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

[Gruesome Son of a Bitch 6,488]

Jaws (2CD)

E.T.'s review. We'll start with the original 1975 MCA soundtrack album as presented on Disc 2:

I hate to sound like a broken record here, but I guess that's how I always sound. Speaking of sound, I was actually expecting more from the Intrada remaster of the original Jaws album. It's brighter, it's louder, it's hissier. Well, of course, right? There's some distortion that's always been there but is much more prominent on the new version. Listen to 1:46 of the End Titles. As soon as it was over, I turned the volume back up to a reasonable level and put the original MCA CD on. To be honest, I prefer the sound of that CD.

The presentation of the film score on Disc 1 is an improvement over the Decca CD. However, it's also louder, brighter and hissier, and I do find that kind of disturbing. People are always praising the sound on these new remasters, but I have to question whether it could have been done better when I've got the volume level turned so low, even when listening to cues like "Remains On The Beach" and "Quint's Tale". Still, it's the better of the two presentations the film score has gotten. The previously unreleased cues such as the typewriter chord and "Shark Tows Orca" were very cool to hear.

[Unlucky Bastard 7,782]

I have to hear this for myself whether it's louder, brighter and hissier. Is dynamic range dismissed as being a dated relic of the 1980s or something?

[Koray Savas 2,251]

I don't understand why Drax and Justin are all of a sudden obsessed with OSTs. I love a good album presentation as much as anyone, but isn't it about the music? Sure, you may prefer The Abyss or Jaws 2 or whatever as an abridged album, but doesn't that just mean the score is the problem and not how you listen to it?

[BloodBoal 7,538]

[crocodile 8,017]

So is this basically like the "braaaaam in movie trailers" type of trend?

Karol

[BloodBoal 7,538]

Yep.

[RedBard 71]

Forgive me for being naive in asking this, but...

ASMR?

[Koray Savas 2,251]

They're even talking about it on Facebook!

[BloodBoal 7,538]

[Gruesome Son of a Bitch 6,488]

They're even talking about it on Facebook!

Stalker!

It's not a running gag for me, to be honest. The truth is, I stopped listening to most complete chronological scores years ago. This came after decades of stressing over album edits, tolerating bootlegs and official expanded/complete releases with poor ass sound quality, rearranging the tracks into chronological order, etc. Wacky shit, really. No offense. I mean, I did it too. I do still desire some complete scores, but I'm content with the albums. A major turning point for me was when the Chamber of Secrets recording sessions leaked. The Potter complete scores were among my most desired. I even offered to blow the guy who flaunted his copy on YouTube. Those were dark times. When the sessions finally got out there, they bored me. I realized that the pursuit of all this additional music and chronological reordering was no different than Indiana Jones trying to reach the Grail when he's hanging over that abyss. I didn't need it.

When Tintin and War Horse (and whatever Williams has done more recently and I've forgotten about) came out, there were immediately threads with people rearranging the tracks into chronological order. I know that always happens with John Williams OSTs on these forums, but the point is I no longer cared. I learned to appreciate what I had, specifically the original album presentations, the way the composers intended their music to be experienced outside of the film. It was awesome to get reacquainted with those original albums. I listened to the old Temple of Doom Japanese import CD I purchased from the Star Wars Fan Club circa 2000 after listening to the expanded/complete score. I realized I didn't really need any more music than what was on that album. It's hard for me to explain here, because it seems I get accused of being the lowest common denominator or not a true John Williams fan, or full of shit. Well, frankly I don't care.

I know there is much we can learn from each other if we can negotiate a truce. We can find a way to coexist. Can there be a peace between us?

[BloodBoal 7,538]

Now that's a better explanation of your point of view!

[Wojo 2,453]

If I've never seen the movie (AI, Lincoln, War Horse, Book Thief), or don't remember the music in conjunction with the movie (Tintin, War of the Worlds), then I have zero interest in C&C.

[BloodBoal 7,538]

I used to be on the "C&C4EVER", "completeness for compleness' sake" camp. But now, I tend to want the complete score/recording sessions of a film to have all the material at my disposal to make my own album presentation of it (between 50 and 75 minutes long, depending on the score), which is generally quite different from the one on the official OST.

