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

[chuck 154]

Any fans of Baby: Secret of the Lost Legend here?

The second half is up there with the best action scores of all time.

If there's a top 5 best action scores of all time, JG will be responsible for 3 of them.

[#SnowyVernalSpringsEternal 10,265]

Only 3?

[chuck 154]

Okay, 3 1/2.

[#SnowyVernalSpringsEternal 10,265]

7 out of 5!

[Marian Schedenig 8,176]

If there's a top 5 best action scores of all time, JG will be responsible for 3 of them.

Total Recall, Rambo 2 and Baby.

I haven't thought about the remaining 2. Goldsmith would probably still be a contender.

[chuck 154]

Nice, Mari. That's what I chose too!

[Matt C 452]

The Rocketeer

It's taken me a couple of listens, but I really have warmed up to it. It's nowhere in Krull or Something Wicked This Way Comes' leagues, but I've really taken to that main theme. Love how Horner really lets the theme rip loose in "Main Title/Takeoff", "The Flying Circus" and "Jenny's Rescue" -- just wonderful. I think the current album nicely sums up the highlights of Horner's score, and the mixing seems fine. Asking for an expanded release would be a bit overkill.

And I haven't seen the movie in quite some time. I don't know if it still holds up or whether it'll disappoint after the nostalgia wears off.

[Hlao-roo 389]

There's always Jennifer Connelly.

[ZackR 95]

The movie is a perfect popcorn adventure film if you ask me. I think it has aged wonderfully.

[Matt C 452]

The movie is a perfect popcorn adventure film if you ask me. I think it has aged wonderfully.

It was actually reading an anecdote of someone meeting Billy Campbell that made me want to revisit the score:

Yes, he's wearing the helmet in that first shot. Yes, he was at a convention. No, he wasn't an official guest there.

[Dixon Hill 4,233]

This. This is the last score I listened to.

[Jay 37,317]

Star Trek Into Darkness (OST + Ode To Harrison)

Hadn't listened in a month to this score and wanted to refresh my memory as I begin to dig into the blu ray. Man, this is a good score but the OST is so damn short! Just when everything is done being set up, you're finally at the end sequences!

Jerry Goldsmith - Total Recall (Varese Deluxe)

Wow, I hadn't listened to this score (in any form) in YEARS. The original OST is one of my most played film score CDs ever, but if I've heard it 100 times I've heard the Deluxe Edition probably 15 times. I was surprised to see how much I liked the longer presentation, it doesn't wear out its welcome or have any filler at all. Its a great listening experience. Funny: I was listening to this while doing my Fantasy Football draft, and some of the synth sounds Jerry uses sounds just like the sounds Yahoo! uses to tell me its my turn to draft, so that kept freaking me out!

[crocodile 7,988]

I'm listening to LLL's The Matrix Reloaded right now. Clearly one of the very best scores to a blockbuster film in the past 10 years (along with Revolutions, of course). The first The Matrix score is, of course, very impressive, but doesn't offer much comfort in terms of listening experience on its own - it's a horror score almost. I love it, but listening to it often - it just doesn't happen. This one is a complete antithesis, in a way. The music has much more mainstream feel to it, even though it explores some really challenging techniques sometimes. But that's exactly what this series was standing for so this middle entry is the perfect embodiment of the whole trilogy's core idea. The thing I was mostly worried about is whether I'll like this album's presentation, with Don Davis' material being presented alongside other artists, whereas his original intentions for certain scenes are pushed to a bonus section (I even made the alternate Davis-only playlist out of this). Actually, it works beautifully, even the electronica tracks by Fluke blends well with this score and makes it much more varied. Overall, rich and imaginative music: hip electronica, swashbuckling action, fantasy wonder, some romance, scary dissonance - everything's there. The design is very nice and liner notes really interesting to read - some of the comments about the two sequels might even slightly change my opinion of them (on a superficial level, at least). One of the best things La-La Land released this year, definitely.

And yes, I did notice before that the pitch of each subsequent film's main titles is higher than the previous one.

Karol - hoping for follow-up(s)

[Jay 37,317]

Yes, I quite enjoyed Tim Grieving's liner notes.

