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

[Gruesome Son of a Bitch 6,488]

From what I remember, the X-Men score would shift from traditional classy orchestral music to this electronicy attempt to be hip or cool.

[Ollie 1,059]

Unfortunately it's a jarring mess. The electronics are very intrusive and sound like they were just slapped on with no thought at times.

[Koray Savas 2,251]

The Green Lantern - James Newton Howard

There are moments that breakthrough the electronic overload that could have been developed into an awesome score. Unfortunately it never comes close to being great. Monothematic and generally boring.

Cars 2 - Michael Giacchino

See above. Giacchino's worst score so far.

[gkgyver 1,645]

Unfortunately it's a jarring mess. The electronics are very intrusive and sound like they were just slapped on with no thought at times.

Like Green Lantern.

I fear for Captain America.

If modern film scoring consumed composers like Patrick Doyle and JNH, what chance, or rather choice, does Silvestri have?

[Taikomochi 1,136]

The Last Airbender

Damn, this is good. I like it a lot better than Lady In The Water. It's probably my favorite JNH score, although I may be jumping to conclusions. There's some really good material ranging from Williams-esque fanfares to revolving emotional climax(that part at the end of "We Are Now The Gods", I never wanted it to stop!) concluding with "Flow Like Water" which is just amazing on so many levels. I am disappointed this score didn't get more attention here, but whatever; I still love it.

[Incanus 5,716]

The Last Airbender

Damn, this is good. I like it a lot better than Lady In The Water. It's probably my favorite JNH score, although I may be jumping to conclusions. There's some really good material ranging from Williams-esque fanfares to revolving emotional climax(that part at the end of "We Are Now The Gods", I never wanted it to stop!) concluding with "Flow Like Water" which is just amazing on so many levels. I am disappointed this score didn't get more attention here, but whatever; I still love it.

This score has grown on me since the initial few listens but I can't still get over the missing choir. I think the music would make a bigger impact with it intact, on every level. A lot of the music revolves around rhythms and JNH somehow orchestrates it so thick it resembles RCP score at times but there are definitely more nuances in it than I initially gave it credit for. The development of the descending Avatar theme played most often on strings is most satisfying and reaches truly spectacular JNH heights in the Flow Like Water. Another gripe is that there is no great and clear bad guy theme to counterbalance the two hero themes, just a few subtle ideas in rhythm and dark texture. But even for its all small weaknesses it is a good score.

[publicist 4,643]

But even for its all small weaknesses it is a good score.

I told you so.

[Incanus 5,716]

Dracula by John Williams: As rapturously romantic and darkly gothic as ever. Sound quality issues of the recording aside the LSO performs with gusto and typically robust and sonorous sound that was so emblematic of Williams and LSO of the late 70's. On the album the main theme goes through such an array of different permutations, remaining interesting and fresh throughout the running time of the CD. To offer variety there are the wonderful mournful trumpet theme For Mina, the wild and exciting scherzo in To Scarborough and the creepy jittery textures of The Bat Attack. Dracula's Death and End Titles are a superb send-off to the vampire count, the theme first deadly operatic and then contemplative and deliciously ominous. This score needs a complete release very badly so we could hear it in its full glory.

The Edge by Jerry Goldsmith: My favourite Goldsmith score of the 90's. A killer main theme and some of the best trek and suspence music I have ever heard that both captures the feel and location of the film but works as pure music to perfection. Suspence, action, drama all in one rugged symphonic package.

[Richard Penna 3,695]

The Last Airbender

Damn, this is good. I like it a lot better than Lady In The Water. It's probably my favorite JNH score, although I may be jumping to conclusions. There's some really good material ranging from Williams-esque fanfares to revolving emotional climax(that part at the end of "We Are Now The Gods", I never wanted it to stop!) concluding with "Flow Like Water" which is just amazing on so many levels. I am disappointed this score didn't get more attention here, but whatever; I still love it.

I love some part of it, while others seem rather generic, and a bit irritating at times.

My main issue with this score has been some of the orchestration, and we're talking real nitpicky things here. I haven't got the score with me so I can't give track times, but in Airbender Suite, there's a point where after a group of ascending brass figures it descends into chaos with some sparkly sort of instruments and seemingly random brass notes. As a listening experience it just becomes complete a mess. I can imagine it working in the right scene, but as music? Not quite.

Whereas We Are Now the Gods and Flow Like Water... wow. Like you Taiko, I could listen to that repeated descending choir/strings motif all day (sounds like a real choir - maybe they left the choir off everything else just to have it in this one cue?).

