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


Ollie

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Into Darkness is the best score of the Summer.



I'm surprised by all the positive reception to the Lone Ranger score. It has some nice moments, but overall, a pretty 'meh' kind of 3-star score.

Just the Finale cue is the standout and that's mostly due to the Overture.

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MOS is a an awful score.

I don't care if Zimmer used cord progressions, harmony, counterpoint or any other compositional forms.

Bad music is still bad music.

In fact so many films this summer dropped the ball musically, it could have been an excellent summer for scores but the wrong composers were hired.

Into Darkness would have been up there even if the rest of the summer films had good scores.

Iron Man 3 was the only other summer score I bought. I like the theme, kinda like The Avengers score, it just sticks with you.

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Deathly Hallows Part II. I find it really frustrating, because there is a lot to like and yet it all doesn't really go anywhere - no real resolution or anything of that nature. It just stops. Voldy's Demise scene is probably the most boring climax ever. Pity, because there are some really good ingredients in there. Plus, an overall serious war tone doesn't serve fantasy story very well.

Karol

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Probably best film too, which is indeed sad.

you didn't like world war z?

Haven't seen it. I actually didn't see too many of the "blockbusters" this year.

The Great Gatsby, Star Trek Into Darkness, Man Of Steel, and The Lone Ranger. I'd still like to see The Wolverine and Elysium if I can find the time. I missed out on Only God Forgives (lasted one week with limited times at the AFI), and want to catch Blue Jasmine before it goes. Though considering Woody Allen always sells out my local arthouse I'm sure it'll be there for awhile. Midnight In Paris lasted forever.

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The Wolverine was the best blockbuster this year. And that's mainly because it doesn't feel like one. There are issues the thing is far from perfect, which doesn't change the fact it's still the strongest. I even started to like Beltrami's score more after seeing it.

Karol

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I don't care if Zimmer used cord progressions, harmony, counterpoint or any other compositional forms.

Bad music is still bad music.

"I don't care if the music is technically proficient and successful in terms of accomplishing its directives as well as hitting home with other listeners besides myself; only my own reaction and judgement is the one truthful fact in these matters."

Did you just "throw your voice" into an arrogant dickhead, then?

If so, you're much further advanced in your hobby than I ever imagined!

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Rescuers Down Under

Once it gets going, Broughton's score is really enjoyable. I don't think he uses any Aboriginal instruments to accentuate the score, but that doesn't really bother me. The two main ideas, especially the first one in "Main Title" has that rousing, Broughton Western feel to it. The mixing of the penny whistle in the second theme really dates the score, but Broughton's writing is really solid and beautiful throughout. And his use of the ensemble really stands out here, even if the orchestra feels a bit smallish.

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Not With My Wife You Don't & Any Wednesday by John Williams

Checkmate & Rhythm in Motion by John Williams

Penelope & Bachelor in Paradise by John Williams & Henry Mancini

Lincoln by John Williams

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One has to counter balance the swinging 60's material with something modern indy4. Otherwise your brain might melt altogether from the crazy jazz-influenced loungey-ness of it all. ;)

Family Plot is fantastic. I find it a very good listening experience.

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Oh yes the opening Seance cue is pretty wonderful stuff. But Williams wrote a really strongly thematic and compelling musical arc for the score. The latter half suspense might not be everyone's cup of tea but I really like the very Hitchcockian style of the music, meaning that it is very active and dramatic most of the time. :)

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And I'm assuming it has that Star Wars era style and aesthetic? Wet orchestration etc. Okay I'm gonna shop around for it.

Have never seen the film so never had any special reason to listen to it before.

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It's more like Hook meets The Witches of Eastwick, but written in 70's style. Can't guarantee you'll like it, but it's a very strong work.

Here, have a sample:

Karol

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Well said Karol. That's a very good way to sum up the style. Oh and that end credits gives quite a good indication of the score (aside from the suspense material). Less magical than Hook is overall aesthetic and closer to The Witches of Eastwick. Both balance between suspense and humour quite succesfully.

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There is this hammond-like organ material that might not be so much everyone's cup of tea, as you say, but I've grown to like it. It's a diverse score.

And I have to say I'm really impressed with the mastering of the album, given that it's all fake stereo taken from mono source. My ears wouldn't be able to tell the difference. Fantastic work by Mike Matessino.

Definitely among my favourites from Williams less famous re-issues.

Karol

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There is this hammond-like organ material that might not be so much everyone's cup of tea, as you say, but I've grown to like it. It's a diverse score.

And I have to say I'm really impressed with the mastering of the album, given that it's all fake stereo taken from mono source. My ears wouldn't be able to tell the difference. Fantastic work by Mike Matessino.

Definitely among my favourites from Williams less famous re-issues.

Karol

Ditto. Along with The Black Sunday this was really a holy grail from the period for me before it was released and it certainly didn't disappoint. There is something magical about Williams' writing around this time period. :)

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The Reivers by John Williams: I just got the CD and am taking my first listen (although by no means my first listen of the score). It is ebullient, colorful and fun and performed with such enthusiasm. It is a wide mix of moods and styles yet all bound together by the Americana spirit and it really works. I guess the youthful story gave Williams with a big dose of inspiration since from the first bars to the last this is such a vibrant and joyful work brimming with melody and emotion. Adding this to my collection was way overdue.

Next on the playlist: The Cowboys

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The Reivers by John Williams: I just got the CD and am taking my first listen (although by no means my first listen of the score). It is ebullient, colorful and fun and performed with such enthusiasm. It is a wide mix of moods and styles yet all bound together by the Americana spirit and it really works. I guess the youthful story gave Williams with a big dose of inspiration since from the first bars to the last this is such a vibrant and joyful work brimming with melody and emotion. Adding this to my collection was way overdue.

:thumbup:

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The Cowboys by John Williams

Diamond Head by John Williams

The Magnificent Seven by Elmer Bernstein (James Sedares conducting the Phoenix Symphony)

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haha, I remember when I first started discovering film music and I listened to london and solomon vandy on repeat... good times :)

Those are two fine cues. I finally have an original copy of the score in the mail.

The Magnificent Seven by Elmer Bernstein (James Sedares conducting the Phoenix Symphony)

I hope you didn't skip the fantastic Hallelujah Trail ouverture.

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Stargate Atlantis - Joel Goldsmith

On disc, the score sounds even better and more vibrant. That sweeping main theme ("Main Title") sounds even better with pleasing clarity, and as a listening experience, it never outwears its welcome and finishes quickly. Goldsmith favors the major key material more often than the more dissonant "Wraith Abductions" and "Rogue Drone." Just a pleasing, film-like score for a TV show.

I kinda wish the show itself was able to afford live musicians for the whole series, not just the 2-part pilot. But the CD is a nice representation of the show's music, regardless.

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