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


Ollie

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JFK

This score is absolutely masterful, whether you judge on its dramatic, musical or intelectual qualities

Amen. It seems Oliver Stone brings the best out in Williams on multiple levels.

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Indeed he does, Mikko, that's exactly it :)

JW is a composer quite often better know for his quite often blatant scoring for action adventure films (which is quite apropriate), but in the case of his collaborations with Oliver Stone, he goes beyond scoring what's playing on the screen and deliveres music full of subtext and layers. Nixon, for example, as yourself have pointed out often, is a brilliant musical portrait of a very contradictory man. His scores for Oliver Stone cannot be taken simply at face value. It's fascinating stuff.

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Jurassic Park

After all that discussion about it, I had to dig it up and listen to it again. One of Williams' finest 1990s score, and the better 1993 score over Schindler's List. Such a broad musical canvas and a superb playing by the L.A. musicians.

BTW, does anyone have the full musicians roster for Jurassic Park? I know Steve Erdody and Bruce Dukov are two... any clue on who the other 90-100 musicians are?

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Jurassic Park

After all that discussion about it, I had to dig it up and listen to it again. One of Williams' finest 1990s score, and the better 1993 score over Schindler's List. Such a broad musical canvas and a superb playing by the L.A. musicians.

BTW, does anyone have the full musicians roster for Jurassic Park? I know Steve Erdody and Bruce Dukov are two... any clue on who the other 90-100 musicians are?

Here are the brass players from the sessions (courtesy of Movie Brass site's listing http://www.moviebrass.com/intro/Movies/movielist/jurassic_park.html) :

Trumpet: Burnette Dillon - Mario Guaneri - Warren Luening - Malcolm McNab (1st)

Horn:Mark Adams, Steven Becknell, David Duke, Brain O'Connor, John Reynolds, JimThatcher (principal)

Trombone: Bill Booth - Bruce Fowler - Micheal Hoffman - Andy Malloy

Bass trombone: George Thatcher

Tuba: Jim Self (principal - all tracks) - Tommy Johnson (2nd) - Norm Pearson (2nd) - GenePokorny (2nd), euphonium: Dick Nash - Bill Reichenbach

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I popped in Stromberg and Morgan's film music demo CD again.

These guys deserve all the kudos for their great re-recordings of film scores like The Prince and the Pauper and She, but they deserve so much more. I would hire them to score my films just by how good "Atomic Journeys", "Perilous Seas", "Russian Parade", "Newsreel" and "China Gets the Bomb" are.

Such a shame.

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Where can I listen to this?

Stromberg and Morgan have copies of the CD for sale at CD Baby: http://www.cdbaby.com/cd/strombergmorgan2

Most of the cues are culled from separate album releases, but the standout ones are mostly from Trinity and Beyond (it's easier buying the demo CD since it's cheaper).

http://www.youtube.com/watch?v=9gfcI4AMffc

http://www.youtube.com/watch?v=eDAdvaFqQBA

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Itaipu and The Canyon (Philip Glass):

Really good listen. I thought I heard some of what would inspire Lord of the Rings in Itaipu. Love the intensity of The Canyon. I can't listen to extremely large samples of Glass at once, but listening to him a bit every now and then can really hit the spot.

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Just listened to Mars Attacks! for the first time. Wow, this score is great! I love the rhythmic theme for the aliens (I'm assuming, I've only seen half of the film) and the use of all those cheesy synthesizers. This is definitely one of Elfman's better efforts.

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Where can I listen to this?

Trinity And Beyond is an awesome album. I highly recommend it. It's bombastic as hell but great stuff.

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SOCOM 4: U.S. NAVY SEALs by Bear McCreary

Brilliant. "The Pursuit Of Vengenace" is the greatest action cue I've heard in a loooong time. It kicks so much ass it's not even funny.

Except this sounds exactly like everything else McCreary has ever written... I was actually interested in this, but I was wrong. McCreary has such a limited soundscape. What I liked about his BSG work was that it had a unique sound, but I am coming to discover that is not BSG's unique sound, but rather McCreary's only sound. He varies it up a little bit for Human Target, Terminator, and Caprica, but not very much. This sounds even less different from BSG than those, and it's disappointing.

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Masada. (Intrada's new releases)

Great stuff!!

Hancock.

Never saw the movie, but dag nabit, this music is incredible. Those last 4-5 tracks are just mind blowing. Love, love, LOVE Powell's work. Quickly becoming on of my favorites.

