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

[Incanus 5,714]

Snivelling snailbrained half cooked son of a NBC weatherman!

Old Bagdad from 13th Warrior by Jerry Goldsmith

[BloodBoal 7,538]

[Incanus 5,714]

Geoff Zanelli's lapdog!

[BloodBoal 7,538]

[crocodile 8,012]

Angela Morley's lawyer!

Karol

[BloodBoal 7,538]

[Incanus 5,714]

Atticus Ross stalker!

[BloodBoal 7,538]

[Incanus 5,714]

Ladd McIntosh fanboy!

The Gauntlet/No Kiss from The First Knight by Jerry Goldsmith

[BloodBoal 7,538]

[Incanus 5,714]

Mel Wesson's assistant's assistant!

[BloodBoal 7,538]

[chuck 154]

The Wind and The Lion - Jerry Goldsmith

[Romão 2,274]

Hannibal by Hans Zimmer & Co.: One of my few Zimmer favourites. Apart from the rather eclectic collection of subsidiary material from RCP co- and additional music composers the actual score by Zimmer is a classically tinged and alluringly gothic affair, enhanced by elegant choral voice provided by the Libera boys choir. Perhaps it is the lack of overt electronic enhancements and the darkly charming atmosphere that makes this score so appealing and later the closest Zimmer has come to this soundscape by combining similar elements is Da Vinci Code but taking a more muscular and ostinato driven approach there. I could have done without Anthony Hopkins' narration on some of the tracks but luckily it isn't too distracting or dominating.

I actually prefer it with the narration, specially in Let My Home Be My Gallows. To Every Captive Soul is also quite good, with the typical Zimmer string sound, but that also worked well in Patricide in Gladiator

[Incanus 5,714]

The Wind and The Lion - Jerry Goldsmith

Excellent music. One of Goldsmith's best. Extremely beautiful, earthshakingly powerful and visceral all at the same time.

Hannibal by Hans Zimmer & Co.: One of my few Zimmer favourites. Apart from the rather eclectic collection of subsidiary material from RCP co- and additional music composers the actual score by Zimmer is a classically tinged and alluringly gothic affair, enhanced by elegant choral voice provided by the Libera boys choir. Perhaps it is the lack of overt electronic enhancements and the darkly charming atmosphere that makes this score so appealing and later the closest Zimmer has come to this soundscape by combining similar elements is Da Vinci Code but taking a more muscular and ostinato driven approach there. I could have done without Anthony Hopkins' narration on some of the tracks but luckily it isn't too distracting or dominating.

I actually prefer it with the narration, specially in Let My Home Be My Gallows. To Every Captive Soul is also quite good, with the typical Zimmer string sound, but that also worked well in Patricide in Gladiator

I agree that Zimmer's leaning towards very classical style and inspiration for his string sound might veer toward generic at times but I feel that this is still one of his stronger scores.

[Koray Savas 2,251]

Ladd McIntosh fanboy!

I think that's the first time his name has ever been typed on this board.

[Incanus 5,714]

Ladd McIntosh fanboy!

I think that's the first time his name has ever been typed on this board.

Honest to god I thought Zimmer had credited some modified synthesizer/computer in the liner notes when I saw that name for the first time.

[KK 3,307]

Elizabeth by David Hirschfelder

It’s a strong period piece score for a film I enjoyed very much. The stunning opening overture gets me every time. The tumultuous nature of the title theme is simply enticing. And to hear it blown up in cues like “Tonight I Think I Die” is great. And its more intimate renditions in cues like "Aftermath" are enjoyable as well. The 6/8 rhythm that much of the score is based on might get grating at times, but it works. There’s also a charming love theme but it’s a shame it only appears a few times. The period dance/celebration pieces are fine as well although they might not be to everyone’s liking. Hirschfelder also makes great use of the varying vocal elements in the score. The soprano in Night of the Long Knives is wonderful. On that note, some might be bothered by how much inspiration the score takes from certain classical works, but that personally doesn’t bother me in the least. The score does falter however when it meanders in its own gloominess. But I’ve always appreciated the incredibly dark atmosphere of this score. Greater consistency could have benefited this work, but as it is, it’s a well-written four-star score.

[Romão 2,274]

Good review, KK, agreed 100 %. And it is indeed a powerhouse main title. I also love how the love theme is derived from it

[KK 3,307]

Yes, thats true. Hirschfelder intelligently played with the love theme, eventually making it fade and deteriorate as Elizabeth's relationship falters so that it can be engulfed but its cousin, the title theme.

[Incanus 5,714]

Elisabeth is indeed a fine score. A very apt review of it K.K.

