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


Ollie

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Medal of Honor by Ramin Djawadi: Not surprisingly this music was worlds away from the sound of the series and not in a good way.

It hurt my ears. I can't believe this belongs in the set after the wonderful efforts by Giacchino.

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There is a claim of a digital pop in the Boat Trip cue, and some of the tracks begin with either noise or sound muffled. I don't hear any of that.

Ahh yes, Joe Soundtrackgeek and his impeccable hearing capacities. Expect angry cries for replacement discs anytime soon.

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Medal of Honor by Ramin Djawadi: Not surprisingly this music was worlds away from the sound of the series and not in a good way.

It hurt my ears. I can't believe this belongs in the set after the wonderful efforts by Giacchino.

If truth be told I fought with myself even to pop it into the CD player but finally did for the completeness' sake. :lol:

And I did not listen to the album all the way through.

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The Tree of Life - Alexandre Desplat

How is it?

Gorgeous. Not as cold and emotionless as Benjamin Button. Unfortunately the album lacks an ending and just...stops.

The most impressive track is the 12-minute long CIRCLES (which circles itself around flirring strings and woodwinds). This could've been a good finale, but i see why Desplat choose to let it come early - show them what you have and early.

Basically, it's Philip Glass/Michael Nyman/Eric Satie-minimalism á la Desplat (piano, strings and woodwinds), no brass, with healthy deja vú's of THIN RED LINE, although the static/-slowness in some sections kills it (there's not much happening musically in TEMPTATIONS, CITY OF GLASS or SKIES). The more melodic stuff is pleasant and the whole album just flows wonderfully if you let it work you. I suspect a Williams score for this movie and director would move along similar paths.

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There is a claim of a digital pop in the Boat Trip cue, and some of the tracks begin with either noise or sound muffled. I don't hear any of that.

Of course one poster seems to have a personal grievance with Bruce Botnick, because he claims LaLaLand's ST:V sounds bad. I disagree, since Botnick became Goldsmith's right hand man, most of Jerry's scores have sounded superb from a recording standpoint.

I never heard any of that either. I swear either people are listening to the scores at insane loud levels or they've got shitty equipment that they listen to these scores with. All the CD's I have from La-La Land all of them have sounded great.

I will admit at first I had problems with Batman but after just listening to it over and over again and getting better earbuds than I had before I don't have problems with it any more.

So as I said it's probably because people are listening to these scores with crappy headsets or equipment of some type.

The remastered STV is one of the best sounding scores I've heard.

I agree. Even with the OST being remastered from the first generation tapes, I hear instruments I never quite heard in the old Epic CD.

I think there are those that just like to seek out to complain about every release they can, to just stir the pot.

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Hellraiser III: Hell on Earth - Randy Miller

For all the [over]praise that Christopher Young's earlier two scores get in the trilogy, Randy Miller delivers an unnoticed gem (more Goldsmith action oriented than horror, but it's still good stuff)

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Thor - Patrick Doyle.

More fun than I thought it would be.

Agreed. Most enjoyable score of the year so far, and nowhere near as 'Zimmerish' as people have suggested.

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Thor - Patrick Doyle.

More fun than I thought it would be.

Agreed. Most enjoyable score of the year so far, and nowhere near as 'Zimmerish' as people have suggested.

Because it's - judging by the samples - more Jablonskish than Zimmerish. I need to listen to it, though. Maybe I'm wrong.

EDIT: I wasn't. One or two cues reminded me that I wasn't listening to a score by an RCP composer, but most of it sounded like another Transformers soundtrack.

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Gorgeous. Not as cold and emotionless as Benjamin Button. Unfortunately the album lacks an ending and just...stops.

Blame that on Terrence Malick and his tendency to temp-track in concertos or chop the original music to shreds. I pray this isn't as choppy like the albums for The New World and The Thin Red Line were.

