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

[Gruesome Son of a Bitch 6,488]

Dear JWFan,

Can we please put a stop to these asinine posts alleging only half of the Superman: The Movie score by John Williams is great? Whether we take into account the concert suites or not, by my calculations, the "first half" of the Superman would culminate roughly at the Helicopter Sequence. This would indicate that the erroneously oft-maligned "second half" of Superman would be comprised of many of Williams' greatest cues of all time, including: the rest of Supes' first night out; Supes' arrival at Lois' pad and the Flying Sequence; Supes flying to Luthor's lair; March of the Villains galore...after analyzing his entire repertoire of themes, I have determined that this theme (the perfect blend of foreboding fanfares and strings inexplicably implying villainy and a kind of frivolity/whimsy that is perfectly suited to the bumbling characters) is one of Williams' most euphoric; 20 minutes of Williams doing what he does best and one of the all-time best action-packed dramatic finales for a film score; the end title that was used for the main title of the film, probably the best version of the Theme from Superman ever.

It would seem that the "second half" of Superman is quite great indeed.

Thanks,

E.T.

[publicist 4,643]

Stop listening to the same shit again and again and you too will see the light: there is a life beyond endless dissection of SUPERMAN music.

[#SnowyVernalSpringsEternal 10,265]

Dear JWFan,

Can we please put a stop to these asinine posts alleging only half of the Superman: The Movie score by John Williams is great? Whether we take into account the concert suites or not, by my calculations, the "first half" of the Superman would culminate roughly at the Helicopter Sequence. This would indicate that the erroneously oft-maligned "second half" of Superman would be comprised of many of Williams' greatest cues of all time, including: the rest of Supes' first night out; Supes' arrival at Lois' pad and the Flying Sequence; Supes flying to Luthor's lair; March of the Villains galore...after analyzing his entire repertoire of themes, I have determined that this theme (the perfect blend of foreboding fanfares and strings inexplicably implying villainy and a kind of frivolity/whimsy that is perfectly suited to the bumbling characters) is one of Williams' most euphoric; 20 minutes of Williams doing what he does best and one of the all-time best action-packed dramatic finales for a film score; the end title that was used for the main title of the film, probably the best version of the Theme from Superman ever.

It would seem that the "second half" of Superman is quite great indeed.

Thanks,

E.T.

Yes....YES!

[DreamTheater 131]

Thanks for that E.T. You don't need to phone home just yet.

[Incanus 5,716]

The Great Train Robbery by Jerry Goldsmith

Hour of the Gun (the Tadlow Re-recording) by Jerry Goldsmith

The Hobbit: An Unexpected Journey by Howard Shore

[Not Mr. Big 4,640]

The Accidental Tourist

[Naïve Old Fart 9,554]

Hmmmm. Nice.

[Incanus 5,716]

Rather!

Conan the Barbarian (the Tadlow Re-recording) by Basil Poledouris: Listened to this last night and now the themes are stuck in my head. Some pretty awesome music in this score.

And yes Superman is great from start to finish but the first half does hold a special place in my heart. The Fortress of Solitude alone would be enough to ensure that but there are so many other fantastic pieces in there. The second half of the score does feature superb action pieces of the breathless kind where Johnny puts the main theme through its paces in an exhilarating way and as Matessino says in the Rhino liner notes there is no mistaking this music for any of other symphonic masterpieces Williams churned out during that period. It is pure Superman.

[Not Mr. Big 4,640]

Jane Eyre

The first true "John Williams" score as far as I'm concerned. I'm not how complete the album presentation is but it makes for a varied and entertaining listen.

[Incanus 5,716]

Yes it is a fantastic album. Parts of it are material JW either composed specifically for the album or were ideas not used in the film (like the To Thornfield or Meeting). I can't remember how much there is missing (the original tapes are lost to time as is the original sheet music (destroyed as a fire hazard by the studio)) but the album does contain a lion's share of the juiciest stuff.