[Gruesome Son of a Bitch 6,488]

Jurassic Park: The Classic John Williams (City of Prague, Williams Motzing)

Specifically, the JP theme, Jaws suite, JFK main title and Black Sunday suite. You may ditch the rest of the album.

[chuck 154]

The Final Conflict & First Knight - Jerry Goldsmith

[Matt C 454]

Jurassic Park: The Classic John Williams (City of Prague, Williams Motzing)

Specifically, the JP theme, Jaws suite, JFK main title and Black Sunday suite. You may ditch the rest of the album.

Prague musicians + John Williams = inferior product. The orchestra has greatly improved over the past 5-7 years, but with Williams material they fumble it one way or another.

[Incanus 5,714]

The Final Conflict & First Knight - Jerry Goldsmith

Again some excellent music there from Goldsmith.

The Edge by Jerry Goldsmith: Took a listen after a long while. It is even more nuanced and stronger than I remembered. Goldsmith captures so well the visuals, the psychological aspect and the physical action, the music ferocious and primal and lyrical and sweeping in turn.

[chuck 154]

The Final Conflict & First Knight - Jerry Goldsmith

Again some excellent music there from Goldsmith.

The Edge by Jerry Goldsmith: Took a listen after a long while. It is even more nuanced and stronger than I remembered. Goldsmith captures so well the visuals, the psychological aspect and the physical action, the music ferocious and primal and lyrical and sweeping in turn.

I remember the lounge-y End Credits of that film.

[Incanus 5,714]

Yeah that is a surprising change of pace at the end but as the liner notes say it might depict the main character's journey back to civilization and high society after his ordeal in the wilds. The complete score from Lala-Land Records is a terrific album and really expands the original soundtrack album in the best possible way, giving the several recurring themes to breathe and develop.

[Gruesome Son of a Bitch 6,488]

Jurassic Park: The Classic John Williams (City of Prague, Williams Motzing)

Specifically, the JP theme, Jaws suite, JFK main title and Black Sunday suite. You may ditch the rest of the album.

Prague musicians + John Williams = inferior product. The orchestra has greatly improved over the past 5-7 years, but with Williams material they fumble it one way or another.

There are a bunch of good recordings by them. Many bad, yes.

[Incanus 5,714]

Hook by John Williams: Childhood nostalgia aside this is a brilliant balletic, lyrical, colorful rambunctious, energetic experience from start to finish. Williams captures the magic of childhood from whimsy to fear to joy and awe with graceful hand, the music encompassing indeed a world of its own in its running time. Certainly one of my personal favourite Williams scores.

[Quintus 5,399]

It's certainly a contender for the most busily orchestrated score of all time. Is it rich and sumptuous or is it vulgar and overblown?

Can you imagine a movie coming out now with a musical aesthetic as unabashed as that? It'd be downright weird!

[Incanus 5,714]

It's certainly a contender for the most busily orchestrated score of all time. Is it rich and sumptuous or is it vulgar and overblown?

Can you imagine a movie coming out now with a musical aesthetic as unabashed as that? It'd be downright weird!

Parts of Hook are perhaps some of the busiest, dizziest orchestration in their whizzing and buzzing and plucking enthusiasm. And certainly parts of the exuberant score would sound weird indeed for movies and moviegoers of today. Hook is a score that is still strongly linked to the 1980's Hollywood wunderkind style of moviemaking aesthetic, which was slowly but surely passing by the time Hook appeared in the theaters. It would be too much for most modern films, so colorful, extrovert and indeed unabashedly rambunctious it seems.

Spielberg's changing directions certainly left a mark on the score, as he was pondering different approaches to the story. The near-musical, opera sans libretto as he calls it in the original liner notes, is really what Williams achieved in the end with the score, Korngoldian opera without singing. All the song styled long melodic lines, the balletic and colorful and indeed forefront approach could feel schmaltzy to most modern ears.

Hook is also a score of interesting contrasts. It contains that opening dreamy, gentle music for the nostalgia of childhood, followed by the energetic and vibrantly dazzling music for the wonders of Neverland, the pomposity of the pirates, the wacky jollity of the Lost Boys, the warm and lyrical discovery music of childhood and a finally Williams pits elements of all that has gone before against each other in the Ultimate War and draws everything emotionally together with the Farewell to Neverland. The constant variety actually makes the score very strong as a whole and the themes tie everything together in a wonderful way.

And I can certainly see why not everybody likes the score. It is just so energetic and busy and dazzling and buzzing and whizzing much of the running time it can wear you out. There is such a sense of many things going on it might irritate people who like more lean approach and larger arcs instead of dense writing.

