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

[Not Mr. Big 4,642]

Clever. You've removed the one you don't like rendering your apparent praise as a subtle simultaneous jab. You sly dog, you.

To be fair, I haven't listened to Interstellar all the way through on album. I might change my mind.

[KK 3,307]

Naturally. I'm a known aficionado of the turgid, the emotionally homogenous, the boring, the nihilistic, the solipsistic, the scientifically inaccurate, the clumsily sentimental, the artistically not-quite-daring-enough. I revel in mediocrity, in the indefensible to any but fanboys, in the bleak and uninspired tepidity that is the state of contemporary creativity. I relish the soulless, artless menace of the Nolans, the Zimmers, the antipode of the good old days. I am a husk, a shell, a shade; ignorant, tasteless, and crude. I have turned on the Light: the 80s Williams box sets, the sacred, warm embrace of mutual masturbation before the golden idols of Indy and Star Wars. Rich thematic writing to guide me from dramatic point to dramatic point, safe in the hands of the Creators, no longer moves me. Proper color grading, non-shifting aspect ratios, acceptable, inter-musical-deity plagiarisms, the enriching ritual of Plot Holeing, I hold without value. How I am able to live, to persist from day to day is inexplicable. That my soul has not shriveled from lack of nourishment - nay, from devilish nourishment, is only thanks to the efforts of the Most Wise of JWFan, who remind me graciously through both direct intervention and impeccably-timed witty snark and satire of my failings should I ever give them cause.

My God, everytime I stop by, this post grows!

Looking forward to what I find next time!

[Incanus 5,716]

The only good one in there is Star Trek.

Trim away the BORING stuff in the middle and it is OK. No score should have such a boring long release. The Vejur music is a death stroke to this soundtrack.

[Unlucky Bastard 7,782]

The only good one in there is Star Trek.

Trim away the BORING stuff in the middle and it is OK. No score should have such a boring long release. The Vejur music is a death stroke to this soundtrack.

That's what makes the OST an experience that rivals E.T. in its divine magnificence.

[#SnowyVernalSpringsEternal 10,265]

The only good one in there is Star Trek.

Trim away the BORING stuff in the middle and it is OK. No score should have such a boring long release. The Vejur music is a death stroke to this soundtrack.

You will die for this!

[BloodBoal 7,538]

Yes... Die of boredom!

[KK 3,307]

Isn't this usually where the Trekkie quotes come in?

[BloodBoal 7,538]

[#SnowyVernalSpringsEternal 10,265]

Dammit Alvar, i need quotes....Badly!

[BloodBoal 7,538]

[KK 3,307]

You cannot pass! I am a servant of the secret fire, wielder of the flame of Anor! The dark fire will not avail you, Flame of V'ger! Go back to the shadow!

[BloodBoal 7,538]

[#SnowyVernalSpringsEternal 10,265]

Did you tell Jason that all we have is a forum full of kids?

[KK 3,307]

My dear Stiff. "Kids" really are amazing creatures. You can learn all there is to know about their ways in a month, and yet after a thousand posts, they can still surprise you.

[#SnowyVernalSpringsEternal 10,265]

I am well versed in the classics, KK.

[BloodBoal 7,538]

[KK 3,307]

Oh Dreary Quotes of the Trekkies below...

[#SnowyVernalSpringsEternal 10,265]

Ah....the giants!

[crocodile 8,020]

If I were a Trekkie I believe my response would be "go to hell." If I were a Trekkie.

Karol

[#SnowyVernalSpringsEternal 10,265]

Why Croc, you haven't changed a bit. Still as warm and sociable as ever!

[crocodile 8,020]

Damn it Steef, I'm an FSMer, not a JWFanner!

Karol

[BloodBoal 7,538]

[KK 3,307]

Is this it? Is that all you can conjure Alvar?

[#SnowyVernalSpringsEternal 10,265]

On FSM i began sensing a contiousness of a power ive never felt before. It may hold my answers.

[Not Mr. Big 4,642]

This counts right?

A pretty solid song. I'm going to hate it in a couple of months though, after the endless stream of radio performances, covers, and parodies.

[Dixon Hill 4,234]

On FSM i began sensing a contiousness of a power ive never felt before. It may hold my answers.

Dan Hobgood?

[Hlao-roo 389]

On FSM i began sensing a contiousness of a power ive never felt before. It may hold my answers.

Dan Hobgood?

DANIEL2?