[Dixon Hill 4,234]

Mad Max: Fury Road - Tom Holkenborg (aka Junkie XL)

Unabashedly grungy, hyper-masculine, dick-swinging music and I love it, in and out of the film. Just that straightforward badassery, and done with a real sense of proportion and artistry that you'd typically only hear from Zimmer in that same mode. No aimless sound design bullshit here. This guy knows what he's doing. Fitting music for trying to drive through Los Angeles.

Poltergeist - Marc Streitenfeld

It's not bad. Probably works in the film, but like his Prometheus doesn't really compel much outside of the theater. Like Holkenborg, Streitenfeld seems to have a handle on what he does. The former is already one of the Zimmer apprentices to make a real name and sound of his own, along with the likes of Powell and HGW. The latter might be able to as well if he gets the right project.

Tomorrowland - Michael Giacchino

73 minutes of harmonic and melodic boringness, well orchestrated and well recorded harmonic and melodic boringness. Losing my patience with this guy. Say what you surely will about the two above scores being too modern and too loud and not orchestral enough, but not once do they sink to the levels of obviousness and cliche that this one does. This is one "Giacchino is trapped in his small list of chord progressions" score too many for me, I'm afraid.

[#SnowyVernalSpringsEternal 10,265]

Mad Max: Fury Road - Tom Holkenborg (aka Junkie XL)

Unabashedly grungy, hyper-masculine, dick-swinging music and I love it, in and out of the film. Just that straightforward badassery, and done with a real sense of proportion and artistry that you'd typically only hear from Zimmer in that same mode. No aimless sound design bullshit here. This guy knows what he's doing. Fitting music for trying to drive through Los Angeles.

Fuck yeah!

[BloodBoal 7,538]

Be honest, Stiff: had Holkenborg not been Dutch, you would have hated that score.

[#SnowyVernalSpringsEternal 10,265]

No way! Tom Holkenborg is the new John Williams!

I've sampled the score today. Effective, very loud and brash music. But hardly the type I normally go for.

Works excellent in the film, doesn't seem to aspire to much more.

Very modern in that regard.

[BloodBoal 7,538]

I've sampled the score today. Effective, very loud and brash music. But hardly the type I normally go for.

Works excellent in the film, doesn't seem to aspire to much more.

Now that's more like it!

[Brónach 1,302]

I like the sad cues

[Not Mr. Big 4,640]

Mad Max: Fury Road

Garbage, but in a good way.

[crocodile 8,020]

I like the sad cues

Are they not from the old scores, by any chance?

Karol

[Jay 37,374]

Michael Giacchino - Tomorrowland

It's good! Lots of themes!

[Faleel 5,360]

The Phantom of the Opera - Andrew Lloyd Webber

Quo Vadis - Miklos Rozsa

[Naïve Old Fart 9,554]

"Phantom Of The Bloody Opera"???!!!!!

That's not a score, that's detritus.

[KK 3,307]

Tomorrowland - Michael Giacchino

73 minutes of harmonic and melodic boringness, well orchestrated and well recorded harmonic and melodic boringness. Losing my patience with this guy. Say what you surely will about the two above scores being too modern and too loud and not orchestral enough, but not once do they sink to the levels of obviousness and cliche that this one does. This is one "Giacchino is trapped in his small list of chord progressions" score too many for me, I'm afraid.

Just as I feared.

Will check out Mad Max today.

[BloodBoal 7,538]

[KK 3,307]

But I've got to keep up with the times!

And something keeps holding me back with the Lost scores. Maybe because there's just so much to go through...

[Incanus 5,716]

No KK. Embrace the good old days when everything was better!

[#SnowyVernalSpringsEternal 10,265]

I hope KK will like Mad Max.

[Incanus 5,716]

What happened Stefan? Did Miller's Mad Max really turn you into a Holkenborg fan?

I'll probably take a casual listen to the soundtrack when I have time. TPG's description was not encouraging though.

[publicist 4,643]

All music that was not diegetic in the picture (as i. e. the living metal figurehead) came off singularly artless, filmmusic-wise. There are some cues i heard on Spotify that are fun in a grungy sort of way but it's a very long haul.

[BloodBoal 7,538]

And something keeps holding me back with the Lost scores. Maybe because there's just so much to go through...

