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


Ollie

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Godzilla by David Arnold.

Being the ID4 fanatic I was in those days, I remember how pissed off I was when looking at the original album for this and my worst fears were realised. A fucking song comp. And two piddly score tracks at the end. Even then I knew it was a desperate marketing move. Fuck the score fans, they said!

Anyhoo, the 2-CD from LLL is probably about as close to an extension of ID4 as I'll ever get, since it ain't coming in 2016! Godzilla is more like ID4's impossibly louder and outrageously more bombastic sister score.

It's equally gasmic as its Emmerich-directed predecessor, back before he developed tin ears after The Patriot. It's definitely a more colourful score than ID4, with more rhythmic variety and a chaotic collision of rich fanfare and menacing bombast. Holy shit they don't sound like this anymore.

But it does lack the more cohesive narrative structure of ID4, which does bring it down a notch. Admittedly the action music can be repetitive and unremittingly loud. But Arnold still writes in circles around whatever lame drones they tend to churn out today.

Desplat impressed me a great deal with his score to the 2014 reboot, but it doesn't quite measure up to Arnold's misunderstood masterpiece from this long running franchise.

Love this score to bits. It's one of those "if you were stuck on a desert island, which soundtracks would you want with you?" score.

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Godzilla by David Arnold.

Being the ID4 fanatic I was in those days, I remember how pissed off I was when looking at the original album for this and my worst fears were realised. A fucking song comp. And two piddly score tracks at the end. Even then I knew it was a desperate marketing move. Fuck the score fans, they said!

Anyhoo, the 2-CD from LLL is probably about as close to an extension of ID4 as I'll ever get, since it ain't coming in 2016! Godzilla is more like ID4's impossibly louder and outrageously more bombastic sister score.

It's equally gasmic as its Emmerich-directed predecessor, back before he developed tin ears after The Patriot. It's definitely a more colourful score than ID4, with more rhythmic variety and a chaotic collision of rich fanfare and menacing bombast. Holy shit they don't sound like this anymore.

But it does lack the more cohesive narrative structure of ID4, which does bring it down a notch. Admittedly the action music can be repetitive and unremittingly loud. But Arnold still writes in circles around whatever lame drones they tend to churn out today.

Desplat impressed me a great deal with his score to the 2014 reboot, but it doesn't quite measure up to Arnold's misunderstood masterpiece from this long running franchise.

Love this score to bits. It's one of those "if you were stuck on a desert island, which soundtracks would you want with you?" score.

I don't know. Always thought Godzilla had the strongest arc in all the Emmerich/Arnold collaborations.

Karol

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Star Wars: Revenge Of The Sith

The first time in a long while since I have listened to it.

Technically impressive and impeccable.

But it's mostly windowdressing, ornaments, flourishes, there isnt much really there.

For ROTS John Williams was like a brilliant mortician, using every trick in the book to make the corpse look presentable to the family for the open casket wake.

But that doesnt change the fact that the person is still dead.

John had to do the same trick with the previous two scores, and somehow, miraculously pulled it off. But not with this one.

Brilliant on the outside. hollow and dead within.

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I don't know. Always thought Godzilla had the strongest arc in all the Emmerich/Arnold collaborations.

Karol

I can almost hear Arnold struggling to maintain a consistent tone in the score. Like who's bad, who's good, how's that identified? But I think that's more the filmmakers' fault since they couldn't work that out either. Arnold obviously managed, but not without a lot of hairpulling.

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Brilliant on the outside. hollow and dead within.

I would say the same about TFA. Or, phrased differently, all are brilliantly written in their own way, but it's Williams trying to overcome by sheer intellectual application the fact that he - i suppose - has no connection to movies like this anymore.

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A high level of technical acumen, but there's no, or not much detectable, fire in it. These scores will always be measured against the big romantic operas of Part IV to VI and in that regard, i listen to the new SW scores and find a lot of motion but it starts falling apart at the seams. There is so much frenetic note-mongering going on in cues like 'I am the Senate' or, i. e., 'The Rathtars!' and it isn't really in aid of much but kind of plods along.

Which has imho as much to do with Williams in the 2000's being a different composer with maybe loftier aims but even more with the music having a much smaller role in today's moviemaking style.

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Yeah this having music as an afterthought just because "it has to have music" instead of having the music as another serious narrative instrument sometimes wields odd results.

In this sense I sometimes quite like Tarantino's sensibilities with music, even if he uses preexisting music (or sometimes goes a bit overboard).

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MI0003984968.jpg?partner=allrovi.com

 

THE HUNGER GAMES: MOCKINGJAY PART 2 - James Newton Howard

 

Built-in box office success doesn't always translate into automatic soundtrack community interest, sometimes - as in this case - the baggage of being attached to a series of rather pubescent books diametrically opposes such. James Newton Howard's supreme ability to blend into the background like an especially expensively mounted roman column adds to the misery.

 

In reality, these score's aren't bad at all. But they suffer from overexposure, lots and lots of unnecessary, musically vapid wallpapering to cover whatever unwelcome quiet spot threatens the frenzy activity of 123 Dolby Atmos-channels. It's a chore to sift the chaff from the wheat. But JNH has graced the series with some indeed very good themes that seem elusive at first but once you get attached to their dreamy and distaff ways, you'll not forget them: part wafting, angelic new age, part folksy americana, part Joan Baez-protest song, they are clearly identifiable as part of THE HUNGER GAMES.