[Incanus 5,713]

I have yet to delve into Matrix scores. They have been on my "to listen" list forever but I have never found time to take a long good listen of the trilogy. I definitely should make time as Davis has some really interesting and cool material in these scores.

[crocodile 7,988]

Yes, and it's amazing that when you hear the whole things it really is very coherent vision. Reloaded is, as it turns out, the most easily enjoyable of the three.

And fact that the two sequels were sandwiched between the second and third LOTR films and still hold a candle to those at the time - that speaks for itself. Indeed the two trilogies were seminal works of the past decade - both represent all that could be done well and intelligently in big budget film scoring business.

Karol

[Jay 37,317]

Oh Reloaded is easily the best of the three scores

[crocodile 7,988]

Wyatt Earp. I'm not a western fan and big sweeping Americana doesn't do much thing for me, to be honest. Maybe when I was a bit younger, but not any more. So this kind of music is not necessarily a safe bet (with some exceptions). And yet, probably because of the good word of mouth, I wanted to give this new release a chance. And it's actually a very good music, might be one of his best. It's a very long score and very conservative, but there is always something going on - the themes are nice and well developed. And I can't really hear anything that you might call a filler, something that usually happens with those longer releases. It's very good and the fact that it can sit comfortably and without shame next to Silverado is high praise in my book. Much better than things like Waterworld, from the same period. And while I wouldn't call it a masterpiece, the hype surrounding this long overdue release wasn't exaggerated. Pleasant stuff all around. Again, great job by the label on both sound and presentation.

Karol

[Incanus 5,713]

So you would recommend a purchase?

[crocodile 7,988]

I'd say that if you like things like Hidalgo and Silverado, this sort of genre music, then this is a very solid choice. It's not a rushed job - Howard had six months to complete it and no temp track to worry about - and it shows.

Karol

[lonzoe 18]

Listened to scores I own featuring or starring Anthony Hopkins.

[Jay 37,317]

I was impressed by Elfman's Red Dragon score when we watched the film a few months ago. I should listen to the score.

[Gruesome Son of a Bitch 6,488]

Dick Tracy and Return to Oz.

[Dixon Hill 4,233]

Anthony Hopkins himself actually dabbles in composing. I've not heard any of his stuff, but this has inspired me to check it out.

Listened to scores I own featuring or starring Anthony Hopkins.

[crocodile 7,988]

Some really good stuff in there lonzoe.

Willard by Shirley Walker

It's quirky and fun - probably some of the best old school suspense scoring I've heard in modern age. Yet all the detail still eludes me - it's one of those impressive score that probably require some further visits to reveal all its intricacies. Good stuff!

Knowing by Marco Beltrami

A somewhat schizophrenic work. There is a large chunk of this score that aspired to true greatness. And then there is that other part (maybe not even half of this album) that mostly reheats all typical tropes. Overall, the good stuff outweighs the no-so-good and ultimately makes Knowing a winner.

Karol

[Hlao-roo 389]

Some really good stuff in there lonzoe.

Willard by Shirley Walker

It's quirky and fun - probably some of the best old school suspense scoring I've heard in modern age. Yet all the detail still eludes me - it's one of those impressive score that probably require some further visits to reveal all its intricacies. Good stuff!

Knowing by Marco Beltrami

A somewhat schizophrenic work. There is a large chunk of this score that aspired to true greatness. And then there is that other part (maybe not even half of this album) that mostly reheats all typical tropes. Overall, the good stuff outweighs the no-so-good and ultimately makes Knowing a winner.

Karol

Lee's right: you've gotten stuffy in your old age.

[Gruesome Son of a Bitch 6,488]

Alien and Pee-Wee's Big Adventure.

[Naïve Old Fart 9,506]

Alien and Pee-Wee's Big Adventure.

Which version of "ALIEN"? Either way, it;'s a hard, but rewarding listen.

I've recently listened to "Mission: Impossible III", and "Gatacca". I preferred the latter.

[Dixon Hill 4,233]

So spurred on by the Matrix frenzy, I decided to take the plunge into a different kind of score: Don Davis' opera, Rio de Sangre. I know one of the lead singers, and have been meaning to give it a listen for some time. Recently discovered that it's on Spotify.