[crocodile 8,017]

They're even talking about it on Facebook!

Stalker!

It's not a running gag for me, to be honest. The truth is, I stopped listening to most complete chronological scores years ago. This came after decades of stressing over album edits, tolerating bootlegs and official expanded/complete releases with poor ass sound quality, rearranging the tracks into chronological order, etc. Wacky shit, really. No offense. I mean, I did it too. I do still desire some complete scores, but I'm content with the albums. A major turning point for me was when the Chamber of Secrets recording sessions leaked. The Potter complete scores were among my most desired. I even offered to blow the guy who flaunted his copy on YouTube. Those were dark times. When the sessions finally got out there, they bored me. I realized that the pursuit of all this additional music and chronological reordering was no different than Indiana Jones trying to reach the Grail when he's hanging over that abyss. I didn't need it.

When Tintin and War Horse (and whatever Williams has done more recently and I've forgotten about) came out, there were immediately threads with people rearranging the tracks into chronological order. I know that always happens with John Williams OSTs on these forums, but the point is I no longer cared. I learned to appreciate what I had, specifically the original album presentations, the way the composers intended their music to be experienced outside of the film. It was awesome to get reacquainted with those original albums. I listened to the old Temple of Doom Japanese import CD I purchased from the Star Wars Fan Club circa 2000 after listening to the expanded/complete score. I realized I didn't really need any more music than what was on that album. It's hard for me to explain here, because it seems I get accused of being the lowest common denominator or not a true John Williams fan, or full of shit. Well, frankly I don't care.

I know there is much we can learn from each other if we can negotiate a truce. We can find a way to coexist. Can there be a peace between us?

What about the Intrada's Return to Oz expansion? If I recall correctly, you're a big fan of this one?

I sort of discovered this score relatively recently. Few years ago, to be exact. It's one of my favourite albums released this year. Pisses all over LLL's Black Friday bunch (not that there is anything wrong with them per se). In my opinion, of course. But then, they had a stunning year, way ahead of other labels.

Karol

[Gruesome Son of a Bitch 6,488]

It depends on the score. The quality of the music, how much it resonates with me, you know, whether I can stand to listen to it for however long it is. In the case of Return to Oz, I enjoy both versions, but I lean more towards the OST. The complete score made me realize how perfectly assembled the album was. There are various cues that don't really add anything and some that even detract from the listening experience. This happens frequently with expanded/complete scores where they add in all these inconsequential short cues that just sort of interrupt the flow of the score for me. There are still some nice unreleased moments on the Intrada version, but the score is best represented by the OST. It was always a great album.

That score is wonderful.

[crocodile 8,017]

It's a lovely album, I agree. But there is more richness to Shire's music than those 48 minutes would indicate. I love what he does with all the countless of themes (there are about dozen of them). Plus, the complete score is not that long, "only" 84 minutes. I'm glad the set contains both versions for us to enjoy. Especially because they vary in mixing. We all win.

Karol - who is listening to it again right now

[Gruesome Son of a Bitch 6,488]

I'm listening to it now as well. The complete score.

"Flight Of The Gump (Revised #1)"

I just finished up La-La Land's Hook in Williams' intended order. I do occasionally even listen to flawed reissues. It's basically an expanded album presentation, which I'm not really a big fan of. I think it needed to be done without retaining the album tracks (some of which are altered, which seem like "mistakes" that got by Williams), obviously using better sources for the atrocious Ultimate War tracks and without cues randomly at the end of Disc 2. Basically, without any apparent involvement from Williams, just his stamp of approval as we've seen with these more recent releases. With alternates, album versions, altered album versions and cues out of order, this thing is a Frankenstein of a release. It's somewhere in between an album and a complete score and it doesn't exactly work either way.

[Unlucky Bastard 7,782]

I don't understand why Drax and Justin are all of a sudden obsessed with OSTs.

It's just their new running gag. Started a few weeks ago, when Drax was trying to find a new thing to keep on mentioning, as ASMR was getting a bit old. It'll pass.

Dismissiveness!

[Gruesome Son of a Bitch 6,488]

I honestly think most people here just assume everything I post is a fucking joke. But it's true. All of it. The OSTs. Disneyland. They're real.