 

But while you could work out a pretty great album from all 4 scores, there are 3 more hours to go and they're hard work. And not gratifying either. Suspense chords drawn into eternities, crashing electronics, nuisance alarms that awake you to announce the next ones, overly bassy loops and pedestrian pedal points, all the stuff that gives blockbuster scoring a bad name.

 

So for this new album, which runs an excruciatingly 75 minutes, you could extract the following tracks:

 

Send Me To District 2

Stowaway

Your Favorite Color is Green

Transfer Command

Mandatory Evacuation

Rebels Attack

Plutarch’s Letter

Primrose

There Are Worse Games To Play / Deep In The Meadow / The Hunger Games Suite

 

...and if you like loud, relentless action scoring without much thematic identity, add 'Sewer Attack' and you still got a 50-minute album that is more than enough.

 

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The Force Awakens FYC Academy Promo

 

It's baffling and really admirable how Williams can just delete massive highlights of his scores when assembling the albums. In the case of TFA, a score I cared about more than the movie, listened to countless times before seeing the movie and could barely hear while experiencing the movie, you'd never have been able to tell that a bunch of great music was removed before it could emanate from your speakers and enter your soul. The casual brutality of it. I have a lot of respect for guys like Williams and Goldsmith, who would leave incredible music off the album as if it wasn't anything worth listening to. Those are real composers.

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Not sure if they're casual about the process. I remember reading that Goldsmith had a difficult time creating a satisfying 30-minute OST for Air Force One because there was more good music he wanted to include, but was impeded by expensive reuse fees.

 

What's on the TFA promo that wasn't on the album? I'm aware of it but I haven't been following this development.

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The Attack on Jakku has really good missing music that was seamlessly removed from the album, as do the early action cues (Follow Me and The Falcon are combined as in the film), the film version of Snoke is completely different and better in my opinion, Kylo Ren Arrives at the Battle has an incredible rendition of his theme, there are a bunch of tracks with the Resistance March that weren't on the OST and The Bombing Run, which has a Desert Chase-esque fanfare.

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Star Wars Episode III: The Revenge of the Sith by John Williams

Perhaps the most disparate of the SW scores, but it also features some of Williams' most moving work. Looking back at his careers RotS ranks among the few scores that truly manifest tragedy in the grandest of fashion, and his flair for such dramatic sensibilities truly shine here. There are moments, in the action department, where you could here Williams burnout, but he really put his all when it came to defining the scale of the tragedy Lucas attempted to depict. As haphazard as the OST might be (which really doesn't do the score justice I think), its a score with some marvellous highs.

 

Star Wars: The Force Awakens by John Williams

Over the last couple of days, this score has really opened up to me. There's a newfound vitality in it that really gets to you. That, and the level of wholesomeness that the prequels generally lacked really makes this one a very satisfying experience, even if a little subdued in some other departments. I still wouldn't rank it over the prequels, but it has now officially edged out Morricone as the score of the year. 

 

 

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There's a wide gulf between taking a score for what it is and congesting hundreds of threads with irritating fanboy nonsense. But there you have it, enjoy it as long as it lasts.

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Home Alone by John Williams

 

Angela's Ashes by John Williams

 

Indiana Jones and the Kingdom of the Crystal Skull by John Williams

 

The Nativity Story by Mychael Danna

 

Rosewood by John Williams

 

Star Wars: The Force Awakens by John Williams

 

Joy to the World (John Williams and Boston Pops Orchestra)

 

We Wish You A Merry Christmas (John Williams and Boston Pops Orchestra)

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13 minutes ago, Koray Savas said:

This type of explosion happens on the board with every new Williams score. Just look at how many guests view the board now. 

 

We should just ignore it. A new John Williams Star Wars score? No big deal unless you're one of the uncultured riff-raff commoners. Let's go back to discussing the consummately artistic but also profoundly philosophical scores for Images and Thomas and The King.

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4 minutes ago, E.T. and Elliot said:

 

We should just ignore it. A new John Williams Star Wars score? No big deal unless you're one of the uncultured riff-raff commoners. Let's go back to discussing the consummately artistic but also profoundly philosophical scores for Images and Thomas and The King.

I'd leave Thomas and the King off that "consummately artistic and profoundly philosophical" list. Good ol' Johnny is not at his best in the world of musicals.

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7 minutes ago, E.T. and Elliot said:

 

We should just ignore it. A new John Williams Star Wars score? No big deal unless you're one of the uncultured riff-raff commoners. Let's go back to discussing the consummately artistic but also profoundly philosophical scores for Images and Thomas and The King.

 

You certainly made your point of just how big a deal it is all over this board since November. And i'd wager the cumulated posts on IMAGES and TATK don't amount half of your post speculating about engraved Walmart editions so please let others be as well.

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17 minutes ago, Drax said:

 

What's the occasion? 

Merry Christmas! Merry Christmas! Sing a song for the glorious season!

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I felt like something a little different this morning so I listened to The Eiger Sanction. Old school Williams orchestration sparsity (better for album listens than his ultra sophisticated modern sound), some chilled jazz and a bit of prog rock in the middle made my final drive to work before the break much more enjoyable than it might have been. A dated but diverse 3 out of 5 score. 

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