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


Ollie

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Angels in America by Thomas Newman: All the best Newman has to offer in one neat package.

 

Perfurme by Tom Tykwer et al.: Not bad. 

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18 minutes ago, Disco Stu said:

Prancer - Maurice Jarre

A Christmas Carol - Nick Bicat

 

 

Stromberg recording Herrmann is just heaven.

 

Do you prefer Stromberg's Fahrenheit over McNeely's? Just curious. If I remember correctly, the McNeely could have had better timing between instruments in some tracks.

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7 minutes ago, Jurassic Shark said:

 

Do you prefer Stromberg's Fahrenheit over McNeely's? Just curious. If I remember correctly, the McNeely could have had better timing between instruments in some tracks.

 

The scores that Stromberg recorded for Tribute are perfect, across the board.  To my ears at least.

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Harry Potter and the Prisoner of Azkaban (La-La Land)

 

It's fantastic. There's so much here that wasn't on the original OST, and having it all makes the Azkaban musical experience so much better 😃

 

Plus I just love the Firebolt and End Credits Suite track - it brings the new and older HP thematic material together for one last time before Williams bows out of the wizarding world, and is just an all round great finale to the set.

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I went to bed listening to Goldsmiths finest piece of all time the Enterprise and finished with a Williams duo of Close Encounters of the Third Kind endtitles and Adventure on Earth. Its like dying and going to heaven.

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Those are no match for the Enterprise. Hell John Williams has only a handful of cues its equal.

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Jane Eyre by John Williams

 

Jaws (Intrada set) by John Williams

 

Two very different but equally wonderful scores from the 1970's.

 

Star Wars Episode II: Attack of the Clones (complete edit) by John Williams

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With all due love and respect to Jerry Goldsmith, Bruce Broughton, John Scott, Dimitri Tiomkin, Ennio Morricone...sorry, pardner. Fievel Goes West is where it's at for me when I want to rustle me up some rootin' tootin' ol' cowboy film scorin', y'hear? It's all the fun of a wacky Western, without all the fat that plagues even the greatest other Western scores out there (uneventful suspense cues, tone that's too self-serious for my tastes). It's how the west was fun!

 

 

 

 

 

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The HP set, on repeat since Tuesday.

So glad to have Azkaban complete, somone mentioned wishing Williams worked with Cuaron again, I kind of agree.

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2 minutes ago, Faleel J.M. said:

The HP set, on repeat since Tuesday.

So glad to have Azkaban complete, somone mentioned wishing Williams worked with Cuaron again, I kind of agree.

 

It's interesting, Cuaron has shown zero inclination that he cares about working with composers more than once.  He worked with Patrick Doyle twice in the 90s and hasn't returned to a familiar composer once since.

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7 hours ago, Disco Stu said:

It's interesting, Cuaron has shown zero inclination that he cares about working with composers more than once.  He worked with Patrick Doyle twice in the 90s and hasn't returned to a familiar composer once since.

 

 

To be fair, only two of his movies since Great Expectations had a "proper" film score, anyway. With Williams the choice was already made and with Gravity, Steven Price was brought on initially as a music editor and since Cuaron's ideas didn't really lend themselves to a regular temp, he started creating his own sound design and Cuaron liked it so much that he just hired him to score it. 

 

Y Tu Mama, Children of Men, and Roma don't have scores to speak of, except the Tavener piece which is also a special case. He hasn't really taken the traditional approach since Azkaban (maybe he just knows it's never gonna get better than that :P)

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2 minutes ago, Richard said:

It's not bad, at all.

It reminds me of the Ford Anglia music, from COS, which is no bad thing, nor a criticism.

 Is that Drew Struzan artwork?

 

Not sure, but it's definitely some nice art. 

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Interesting chamber-sized approach - based on old english folk songs for this story of the 1819 Peterloo massacre where British forces attacked a peaceful pro-democracy rally in Manchester. Yershon did a similar thing for Mr. Turner and is next to Greenwood one of the few composers for widely distributed pictures interested in small ensembles and it's a relief from the bombastic sameness we have come to expect form bigger productions.

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