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

[Quintus 5,399]

Actually no, I've discovered that people who know me tend to appreciate and enjoy my teachings (useless information).

[Incanus 5,714]

Fitzwilly by John Williams

[crocodile 8,005]

How is it?

Karol

[Incanus 5,714]

Very much in the spirit of the romantic caper comedies Williams did around that time. A fun main theme and a slightly poppish love theme used throughout with some of that Williams comedic writing (whimsical woodwinds and slapstick brass), source music numbers (especially on the original LP programme) and some nice suspense writing. The above mentioned love theme, Make Me Rainbows is breezy but all the same nice affair, featured as song arrangements and in orchestral guise throughout.

The Music Box Records CD features the original LP programme first (in stereo) and the actual score recordings after (in mono). The original score has at some points some faint voice echoes (as they warn in the advertisement) but this is the only way to get to hear the actual film score (and own the score since the Varese CD with the LP programme is out of print) and I think they have done a good job trying to eliminate the sounds without it hurting the music. You can basically hear faint dialogue echoes in the background on some tracks.

I would rank it a bit below How to Steal a Million but it is a very nice and certainly more coherent listening experience than say John Goldfarb Please Come Home.

[crocodile 8,005]

I've never heard any of his old comedy scores. It's an area I'm completely unfamiliar about. Would that be a good place to start?

Karol

[#SnowyVernalSpringsEternal 10,265]

The Terminal

[Incanus 5,714]

I've never heard any of his old comedy scores. It's an area I'm completely unfamiliar about. Would that be a good place to start?

Karol

I would say that the Intrada release of How to Steal a Million/Bachelor Flat would be good place to begin (if it is still available) coupled with Fitzwilly and perhaps Not With My Wife You Don't (FSM has released both the original LP programme and Vol. 2 with the actual film score).

The Terminal

It is not one of his old comedy scores from the swinging 60's Stefan but it is a fantastic comedy score indeed.

[#SnowyVernalSpringsEternal 10,265]

You said old comedy score!

The Terminal is 9 years old

[Koray Savas 2,251]

It's really the place to start and stop.

[Marian Schedenig 8,192]

I've never heard any of his old comedy scores. It's an area I'm completely unfamiliar about. Would that be a good place to start?

I'd say it is, along with How to Steal a Million. But perhaps that's just because I've been familiar with those two for longer than the rest. They're far from everday listen types of scores for me, although both have inspired main titles which I could listen to regularly, and the rest certainly is enjoyable enough.

With Williams' other comedy scores of the era I'm only vaguely familiar, though they do seem to typically have at least one outstanding cue. The Globetrotters from A Guide for the Married Man is fantastic and Not With My With You Don't has the bizarrely polyphonic Fooney Poochini (which partly consists of a horn canon of Row Your Boat with added string counterpoint).

About to give the new Fitzwilly a first spin now.

[publicist 4,643]

I somehow cannot listen to this stuff. It's either too bouncy or too much like Mancini muzak (though the pomp and circumstance-swagger of the Fitzwilly cue GIMBELS ROBBERY is cute).

Now on to Henry Mancini's 99 & 44/100% Dead

Most of it is inconsequential pop source, but the Main Title rocks BIG TIME! (in a Schifrin DIRTY HARRY kind of way)

[Incanus 5,714]

I've never heard any of his old comedy scores. It's an area I'm completely unfamiliar about. Would that be a good place to start?

I'd say it is, along with How to Steal a Million. But perhaps that's just because I've been familiar with those two for longer than the rest. They're far from everday listen types of scores for me, although both have inspired main titles which I could listen to regularly, and the rest certainly is enjoyable enough.

With Williams' other comedy scores of the era I'm only vaguely familiar, though they do seem to typically have at least one outstanding cue. The Globetrotters from A Guide for the Married Man is fantastic and Not With My With You Don't has the bizarrely polyphonic Fooney Poochini (which partly consists of a horn canon of Row Your Boat with added string counterpoint).

About to give the new Fitzwilly a first spin now.

The comedy scores of Williams' early years reflect the goofball nature of the films, where the music has to react really quickly to the slapstick, which makes them a bit hectic and disjointed in feel and mood as a whole. But as you say they all feature at least (usually more imo) one outstanding track.

[crocodile 8,005]

I might be one of them a listen. Or even order with some other stuff. We'll see.

Romeo and Juliet (both 1968 and 2013)

Karol

[Incanus 5,714]

Now on to Henry Mancini's 99 & 44/100% Dead

Most of it is inconsequential pop source, but the Main Title rocks BIG TIME! (in a Schifrin DIRTY HARRY kind of way)

Wow that's one groovy and cool main title!

[crocodile 8,005]

Speaking of older Williams, I'm listening to Heidi at this very moment. Which is lovely and sounds great on the recent release.

Karol

[BloodBoal 7,538]

[crocodile 8,005]

The Golden Compass - Alexandre Desplat (2007)

Why don't I listen to this more often? One my favourites score from Desplat for sure. I honestly don't understand why so few people like it, or prefer his Potter scores (in regards to fantasy music by the guy).