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Mind Heist by Zack Hemsey

Well, it's not really a film score. The 17-minute digital download album has just been released on his official website (also in lossless formats) consisting of several variations on the now famous Inception trailer music. It puts both Zimmer's score and Tron: Legacy to shame. Normally I don't like music like this, but this is quite good. And it's just for 3 bucks.

la Ligne Droite by Patrick Doyle

Great score, might end up as one of my favourites from this composer. Great playing from the small ensemble.

Karol

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Star Wars Episode 1 - Trent's re-edited version.

Nice listening experience... all though there's a little too much music. :P

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Mind Heist by Zack Hemsey

Well, it's not really a film score. The 17-minute digital download album has just been released on his official website (also in lossless formats) consisting of several variations on the now famous Inception trailer music. It puts both Zimmer's score and Tron: Legacy to shame.

Certainly Zimmer's score it betters, but Tron Legacy is a different beast altogether.

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I mentioned that mainly because this Hemsey's music is a better blend of electronic music with acoustic stuff. It feels orgaic, whereas in Tron you have either intrumental stuff or the electronica with very little merging of the two. Which was a huge disappointment for me, because that could be something. As it stands you have Daft Punk vs. modern Zimmer.

As for Inception... most people remember trailer music more than the actual score.

That said, I enjoy both scores, to some degree.

Karol

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la Ligne Droite by Patrick Doyle

Great score, might end up as one of my favourites from this composer. Great playing from the small ensemble.

Karol

I have listened about half of the album and it is already a more compelling listening experience than Thor. Definitely Doyle in style but with hints of Philip Glass in the minimalistic progressions of the music. The instrumentation and orchestrations are wonderful. Beautiful cello and piano solos.

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Batman - Danny Elfman

Every time I listen to this score, it puts a big smile on my face. One of Elfman's best scores IMO, and even better than his two Spider-Man scores. "Batman to the Rescue", "Descent into Mystery", "Up the Cathedral" and "Finale" are what make this iconic, aside from the main theme.

I have the original CD, is the LLL expanded release worth it? I just want one cue missing from the album, which is "Alicia Unmasked". I love that bit of music where Vicki throws water into the Joker's face, is that the cue?

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Batman - Danny Elfman

Every time I listen to this score, it puts a big smile on my face. One of Elfman's best scores IMO, and even better than his two Spider-Man scores. "Batman to the Rescue", "Descent into Mystery", "Up the Cathedral" and "Finale" are what make this iconic, aside from the main theme.

I have the original CD, is the LLL expanded release worth it? I just want one cue missing from the album, which is "Alicia Unmasked". I love that bit of music where Vicki throws water into the Joker's face, is that the cue?

La-La Land's release for Batman is very much worth it, especially if you love the OST. "Alicia's Unmasking" is where Vicki throws the water into the Joker's face.

Having the full unedited cues for "Shootout" (aka First Confrontation) and "Batwing I and II" (aka Attack Of The Batwing) is the best in my opinion. All though if I were you I'd try to track down the version of "Joker Flies To Gotham / Batwing I" from the Elfman / Burton set as that version has the proper ending for "Batwing I".

The La-La Land release is far superior to the OST. Not only does it offer the complete score plus bonus material it also has the OST remastered. You should definitely get it.

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Medal of Honor Airborne

Medal of Honor Frontline by Michael Giacchino

Jane Eyre

Munich by John Williams

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Mind Heist by Zack Hemsey

Well, it's not really a film score. The 17-minute digital download album has just been released on his official website (also in lossless formats) consisting of several variations on the now famous Inception trailer music. It puts both Zimmer's score and Tron: Legacy to shame.

Certainly Zimmer's score it betters, but Tron Legacy is a different beast altogether.

I think it's ludicrous to even suggest Mind Heist is better than Inception, it's a 2-minute piece based off Zimmer's music!

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The Last Starfighter - Craig Safan

Excellent main theme with its 12 part harmonic beginning and varied appearances throughout. The use of the 1980s electronics as comic relief/mickey mouse material is very very annoying, but the rest of the John Williams-styled underscore is strong enough that it counters the weak parts.

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Iron Man and Iron Man 2

I dont care how unpopular to say it is, while I really loved what Debney brought ( I have a signed copy of the score) I liked Djawadi's work more.