[Quintus 5,399]

About as comprehensive and thoughtful a response as the very best in in your repertoire, Mikko. Good stuff.

[Matt C 454]

There are a bunch of good recordings by them. Many bad, yes.

Their work on the Conan the Barbarian and Fall of the Roman Empire re-recordings are stunningly good. Matter of fact, I have the former playing right now. "Anvil of Crom", "The Kitchen/The Orgy" and "Riders of Doom" have never sounded better... amazing work by the guys at Tadlow and Prometheus.

[Marian Schedenig 8,193]

And don't forget Jarre's Lawrence of Arabia.

Also, they weren't so bad earlier when properly rehearsed. Kilar's Ninth Gate score is perfectly fine, also a Prague recording.

[Jay 37,363]

Stargate by David Arnold

Thanks to you I just finished my first complete listen of this score after about 10 years of dust-collecting. What really strikes me now is how "restrained" it all feels (compared to his other works). The first 10 tracks (on the Milan album) are among the best things Arnold has ever written. Flows great from track to track. After that... the attention just kind of fizzles. And even the action tracks at the end can't rectify this situation.

Warriors of Virtue by Don Davis

Karol

Yes it was a first listen of this score in a good while for me as well and I have to agree with you on the general sentiments but still the score is miles ahead of his Bond and small family drama material and makes me wonder what ever happened to that David Arnold who penned Stargate and ID4. Perhaps he changed and films certainly have but I would love to have him score something with such obvious gusto and attention to orchestral details (Nick Dodd was of course a huge help). I love Arnold's theme for Ra, there is such immediate gut reaction to his ominous lower gothic writing and those evil slicing high string effects and the choral renditions take it to whole other level of juicy melodrama.

Come on, you don't even like Tomorrow Never Dies?

Little Women by Thomas Coolman:

One of the early triumphs of the composer, this score is a delightful exploration of highly lyrical ideas in a pure orchestral setting, a deviation for the composer so versed in working highly unlikely sounds into his music but certainly a welcome one. Coolman is a masterful writer of themes and this score is full of gorgeous melodicism and sprightly spirit. I can only marvel the skill with which he spins highly attractive material from his pen as nearly every track contains either an interesting variation on the established themes or a new standalone melodic moment. The other side of this coin is the typical Coolman fault if it can be called a fault in film music's case, that the tracks are most incredibly short and while the composer is adept in saying much in a short time, I wish he could have developed some ideas further in long cues like he does with the stately opening Main Title (The Orchard House) and the End Title (Under the Umbrella). All in all a very strong and harmonically and melodically delightful early score from Mr. Coolman.

Roses are red,

Violets are blue,

I don't enjoy reading 50 Shades of Grey,

As much as I enjoy reading you!

love love love this score. one of my first newman favorites! it's a definite highlight of his career and while I understand some peoples irritation with the short tracks I must say that, in this case, it never really bothered me.

Alice, I'm so glad you're back!

:lol: :lol:

Gold star for you!

[crocodile 8,012]

Die Hard with a Vengence by Michael Kamen

Back to Gaya by Michael Kamen

The Aviator by Howard Shore

The Wolfman by Danny Elfman

And also come bits from The Two Towers - Complete Recordings.

Karol

[Gruesome Son of a Bitch 6,488]

There are a bunch of good recordings by them. Many bad, yes.

Their work on the Conan the Barbarian and Fall of the Roman Empire re-recordings are stunningly good. Matter of fact, I have the former playing right now. "Anvil of Crom", "The Kitchen/The Orgy" and "Riders of Doom" have never sounded better... amazing work by the guys at Tadlow and Prometheus.

They've done some pretty awesome versions of Williams. Yes, many of their recordings from the 90s were sub-par and occasionally atrocious. Hook? How in God's name did that recording end up on multiple CDs? But yeah, they've kicked some serious ass in other instances. Check out their versions of Towering Inferno, Dracula, Dry Your Tears, Afrika, Family Plot and Rare Breed. I love those modern recordings. They get somewhere in the ballpark of Williams' sound.

[chuck 154]

Bits of The 13th Warrior - Jerry Goldsmith

[Incanus 5,714]

Bits of The 13th Warrior - Jerry Goldsmith

Your winning streak continues!

I have been listening to this score a lot lately. While not 5 star classic it is a strong 4 star effort and listening to this kind of self assured, expressive and powerful score makes you miss maestro Goldsmith all the more. Very few adventure films receive such classy accompaniment these days. The companion score to this composed the same year The Mummy is almost equally entertaining but a smidgeon less focused.

[chuck 154]

Yeah. Just now I just finished listening to Total Recall - Jerry Goldsmith.