But I also have an issue with JNH laying certain isolated instruments on top so that they don't blend into the mix. Just before We Are Now the Gods quietens down for the woodwind motif, the introduction to those brass fanfares has a quick, ascending, then planing, string part which doesn't feel like it meshes with the rest of the mix. It's not a habit that's isolated to this score - it's a JNH thing.

The Edge by Jerry Goldsmith: My favourite Goldsmith score of the 90's. A killer main theme and some of the best trek and suspence music I have ever heard that both captures the feel and location of the film but works as pure music to perfection. Suspence, action, drama all in one rugged symphonic package.

[Matt C 455]

Listening to Green Lantern right now.

I doubt this will get frequent listens.

I agree with you, unfortunately. I'm very underwhelmed here. There's some good tracks sprinkled throughout, but I expected better from a Campbell/JNH collaboration.

[Faleel 5,360]

Dracula by John Williams: Sound quality issues of the recording aside the LSO performs with gusto and typically robust and sonorous sound that was so emblematic of Williams and LSO of the late 70's.

Did John Williams use the LSO for that film?

[Incanus 5,716]

Dracula by John Williams: Sound quality issues of the recording aside the LSO performs with gusto and typically robust and sonorous sound that was so emblematic of Williams and LSO of the late 70's.

Did John Williams use the LSO for that film?

Yes. It was a kind of status symbol to have JW and LSO to score your film back then.

[Faleel 5,360]

Dracula by John Williams: Sound quality issues of the recording aside the LSO performs with gusto and typically robust and sonorous sound that was so emblematic of Williams and LSO of the late 70's.

Did John Williams use the LSO for that film?

Yes. It was a kind of status symbol to have JW and LSO to score your film back then.

Would you happen to have a list of JW & LSO collabs?

[Ollie 1,059]

Star Wars

TESB

Raiders

Superman

Dracula

ROTJ

TPM

ROTS

AOTC

HP:CS

The Fury, album release only, film score done in L.A.

HP:POA & HP:SS were done with London musicians but not under the LSO's name.

I'm just going off the top of my head, there's also some recordings he's done with them for other material, concert works, and compilation albums.

[Incanus 5,716]

You beat me to it Mark.

[publicist 4,643]

Star Wars

TESB

Raiders

Superman

Dracula

ROTJ

TPM

ROTS

AOTC

HP:CS

The Fury, album release only, film score done in L.A.

MONSIGNOR, too, as i recall.

[Ollie 1,059]

Yep, I knew I forgot one.

[crocodile 8,020]

And there are also others. For example the liner notes on the 30th Anniversary edition of Fiddler on the Roof indicate Williams recorded with them something for this film (it's not clear whether this one just piece or the entire thing). A couple of compilations like one of Gershwin Fantasy (with Joshua Bell), Hollywood Sound. His piece Five Sacred Trees, first recording of Violin Concerto (the un-revised version). Kevin Kaska's recording of Essay for Strings (I'm not sure if that counts).

And also might say Philospher's Stone and Prisoner of Azkaban, but to varying degrees. The orchestra probably comprised of many LSO members.

Anything else I didn't mention?

Karol

[Ollie 1,059]

HP:POA & HP:SS were done with London musicians but not under the LSO's name.

I'm just going off the top of my head, there's also some recordings he's done with them for other material, concert works, and compilation albums.

[publicist 4,643]

CARS 2 - Michael Giacchino

http://music.aol.com/new-releases-full-cds/#/3

Nah, that's not it, Michael.

[crocodile 8,020]

I picked up the OST version of Bruce Broughton's Lost in Space in the local store. I know there's complete edition as well, but I payed just 1 quid for that so it's not like I'm overpaying here or anything. The music is terrific. I might even buy the Intrada version. Now that's s-f!

Karol

[Ollie 1,059]

Yep, very underrated score.

[crocodile 8,020]

It has a great theme. Which is surprising, cause I heard many people complaining about lack of strong thematic material.

Karol

[Incanus 5,716]

Jurassic Park by John Williams: I think I have to write another analysis soon. One of my favourite film scores and the one that got me into film music. Quitessential Williams score of the 90's.

Empire of the Sun by John Williams: Another superb and heart tugging drama score from the Maestro.

Flesh + Blood by Basil Poledouris: It took a few listens to get into this score but now I think it is one of Basil's finest. Piraty medieval music and great melodic writing.

[Ollie 1,059]

Cars 2 - not the best but still a fun score. I don't know if it's any better than Randy Newman's but it isn't any worse. Not as much as a Speed Racer castoff as I originally thought.