[BloodBoal 7,538]

[crocodile 8,020]

Since I haven't got the film around here, the only way for me to celebrate Star Trek: The Motion Picture's 35th anniversary is by listening to that long, uninspired, badly performed and date score by hack Goldsmith! He couldn't even be bothered to write it all himself, sad bastard!

Star Trek: The Motion Picture

Karol

[Dixon Hill 4,234]

Generations has moments of TV-ness but there's something incredibly appealing about its high points for me (which I think there are more of than most people would say), and I enjoy it more than the Horner, Rosenman, and Eidelman installments. Oh, and the Giacchinos.

[BloodBoal 7,538]

[#SnowyVernalSpringsEternal 10,265]

There are two ways of looking at this score.

If you compare it to the previous Trek scores, especially the Goldsmith and Horner ones. It feels oddly different. Less thematic. Less epic in score.

If you however see this score as a motion picture extension of McCarthy's style of writing in The Next Generation, it suddenly feels a lot bigger.

Essentially thats what it is. It's less thematic then the previous Trek scores. But it's actually noteworthy that the score had reconcilable themes, since themes were largely verboten on TNG.

The classic Trek scores represent bigger version of the music of the original series. Big, thematic, adventurous, rousing. TNG's music became very different relying heavily on orchestral or synth ambiance, coloring, rhythm. Musically The Next Generation was 15 years ahead of Hollywood when it came to how the score was required to support the action or emotion. Be there, without drawing too much attention to itself or appear manipulative.

Generations is very much an extension of that philosophy. Though it HAS themes. It HAS a real choir. McCarthy is finally allowed to use percussion a bit more. I see this more as a The Next Generation score then a Star trek movie score, and on that level i really do adore it. It does a better job then the actual film of taking all the known elements of TNG but making them sound bigger and better.

Interesting that McCarthy is essentially a TV composer but managed to get a far bigger sound out of his score then Eidelman did for the 6th film. I personally think that on pure technical terms he's an excellent composer/orchestrator.

[crocodile 8,020]

Why are we staining this wonderful Jerry Goldsmith celebration day with foul notes of Dennis McCarthy?

Karol

[BloodBoal 7,538]

[crocodile 8,020]

No, it was last month! McCarthy is so passé, so 18th of November!

Karol

[BloodBoal 7,538]

[crocodile 8,020]

Who cares about other countries? The mythical (and perhaps fictional) land of Overseas doesn't count.

Karol

[Dixon Hill 4,234]

The score is quite strong in its second half, and also in its opening cues, but there is a big chunk (basically, from Picard's Message - Raid Post-Mortem to Prisoner Exchange) that I find rather bland. And which I'm sure is your favourite part.

No I actually agree completely. But that second half does more for me than the entirety of, say, TSFS does, fine as that one is.

[Marian Schedenig 8,211]

The Next Generation's trek begins with Star Trek: Generations

My favourite rendition of the Courage fanfare is Eidelman's. I do rather like some of the action writing in McCarthy's score. On the rare occasions when I listen to it, that always stands out more than I'd remembered. It seems quite Rosenman-ish in places.

What I'll never understand is the popularity of the Nexus christmas music. I find it nearly unbearably saccharine - like the scene itself in the film, and I've always assumed that's the point. I don't really enjoy it (but I don't think I'm supposed to).

[KK 3,307]

The Return of the King (Complete Recordings) by Howard Shore

 

We come to it at last, the end of all things...for 10 years that is! I always held RotK on the pedestal as my favourite of the three scores (IF I had to pick a favourite that is, I prefer not to rank with these Middle-Earth scores). But after having heard FOTR and TTT and reflecting on their true merits and assets, I just didn't think this score would hold up to that name as well as it did for all these years...

 

But boy was I wrong! Could you honestly ask for a better ending? I know people will disagree with me, and most consider this the "weakest" of the trilogy, but I honestly could not it see it as such. There's just something so incredibly satisfying about it. Of the three, I'd argue it is the most multifaceted. Now I'm sure this is where you go "You're wrong KK, FOTR  is easily the most diverse you silly Kanadian!". Well maybe, but FOTR has a consistent mood it explores, in the sense that it's constantly centered around the concept of adventure and "the journey". TTT builds on the idea of human loss and human consequences. But ROTK has multiple acts that aim to do different things with the listener.