Absolutely bloody piece of action music from start to finish.

The end title has some bits & pieces of music that I've heard from his other scores as well.

[Marian Schedenig 8,193]

The only things that can compare to Total Recall are Rambo 2 and parts of Baby (!).

[Faleel 5,348]

The Lost World - Chronological (and containing full Rescuing Sarah) Edit - John Williams

[chuck 154]

The only things that can compare to Total Recall are Rambo 2 and parts of Baby (!).

That I agree.

[Romão 2,274]

The Adventures of Tintin

It's been a while since I listened to it, and it's one of my absolute favorites. The freshness of it, the instrumental performances, the thematic writing, this whole thing oozes class and panache. It's just a terrific display of talent. And those two first tracks are absolute killers

[publicist 4,643]

DOLLARS - Quincy Jones, 1971

If someone had the funk in the early 70's it was The Quince.

[Incanus 5,714]

Body Heat by John Barry (Varese LSO & McNeely re-recording): A truly enjoyable throwback to the classic film noir sound filtered through Barry's sensibilities. The score is sultry and languidly seductive with few moments of more explosive material to provide variety and nuance. A small jazzy ensemble and string section dominate the orchestrations, saxophone conjuring up strong genre memories with its smoky, alluring tone. This is also an amazingly accomplished recording given that it was recorded just in one day by the LSO.

[MrJosh 892]

I listened to a James Horner double feauture: The Mask of Zorro & The Legend of Zorro.

Its great fun music, I love the sound of Horner mixed with a spanishy zestiness. I like the horn parts a lot in this score. Though I always skip the song at the end of the first score...

[chuck 154]

This:

Exquisitely beautiful.

[KK 3,307]

Jane Eyre by Dario Marianelli

It didn’t take long for Marianelli to rise up in the ranks of my favourite composers. He truly is an incredibly talented composer; one whose work I especially I admire. His elegant European sensibilities have always appealed to me from the romance of Atonement to the raw savage power of Agora and so on. With Jane Eyre, the man returns to intimacy at its finest.

I recall when hearing this score upon its release, it didn’t quite click with me. It seemed cold and emotionally distant. Of course having returned to it in my annual year-end wrap up for 2011, I had no idea what made me dismiss this work so shamelessly. It was on repeat for days and quickly became one of favourites of the last year. Emotionally distant?! Humbug! What a fool I was. Anyways, I decided to take another listen to it because it sets the mood I need right now.

But bearing that in mind, this is a score that needs time and multiple visits to truly appreciate its merits. Marianelli’s greatest success with this score is the incredibly intimate atmosphere he crafts for this darker rendition for Bronte’s classic tale. There is no brass here, no big orchestra to sweep you away. A simple string orchestra, piano, some mild use of woodwinds and vocals, extensive harp material and some solo work. But Marianelli uses these elements with great execution.

The heart and soul of the score is clearly the virtuouso violin work of Jack Liebeck. It’s the key tool used to achieve that irresistible intimacy that was nailed here. The main theme may be simple in its structure but the way Liebeck truly lets it soar is incredibly intoxicating. It’s quite hard not to be taken by how violin soars in “Yes!” or “The Call Within”. In a sense, it’s almost indescribable. I also appreciate Marianelli’s elegant writing here, displayed with the finest finesse. There’s nothing extraordinarily complex here. As I mentioned above, all the interweaving motifs are rather simple in their structure, including the main theme. It’s how Marianelli is able to play them against each other and manipulate them to a degree that creates this illusion of complexity. The final product is this wonderful musical tapestry that acts as a great atmosphere. Again, I think a lot of credit is due to the performance. It all seems meticulously executed with careful attention to emotional accents. Whether it be the lighthearted “Waiting for Mr. Rochester”, the intoxicating darkness of “An Insuperable Impediment” or the soaring beauty of “Awaken” (soaring in the sense that that the solo work takes you away, not some big ol’ lush theme from a big string section) this just some damn fine work. One of my personal favourite moments is that final painstaking climb to the final note of the score in "My Edward and I". Absolutely delightful ending!

I won’t be surprised if some people turn their ears away due to the technical nature of the score, sometimes seeming a bit mechanical. But as I mentioned before, this score deserves time to appreciate just how great it is. I’ve come to love revisiting this score each time. Just listening to this work reminded of how much I love this composer. I simply cannot wait to hear his work for Anna Karenina. In fact, I think I’ll listen to some more Marinaelli scores in the meantime I apologize for the long and probably unnecessary rambling...

* * * * 1/2

[Incanus 5,714]

A great review K.K.!