Lots of great themes in there, such as Serafina Pekkala's (especially the statements in Battle With The Tartars) and Iorek Byrnison's. Or even Ragnar Sturlusson's theme: a very simple idea, really, yet I love what Desplat does with it. The main theme is also given some really nice variations (Sky Ferry, Lord Asriel).

I'd love to get the recording sessions, even if there isn't that much music missing. Many cues are combined together, so you can easily do a chronological edit, which would benefit this score greatly, in my opinion.

Oh The Golden Compass definitely exceeds his Potter music. What separates those and Rise of the Guardians from this score is that here you can clearly hear his voice, It's a much grander take on his waltzy-drama style with a treasury of thematic material (around ten or so).

Karol

[BloodBoal 7,538]

[publicist 4,643]

No shitload, but nice to have, nevertheless.

Alexandre Desplat: PHILOMENA

Stylistically it's similar to EXTREMELY LOUD AND INCREDIBLY CLOSE and builds on Desplat's trusty friends, strings and piano, which are delicately interwoven with harps and a touch of mediterranean pipes, adding a touch of tragic comedy. Friends of Desplat's scores like CHÈRI will be pleased, though as usually with these kind of scores, it could have been reduced to 15 minutes without losing too much.

Listen on Spotify.

[Quintus 5,399]

I hope Coogan catches a break with this film. Lord knows he's tried (to shake his genius Alan Partridge alter-ego).

[#SnowyVernalSpringsEternal 10,265]

He chose poorly during his brief stint in Hollywood.

[Koray Savas 2,251]

Hasn't Coogan been in cinema for years? He's not really leading material.

[Quintus 5,399]

No he isn't, but that's not to say he isn't deserving of more supporting roles. He's a terrific actor, given that he's a natural comedian. As it is he's done a shitload of tv here over the years.

[#SnowyVernalSpringsEternal 10,265]

They tried in Hollywood with him, in Hugh Grant like roles, but thats not really his style.

[Koray Savas 2,251]

I like him, but I don't feel like he's been reduced to garbage. Most of his stuff is not very mainstream to begin with. Coffee & Cigarettes, Hamlet 2, Ruby Sparks, his role in Curb Your Enthusiasm, and the few films he did with Owen Wilson, etc. are all good stuff.

[Quintus 5,399]

He's openly self deprecating about his desire to do big Hollywood but stuff as well - but failing completely. Not that he's exactly scraping by - Partridge will always have slavering fans chomping at the bit for more in the UK.

[Incanus 5,714]

Speaking of older Williams, I'm listening to Heidi at this very moment. Which is lovely and sounds great on the recent release.

Karol

Which reminds me to take another listen of it. Thanks!

[Incanus 5,714]

When the Whales Came by Christopher Gunning: Another simply gorgeous piece of music from Mr. Gunning, a mix of British folk music and mesmerizingly enchanting music for orchestra and solo soprano. The main theme conveys spacious magic of the ocean depths in its wondrous tone and the solo soprano forms a link to the singing of the whales so integral to the story of the film. The secondary theme for the islanders is a simple yet effective English folksy pastoral melody with decency and goodness written all over it. The music follows a theme and variation idea throughout with the main theme receiving a good workout in different orchestral guises, none so majestic and haunting as the finale of the album. Gunning even uses cleverly actual whale song on a couple of tracks to a good effect. Yet another winning score from this British maestro, whose magnificent film work is criminally under-represented on disc these days.

[crocodile 8,005]

Pet Sematary by Elliot Goldenthal

It's quite similar to Danny Elfman scores, at least in that it features the la-la singing boy chorus. But this music is probably more sophisticated technically, drawing from the traditions of Penderecki and Corigliano (as Goldenthal himself acknowledges). It's interesting how rich this music is given that the only live instruments employed were string section and a piano (I think there is a harp there as well). Everything else was conjured with synthesizers. Given those (self-imposed) limitations, the results are really impressive. There is a really creepy and chilling feel to this music and it takes a really good composer to make this interesting and some younger musicians of today could learn a thing or two from this (of course). Surprisingly, there are moments of tenderness to be found too - such as a dialogue between piano and solo cello in Missy's Apology. What makes it stand out from other Goldenthals is that the whole work feels very consistent style-wise - there is not a lot of jumping around in this regard. Creepy but refined (as expected).

Karol - who loves the Easter Egg at the end

[Jay 37,351]

Nice! Up until about a year ago I was completely unfamiliar with Goldenthal apart from various re-recordings of Batman Forever on compilation CDs, and that one track from Demolition Man that was used in the MIB trailer.

But then LLL's Batman Forever came out and I listened to that and really enjoyed it! I will have to check out Pet Sematary real soon (I got a copy from LLL's office when I was there)

BTW, how cool is it that there have been exactly TWO expanded Goldenthal scores ever released, and John Takis has written the liner notes to both of them?

[crocodile 8,005]

Yes, and John did a very good job. But then, that's a norm, really. He seems to be a specialist on both Goldenthal and Shirley Walker.

