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


Ollie

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6 hours ago, Shatner's Rug said:

Where'd you find this score??

 

It's from Goldsmith.

 

Star Trek: Deep Space Nine Collection

Star Trek II: The Wrath of Khan

Star Trek: The Motion Picture OST

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More findings about Grim Fandango: Many of the exclusive tracks on the extended release are actually cues that were on the old album but didn't make it to the regular remastered album.

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Star Trek: Generations

 

I just want to give mad props to the Star Trek: Deep Space Nine Collection. DS9 truly had the best music of any of the post-TOS Treks. I still don't get the fascination with the TNG music. So much of that stuff has been released and even I can't get into a lot of it. This may be my favorite Star Trek music release ever. We're ready for more DS9 volumes. I'd pay any price. Go to any lengths.

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2 hours ago, Marian Schedenig said:

More findings about Grim Fandango: Many of the exclusive tracks on the extended release are actually cues that were on the old album but didn't make it to the regular remastered album.

 

Thanks to this threadm I've been greatly enjoying this release. Such a great score

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John Williams - The BFG

Love this more every time I listen (which, admittedly, hasn't been that many times, with so much else to listen to right now)

 

 

Basil Poledouris - Starship Troopers

 

The new Varese DE sounds ace!

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21 hours ago, Koray Savas said:

If you guys like Grim Fandango I recommend Stick It To The Man!

 

A wonderful quirky jazz score for one of my favorite indie games that went completely under the radar.

 

 

Reminds me of this:

 

 

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On 7/11/2016 at 11:49 PM, Shatner's Rug said:

Me too!

 

I wish MGM hadn't abandoned their plans for a Stargate Atlantis direct-to-video movie, we would've had a nice CD release with it, a la Stargate: The Ark of Truth and Stargate Continuum.

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Really? Oh, shit!

I pop down to my local store, tomorrow, to pick it up. I hope that I won't regret it, but if it turns out to be a dog, at least I'll have my fabulous 4K "Highlander" to fall back on...and my Steve Hackett

re-issue.

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The BFG - John Williams

 

So for Richard i will do a quick write up though it's not something i feel much interest in writing about. Mainly because there's always the nagging feeling of repeating yourself as much as the composer does - so what could be written about 'The BFG' that highlights what this score does that the baker's dozen of similar things that came before it didn't? 

 

I'd point out the considerable lightness, mainly achieved by an ever-present woodwind section that always comes in handy when things threaten to get too scary (a problem that befuddled the woefully overwritten first Potter score where every knock on a door was scored like the destruction of Sodom). It's nothing new in Williams' oeuvre and draws heavily from Stravinsky's ballet 'The Firebird' (think of 'Hook's tinkerbell music) but instead of the fairly scene-specific use in earlier scores Williams writes much more impressionistically here and it helps assorted cues immensely to achieve a shimmering glow for a prolonged period of time (really the only reason i kept on listening). The long and drawn out music for a night out in giant country is a great example of this and probably the score's biggest asset, due to Spielberg's relaxed lingering on the proceedings that allowed Williams to rest his dramatics for a while (also to be found in 'Dream Jars').

 

Which is a good thing because whenever heavy chases, flights or bonding scenes are in order it's all very reminiscent of old tricks and gimmicks that may entertain the JW grailkeepers but are frankly at this point very tiring for the seasoned listener. I don't need any further proof that Williams can write an innocuous long-lined tune for a children's movie like 30 years before or quote his old successes but that's exactly what we get here and it's not expecting too much from Spielberg and Williams to change horses once in a while (the insistence on full symphony orchestra with traditional groupings may be a general culprit and constricting yourself to a less well-trodden cast may have helped a lot of similar scores especially by young and upcoming composers seeking a break in Hollywood - they frankly sound interchangeable in tone and content).

 

So what you're left with is - as expected - a maestro-level of craftmanship that can help you over the redundancies (the sheer perfection of some moments) but taken as a whole it's ultimately more disappointing than invigorating.

 

 

 

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Very eloquently put, sir!

 

Although I sort of like his Desplatian main theme.

 

I guess you only really need the finale suite track (and it's a weak one for Williams) and Dream Jars... And that's about it.

 

Karol

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17 minutes ago, Fennel Ka said:

Live an Let Die - George Martin

 

I love the Solitaire motif and the title song.

 

Definitely among the better non-Barry Bond scores.

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4 hours ago, crocodile said:

Very eloquently put, sir!

 

Although I sort of like his Desplatian main theme.

 

I guess you only really need the finale suite track (and it's a weak one for Williams) and Dream Jars... And that's about it.

 

Karol

 

How've you been mate? Feeling better I hope. Just hold on there, it gets easier with time. 

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24 minutes ago, Disco Stu said:

 

Definitely among the better non-Barry Bond scores.

