. And on the other hand Henry V is not a bad first score to break into film scoring scene either. Link to comment Share on other sites More sharing options...
alicebrallice 134 Posted February 16, 2012 Share Posted February 16, 2012 The Terminal I was listening to it this morning. Very Link to comment Share on other sites More sharing options...
crocodile 8,018 Posted February 16, 2012 Share Posted February 16, 2012 Yeah, it's a sweet little score. Don't know why so many people ignore it.Karol Link to comment Share on other sites More sharing options...
BloodBoal 7,538 Posted February 16, 2012 Share Posted February 16, 2012 Link to comment Share on other sites More sharing options...
crocodile 8,018 Posted February 16, 2012 Share Posted February 16, 2012 And does it well!Karol Link to comment Share on other sites More sharing options...
Incanus 5,715 Posted February 16, 2012 Share Posted February 16, 2012 Because it sucks!And does it well!KarolI say go for that sucker Bloodboal!The Edge by Jerry Goldsmith: I think all that is good in Goldsmith is found in this gem from the mid-90's. A great main theme, a plethora of killer (pun intended) smaller motifs, vibrant and innovative orchestration and awesome trek music, furious and driving action and suspence music, plus surprising moments of sheer expressionistic beauty. It also works wonders in the film, adding immensely to the whole experience. Link to comment Share on other sites More sharing options...
alicebrallice 134 Posted February 16, 2012 Share Posted February 16, 2012 Because it sucks!oh but how wrong you are... Link to comment Share on other sites More sharing options...
Brónach 1,302 Posted February 16, 2012 Share Posted February 16, 2012 Yes he is.Wrong I mean. Link to comment Share on other sites More sharing options...
Quintus 5,399 Posted February 16, 2012 Share Posted February 16, 2012 The Edge by Jerry Goldsmith: I think all that is good in Goldsmith is found in this gem from the mid-90's. A great main theme, a plethora of killer (pun intended) smaller motifs, vibrant and innovative orchestration and awesome trek music, furious and driving action and suspence music, plus surprising moments of sheer expressionistic beauty. It also works wonders in the film, adding immensely to the whole experience.Agree with every word, apart from this one: 'adding'.It just really got on my nerves. Link to comment Share on other sites More sharing options...
Incanus 5,715 Posted February 16, 2012 Share Posted February 16, 2012 The Edge by Jerry Goldsmith: I think all that is good in Goldsmith is found in this gem from the mid-90's. A great main theme, a plethora of killer (pun intended) smaller motifs, vibrant and innovative orchestration and awesome trek music, furious and driving action and suspence music, plus surprising moments of sheer expressionistic beauty. It also works wonders in the film, adding immensely to the whole experience.Agree with every word, apart from this one: 'adding'.It just really got on my nerves.I think most of the score serves the film extremely well. The only miss-step is the over use of the main theme for every travelling montage shot but I put blame of that on Tamahori's door. It feels like whenever there is even a hint of mountains in the film the theme pops up. Link to comment Share on other sites More sharing options...
Shane 0 Posted February 16, 2012 Share Posted February 16, 2012 1941 - John WilliamsFat Man and Little Boy - Ennio Morricone Link to comment Share on other sites More sharing options...
KK 3,307 Posted February 16, 2012 Share Posted February 16, 2012 Because it sucks!oh but how wrong you are...Indeed. The Terminal is one awesome score! One of Williams' more unheralded gems!The Edge by Jerry Goldsmith: I think all that is good in Goldsmith is found in this gem from the mid-90's. A great main theme, a plethora of killer (pun intended) smaller motifs, vibrant and innovative orchestration and awesome trek music, furious and driving action and suspence music, plus surprising moments of sheer expressionistic beauty. It also works wonders in the film, adding immensely to the whole experience.Agree with every word, apart from this one: 'adding'.It just really got on my nerves.I think most of the score serves the film extremely well. The only miss-step is the over use of the main theme for every travelling montage shot but I put blame of that on Tamahori's door. It feels like whenever there is even a hint of mountains in the film the theme pops up. I really loved the score for the Edge. It has a fantastic main theme and the brass work is great in this score. I really appreciated how he takes his usually synth accents and writes them up for the orchestra, it really added to the beauty of the score. Loved it.I haven't watched the film though. Link to comment Share on other sites More sharing options...
Koray Savas 2,251 Posted February 16, 2012 Share Posted February 16, 2012 The Edge by Jerry Goldsmith: I think all that is good in Goldsmith is found in this gem from the mid-90's. A great main theme, a plethora of killer (pun intended) smaller motifs, vibrant and innovative orchestration and awesome trek music, furious and driving action and suspence music, plus surprising moments of sheer expressionistic beauty. It also works wonders in the film, adding immensely to the whole experience.Yep! This and Under Fire are my favorite Goldsmiths. Link to comment Share on other sites More sharing options...
Matt C 455 Posted February 16, 2012 Share Posted February 16, 2012 Krull - James HornerI'm listening to it again. After some repeated listens, this is one of my favorite Horner scores. There are some cursory Wrath of Khan stylistic writing in the film, but the score is very much a creature of its own. It's gloriously overblown, especially the gorgeous love theme and heroic fanfare. The highlights are so irresistible... I can't imagine anyone considering themselves a Horner fan not liking it, or at least not liking some of the cues.Next up is Doyle's Man to Man. Link to comment Share on other sites More sharing options...
Matt C 455 Posted February 17, 2012 Share Posted February 17, 2012 Man to Man - Patrick DoyleSimply gorgeous. I like how the album is arranged for a listening experience, and at 39 minutes it never wears out its welcome. The theme is gorgeous and very tuneful, with more than a hint of John Barry chord progressions. And the mastering is great. I do hear shades of what Doyle would use in Thor and Rise of the Apes, so he hadn't lost that classical edge. Link to comment Share on other sites More sharing options...
crocodile 8,018 Posted February 17, 2012 Share Posted February 17, 2012 Batman ForeverKarol Link to comment Share on other sites More sharing options...
indy4 155 Posted February 17, 2012 Share Posted February 17, 2012 I walked into a produce store and at first I thought they were paying Bicentennial Man. As I listened I decided it was just different enough to the piece of music that James Horner must've stolen from. " Link to comment Share on other sites More sharing options...
crocodile 8,018 Posted February 17, 2012 Share Posted February 17, 2012 James Horner and stealing? Nah.Karol Link to comment Share on other sites More sharing options...
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