 

From the opening, Shore makes sure to remind us what the whole story is built on, and that is the One Ring. What I used to love most about this score is just how fundamental the Ring theme is to this score. It's the glue to this score, being flirted around almost constantly, and in numerous variations, underlying nearly every cue. It serves to remind us its call has grown ever stronger, and the time of wrath and ruin will soon come upon all of Middle-Earth. And the way Shore keeps pushing this theme forward to culmination at that crucial moment in Mount Doom...it's just brilliant leitmotivic writing. This score has some awesome ring statements.

 

But that's more of a technical observation, isn't it? Let's get back to that "multifaceted sound" shall we? The first act is all about refamiliarising us with the old characters and locations, and building up to the big battle to come. Back are all the themes, but quoted without giving it set-piece moments to shine. Things are on the move, there is a sense of urgency...things are stirring, and there is no time to dwell with the old. The Evenstar has lost its romantic shine and is more mellowful in the gorgeous solo in "The Grace of Undomiel", Gandalf's theme no longer has the splendour it did in TTT (especially in the climax) and now rides with urgency and haste rather than a celebration of Gandalf's aid a la "Flight From Edoras" or even the Rohan theme, which get's more cameo-style appearances. Instead, there is a growing sense of darkness and peril, and you hear all those familiar Mordor themes/motifs shifting, twisting, growling away at the other themes.

 

The second act brings us to Gondor and the big battles that follow it. Those brief teases in the early scores get some serious payoff here, with a great secondary theme (Minas Tirith) on the side too! Aside from the grand flourishes of "Lighting of the Beacons" or the rollicking rhythms of Gandalf's arrival at the end of "Grace of Undomiel", I just love the construction of this theme. It's nailed that perfect sense of aged nobility and tradition! There's something about the brass writing in RotK that really complements this theme. I think those moments where you hear those fat brassy statements of the Minas Tirith are some of favourite in the whole saga. It's just so archaic that it leaves me a bit in awe of the city, in film at least. Shore NAILED those moments!

 

And the action! It may not quite have the swashbuckling pace of something like "The Forest River", but it feels big and primal. Some people find them tiring, but some of those diatonic clusters (or "rising chords of doom" as dubbed here) define awesomeness. And the uncensored evil that Shore manifests in musical form in cues like "Grond: The Hammer of the Underworld" often threaten to overwhelm you (in a good way)! It makes for fantastic drama, especially in PJ's colossal finale. We also see Shore's talent for incorporating elements outside of his work, providing brilliant underscore for Boyd's song, or Viggo's bit later in the film. And also noteworthy is his eye for juxtaposition of dense settings for more sparse but singular vocal solo renderings.

 

As for the other stuff, the music for the Dead is alright, and I understand what Shore was trying to do, but it just wasn't nearly as effecrtive as Fangorn, and ultimately disappointing, which is a pity. But the Shelob writing is a real treat, and I love how he reaches down to his roots there. And then we get plenty of moments with more thematic payoff (Eowyn's Theme in Shieldmaiden of Rohan, or Theoden in "Theoden's Death"), which as BOTFA also proves, is something Shore ain't too bad at 

 

And after that, there is the third act, where you hear a change in the sound with the turning of the tide. And this is what really got to me. I stopped getting emotional with these scores over the years, probably due to oversaturation, but it really got to me this time. Everything about that last half hour or so really defines what Tolkien meant to me, especially with all the discussion that was going on here. There was something about those Jamse Galway solo interludes amidst the raging chaos outside the Black Gates, that felt inherently Tolkien to me. Not just that, but all the wonderful, more simple flute colourings (the solo at the end of Shelob's Lair, the solos for Eowyn and Fararmir, etc). And then "Journey to the Grey Havens"...man...I think that cue would just move Tolkien, if nothing else does from these films. 

 

Arrgh, I don't think I can put it to words how much that last bit of music means to me. I mean I thought I could do it...but now I'm realizing I can't find the words for it, not without doing that emotional resonance great injustice. So I think I'm going to stop there, and just list some personal highlights. But man, what a score...I may be a fool for it, but I just can't picture putting this score under any of its peers in the franchise. On paper, FOTR might appear to be superior, but there's just something about that raw visceral experience that this score provides that Shore has never matched. 

 

Anyways...here are some personal highlights. Since this score is just chock full of 'em, I missed a lot, but you'll just have to deal with it, sorry!

 

Big fan of this cue in general:

 

That brassy statement of Minas Tirith always rouses something in me. Just a certain level of respect for this fictional city, I can feel the tradition, legacy, history and faded glory of this mighty city in those 4 simple notes...effective stuff! Heart it at 6:31. That same juicy fat brass echoes the Gondor theme after the lovely Del Maestro solo.

