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


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Star Wars: The Force Awakens John Williams

 

Finally gave this another go after a while. Definitely liked it much more this time around, but I think this particular listen did remind me why Williams is rather tough for me to get into. If I had to boil it down, he puts so much work into his underscore that when you're casually listening to it, it's easy for it to just pass you by. Like, I was a bit thrown off when it got to the end, as it didn't feel like it dragged in the slightest. Especially as it's been a thing recently for me to feel every minute of an expanded score. It was really refreshing to hear something that went at a more steady pace. So for someone like me who's a bit more for the on the nose sort of scoring of today, it's easy for someone like JW to completely throw me off. Can't say I suddenly love it now, but it does put me one step closer to figuring out what sort of scoring truly speaks to me.

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An all Williams recent listening string.

The Book Thief

This score never fails to transfix me.  Exquisite stuff.  Melodies that have so much feeling.  Underscore with so much inner motion.  One of my favorite scores period.

 

The Rise of Skywalker

I like this score more and more.  

 

The Return of The Jedi

Another great one.  This listen raised it in my estimation.

 

Trumpet Concerto

The Hooten recording really brought out how special this concerto is.  Outstanding stuff.

 

Close Encounters of the Third Kind

Perhaps John's greatest symphonic triumph.  So, so good.  Achieves immense thematic and musical heights.  My only real problem is the inclusion of "When You Wish Upon A Star" in the finale.

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The Grudge - Christopher Young

 

Had to wash my mouth from the taste of the horrible 2020 remake and its subpar score. Young's score is genuinely unnerving but with a lovely theme, dramatic structure and Gothic beauty. I think he uses his theme better in the sequel, but this is a nice lite Young horror score. Too bad his Pet Sematary score wasn't like this.

 

 

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4 hours ago, Jurassic Shark said:

That's very tastefully done. Love it!

 

4 hours ago, Naïve Old Fart said:

That was Spielberg's idea. I like the variation, during the end credits.

Immensely tasteful, and I know it was Spielberg's idea, but that's just it.  It kind of affects the work's artistic integrity in my eyes.  But that's just a personal gripe.

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I can understand M:I-III being uninteresting. Ghost Protocol? Now you're just being biased at that point. :P

Though to be fair, I'm still fairly new to this score listening thing, so a couple of slaps to the face with whatever you guys consider proper adventurous spy music might get me on the right track. I really did like Goldfinger, after all.

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On 1/6/2020 at 11:03 AM, HunterTech said:

to

 

On 1/7/2020 at 3:21 AM, SteveMc said:

An all Williams recent listening string.

The Book Thief

This score never fails to transfix me.  Exquisite stuff.  Melodies that have so much feeling.  Underscore with so much inner motion.  One of my favorite scores period.

 

 

I’m really glad someone else loves this score as much as I do. 

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We make fun of Zimmer, but really, when was the last time Marco Beltrami scored a movie by himself? Actually, when was the last time he was the sole composer credited, without one of his own minions (Brandon Roberts, Marcus Trump, Buck Sanders, etc)?

 

And, unlike Zimmer, Beltrami's minions haven't developed a well established career of their own 😕.

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It is not mandatory to have a movie scored by a single composer, nor is it necessarily the desire of a musical collaborator like Sanders to make it big outside of said collaboration. It really isn't important if the result is convincing (which it isn't, at. least not musically, unfortunately).

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15 minutes ago, publicist said:

It is not mandatory to have a movie scored by a single composer, nor is it necessarily the desire of a musical collaborator like Sanders to make it big outside of said collaboration. It really isn't important if the result is convincing (which it isn't, at. least not musically, unfortunately).

 

I know that, but I do find a little amusing that some of Beltrami's earlier efforts on the 90s and 2000s credited him as the single composer (the Scream series, Hellboy, I, Robot, Live Free Die Hard, Terminator 3, 3:10 to Yuma), while he most recent scores are all composed in collaboration with some other guy. If I'm not mistaken, the last score from which he was the only credited composer was 2017's Logan.

 

I don't hate the guy, there's some scores from him that I like, almost all of them from his career until 2013, 2014 (wasn't a fan of stuff like Ben Hur, A Quiet Place, Logan, etc). But I think it's funny nonetheless.

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A Fish Called Wanda, John Du Prez

 

Starsky and Hutch, Theodore Shapiro

 

and Shadows of the Empire, Joel McNeely

 

always a weird one to me the last one. A soundtrack but not a soundtrack (for the book but not quite). I suspect if JW had done this, there'd have been a lot more of Leia's theme, Force theme etc. As it is I quite like it. The use of the Carbon Freeze for Leia's Nightmare is a nice touch, Night Skies is evocative and Destruction of Xizor's Palace has one of my favourite renditions of the Imperial theme. 

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TROS OST, finally. It's amazing how this forum raises your expectations to impossibly high standards.

 

I honestly don't like it that much. Okay, the final tracks are great, but the finale could have been much, much more and the album opens with downright dull material. I still feel TFA is better on every level. Everything just went downhill from there, though one could obviously argue that this isn't just JW's fault.

 

Then the OST also doesn't contain the three things I really wanted: Rey training, Finn and Jannah's little First Order conversation and 'but there's more of us' in some battle or another.

 

The themes aren't memorable either, but then again I also needed time to love the TFA themes.

 

I dunno, this just wasn't the grand conclusion I was hoping for at all.

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