Jump to content

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


Ollie

Recommended Posts

I bought it a few days ago from Amazon. Since I listened to the first track I'm interested in this Elfman's work.

Link to comment
Share on other sites

I listened to that a lot years ago. I mean a lot.

Maybe we could have a non-film music thread and have this only for film scores? There's a lot of classical music I would enjoy commenting :)

Link to comment
Share on other sites

I listened to that a lot years ago. I mean a lot.

Maybe we could have a non-film music thread and have this only for film scores? There's a lot of classical music I would enjoy commenting :)

I remember seeing an official classical music thread somewhere... but yeah, it'd be nice with a thread like this but for all other music genres (or just classical)! :)

Who's with JW in the photo? I recognize JNH, but the other guys..?

Who are the people in your picture? I recognize J.W., and J.N.H., but who are the other guys?

jnh, newman, debney, kaczmarek and williams. not a big kaczmarek fan though.

;)

Link to comment
Share on other sites

Ta for that. Do you know where/when the picture was taken?

it was taken in 2005 at a reception hosted by the society of composers and lyricist.

Yesterday the Society of Composers and Lyricist hosted their annual reception to honor the Academy Award nominees in the music categories. Held at the Beverly Hills home of John Cacavas, in attendence to celebrate were many members of the SCL. Composers like Charles Bernstein, Bruce Broughton, Vic Mizzy, John Ottman, Terence Blanchard, and more were on hand to congratulate their peers for their nomination by the Academy of Motion Picture Arts and Sciences.

http://www.soundtrack.net/content/article/?id=139

Link to comment
Share on other sites

The Ghost and the Darkness by Jerry Goldsmith

Link to comment
Share on other sites

Journey of Natty Gann - Horner

Such a rich, beautiful score. Not just the solo harmonica that made "Something Wicked" a treat, but he captures the soulful innocence and determination of Natty herself through the music. Very emotional and satisfying... this might surpass Horner's Something Wicked This Way Comes and Krull as my favorite early 1980s Horner score.

Link to comment
Share on other sites

Journey of Natty Gann - Horner

Such a rich, beautiful score. Not just the solo harmonica that made "Something Wicked" a treat, but he captures the soulful innocence and determination of Natty herself through the music. Very emotional and satisfying... this might surpass Horner's Something Wicked This Way Comes and Krull as my favorite early 1980s Horner score.

It is really a terrific score from Horner, a real winner in every respect. :)
Link to comment
Share on other sites

Yesterday I fired up the complete score for The Matrix. It had been too long since I last heard it and forgot how enjoyable it is. It is really crappy that Varèse didn't give us a proper 2-CD fully complete release for this score.

Link to comment
Share on other sites

Yesterday I fired up the complete score for The Matrix. It had been too long since I last heard it and forgot how enjoyable it is. It is really crappy that Varèse didn't give us a proper 2-CD fully complete release for this score.

Agreed. What's really pathetic is they didn't include the track "A Virus" on the Deluxe Edition, which was on the 1999 original score album.

Link to comment
Share on other sites

peer gynt - grieg

ahh... pure brilliance from beginning to end.

Also one of the famous works of music history which everyone knows, but few really know. And a good example of how the quest for complete releases is much older than film music.

Link to comment
Share on other sites

Silence! The Musical:

I've had the synth versions available on the Kaplan's website for a while now, but it's great to hear this official version with new songs, new instrumentation, new expansions, and some real instruments. I would love a full orchestral recording, but for now this will have to do.

Wonderful Town:

It's really good, although I think I'll probably end up preferring On the Town. Bernstein's stuff is fantastic, I need to hear some more of it.

Sound the Bells!

I've only been able to listen to the first few tracks of this, and it's always nice to hear new Williams fanfares. I like the faster tempo and crisper performance of "Sound the Bells!" (the track, not the album), and it's cool to hear it with only brass and percussion. "Aloof" reminds me a little of his work for NBC. Can't wait to hear the rest of this album!

Link to comment
Share on other sites

Prometheus

From an initial listen, I gotta say, it's too bad Streitenfeld didn't rely more on the orchestra. Too much of it seems like uninspired ambience with electronic droning the likes of Alien3(I love Alien3, but it seems less listenable here.) Tracks like "A Planet" and "Collision" are quite enjoyable, but there is too much electronic nothing between. Eh, I'm sure it will work well in the film.

Link to comment
Share on other sites

Prometheus

From an initial listen, I gotta say, it's too bad Streitenfeld didn't rely more on the orchestra. Too much of it seems like uninspired ambience with electronic droning the likes of Alien3(I love Alien3, but it seems less listenable here.) Tracks like "A Planet" and "Collision" are quite enjoyable, but there is too much electronic nothing between. Eh, I'm sure it will work well in the film.