[#SnowyVernalSpringsEternal 10,265]

What happened Stefan? Did Miller's Mad Max really turn you into a Holkenborg fan?

http://youtu.be/Zx1_6F-nCaw

[DreamTheater 131]

Mad Max: Fury Road - Tom Holkenborg (aka Junkie XL)

Unabashedly grungy, hyper-masculine, dick-swinging music and I love it, in and out of the film. Just that straightforward badassery, and done with a real sense of proportion and artistry that you'd typically only hear from Zimmer in that same mode. No aimless sound design bullshit here. This guy knows what he's doing. Fitting music for trying to drive through Los Angeles.

You had me at grungy... now I have give it a listen.

Because grunge is good.

[#SnowyVernalSpringsEternal 10,265]

Langharig werkschuw tuig!

[DreamTheater 131]

Langharig. No ! Never have been.

Werkschuw. Hardly ! I'm at work and working while I type this.

Tuig. Possibly, I'm a tool used like a pawn in a multi-million dollar company. A dutch company.

[#SnowyVernalSpringsEternal 10,265]

I'm still in bed, having a coffee.

Get back to work!

[Quintus 5,399]

Stop listening to the same shit again and again and you too will see the light: there is a life beyond endless dissection of SUPERMAN music.

A healthy balance of old and new is what people want if they're honest, but when the new stuff is substandard and not up to scratch then what should they do? I probably enjoy less than 5% of new film music. Other genres fare slightly better.

I'm stuck between a rock and a hard place, because I don't even want to listen to my old beloved favourites much anymore either, they're all played out.

[DreamTheater 131]

I'm still in bed, having a coffee.

Get back to work!

You lazy bastard ! It's 11:27 !

[#SnowyVernalSpringsEternal 10,265]

Is it? What day is it? Saturday?

[publicist 4,643]

A healthy balance of old and new is what people want if they're honest, but when the new stuff is substandard and not up to scratch then what should they do? I probably enjoy less than 5% of new film music. Other genres fare slightly better.

Why limit yourself to film music?

[#SnowyVernalSpringsEternal 10,265]

Maybe some of us are purists!

[publicist 4,643]

Necrophiliacs is more like it.

[#SnowyVernalSpringsEternal 10,265]

Jimmy Savile?

[Not Mr. Big 4,640]

A Million Ways to Die in the West

The Last Crusade

[publicist 4,643]

Jimmy Savile?

Those children were alive!

[Quintus 5,399]

I don't listen to film music much nowadays. Other genres are better.

[#SnowyVernalSpringsEternal 10,265]

I...don't even know you any more, man!

Jimmy Savile?

Those children were alive!

Not all of them. Word is Jimmy also visited a morgue or two *shudder*

[publicist 4,643]

I don't listen to film music much nowadays. Other genres are better.

Film music should have enabled you to see that there are no musical borders between 'genres' years before. What kind of genre is that were you find gospel music mixed with liturgical chants or folk with Stravinsky?

[Quintus 5,399]

I tend to call it "shite".

[publicist 4,643]

Your tastes have been noted here years before.

[Quintus 5,399]

Yeah, it's what we do isn't it.

[DreamTheater 131]

Man, Cocoon puts me in musical heaven. A simply gorgeous and stunning piece of work... As brilliant now as it was back in '85 because this was the type of score that made me sit up and notice what that was playing in the background when the characters were talking or some situation was unfolding. And more importantly who composed that music. It's been a love affair since then. Horner always was and still is my no. 1 composer... there I said it, it's not Johnny, it's Jimmy !!!

To be fair, Johnny and Jerry aren't far behind.

Here's another good one. You simply don't hear such scores anymore. Funnily enough speaking from a musical standpoint this is the total opposite of Cocoon, this one being all brooding, menacing, dark undertones and choral malevolence. But it's Jerry in top form. And the reason he's either my no. 2 or no. 3 composer. I haven't decided. But I don't want to dismiss Johnny and put him at 3. Man, this can be such a demanding hobby !!

Well screw this, Jimmy, Johnny and Jerry they all share the top spot. They're phenomenal composers and most people working nowadays in Hollywood can only dream of having so much talent and skill.