Anyone else find this part crazily fascinating? It's like a manical waltz let loose from hell!

 

This might be my favourite statement of the ring material. Makes me want to sing along...Shore really captures that sense of foreboding and doom in a beautiful way (and those seething harmonics really are an awesome touch).

 

"What's your favourite example of Shore's rising horns of doom?" EASILY this! One of my favourite moments in the film, and has been stuck in my memory since the first time I saw the film. I don't think there's been a time I've heard this and not quoted Gandalf's lines

 

I love the statement of Sauron's theme at the opening of that cue. Again, wish BotFA had that kind of awesome low brass (though it may not call for it). Real highlight is the Galway solo and onwards (4:51 to end) that comes later. Everything about it screams Tolkien! to me. I mean that in the sense that it really helps instil that Tolkienistic value of that there is always good and hope, no matter the darkness that lies ahead of you. The great statement of the Grey Havens theme that closes the cue off really helps too. I embeded the video at the best bit of that, but what precedes it should be included too.

 

This whole cue. Have to be honest, almost ended up in tears by the end of it when I was listening the other day. Maybe because of all the Tolkien talk on the board lately, but could you ask for a more beautiful way to score the "ending"? On top of the emotional substance, nostalgic hints with lovely teases at the Fellowship theme, there is a very spiritual tone the whole thing. The cor anglais bits really get me in that regard (Shore has a real knack for that instrument eh?). Beautiful stuff.

 

So there you have it...what a powerful score, in all the senses. There are a lot of other special moments that I didn't credit, like the various operatic solos or the Wagner tribute at the end, etc etc, but there's only so many youtube links this post will take right? 

 

And as great as the Hobbit scores are, it feels almost criminal to have to move on to AUJ if only because this is the one that I am most emotionally invested it. It's one helluva journey.

 

I would not say do not weep, for all tears are not evil....and for better or for worse, there are 3 more scores/films to come!

Looking back now, I apologize for that post, had no idea it turned out so long...

[#SnowyVernalSpringsEternal 10,265]

Yeah sure, but have you heard Generations?

[Dixon Hill 4,234]

As always, you have a knack for pointing out some of the best moments of these scores. But if I ever listen to them all, it'll be chronologically. Just can't go to the new ones after the old ones. Can't do it.

The end of The Tomb of the Steward is great too, even though it seems to have been written for a scene which definitely doesn't exist anywhere, in any version of the film.

[KK 3,307]

Yeah, I may have made an error in that regard! I just can't bring myself to play AUJ now. RotK is just that emotionally draining, and it'll inevitably just make the shadow that these scores live in all the bigger.

My logic was that by doing so, it'd help me appreciate the little thematic easter eggs more in BotFA. But yeah, I probably won't be using that route in the future.

Yeah sure, but have you heard Generations?

No, but heard the Boal wasn't a fan.

[Hlao-roo 389]

NP: Arabesque (Mancini)

(An expanded release with original tracks would be welcome!)

[Sharkissimo 1,973]

NP: Arabesque (Mancini)

(An expanded release with original tracks would be welcome!)

Agreed. There's some extremely dissonant, clustral material that's fairly unusual for 60s Mancini.

[gkgyver 1,646]

The Return of the King (Complete Recordings) by Howard Shore

We come to it at last, the end of all things...for 10 years [....]

'scuse me for cutting the fat

Just wanted to say that RotK has always been my favourite of all three (now 6) scores, and you pointed out why.

Also, Return of the King has by FAR the best setpiece scoring ever. PERIOD.

Huge pieces like Grace Of Undomiel, the whole Denethor/Lighting of the Beacons/Rohan sequence, the Pelennor battle, Shelob's Lair, The Black Gate Opens, The End of All Things ... this is some serious genius.

[Marian Schedenig 8,211]

Not to forget the reforging of Andúril. That's the track that reminds me the most of The Silmarillion.

[Jay 37,378]

The end of The Tomb of the Steward is great too, even though it seems to have been written for a scene which definitely doesn't exist anywhere, in any version of the film.

What's this now?

[nightscape94 965]

[Dixon Hill 4,234]

The end of The Tomb of the Steward is great too, even though it seems to have been written for a scene which definitely doesn't exist anywhere, in any version of the film.

What's this now?

Humor. It is a difficult concept.