It's very dense, largely non-tonal music. From the first notes Davis' DNA is obvious, but that's not necessarily an indication that fondness for the sound world of The Matrix will translate to fondness for this one. The story is a kind of archetypal political revolution tale. There are large stretches of strained tenor lines roving through a rather tortured harmonic landscape... this is far from easy listening. And the frequent digressions into the regional Central American musical dialect are more than a little jarring, if entertaining.

Weirdly, despite my love for film music, opera has always been relatively difficult for me to appreciate in full, particularly modern opera (with the exception of John Adams' seminal work). This piece didn't really change that, but that's not an indictment of its quality. Davis is obviously a gifted composer, and its always fascinating to hear someone from the film world move into the concert/opera hall. I'll be listening a few more times to see if it grows on me.

[crocodile 7,988]

I didn't know this got a CD release. I'll check it out.

The Matrix Reloaded and The Hole

Karol

[Bilbo 3,709]

Listening to Rush at the moment.

http://www.youtube.com/watch?v=AK6Mk6mM_CM

1:40 on sound familiar to anyone or is it just me?

Enjoying the score tbh. Haven't seen the film yet but from the trailer I can see this fitting nicely. I don't like his style in superhero films but it sure fits this IMO.

[BloodBoal 7,538]

1:40 on sound familiar to anyone or is it just me?

The Rains Of Castamere!

[Bilbo 3,709]

1:40 on sound familiar to anyone or is it just me?

The Rains Of Castamere!

Yup. The more I listen the more blatant it sounds.

I do like the score though.

[Faleel 5,340]

Castawha?

[Incanus 5,713]

Castawha?

The Rains of Castamere, a song from the TV series Game of Thrones, composed by Ramin Djawadi.

Stepmom by John Williams: A wonderful and surprising little gem of intimate dramatic scoring from the Maestro, which mostly eschews hummable themes (there is still a recognizable one in the score though) and focuses on mesmerizing gentle moods and invidual musical setpieces that range from gentle solo guitar moments to Coplandesque jaunty scherzando. The highlight is definitely The Days Between, the music from the end credits that is featured twice on the album in classic Williams' style but this time the first version features oboe soloist John Ellis and the second the guitarist Dean Parks in the central role. A relaxing score with a certain sense of melancholic nostalgia and warmth that for me is strongly evocative of autumn in its mood and colouring.

[nightscape94 965]

Listening to Rush at the moment.

Now we're talkin'

[Bilbo 3,709]

Listening to Rush at the moment.

Now we're talkin'

[Incanus 5,713]

Agora by Dario Marianelli: A highly impressive piece of work that actually gets better with each listen. Marianelli's voice can be clearly heard here, weaving a complex ethnic and orchestral musical tapestry with two beautifully lyrical and yearning almost religioso themes at the center of the work that travel through the album to the shatteringly tragic and epic conclusion in The Skies Do Not Fall (even more poignant in the film itself coupled with the images).

Medal of Honor Frontline by Michael Giacchino: My absolutely favourite MOH score. Everything in the right place: themes, orchestrations, style, mood, action, pace, flow. Brings together into cohesion several older ideas from the previous scores but adds a whole new dimension with a judicious use of choir and boy soloist. The action is driving and engaging, Giacchino finding wonderful melodic hooks to drive these sequences and his thematic interaction is lively and inventive and the composer finds a few places where lyrical beauty can shine through (After the Drop and Arnhem in particular). Easily among his best scores in my ever so humble opinion.

Far and Away by John Williams: Always somewhat overlooked gem of a score that brings together Williams' Americana and Celtic/Irish influences of the Chieftains. Runs such a gamut of emotions and the album is well constructed, containing a lion's share of the score and definitely most of the highlights. The end credits is among Williams best creations, simply a fun rollicking symphonic piece.

Last Airbender by James Newton Howard: A really strong if a bit frustrating score with some of JNH's most spectacular pieces but bogged down by rather non-descript underscore and lacks a truly memorable theme and highly recognizable villain theme to counter it, which this story would have really needed. But in the end the positive outweigh the negative and the aforementioned highlights like Journey to the Northern Water Tribe, Earthbenders, the Blue Spirit and Flow Like Water are really great stuff.