KOTCS - The individual new themes are excellent and takes one back to the first 3 IJ films. But the rest of the score is hit and miss. Some good ideas but at times too whimsical for an IJ film. And one thing that bugs me, and this happened with Goldsmith as well, is that at times I wasn't sure if I was listening to Indiana Jones, The Prequels, Minority Report, HP or War Of The Worlds. The music is starting to become interchangeable. Still a better score than AOTC & ROTS.

Gold - Too bad Elmer Bernstein never scored a Bond film.

[JoeinAR 1,949]

it's been awhile but tonight I listened to Adventures on Earth.

I can't lie and say it was like listening to it for the first time because it was not.

But it is clearly an old friend. Not to mention I had a full blown Johnnygasm.

What a feeling.

Someone asked in another thread whats so special about John Williams, listen to the track kid and you'll know.

[Romão 2,274]

http://vimeo.com/24786891

This is a live performance of the concert version of Adventures on Earth, but somehow, seeing the players perform actually made me apreciate it even more. It's just wonderful

[Richard Penna 3,695]

I saw the entire Escape, Chase, Saying Goodbye sequence live somewhere in London quite a few years ago.

But it was back when my interest in scores was in infancy so I'm not sure it had a huge effect on me.

I also finished listening to Cars 2. Nowhere near as mickey-mousey as I'd feared. Might even buy it - it makes for a very pleasant listening experience actually, and I do like the guitar main theme. It just doesn't make the impression that most Pixar scores have.

[crocodile 8,020]

Chronicles of Narnia: The Voyage of the Dawn Treader by David Arnold

All has been said: this isn't Arnold in his prime. But... the last two or three cues are very very close.

Karol

[Incanus 5,716]

Chronicles of Narnia: The Voyage of the Dawn Treader by David Arnold

All has been said: this isn't Arnold in his prime. But... the last two or three cues are very very close.

Karol

I just listened to this yesterday and I have to agree. His action music leans too heavily on the style of his Bond scores in places and the thematic material is not as catchy or magical as I would have hoped but there are some fine moments interspersed amoung the subtle portions of the album.

Slipstream by Elmer Bernstein: It is like SW meets the Magnificent Seven. Bernstein in full stride, rousing, gorgeous melodies, thunderous action and evocative lyrical moments.

The Dream from Total Recall

[BloodBoal 7,538]

[Incanus 5,716]

Chronicles of Narnia: The Voyage of the Dawn Treader by David Arnold

All has been said: this isn't Arnold in his prime. But... the last two or three cues are very very close.

Karol

I just listened to this yesterday and I have to agree. His action music leans too heavily on the style of his Bond scores in places and the thematic material is not as catchy or magical as I would have hoped but there are some fine moments interspersed amoung the subtle portions of the album.

Market Forces for the win!

Yes that was the one thing that came to my mind as well. Somehow you can feel the touch of producers and director playing safe in many scores these days.

It is like there is a mantra of "Please do not go beyond the minimum marked in the temp track and for god's sake don't try to pull out all the stops. It could scare off the viewers. Nice and even is good enough for us. It does the job but nothing else. Just perfect."

Total Recall by Jerry Goldsmith: I should listen to this more often even though it can be utterly relentless at times. No one does action quite like Goldsmith.

[Ollie 1,059]

It's one of the greatest action score ever composed. It's a shame this score wasn't recognized more.

[Wojo 2,453]

Surprisingly, I've never bought it or listened to it outside the film.

[Incanus 5,716]

The Wind and the Lion by Jerry Goldsmith: Wow what a great ethnically tinged adventure/drama score. It has the kind of epic David Lean film score quality with top notch main theme and a memorable love theme.

Final Fantasy by Elliot Goldenthal: Perhaps my favourite Goldenthal score (I am only listening to good film music today). This music is of epic proportions that also has for contrast the most heartbreakingly beautiful quiet moments. You can't get much more fervent and primal than this. LSO performs truly admirably, belting out these gothic Goldenthal sounds with such relish that it shakes the house. I am almost rendered speechless after listening to the staggeringly beautiful and powerful finale that is the Adagio and Transfiguration which contains the most haunting love theme I have heard from the composer which blooms into an earth shaking Wagnerian crescendo that poignantly fades into a quiet coda full resigned sorrow but also of hope. Absolutely brilliant!

[Wojo 2,453]

Doctor Who Series 5 by Murray Gold.

