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

[Edmilson 9,819]

On 2/16/2020 at 4:15 AM, HunterTech said:

. I also couldn't help notice parts that I'd hear again in later works (particularly POTC4 and Dark Phoenix)

 

Where is this idea on Sherlock that gets repeated on Pirates 4 and Dark Phoenix? I don't think I've ever catched it... Can you point me where it appears on the respectives OSTs?

[Kasey Kockroach 2,373]

Zimmer scores have “ideas”?

[HunterTech 1,411]

40 minutes ago, Edmilson said:

 

Where is this idea on Sherlock that gets repeated on Pirates 4 and Dark Phoenix? I don't think I've ever catched it... Can you point me where it appears on the respectives OSTs?

There's 2, actually.

Not sure what you'd exactly call it, but what I presume is this action beat (that's also in the 2nd one) pops up as one of the sub-themes for DP:

 

As for POTC, this one is a bit looser, but I think there's enough of a connection between the Adler material and the Angelica theme:

 

 

[publicist 4,647]

And another shoutout for Pemberton's latest. A real fun eclectic hybrid of AC/DC, Morricone opera(tic) (The Bertinelli Massacre) and more rowdy stuff. Pemberton continues with his ability to conjure sounds and tunes that sound fresh and homemade. It's no JWFan score (rock...d'oh!), but this guy now did two of my favourites in a row (Motherless Brooklyn), which makes him the new chosen one.

 

 

[Edmilson 9,819]

15 hours ago, HunterTech said:

There's 2, actually.

Not sure what you'd exactly call it, but what I presume is this action beat (that's also in the 2nd one) pops up as one of the sub-themes for DP:

 

As for POTC, this one is a bit looser, but I think there's enough of a connection between the Adler material and the Angelica theme:

 

 

 

Great, thanks! 

 

For the first connection, I guess this is just Zimmer's style of action music over the last decade or so, I'm pretty sure we could find something similar on such scores as Angels and Demons, Inferno, etc. But the second one is really great, never realized this connection between Irene's and Angelica's themes. Not sure if it was the temp track, or just him being similarly inspired by these two "female characters that have love/hate relationships with the main character".

 

[JoeinAR 1,953]

Signs. Still great. Ages well.

[crocodile 8,863]

 Black Panther by Ludwig Goransson. I bloody love this score, definitely one of the more fun, colourful, imaginative and just plain fun blockbuster scores in the past decade. It fulfils all the modern fad requirements of big studio film music and at the same time is cleverly written and carefully crafted. There are ideas and textures in it that vividly describe the world portrayed on screen and these ideas evolve and develop. Bit like Avatar but better. It's just a joy to listen to.

 

 

Karol

[Jurassic Shark 14,229]

Is this a PC reboot of The Pink Panther?

 

52 minutes ago, crocodile said:

There are ideas and textures in it that vividly describe the world portrayed on screen and these ideas evolve and develop. Bit like Avatar but better. It's just a joy to listen to.

 

Oh, there you did it. Embrace yourself for the storm.

[crocodile 8,863]

1 hour ago, Jurassic Shark said:

Is this a PC reboot of The Pink Panther?

 

 

Oh, there you did it. Embrace yourself for the storm.

Why?

 

 Darkman by Danny Elfman

 

Karol

[Jurassic Shark 14,229]

3 minutes ago, crocodile said:

Why?

 

 Darkman by Danny Elfman

 

Karol

 

Haven't you noticed the Avatar cult following here? They don't like to be told that the score isn't top notch...

[Edmilson 9,819]

Avatar is decent, not exactly top notch, but with some wonderful highlights.

 

One of my life's goals for 2020 is to create a playlist out of the complete recording sessions that preserve listening value and are a better representation of the score than the OST. 

[Jurassic Shark 14,229]

27 minutes ago, Edmilson said:

One of my life's goals for 2020 is to create a playlist out of the complete recording sessions that preserve listening value and are a better representation of the score than the OST. 

 

Let me know when the expansion is out, Mike.

 

[Edmilson 9,819]

34 minutes ago, Jurassic Shark said:

Let me know when the expension is out, Mike.

 

 

Considering the actual Matessino probably won't touch this score for a few years, this is the best we'll got. 

 

As it is, the *pure* recording sessions are a mess and very unlistenable, lots of alternates, lots of unused material. But you can extract a descent, comprehensive playlist out of there. We'll have the Carnaval holidays on the next few days, and if my PS4 lets me, I'll try to do it .

