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


Ollie

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I listened to Michael Collins only a few days ago. Wonderful... The man crafts the most exquisite finale cues in many of his scores.

I'd love to hear a new Goldenthal score, his voice is sorely missed these days.

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Alan Silvestri - The Abyss

I listened to the bonus tracks only. I LOVE the way Silvestri integrated the love theme into all the action cues originally. I can't believe we might have never known this if not for the great Varese CD. Great stuff here.

Michael Kamen - Die Hard With A Vengeance (La-La Land)

Like The Abyss, this is a score where a lot of the best material lies in the bonus tracks area, and not the main program.... and a custom playlist that integrates the two in a different way would be idea... but I haven't made one yet. Someday.

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John Williams - The Lost World: Jurassic Park (OST)

Bad ass. My most desired expanded release from any composer. This needs to happen!

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Interstellar. Again (like Gravity) this is a score that worked perfectly in the film, but isn't much fun to listen to. Lots of repetitive, sonic blurring without much in the way of "musical" direction. Yet it did bring the entire feel of the movie back to me, which wasn't a bad thing at all.

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Last night I listened to the Legacy Collection release of The Little Mermaid. Wonderful release on the whole - the much-needed remastering was very tasteful and it's great to have the unreleased material.

Currently listening to Intrada's complete The Last Starfighter for the first time. Fun stuff! I always enjoy finally listening to a score that greatly expands on thematic material I'm already familiar with.

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And see, I thought you'd appreciate how I mentioned the music reminded me what a great movie it was.

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Gladiator (Zimmer & Gerrard)

Phenomenal, emotional, powerhouse of a score.

That Gravity and The Social Network won an award and not this is one of the great mysteries of the universe.

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Can people seriously still not tell when I'm mocking myself?

to be fair, I have no idea what goes on -on this forum.

--

John Barry's From Russia With Love

a re-listen of Patton & Elmer Bernstein's The Bridge at Remagen.

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Gladiator (Zimmer & Gerrard)

Phenomenal, emotional, powerhouse of a score.

That Gravity and The Social Network won an award and not this is one of the great mysteries of the universe.

You have poor taste, and are lacking in logic.

Glad I Ate Her never ran against The Social Network and Gravity

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Both fine scores, but...I think that "The River" just pips "TOD" to the post. For me, there just seems to be more "heart". It's as if the score meant more to JW than "TOD" did.


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Gladiator (Zimmer & Gerrard)

Phenomenal, emotional, powerhouse of a score.

That Gravity and The Social Network won an award and not this is one of the great mysteries of the universe.

If we are talking mysteries, then why did "Superman" lose to "Midnight Express", and ST:TMP" lose to "A Little Romance"?

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Can people seriously still not tell when I'm mocking myself?

Can you still not tell when we're mocking along with you?

I hate to say it (because I'm a fan of subtle, understated humor), but the winky icon is becoming just about the only way to make this kind of thing clear any more.

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Like I've had to do with you on a couple of occasions (especially that first time!). Funny how you and I have bounced off each other like that a few times—and with less ill intent than anyone on this board, I think. I guess it's the driest varieties of humor that have the hardest time mixing. . . !

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Jaws: The Revenge is actually a pretty interesting re-imagining of Williams' material. More of a Alexander Courage, rather than Ken Thorne (if that makes sense). The shark ostinato gets an even more ominous treatment in some portions. Quite enjoyable.

Karol

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Makes perfect sense, actually. I've never heard it put like that before, but that's actually a spot-on analogy.

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Can people seriously still not tell when I'm mocking myself?

Can you still not tell when we're mocking along with you?

I hate to say it (because I'm a fan of subtle, understated humor), but the winky icon is becoming just about the only way to make this kind of thing clear any more.

I avoid the winky emoticon. If people don't get the humourous intention of the post, that's their problem.

It makes for great lines of outrage on social media. Think of it as an ongoing social experiment.

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Yea! My favorite track!


There's really cool unreleased cue using that theme in the film as well

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THE REINCARNATION OF PETER PROUD - Jerry Goldsmith

Sadly only available on suspicious-sounding fifth-generation tapes and, obviously, in J. Lee Thompson's shoddy wannabe thriller, Goldsmith's strange 1975 score is a keeper. A combination of a lilting, otherwordly five-note theme that is madly flexible (oh the impossible dream of such a cunning creation in the upcoming Fincher remake), weird chirpy synths that give you a clue what Goldsmith would have done with this assignment in the 2010's with all the gadgetry in i. e. Zimmer's Santa Monica studios at his disposal and the occasional anguished, brute piano attack, PETER PROUD is actually very much ahead of it's time.

Due to the obscure nature of the movie - now only made somewhat relevant by David Fincher revealing in an interview that this movie was so bad when he saw it at the cinema, that even as a toddler he thought 'i could have done better than this' - the score never much registered. Listen to it with open ears today and you will find the whole JNH/Shymalayan musical pallet, the impressionistic swabs of piano/woodwinds,the slightly off-kilter, dreamy almost waltz-like atmosphere and the growing sense of things going awry - this was not standard stuff for 1975, save maybe for Herrmann's OBSESSION that of course is usurped by an entirely different idiom. The masterful combination of instrumental groups throughout, strings/synth/flutes/piano, is testament to Goldsmith's unique abilities to get most out of limited ensembles, probably schooled by his years in live tv that served him greatly even on huge movies with huge scores (that nowadays tend to be a wall of sound).

At least once a year i return to it and still am not able to pinpoint what this score actually is. Which makes it all the more compelling.

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CINDERELLA - DOYLE

OK, there's some delightful cues here and there but mostly this score goes in the one ear and out the other.

Somebody said this was a return to Doyle's roots. Well not exactly, I miss his voice from the earlier days.

I'll give it another listen someday.


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CASPER - HORNER

Now this is the kind of Horner that puts magic, beauty, excitement, and fun most of all in the foreground. The album is all kinds of loveliness.

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John Barry's King Kong

Token Barry with sweeping strings and signature brass. Never have to look hard for a solid memorable theme. Also can't get enough of those organ moments, and love the added touches in orchestration to match on-screen action (e.g. the waterfall scene)

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