[Dixon Hill 4,234]

I also wonder if it's as obvious as I think when I'm joking and when I'm not....

[Gruesome Son of a Bitch 6,488]

For the record, I also listen to binaural ASMR recordings of Disneyland.

[Unlucky Bastard 7,782]

I also wonder if it's as obvious as I think when I'm joking and when I'm not....

Hehe, that's why Stiff unfriended me on Fartbook.

[Matt C 454]

Hellbound: Hellraiser 2 - Christopher Young

It's so full of color, gothic majesty and eminently listenable. I did not notice "Hall of Mirrors" before then, it's a darker version of Horner's calliope music for Something Wicked This Way Comes but more complex and unnerving.

I miss this version of Young. I know he's done so many of these horror scores, but he's so good at them!

It depends on the score. The quality of the music, how much it resonates with me, you know, whether I can stand to listen to it for however long it is. In the case of Return to Oz, I enjoy both versions, but I lean more towards the OST. The complete score made me realize how perfectly assembled the album was. There are various cues that don't really add anything and some that even detract from the listening experience. This happens frequently with expanded/complete scores where they add in all these inconsequential short cues that just sort of interrupt the flow of the score for me. There are still some nice unreleased moments on the Intrada version, but the score is best represented by the OST. It was always a great album.

That score is wonderful.

I agree with you completely on that. That's why I loved Horner's supervision on his Intrada releases of Something Wicked This Way Comes and Natty Gann -- they encapsulate the best moments from the movie and flow well as a listening experience.

Sometimes C&C isn't always the best option.

[Wojo 2,453]

I also wonder if it's as obvious as I think when I'm joking and when I'm not....

Hehe, that's why Stiff unfriended me on Fartbook.

Who?

[Unlucky Bastard 7,782]

Hellbound: Hellraiser 2 - Christopher Young

It's so full of color, gothic majesty and eminently listenable. I did not notice "Hall of Mirrors" before then, it's a darker version of Horner's calliope music for Something Wicked This Way Comes but more complex and unnerving.

I miss this version of Young. I know he's done so many of these horror scores, but he's so good at them!

I have a preference to the first score, but the symphonic power of the sequel is hard to resist. That frickin carnival music is annoying though.

Have you heard Young's newly recorded suite from Freddy's Revenge?

[Incanus 5,715]

Concerto for Trumpet and Orchestra by John Williams (The Finnish Radio Symphony Orchestra, soloist Jouko Harjanne): I vastly prefer this performance of Williams' superbly athletic and virtuosic trumpet concerto to LSO/Sandoval version. There is a suitable brighter fuller edge to the solos and RSO (as the orchestra is shortened in Finnish) playing under the baton of Dimitri Slobodeniouk is nuanced and well balanced with the soloist. While the most heady brass fireworks happen in the opening Maestoso and the Allegro deciso of the finale, I have always been a sucker for the slow movements of Williams' concert works and also here the dreamy Slowly movement opens into a marvellous mood portrait where the yearning silvery sounds of the soloist (Harjanne is among the leading trumpet players in Finland) duet with the solo flute and are constrasted with the velvety glow of the orchestral backing that is simply mesmerizing.

John Williams (The Denver Brass): A fine compilation of John Williams' music arranged for a brass ensemble, which works very well considering the fully symphonic nature of Williams' original pieces. Luckily the album offers a few curve balls for the seasoned listener as e.g. the Star Wars Suite (here Scenes from Star Wars) has been re-arranged so that Yoda's theme does not appear as its own piece but various arrangements of it are woven at the beginning of every part of the suite. Among the highlights are the The Lost World - Main Theme performed with gusto, the jaunty Parade of the Slave Children from ToD, the athletic and dexterous Music from E.T.: The Extra-terrestrial and the lyrical A Window to the Past from Harry Potter and the Prisoner of Azkaban plus the main attraction for JW fans the premiere release of the Winter Games Fanfare for 1989 Alpine Ski Championship in Vail, Colorado, which is actually a great energetic scherzando fanfare piece to cap off the album, again truly showcasing all the brass in the ensemble. For fans of brass music and JW this is most definitely worth checking out!