Did you hear any Goldsmith quotes? I remember reading that Them from Alien is in the credits of the film.

Link to comment
Share on other sites

I skipped through it, but no, I haven't noticed it. It could be there. A lot of this is kind of not worth listening to, so I'm not sure it's worth the time to dig through. There's certainly a decent amount of material that sounds similar in style.

EDIT: Scratch that. There is a pretty big quote of the Alien theme in the track "Friend From The Past".

Link to comment
Share on other sites

I skipped through it, but no, I haven't noticed it. It could be there. A lot of this is kind of not worth listening to, so I'm not sure it's worth the time to dig through. There's certainly a decent amount of material that sounds similar in style.

EDIT: Scratch that. There is a pretty big quote of the Alien theme in the track "Friend From The Past".

Fascinating. I'll be excited to listen to this...

Link to comment
Share on other sites

http://www.jpc.de/jpcng/SESSIONID/e023304b7a5c3ac46c298315f10e396d/poprock/detail/-/art/Ost-various-Snow-White-The-Huntsman/hnum/2689391

Listened to - sort of - SNOW WHITE AND THE HUNTSMAN by JNH. Apart from the eye-roller which is JNH's by-now-usual reliance on trailermusic drumkits in his action music, this sounds actually rather enchanting.

Link to comment
Share on other sites

I keep listening to the first disc of Intrada's First Blood. Fantastic Jerry score, and the song is actually really good.

Oh yeah, First Blood is awesome. One of my favorite Jerry scores. Intrada did a great job with that release.

Link to comment
Share on other sites

Really liked PROMETHEUS, on my second listen now. The Goldsmith quote got me emotional, but there's more of his DNA in the score than just that one track.

Do you hear any of the echoing string slaps like in ALIEN when they are entering the derelict space craft? I was hoping that the composer would make a nod to that kind of orchestration when the Prometheus crew enters the ship.

Link to comment
Share on other sites

Predator. I don't what why I listen to it so often since receiving the latest Intrada. It just helps me relax me for some reason.

Karol

Link to comment
Share on other sites

What the hell is a footwarmer?

It's a term that I coined to mean "bootleg" back when we couldn't say "bootleg."

While I realize that "bootleg" is a Prohibition-era term from when people fastened small flasks of liquor inside their boot, which came to mean any unofficial/contraband video or audio recording...since a boot keeps your foot warm in cold weather, that's where I got the term.

Link to comment
Share on other sites

*Bootlegs :P

I do wish they could get expanded/complete (or in SM3's case...any) release. I liked Elfman's album arrangements, but it was nice to hear his material expanded, and I do like Youngs SM2/SM3 score over his first two (however, I think they're both great efforts by elfman.)

Link to comment
Share on other sites

MV has come out before saying that to not really count on any of the scores for the Raimi Spider-Man films to get legit expansions. He said, IF and he stressed the if one did it would be only the first one and on it's 10 year anniversary. The anniversary for the first Spider-Man film was on the third of this month. I even emailed MV once regarding this and he said there are just way too many rights issues surrounding all three scores, particularly for Christopher Young's score.

A lot of people have even asked Christopher Young if his score would ever get a legit only CD release, every time he has said no. From what I remember reading at one time for an interview with Christopher Young, he said Sony would release a CD version of his score only if he would cut out the original Spider-Man themes. Of course with Young being an album producer he couldn't do that. Also Elfman's themes are an essential part to his score. If they cut that out for an album release it would be seriously edited bad, probably worse than the Phantom Menace OST.

I was able to get a promotional CD for Young's score from his assistant. What was on the CD seemed very much like an aborted CD release, again it seemed like it was.

Either way Elfman's first two Spider-Man scores are okay, all though I do like the first one more than the second one. To me Young's is the best one and he brings more life to the Spider-Man themes, than Elfman ever did with his two scores.

Link to comment
Share on other sites

ScoreMarcStreitenfeldHarryGregson-Williams-PrometheusOST-2012MP3320kbps.jpg

PROMETHEUS - Streitenfeld, Gregson-Williams et al

A not-too-shabby mixture of soothing tonal moments, atmospheric soundscapes (rather industrial) and, thankfully, very rare moments of action and terror. As it is customary for RCP alumni, Streitenfeld has cooked up quite a nice texture of natural and artificial sounds, heavily manipulated at mixing board. In contrast to a lot of lesser RCP stuff, there's actually a balance to it, so you can actually hear woodwind lines between the rattling electronic stuff.