[Jay 37,317]

Inky, you've inspired me to listen to Frontline at work today! For some reason, I think it's the Giacchino MOH score I've listened to the least!

[Incanus 5,713]

Inky, you've inspired me to listen to Frontline at work today! For some reason, I think it's the Giacchino MOH score I've listened to the least!

I was somehow drawn to this score from the first time I heard it and came appreciate it even more after I heard the other scores as Giacchino builds on his previous efforts in Frontline so that to me it feels like the natural progression from MOH and MOH:Underground as the scores get gradually more mature and darker. What I have sometimes bemoaned in Giacchino's film scores, the fact that they can despite some orchestral fireworks, leave you emotionally cold but Frontline really appeals to me on that level as well. This is less frenetic and rhythmically oriented than Airborne and with perhaps a more resonant emotional tone to it on the whole. The recording also really complements the orchestra and choir and all the little orchestral nuances put into this music, which makes it worth revisits.

[Jay 37,317]

I've always liked either the original or Airborne the best, and then have listened to Underground the next most, dunno why I haven't listened to Frontline as much....

[Quintus 5,399]

I think my problems with the MoH soundtrack is I just didnt click with any of the themes. The whole thing was sincere but just a tad corny. Giacchino wrote the sort of music I'd expect to hear playing in the background of veteran accounts found in a Saving Private Ryan dvd special features documentary.

Far and Away is another score which simply does absolutely nothing for me. I've tried a number of times to understand the fuss, but nope.

[Incanus 5,713]

I think my problems with the MoH soundtrack is I justice didnt click with any of the themes. The whole thing was sincere but just a tad corny.

Far and Away is another score which simply does absolutely nothing for me. I've tried a number of times to understand the fuss, but nope.

Well at least you tried.

[Brónach 1,301]

I like the parts that sound more Indiana Jones in MoH.

[Koray Savas 2,251]

I think my problems with the MoH soundtrack is I just didnt click with any of the themes. The whole thing was sincere but just a tad corny. Giacchino wrote the sort of music I'd expect to hear playing in the background of veteran accounts found in a Saving Private Ryan dvd special features documentary.

For shame!

[Incanus 5,713]

Saving Private Ryan

[crocodile 7,988]

I think my problems with the MoH soundtrack is I just didnt click with any of the themes. The whole thing was sincere but just a tad corny. Giacchino wrote the sort of music I'd expect to hear playing in the background of veteran accounts found in a Saving Private Ryan dvd special features documentary.

Far and Away is another score which simply does absolutely nothing for me. I've tried a number of times to understand the fuss, but nope.

Which ones did you listen to?

Karol

[Jay 37,317]

Don Davis - The Matrix Reloaded (La-La Land)

Loved the whole thing! I'll post more thoughts in the thread.

Brian Tyler - Now You See Me

Can't get enough of this fun score!

[crocodile 7,988]

Don Davis - The Matrix Reloaded (La-La Land)

Loved the whole thing! I'll post more thoughts in the thread.

I'm loving this album too. And even including all these other songs seems appropriate, given how film makes a prominent use of them.

And Don Davis' Free Flight is much, much better. Including the film version there are now three versions of that, right?

Karol

[Jay 37,317]

Well, I am certainly glad they are included - they filled both CDs to the brim! - but I do personally feel that while the SOUND of "Furious Angels" and "Zion" fit in well with the rest of the score, the problem is they are structured as full songs and not score pieces, meaning they are way longer than the snippets of them used in the film are, and therefore they kinda throw off the pacing and momentum the score is building when they come on.

"Teahouse" doesn't have that problem because it's so short, and "Chateau" doesn't because it was written to picture, I believe. And obviously "Burly Brawl" and "Mona Lisa Overdrive" fit right in too.

Then there's "Niaiserie", which is relegated to the bonus section and is fine for what it is, but is just way too long, so it fits nicely there.

I guess what I'm trying to say is my personal edit will likely remove Zion and Furious Angels from the flow of the score, and possibly replace Burly Brawl and Chateau with their orchestral equivalents, not sure.

The other bummer about the score is that there is no end credits suite, due to the producers filling it up with rock tracks. Conclusion Confusion is kind of a weird ending (much like the film itself had a weird ending)

Woops, now I've said everything I would have said in the MR thread....