[Brónach 1,302]

which is generally quite different from the one on the official OST.

This is the trick of the whole thing for me as well.

Leaving aside the scores that are great in their original form. I'm listening to this one and I wouldn't cut it down ever:

I have to admit. I enjoy massive and long scores that go on and on and on, when they're like this.

[Incanus 5,715]

Assassing's Creed Syndicate by Austin Wintory: By the virtue of its unique choices and atmosphere this is among the best of the year. I know very little of the game itself apart from it being set in the 19th century London and Wintory's music is a perfect fit, a sort of elegant but twisted version of the music of the times, parlour room concerto music mixed with modern touches but remaining quite faithful to the small mainly string ensemble and woodwind orchestrations that not only echo the period to me but also keeps the composer inventive when he has to come up this whole musical tapestry with more modest means. Waltzes, two-steps and other classical forms are used by the composer to weave these little action ballets that work very well in not only setting up the mood and time but also reflecting the deftness of the characters of the game in their deadly art, which is akin to a dance in its fluidity. There is genuinely moving and engaging writing here and it distinguishes itself apart from the previous entries of the series in its unique style, be it the dance-like formality of the action music (Danza alla Daggers) or the haunting and wistful harp and strings mood painting (The Churning Seas of London). There is some gorgeous soloist work here from the wicked fiddle-styled string solos to the haunting solo vocals and woodwind lines. Another layer of subtext comes from the application of period music, e.g. the hymns, and evocations of the culture in rowdy bar songs and what sound like more theatrical stage songs with a humorous wink sprinkled around the album, which are a bit of a diversion from the elegant score itself but surely compliment the world Wintory is helping to create and support through his music. Austin Wintory is a composer I'll continue to keep my ears perked up for.

[Quintus 5,399]

That makes me want to play the game just so I can enjoy the music in its intended context. The problem is I'm tired of the franchise.

[crocodile 8,017]

Basic Instinct (Quartet Records) - my review.

Karol

[Koray Savas 2,251]

That makes me want to play the game just so I can enjoy the music in its intended context. The problem is I'm tired of the franchise.

I need to delve into and learn more about Ubisoft's internal structure. The same game director did both III and Unity and those are the only two AC games I was never able to finish, so I attribute that fact to the development team. Syndicate looks like it'll be a lot like Black Flag, but I know you weren't able to finish that one yourself. I picked it up along with Mad Max this past week, so I'll let you know if it's different in any drastic way.

[Gruesome Son of a Bitch 6,488]

Return to Oz OST

Masters of the Universe OST

[Incanus 5,715]

Return to Oz OST

Masters of the Universe OST

Conti's score has the power!

[Unlucky Bastard 7,782]

He'll be back.

[Quintus 5,399]

That makes me want to play the game just so I can enjoy the music in its intended context. The problem is I'm tired of the franchise.

I need to delve into and learn more about Ubisoft's internal structure. The same game director did both III and Unity and those are the only two AC games I was never able to finish, so I attribute that fact to the development team. Syndicate looks like it'll be a lot like Black Flag, but I know you weren't able to finish that one yourself. I picked it up along with Mad Max this past week, so I'll let you know if it's different in any drastic way.

In the end I did finish Black Flag, but it was a grind and a chore seeing it through. I just ended up ignoring everything on the map bar the main quest line. I thought it was a brilliant world, though. The seafaring side was a revelation.

Mad Max is the game I'm embedded in right now, it's bloody sublime once you devote some serious time to it. At first it all seems quite light and simplistic, but the satisfying RPG elements you can put into both your character and your car really begin to pay-off and making your vehicle faster, stronger and better equipped really becomes the driving force in the game. That, and I think it's possibly the most breathtakingly stunning open-world I've seen in games. I can't keep away from its brilliantly engrossing capture mode!

[Bespin 8,484]

Star Wars - Best of Star Wars (based on the new Spotify Playlist)

Great selections!

[nightscape94 965]

Concerto for Trumpet and Orchestra by John Williams (The Finnish Radio Symphony Orchestra, soloist Jouko Harjanne): I vastly prefer this performance of Williams' superbly athletic and virtuosic trumpet concerto to LSO/Sandoval version.