Sadly, there is not much of a thematic base, only some (too) loose ideas Streitenfeld toys around with over the span of several tracks. The whole things hangs a bit in the air, musically, and when Goldsmith's theme enters for 30 seconds in FRIEND FROM THE PAST, you know you're not in Kansas anymore. Two of the wide-eyed horn-driven cues are by Gregson-Williams (LIFE/WE WERE RIGHT) but they sound like a continuation of Streitenfelds material (EARTH, A PLANET), so HGW's hiring seems to be just a case of the usual Hollywood executive memo-idiocy. The album peters out very uneventfully, adding to the lack of a strong impression.

Not really great shakes, but like Elfman's DARK SHADOWS, it holds your attention and you don't feel insulted by its apparent lack of musicianship - something which cannot be said for the dreadful BATTLESHIP.

Link to comment
Share on other sites

True. I must say that on my initial listen I liked Prometheus more than Dark Shadows. Still, despite being better that I expected, it's not particularly worthwile score to purchase.

Link to comment
Share on other sites

SM1/SM2/SM3 footwarmers.

What is on your SM3 bootleg?

I got ahold of several versions, none of which contained the same music as the other. I'm seriously confused about that score. There is a bunch of filler cues by Lurie for instance, and there is another bunch by Young, the cues he released himself (six tracks I think), but I remember hearing other cues by him as well, for example the underground confrontation between Black Spidey and Sandman.

I just don't remember where I heard them or how to get them.

Link to comment
Share on other sites

...Streitenfeld has cooked up quite a nice texture of natural and artificial sounds...

Do you mean that he put some Zimmer sheet music in a cooking pot and let it boil, then put his name on it, and gave it to the copyists?

Link to comment
Share on other sites

...Streitenfeld has cooked up quite a nice texture of natural and artificial sounds...

Do you mean that he put some Zimmer sheet music in a cooking pot and let it boil, then put his name on it, and gave it to the copyists?

Bahahaha

Link to comment
Share on other sites

Seahawk by Erich Wolfgang Korngold (Rumon Gamba conducting BBC Symphony).

...Streitenfeld has cooked up quite a nice texture of natural and artificial sounds...

Do you mean that he put some Zimmer sheet music in a cooking pot and let it boil, then put his name on it, and gave it to the copyists?

Don't you mean to say put some generic RCP sheet music in the cooking pot and let it boil until it zimmers. ;)
Link to comment
Share on other sites

Lawrence Of Arabia.

Karol

The Tadlow re-recording? Worth taking a listen?
Link to comment
Share on other sites

Yup. It's a fantastic album. I had the previous recording done by Fitzpatrick and Silva Screen, but this one is tons better. It is also complete and you get a second disc of various music of Maurice Jarre (most of which I've never heard before) recorded at different times by COPPO. All of that for £ 17.95. You can't go wrong with this.

Karol

Link to comment
Share on other sites

MV has come out before saying that to not really count on any of the scores for the Raimi Spider-Man films to get legit expansions. He said, IF and he stressed the if one did it would be only the first one and on it's 10 year anniversary. The anniversary for the first Spider-Man film was on the third of this month. I even emailed MV once regarding this and he said there are just way too many rights issues surrounding all three scores, particularly for Christopher Young's score.

A lot of people have even asked Christopher Young if his score would ever get a legit only CD release, every time he has said no. From what I remember reading at one time for an interview with Christopher Young, he said Sony would release a CD version of his score only if he would cut out the original Spider-Man themes. Of course with Young being an album producer he couldn't do that. Also Elfman's themes are an essential part to his score. If they cut that out for an album release it would be seriously edited bad, probably worse than the Phantom Menace OST.

I was able to get a promotional CD for Young's score from his assistant. What was on the CD seemed very much like an aborted CD release, again it seemed like it was.

Either way Elfman's first two Spider-Man scores are okay, all though I do like the first one more than the second one. To me Young's is the best one and he brings more life to the Spider-Man themes, than Elfman ever did with his two scores.

Which is a shame, I do think these will sell well, but...cest la vie. However, I do agree with your opinions on all 3 scores, I love elfman's efforts, but young's score was much better.

SM1/SM2/SM3 footwarmers.

What is on your SM3 bootleg?

I got ahold of several versions, none of which contained the same music as the other. I'm seriously confused about that score. There is a bunch of filler cues by Lurie for instance, and there is another bunch by Young, the cues he released himself (six tracks I think), but I remember hearing other cues by him as well, for example the underground confrontation between Black Spidey and Sandman.

I just don't remember where I heard them or how to get them.

I have edited all the promos together with a partial dvd-rip (and a few of trent's cues, though i dont take credit for them - he gets all of the credits for the cues I used from his) for a 97% complete score experience. However, what young's assistant sent me was around a 57 -60 (I need to check again) promo - featuring young's score only.

Link to comment
Share on other sites

Lawrence Of Arabia.

Karol

The Tadlow re-recording? Worth taking a listen?