I can't stop listening to this double album. The main theme is great to hear extended beyond what is heard on TV, and like the liner notes instruct, with the volume turned all the way up. Some musically memorable moments stand out, like when Eleven walks through the hologram to reveal "I Am the Doctor," or when he gives that wonderful speech at Stonehenge. I'm not familiar enough with the show to know all the other moments.

I'm afraid I was a little scarred when I read an Amazon review that condemned the music for having too much of a bland Zimmer-like sound, which I disagree with. Murray Gold covers a wide range of styles with this music. However, some of the more ethereal, songlike music reminds me a bit of of the better music from At World's End, so I have to remind myself this is Doctor Who, not Pirates. But I haven't heard such an epic treatment for television in a long time.

[crocodile 8,020]

I heard some good things about this music. Might pick it up in a local store or something. There are like 3 albums available in there.

The Wind and the Lion by Jerry Goldsmith: Wow what a great ethnically tinged adventure/drama score. It has the kind of epic David Lean film score quality with top notch main theme and a memorable love theme.

Final Fantasy by Elliot Goldenthal: Perhaps my favourite Goldenthal score (I am only listening to good film music today). This music is of epic proportions that also has for contrast the most heartbreakingly beautiful quiet moments. You can't get much more fervent and primal than this. LSO performs truly admirably, belting out these gothic Goldenthal sounds with such relish that it shakes the house. I am almost rendered speechless after listening to the staggeringly beautiful and powerful finale that is the Adagio and Transfiguration which contains the most haunting love theme I have heard from the composer which blooms into an earth shaking Wagnerian crescendo that poignantly fades into a quiet coda full resigned sorrow but also of hope. Absolutely brilliant!

What do you think of his Othello ballet? I think it might be better than most of his scores actually. It's written in his more accessible film style and I think it exceeds all his film works in a way it develop his ideas more coherently. 15-minute Tarantella piece might be my favourite single track in Goldenthal's career.

Karol - who never heard Total Recall apart from one track (on some Telarc compilation)

[Marian Schedenig 8,211]

It's one of the greatest action score ever composed. It's a shame this score wasn't recognized more.

It's THE greatest action score. Only Rambo II comes close.

[crocodile 8,020]

Sky Captain and The World of Tomorrow by Edward Shearmur

Out of all more recent old school pastiches, this one holds up quite well. I can actually hum some themes! Even if it's a bit... too much at times.

The Russia House by Jerry Goldsmith

One of his classiest, for sure. Thanks Blumenkohl for reminding me of this one last week.

Karol

[Neimoidian 14]

Chronicles of Narnia: The Voyage of the Dawn Treader by David Arnold

All has been said: this isn't Arnold in his prime. But... the last two or three cues are very very close.

Karol

Strange, but I also listened to it a few days ago. Despite its faults, including bad sound mix, it's more engaging than most of recent soundtracks. While action music isn't the best this time around, softer, lyrical cues make up for this. There is some magic here and there too.

[Romão 2,274]

Great to see some love for Final Fantasy and Othello (and specially for the Tarantella). Goldenthal sometimes is a bit too experimental to my tastes (I'm not very fond of The Tempest) and I wish he'd return to than full blown orchestral sound (which is also experimental quite a bit, but in a much more awe-inspiring style)

[paleo 63]

Priest. Trying to like it... I have not seen the movie, but guess that would have helped

[fommes 153]

I can't help but feel that Total Recall has to be the most overrated score around these parts and the FSM board. Perhaps because the film is for many a cult movie with some sort of nostalgic connection; perhaps because it's the last action score Goldsmith did in his 80s vein (or perhaps because it has some crossover characteristics of his 90s action scoring and is thus a bit of a summary of both decades?), I don't know.

Total Recall is all way too much macho scoring with his typical synths - in this score extra cheesy-sounding and dated right now. That said, I like the score in the film; on the soundtrack it's an all-too-typical Goldsmith romp. It sounds flat and uninspired to be honest - nothing near to the complex compositional masterwork it's made out to be to my ears.

I was just going over his filmography to see if I could find a score in that timeperiod I do like, which I could put against it, but concerning action scoring I couldn't really find any. It's like starting from '82 (First Blood) he went downhill, until he started to pick it up again around '92 (some top-notch action stuff in Basic Instinct) and then peaked again in '97 (a very high peak indeed). What do you guys think? (I'm thinking of his action scoring - he did have absolute masterpieces like Russia House in that period of course).

[crocodile 8,020]

Priest. Trying to like it... I have not seen the movie, but guess that would have helped

You need to look it from the right perspective. That movie had The Dark Knight in the temp track. Which makes Young's efforts really admirable. I don't love, but at least it has some sort of personality.