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Star Wars came up in shuffle. That put an end to shuffle mode. :P I'm gonna need to turn this off soon so I can get some work done...wow, I love this score. If it hasn't gotten old by now, something tells me it never will.

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I don't hear ethnic Asian instruments in BSG.

:blink:

My thoughts exactly.

And no, I wouldn't attribute McCreary's shortcomings to style. It all sounds so extremely similar with the repetitive percussion.

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Kung Fu Panda 2 by Hans Zimmer & John Powell

I don't hear much Zimmer in here (surprising), it is mostly Powell.

Karol - who has this strange feeling Zimmer never worked on POTC4

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Priest by Christopher Young

The whole score left me cold, I admit. It feels over-stuffed. But there are some interesting cues in there, no doubt about that.

Karol

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Young is unpredictable for me. Sometimes his slightly dark/tragic style works great , and sometimes it doesn't. I don't know why.

The one track I've heard from The Priest didn't excite me.

--

I recently left A Serious Man playing all the way through - really nice little score. Perfect for late night browsing because even the short stingers are calm and melodic.

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Rockin' out to the tunes that Phil Collins and Mark Mancina wrote for Tarzan while writing my last paper of my undergraduate career. I really like this soundtrack, both songs and score. Definitely not the greatest masterpiece in my music collection, but it's a great deal of fun, and I'm kind of sentimental about it.

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I listened to a lot of Mancina's Brother Bear a few nights ago. That badly needs a full release.

He's one RCP composer, who if you look below the synths and rhythms, has some serious musical ability.

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That he is. I'm not familiar with a tremendous amount of his work, but I do know Tarzan, The Haunted Mansion, and of course the latest Disney logo, and the MV influences are limited, to say the least.

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There's probably no point in my starting a separate thread just for this, so if anyone is interested there will be a film music concert broadcast live from Manchester starting in a few minutes. It includes music from Star Wars, performed by the BBC Philharmonic Orchestra.

Listen here if you got nothin' better to do.

:music:

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The most recent scores that I've listened to in their entirety:

Miss Pettigrew Lives For A Day - Paul Englishby

Talespin - Christopher L. Stone

Tuck Everlasting - William Ross

Edit: And it only took me two and a half years to reach 100 posts. Not bad.

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The Green Lantern - JNH.

Drowning in electronics, basically. The orchestra gets to breathe here and there.

Thing is, underneath all the synths, there's some pretty cool stuff going on, melodically. Honestly, it's like JNH wrote it, then someone came along and pasted this electronic meandering all over of it.

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There's probably no point in my starting a separate thread just for this, so if anyone is interested there will be a film music concert broadcast live from Manchester starting in a few minutes. It includes music from Star Wars, performed by the BBC Philharmonic Orchestra.

I was pleasantly surprised to discover that this concert was filmed and an edited version (45 minutes) broadcast on the BBC 'red button' this evening. If you live in the UK, you can watch the concert on the BBC iPlayer here. Selections include Star Wars, Raiders of the Lost Ark, Taxi Driver, Star Trek: The Motion Picture and Batman.

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The Green Lantern - JNH.

Drowning in electronics, basically. The orchestra gets to breathe here and there.

Thing is, underneath all the synths, there's some pretty cool stuff going on, melodically. Honestly, it's like JNH wrote it, then someone came along and pasted this electronic meandering all over of it.

Maybe that's what it was like? I'd imagine Campbell having more freedom, but who knows what the studio execs required.

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It's clear to me from the overall sound the sort of demographic this score is aimed at - teenagers who won't listen to anything that doesn't have a constant dn-dn-dn-dn-dn-dn.

And it's not like the orchestra and synths really mesh that well - certainly nowhere near as Powell managed with Hancock. Most of the time it's just an extra layer of noise.

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The samples turned me off immediately.

Lately I've been enjoying Masada, it's amazing it was for a TV mini-series. You don't get that sort of writing anymore, with a few exceptions.

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Wasn't Klaus Badelt initially hired and then rejected? Kamen kept some of the material and had him compose additional music? I don't know exactly what when on there.

By the sound of it, Mel Wesson was more of a co-composer here.

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From what I understand it was the other way around. Kamen composed the score which was later "spiced up" electronically by Klaus.

Karol

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From what I understand it was the other way around. Kamen composed the score which was later "spiced up" electronically by Klaus.

Karol

Yes, I presume the producers wanted something more Matrix-like so they added some techno elements.

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