It is the best recording there is of this score. It is just spot on

Link to comment
Share on other sites

Chicken Run by Harry Gregson-Williams and John Powell: A very enjoyable collaboration from this pair, a score that puts a smile on my face every time since it is just brimming with energy, fun and simply zany spirit of adventure. It holds together well even though it flits through several musical genres and sounds (kazoos included) but the pure orchestral music is the most dominating style, the composers obviously enjoying a chance to write larger than life music full of such earnest emotion. The orchestral performance is spirited and resounding with only a few shades of the composers' shared RCP (or Media Ventures at that time I guess) background coming through here and there in the orchestrations and the nearly hour of score on the album flies past quickly, telling a thoroughly enjoyable story of its own that goes through a wide array of emotions and you can't not help but be swept away by the thrilling enthusiasm present in the music. I wish this pair would collaborate more often since the results can be irresistable, with kazoos and all. :)

Link to comment
Share on other sites

Spider-Man 3 - Christopher Young

Since we're talking about Horner's ASM score, that got me to return to Young's score. I think his score was really underrated by movie fans and some hardcore film music fans, but Young turned in some great work here. Even though some of his score was replaced with tracked-in Elfman material and re-recordings of said material, his work shone through. And to Young's credit, he did more with Elfman's main theme than Elfman himself did in the past two films. The "Church Tower/Birth of Venom" cue is a thing of Gothic beauty, using male choir to slowly warp Elfman's theme into the Venom theme.

And the action material is great. And as much as I liked Elfman's secondary ideas for Mary Jane and Aunt May, Young's unused love theme is gorgeous. If you track in the last half of the unused love theme for the last scene in SM-3, it works a lot better.

Link to comment
Share on other sites

Spider-Man 3 - Christopher Young

Since we're talking about Horner's ASM score, that got me to return to Young's score. I think his score was really underrated by movie fans and some hardcore film music fans, but Young turned in some great work here. Even though some of his score was replaced with tracked-in Elfman material and re-recordings of said material, his work shone through. And to Young's credit, he did more with Elfman's main theme than Elfman himself did in the past two films. The "Church Tower/Birth of Venom" cue is a thing of Gothic beauty, using male choir to slowly warp Elfman's theme into the Venom theme.

And the action material is great. And as much as I liked Elfman's secondary ideas for Mary Jane and Aunt May, Young's unused love theme is gorgeous. If you track in the last half of the unused love theme for the last scene in SM-3, it works a lot better.

Fans of Young's Spiderman 3 score always say he brought more life to Elfman's themes than Elfman did but I disagree. He , Lurie, and Debney made Elfman's Spider-man motif (what some believe the motif was in the first place) cheesy. I really disliked how Elfman's Spidey motif was handled. It was too in your face in a bad way. Elfman's use of the theme was a lot more subtle in the first two. The use of the variations of it were handled sparingly in the Elfman scores. Also Young and co. hardly used the Parker theme. They edited it out, which I consider to be the important part, of the main title ( which sounded poor in #3).The Green Goblin theme got turned into something that belonged in Hellraiser. And speaking of Hellraiser the score sounded like leftovers of it some parts like when an angry Peter was sitting on his bed and staring at the chest with his black suit inside. The "Birth Of Sandman" which a lot of people believe to be a highlight of the score was predictable and sounded like something right out of Young's Hellraiser. I knew the chorus was going to kick in as the music started to build up. I knew where it was going as well as the scene itself since it's not that different from Ock's at the pier when he decides to become a criminal in #2. Plus the music during Peter's and Harry's fight at the Osborn Mansion was out of place and took me out of the scene. And just made the scene more ridiculous. Compared to Elfman's first two. This one feels out of place. It doesn't feel Elfman-esque enough to me. I say this b/c if you're scoring a direct sequel you should blend in with Elfman's material while at the same time making it your own. All young did was used the spidey theme and green goblin theme and turned it into something that fitted his style. No wonder they had Lurie and Debney come in to make the score more Elfman-esque. And still failed imo.The score for #3 was another problem I had with a list of problems that I had with the movie itself. It's a shame Elfman never got to score the whole trilogy but then again after the way Spider-man 3 turned out maybe it wasn't. At least he got to score MIB3. No matter how the film turns I'm glad Elfman got to finally complete a trilogy.

Sorry to rant like this but I didn't find anything special or great about Young's Spider-man 3 score. It was decent at best.

Link to comment
Share on other sites

Create an account or sign in to comment

You need to be a member in order to leave a comment

Create an account

Sign up for a new account in our community. It's easy!

Register a new account

Sign in

Already have an account? Sign in here.

Sign In Now
×
×
  • Create New...

Important Information

By using this site, you agree to our Guidelines.