Karol

[paleo 63]

Priest. Trying to like it... I have not seen the movie, but guess that would have helped

You need to look it from the right perspective. That movie had The Dark Knight in the temp track. Which makes Young's efforts really admirable. I don't love, but at least it has some sort of personality.

Karol

Oh god, the Dark Knight? Who would want that? On the other hand, that should be fairly easy... just insert some random selection wherever you think you need music in your own film (okay, you may hit "generic softer material" rather than "generic action material", but the composer will -hopefully- ignore it anyway) ;-). I have never listened to that score again after idiotically buying it.

[Koray Savas 2,251]

That's how Zimmer got the job for Sherlock Holmes. They temped it with The Dark Knight and Ritchie said "This doesn't belong on my movie" and he called up Hans.

[crocodile 8,020]

Karol - proud of Guy Ritchie, for once

[Matt C 455]

Spider-Man 2 (Elfman)

This brings up fond memories of the film, and another reason Elfman keeps getting work: his superb finale music. Batman, Edward Scissorhands, Alice in Wonderland and this score. Shame it doesn't have the Christopher Young cues on there.

[Incanus 5,716]

Great to see some love for Final Fantasy and Othello (and specially for the Tarantella). Goldenthal sometimes is a bit too experimental to my tastes (I'm not very fond of The Tempest) and I wish he'd return to than full blown orchestral sound (which is also experimental quite a bit, but in a much more awe-inspiring style)

Orchestral Goldenthal is infinitely more preferable to his other styles. Interview with a Vampire, Titus, Final Fantasy, Michael Collins, the two Batman scores. Sadly I have not heard his Othello yet.

Priest. Trying to like it... I have not seen the movie, but guess that would have helped

I guess this is another score that just clicks with people or it doesn't. I thought Young made excellent work in meshing the demands of the directors for a modern sounding score and molding the sound to fit his own sensiblities. There are those modern ostinati but they in the hands of a good composer become very impressive, especially when Young orchestrates them in his grand gothic style. The action music is relentless but to my ears Young keeps a great line between melody and pure orchestral mayhem. The thematic material is diverse and at best moments affecting.

Game of Thrones by Ramin Djawadi: I wish I had some good things to say about this but I don't. It is not a good sign when you want to skip tracks when there seems to be nothing happening for long stretches of time and most tracks are not even 2 minutes long. Djawadi has several musical ideas going on albeit a bit weak ones, but he buries them in the darkest murk of synth and low strings. Sound design-y, ethnic and far too subtle, mistaking these attributes as deep and meaningful, the music meanders on with no apparent dramatic purpose than to offer sound effect like backdrop for dialogue, the score passing by and baffling with blandness. If there is a real orchestra with brass and woodwinds (not likely), strings and percussion it sounds like only the two latter are utilized with few choice zither-like instruments and dabbs of choir (synthetic or real?) and heavy synths and solo cello (electric?). The only musical idea of merit is the main title theme, which receives in those titles its best rendition, offering a pretty intelligent commentary to the unfolding drama by the constant rhythm, implying machinations and plot in constant motion as well as underscoring the mechanical map of the credits. I had hopes for the excellent series to receive a worthy score but alas the RCP trend continues and so do bland scores.

[Ollie 1,059]

I can't help but feel that Total Recall has to be the most overrated score around these parts and the FSM board. Perhaps because the film is for many a cult movie with some sort of nostalgic connection; perhaps because it's the last action score Goldsmith did in his 80s vein (or perhaps because it has some crossover characteristics of his 90s action scoring and is thus a bit of a summary of both decades?), I don't know.

Total Recall is all way too much macho scoring with his typical synths - in this score extra cheesy-sounding and dated right now. That said, I like the score in the film; on the soundtrack it's an all-too-typical Goldsmith romp. It sounds flat and uninspired to be honest - nothing near to the complex compositional masterwork it's made out to be to my ears.

I was just going over his filmography to see if I could find a score in that timeperiod I do like, which I could put against it, but concerning action scoring I couldn't really find any. It's like starting from '82 (First Blood) he went downhill, until he started to pick it up again around '92 (some top-notch action stuff in Basic Instinct) and then peaked again in '97 (a very high peak indeed). What do you guys think? (I'm thinking of his action scoring - he did have absolute masterpieces like Russia House in that period of course).

I really don't know how to respond to that.

Sometimes there are posts that completely boggle the mind and this is one of them.To each his own I suppose.