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


Ollie

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51 minutes ago, crocodile said:

I was a bit disappointed with that Intrada album actually. Didn't feel that necessary in the end.

 

I didn't expect and expansion to be very significant, and it isn't. One or two nice moments as far as I recall. The film version of Red Route I doesn't live up to the album version (included as an alternate). Although it's just a mixing trick (and with lots of dirty editing), the a-cappella bits in the end titles are surprisingly cool.

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Why in the world would I comment on you buying or not buying a Red October expansion? I didn't even remember there was one; I've never seen the film and never heard the score.

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31 minutes ago, WojinPA said:

The Hunt for Red October is the only Jack Ryan film and movie I've ever bothered with. And both are great. 

There's nothing to recommend music-wise in it, but Shadow Recruit was actually quite good.

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On 15/07/2016 at 8:31 AM, publicist said:

 

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.

 

 

 

 

 

Thank you for that, Pub! I have now heard "Dream Jars". Not bad. Will sit down to give it a proper listen, this week.

 

 

22 hours ago, Fennel Ka said:

Cleopatra - Alex North

 

From beginning to end; pure class!

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:music: M:I:III by Michael Giacchino. His first big live action film score. I always liked it. Some cues might be a bit clunky and overwritten but there are some very nice highlights. 

 

Karol

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The Rocketeer (Intrada release) by James Horner: This is simply magnificently good fun! Big, bold, melodic and energetic. Brilliant! :)

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The Shawshank Redemption (LLL set) by Thomas Newman: One of Newman's best with all the elements that made me fall in love with his music in the first place and the LLL double CD set just adds more of the goodness into the mix. While no theme and variation affair the dramatic outline can be easily followed through the use of several distinct setpiece themes/ideas that tie together various scenes and ultimately the whole film.

 

The Rocketeer (Intrada set) by James Horner: Had to listen to this again. Infectious and as I said above just such tremendous fun from start to finish. Although the old album contained all the lenghtier setpieces the new release adds a good amount of material to make the musical journey feel even fuller than it was before and the beautifully crafted dramatic arc is further enhanced.

 

The Ghost and the Darkness (Intrada set) by Jerry Goldsmith: I liked the score before but the full film version on the Intrada release catapulted this among my absolute favourite Goldsmith scores. Majestic, fierce, exotic and exciting this one has it all and done with such Goldsmithian panache as the maestro mixes synths, British and Irish melodies translated into symphony orchestra, tribal chants and driving percussion into a riveting whole.

 

:music:Conan the Destoryer by Basil Poledouris (Tadlow re-recording)

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Star Trek V: The Final Frontier complete score

Star Trek: Deep Space Nine Collection

Star Trek: First Contact complete score

Star Trek III: The Search for Spock complete score

 

Many Trekgasms were had on this day.

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Fernando Velazquez - Crimson Peak

 

I can't get enough of his timeless style. He's the Composer that I'm most excited about for the future. In film music terms he's just getting started, and he's already written many scores that seriously impress. 

 

I adore his string writing, and his memorable melodies that translate beautifully throughout all instrument groups.

 

 

 

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