Indeed, and it's not even close. This new version is far and away better than the premier recording with Sandoval, who is just not cut out to perform something of that caliber and technical complexity. Truthfully I didn't entirely care for the work until I heard the Harjanne version. It's like I'm truly hearing it for the first time.

[DreamTheater 131]

Mission: Impossible - Rogue Nation (Joe Kraemer)

Well, it starts well enough, two great tracks holding some excellent writing and a stunning recording mix. I thought I was in for a hell of a ride.

After those two tracks, my interest takes a serious nosedive and from track 7 onward it's pretty much suspense cue after suspense cue, where nothing much happens.

So I fall asleep mentally until track 15 where it becomes action-packed again, but then we're already at the end of the album.

[Dixon Hill 4,234]

Yeah it's a bit deceptively uninteresting.

[Koray Savas 2,251]

That makes me want to play the game just so I can enjoy the music in its intended context. The problem is I'm tired of the franchise.

I need to delve into and learn more about Ubisoft's internal structure. The same game director did both III and Unity and those are the only two AC games I was never able to finish, so I attribute that fact to the development team. Syndicate looks like it'll be a lot like Black Flag, but I know you weren't able to finish that one yourself. I picked it up along with Mad Max this past week, so I'll let you know if it's different in any drastic way.

In the end I did finish Black Flag, but it was a grind and a chore seeing it through. I just ended up ignoring everything on the map bar the main quest line. I thought it was a brilliant world, though. The seafaring side was a revelation.

Mad Max is the game I'm embedded in right now, it's bloody sublime once you devote some serious time to it. At first it all seems quite light and simplistic, but the satisfying RPG elements you can put into both your character and your car really begin to pay-off and making your vehicle faster, stronger and better equipped really becomes the driving force in the game. That, and I think it's possibly the most breathtakingly stunning open-world I've seen in games. I can't keep away from its brilliantly engrossing capture mode!

Yeah I've heard nothing but good things about it's progression systems and open world design. Looking forward to it, despite my complete engrossment with other titles, at the moment.

[Gruesome Son of a Bitch 6,488]

Star Trek: The Motion Picture OST

Certainly not a bottle cap.

[Dixon Hill 4,234]

That's one where I can definitely listen to the complete version with pleasure.

[crocodile 8,017]

I don't like your new avatar, TGP. Thought we were friends.

Interstellar

Karol

[Gruesome Son of a Bitch 6,488]

ST:TMP is a score where I prefer the original album.

[crocodile 8,017]

I think this is the kind of score that works on any album. Because the film doesn't ever come in the way of Goldsmith's music, it can flow. And flow it does.

Karol - who likes all three programmes (and the alternate score, too)

[Not Mr. Big 4,639]

Revenge of the Sith - "Padme's Rumination"

Great cue! Eerie, atmospheric, and totally unique to the Star Wars soundscape. I hope Williams applied the same kind of experimentation to The Force Awakens that he did for this score.

[Dixon Hill 4,234]

I don't like your new avatar, TGP. Thought we were friends.

Interstellar

Karol

You forgot how we do things, Karol. You've gotten too soft. Too trusting. Especially with women.

[Gruesome Son of a Bitch 6,488]

Star Trek: Nemesis complete score

Occasionally a hard listen, specifically throughout tracks 7-17 (!). I still really enjoy this one.

[Unlucky Bastard 7,782]

STTMP does meander a bit in complete form. Nemesis however hooks me with Jerry's trademark frantic suspense music.

[steb74 53]

Revenge of the Sith - "Padme's Rumination"

Great cue! Eerie, atmospheric, and totally unique to the Star Wars soundscape. I hope Williams applied the same kind of experimentation to The Force Awakens that he did for this score.

I'm pretty sure that a cue from Apollo 13 was the temp for this track, synth choir and all.

Not really being very familiar with the movie or the score I couldn't tell you the name of the cue but in the movie (Apollo 13) towards the end I remember a scene with one of the astronauts (Tom Hanks?) maybe looking out into space or something while back on earth his wife was looking out of a window and the music was very reminiscent of Padme's Rumination, a scene which also has Anakin and Padme in a similar kind of contemplatory situation.

No big deal though.