And Goldenthal is one of those musicians who I respect most. He might not be everyone's cup of tea and that's fine, but you can't fault his compositional chops and sheer audacity to do some of the things he does with those mainstream films. Even if you look at something like Batman Forever, you realize one hand he's just scoring the film, but there's also a larger things at work. Almost as if he tried to create this post-modern ballet that is a commentary on the pop-culture in general. He doesn't just follow instructions, he exceeds and makes his own artistic statements. Brainy stuff.

Pet Sematary is not an easy listen by any means, but bloody impressive.

Karol

[Incanus 5,714]

Yes, and John did a very good job. But then, that's a norm, really. He seems to be a specialist on both Goldenthal and Shirley Walker.

And Goldenthal is one of those musicians who I respect most. He might not be everyone's cup of tea and that's fine, but you can't fault his compositional chops and sheer audacity to do some of the things he does with those mainstream films. Even if you look at something like Batman Forever, you realize one hand he's just scoring the film, but there's also a larger things at work. Almost as if he tried to create this post-modern ballet that is a commentary on the pop-culture in general. He doesn't just follow instructions, he exceeds and makes his own artistic statements. Brainy stuff.

Pet Sematary is not an easy listen by any means, but bloody impressive.

Karol

Well said. Another impressive achievement to add to that list is Titus.

[crocodile 8,005]

Oh yes, he was born to write Titus score. If there's a perfect match between film and his music, it must be this one.

One of my favourite films of the past 20 years as well, I might add.

Karol

[Incanus 5,714]

Oh yes, he was born to write Titus score. If there's a perfect match between film and his music, it must be this one.

One of my favourite films of the past 20 years as well, I might add.

Karol

It is quite something I agree. Very visceral on so many levels.

[Romão 2,274]

He's the only composer of whom I have a complete discography (apart from the new expanded Pet Sematary, which I'll get soon enough). He creates more than film scores when scoring films

[Incanus 5,714]

He's the only composer of whom I have a complete discography (apart from the new expanded Pet Sematary, which I'll get soon enough). He creates more than film scores when scoring films

As a small criticism he could vary his finales a bit. I seem to remember quite a few of those adagio type of things from him in several scores. But other than that he is a swell composer.

[crocodile 8,005]

I think he does that on purpose, actually.

Karol

[Incanus 5,714]

I think he does that on purpose, actually.

Oh he is such a hipster!

[crocodile 8,005]

No, seriously. From one FSM interview (he's talking in context of Public Enemies here):

The things that are more associated with my harmonic language were more apparent there. But this sort of block chordal approach is also very much in my work, but you have to look for it, you know? (...) You can see it at the end of Titus, you can see it at the end of Alien3, you can see it, surely, in Michael Collins. Once you take the camera and you’re looking at the human condition from a distant point of view, you start to get simpler and statue-like in your approach to character.

In Alien³, when Ripley was diving into the lead at the very end—like a martyr, almost a religioso type of image, her arms stretched out very much like a female Jesus, saving the world by giving up her life while impregnated with the Alien—that type of scoring seemed to work there. Michael Collins at the end of the funeral. Titus, at the end of everything where they’re in an arena and the cruelty of humans is more objectified, I have that same approach.

Karol

[Incanus 5,714]

Yes I believed you even before that but thank you for the quote Karol. Interesting way of connecting this kind of imagery together in music. And I had a hunch it was intentional. Another one that comes to mind is Heat.

[Romão 2,274]

Even in Final Fantasy

[Jay 37,351]

Sweet, a bunch of new 2013 film scores are available on Spotify now since I last checked - Prisoners, Thanks For Sharing, Don Jon, Gravity, Captain Philips, Romeo and Juliet, Carrie, Escape Plan, Ender's Game, and The Counselor. I got some listening to do!

[Koray Savas 2,251]

Yes I believed you even before that but thank you for the quote Karol. Interesting way of connecting this kind of imagery together in music. And I had a hunch it was intentional. Another one that comes to mind is The Heat.

Heat

The Heat is that Sandra Bullock action comedy

[Incanus 5,714]

Yes I believed you even before that but thank you for the quote Karol. Interesting way of connecting this kind of imagery together in music. And I had a hunch it was intentional. Another one that comes to mind is The Heat.

Heat

The Heat is that Sandra Bullock action comedy

Corrected.

[Dixon Hill 4,234]

Sweet, a bunch of new 2013 film scores are available on Spotify now since I last checked - Prisoners, Thanks For Sharing, Don Jon, Gravity, Captain Philips, Romeo and Juliet, Carrie, Escape Plan, Ender's Game, and The Counselor. I got some listening to do!

I listened to Ender's Game on a whim last night. I don't really know anything about it and won't see it, and the score wasn't really my cup of tea... but there are moments where it seems like Jablonsky manages to escape the ol' trailer-music sound, or more accurately, slip something good past the people with money who are in love with "epic" music.

[Koray Savas 2,251]

It's easily his best score since Transformers.

[#SnowyVernalSpringsEternal 10,265]

That doesnt say much.

[crocodile 8,005]

I thought Pacific Rim was well received.

Karol

[Jay 37,351]

Pacific Rim was by Djawadi, not Jablonksy.

[#SnowyVernalSpringsEternal 10,265]

He didnt score that

EDIT

Ninja'd