Yeah! it was nice to revisit this after Bondcast's For Your Ears Only finally covered it.

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36 minutes ago, Fennel Ka said:

Yeah! it was nice to revisit this after Bondcast's For Your Ears Only finally covered it.

 

That means Man With the Golden Gun is next!  My personal favorite Barry score for Bond.  I have no objectivity when it comes to Bond soundtracks, it's all too tied up in my memories and affection for the movies themselves.

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42 minutes ago, crocodile said:

I'm good. Still trying really hard to like The BFG. I will get there. I might give me hemorrhoids in the process. But I will like it... one day!

 

I tried that with 'Angie'...didn't work.

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51LawmrYdGL.jpg

 

Titanic (stereo downmix of the 5.1 SACD)

 

From the moment you press play on this album, it's iconic. Go up to some random fuckup on the street and play it for them. Guaranteed, they'll recognize it. Good luck to all present and future composers in achieving this, a mega hit song and the sales of this soundtrack album, which will likely never be topped in our lifetimes. Look down your nose at it all you want. It's impossible to argue with the man's success.

 

The Horner will go on.

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Godzilla (BSX)- Arnold

 

https://images-na.ssl-images-amazon.com/images/I/71zPtlrsnSL._SL1000_.jpg

 

After two listens I can say that I really like this score.  It's with a bit of self-loathing that I admit that I've seen the movie quite a few times when I was younger (owned it on VHS!), and enjoy it to an extent that I don't quite understand.

 

That being said, listening to the score now, I don't actually recall any of this music in the movie outside of maybe the primary Zilla theme.  Based on the booklet and some research it was obvious that the music for this movie was treated with some rather nonchalant butchering, and buried much further down in the mix.

 

I will also say that the overall thematic material, perhaps due to the nature of the film's post-production, was a bit more elusive, and sounds much less worked into the score than I'm used to with the Arnold.  There are a bunch of themes that I hear now, but I'm still working on figuring out who or what they're for.  Can someone clarify what this represents?  It's the best theme in the score and I've only noticed it twice:

 

Here:

 

 

and here:

 

 

 

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How to Train Your Dragon by John Powell

 

The BFG by John Williams

 

The Lord of the Rings: The Fellowship of the Ring by Howard Shore

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Been listening to Poledouris this week.

 

 

Conan The Barbarian

In its complete form this masterpiece of a score reveals its true depth and variation. 

From oppresive and almost hypnotic liturgy and soaring romantic melodies to rhythmically intense drums and massive horns, this score is epic, yet a deeply personal work 

 

Conan The Destroyer

The Tadlow rerecording finally does this score justice. Yes its not the magnum opus that the first one way. But considering the short timespan it was written in its surprisingly dexterous. Basil makes good use of a few of his themes from first film. With some excellent rendition of the love theme as highlights. Somr strong new themes too. With a new heroic one for Conan that sounds almost Goldsmith like. Its a lighter affair then the big brother, and not as consistent. But with a few excellent set pieces.

 

The release ends with a rerecording of the Conan adventure stage play thingy. Basil's last foray into this world. To his credit he didn't just stitch his previous scores together, but created something brand new. There are call-backs to both of the film scores, but always newly adapted.

 

 

 

Farewell To The King

Basil does Barry, essentially. But he does it really well. A good epic theme. And a interesting class between British regimental music and ethic stylings.

 

Flesh + Blood

Often compared to Conan, but stylistic it's rather different. More middle age then pre-historic. Two excellent love themes. A battle theme, a "merry men traveling" theme and Basil's excellent sense of period and drama make this an distinctive and very enjoyable listen. A great acompinament to Verhoevens first English language film which can only be described as Verhoeven does Game Of Thrones.

 

The Hunt For Red October (OST)

Still a classic. Need to pick up the expanded edition. (and no Jason, I dont need any comments from you about how it's possible that I havent done so already)

The synths are hugely dated of course, but still fun.

 

Robocop 3

Lighter then his first Robocop score. Primarily because the orchestra sounds a lot smaller. But he return to his old themes and mixes them very well with a few new ones. Some excellent action kusic in this.

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3 hours ago, Stefancos said:

 

The Hunt For Red October (OST)

Still a classic. Need to pick up the expanded edition. (and no Jason, I dont need any comments from you about how it's possible that I havent done so already)

The synths are hugely dated of course, but still fun.

 

 

That one rocks!

 

 

 

:music: Viva Zapata! - Alex North

 

Alien 3 - Elliot Goldenthal

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Yeah, I always assumed from listening to the OST that it would be nice to flesh out the material but after getting the Intrada album I can't remember anything new that felt that notable. And the end credits suite is essentially taken from film stems so it doesn't sound that great. And the overall sound is not drastically improved. Too much fuss about nothing, to be honest. My advice: listen to the release first and then make up your mind.

 

Karol

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