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I think it's ludicrous to even suggest Mind Heist is better than Inception, it's a 2-minute piece based off Zimmer's music!

Koray, I think it's the reverse. I do think some of Zimmer's score is wonderfully effective (like when Cobb and Ariadne venture into Saito's mind, the climatic kick sequence and the end scene), but everything else deserved better. I can easily see "Mind Heist" being cut into the Joseph Gordon-Levitt elevator sequence.

Back on topic...

Daybreakers - Christopher Gordon

I remember being blown away by the score when I first saw the movie last year. Love the driving percussion and taiko movement in "On the Run" and "Ambush", the heroic brass in "Blood Brothers" and "Spreading the Cure" and how Gordon encapsulated the two main motifs (the vampires get eerie choir coupled with atonal brass and synthesizers, while the humans get the hopeful strings and woodwinds). Even the song used for the theatrical trailer is included, which is a very nice touch on Lionsgate's part.

Highly, highly recommended. One of the best scores of the past decade.

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Star Wars Episode I - The Phantom Menace by John Williams: Simply awesome. Here Williams does most masterfully the blending of the old and the new and this has the most adventurous and optimistic feel of the Prequels (by necessicity). Marches, fanfares, frantic battle music, comedy, romantic string interludes and dramatic choral music, this score has it all.

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Star Wars Episode I - The Phantom Menace by John Williams: Simply awesome. Here Williams does most masterfully the blending of the old and the new and this has the most adventurous and optimistic feel of the Prequels (by necessicity). Marches, fanfares, frantic battle music, comedy, romantic string interludes and dramatic choral music, this score has it all.

Exactly - one of his greatest scores, even though its presentation on albums, escpecially on the infamous UE, leaves much to be desired.

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Star Wars Episode I - The Phantom Menace by John Williams: Simply awesome. Here Williams does most masterfully the blending of the old and the new and this has the most adventurous and optimistic feel of the Prequels (by necessicity). Marches, fanfares, frantic battle music, comedy, romantic string interludes and dramatic choral music, this score has it all.

Now imagine what he could have written for a good movie with without Jehovah's witnesses masquerading as heroes...

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TPM is a tremendous showcase of JW's abilities. It's like someone gave him an orchestra and said: "let's see what you can do with it for two hours". This score is almost an orchestration score on itself.

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TPM is a tremendous showcase of JW's abilities. It's like someone gave him an orchestra and said: "let's see what you can do with it for two hours". This score is almost an orchestration score on itself.

+1

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I like it less and less as the time goes by. Maybe it's the over-saturation, I don't know. The highlights are great and some of he best material Williams has written in the past 15 years, but there is way too much filler in there as well (some Naboo stuff, Coruscant scenes) to be a true winner.

Karol

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It's the best score of the prequels and sounds like Williams was truly enthused to jump back in the Star Wars universe.

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It's the best score of the prequels and sounds like Williams was truly enthused to jump back in the Star Wars universe.

I like all of the transitions (something that would carry on through the rest of the 2000's and with KOTCS [stanforth's Resignation])

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I agree, TPM has some truly phenomenal music for establishing shots and transitions and whatnot. AOTC has some great ones, too. ROTS is...different, but it makes those work very nicely, too, for the most part. The end of "Be Careful of Your Friend" - the part that plays over the shot of the Jedi temple with the brooding stormclouds and sunset - is particularly awesome. (Speaking of which, I really do love the way Coruscant's weather in the prequels echoes the increasingly dark tone of the films. It's all sunny in TPM, somewhat murkier in AOTC, and dramatic and moody in ROTS. It's not an especially subtle metaphor, but I think it works marvelously. Better than the films deserve - much like the music.)

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Copernicus' Star

A true gem from 2009. Rapturous, beautifully-orchestrated music -- and cues like "Aquarius" and "Anna and Volder" alone make it worth every penny. I can't recommend it highly enough.

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Except that we need a complete, legit release of this masterpiece.

Agreed. Hopefully by now La-La Land has sorted out the rights issues with Sony on this to release a full 100% remastered release of the score.

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