[crocodile 8,863]

 The Death of Stalin by Christopher Willis possessed by the spirit of Dimitri Shostakovich

 

Karol

[KK 3,310]

Titus by Elliot Goldenthal

Othello Symphony by Elliot Goldenthal

The Tempest by Elliot Goldenthal

Sphere by Elliot Goldenthal

Frida by Elliot Goldenthal

 

My faith in film music has been restored.

[JoeinAR 1,953]

18 hours ago, Edmilson said:

Avatar is decent, not exactly top notch, but with some wonderful highlights.

 

One of my life's goals for 2020 is to create a playlist out of the complete recording sessions that preserve listening value and are a better representation of the score than the OST. 

Its a 5 star score. One of the 21st centuries best.

[HunterTech 1,411]

On 2/18/2020 at 6:18 AM, Edmilson said:

For the first connection, I guess this is just Zimmer's style of action music over the last decade or so, I'm pretty sure we could find something similar on such scores as Angels and Demons, Inferno, etc. But the second one is really great, never realized this connection between Irene's and Angelica's themes. Not sure if it was the temp track, or just him being similarly inspired by these two "female characters that have love/hate relationships with the main character".

I've heard enough of his action work to say that this is the first I'm picking up on it, but I don't doubt there's a third instance in-between.

Considering how much of a miserable time Zimmer supposedly had with POTC4, all bets are on it being a temp track. I guess it's also possible that he liked that particular idea too much to not want to expand on it in a later project. A shame it had to be On Stranger Tides, given how underutilized it is.

[Bespin Copilot 9,262]

I'm currently into an intense listening marathon of the latest SW trilogy scores.

 

The Force Awakens - Definitely the playlist combining the OST and the FYC album

The Last Jedi - Definitely the isolated score

The Rise of Skywanker - Definitely the playlist combining the OST and the FYC album

[crocodile 8,863]

 Call of the Wild by John Powell

 

Karol

[Edmilson 9,819]

Sherlock Holmes: A Game of Shadows (recording sessions) - Hans Zimmer and Lorne Balfe

 

Decided to give the boot a listen, since it's been years that I listened to the (pretty bad) OST.

 

I'm not exactly a fan of the Morricone-esque Sherlock theme. It works for Downey's interpretation of the character, but still, I don't care for most of the comedic material in both scores, although the RC-sized version of Don Giovanni was fun.

 

As for the action music, until halfway through the boot I was thinking that it was very repetitive... Until I understood what were Zimmer's intentions with that score. See, much of the score is based on a riff (which I couldn't find on the OST) on basses that drives much of the action/suspense sequences. With that riff, Zimmer and Balfe create a sense of forward momentum, of constant building tension, that actually predates the "suspense built on repetition" of Dunkirk. The factory setpiece is a great example, when Zimmer finally releases the tension on 5M35 Forest Battle, the effect is great.

 

It's interesting, but to listen to the complete sessions is a chore. I guess you can use it to build a decent sized OST that represents this effect better than the woeful official OST.

 

All in all, I still prefer Pirates (specially the second and of course the third) on the realm of Zimmer scores for quirky protagonists, but this Sherlock score is better than I've thought. 

[publicist 4,647]

Barring the more crass action cues and the endless repeats of the main theme, i came up with an acceptable length of 43 minutes (putting the last cue first). The vicinity to How to Train Your Dragon's main theme is undeniable, but if that's no bother you have a diligently arranged adventure score that's clearly of a lineage with Poledouris and Debney's old White Fang scores, with a folk/pop flavour (accordion, banjo, guitar, drums) coupled with the big outdoors allusions of choir and orchestra. It's not particularly deep (the thematic material is rather obvious and hardly varied for storytelling, it's rathr a succession of pleasing pop variations), but it's nothing to sneer at, either.

 

 

 

[publicist 4,647]

Also, another shout-out for one of 2019's more enchanting melodic scores, recalling the better 90's works of guys like Horner, JNH and so forth. As it was not attached to an american blockbuster movie, it got lost in the shuffle, but anyone who claims there's no melody anymore might give this a listen. I pared it down to a manageable 20 minutes.

 

[HunterTech 1,411]

17 hours ago, Edmilson said:

Sherlock Holmes: A Game of Shadows (recording sessions) - Hans Zimmer and Lorne Balfe

 

Decided to give the boot a listen, since it's been years that I listened to the (pretty bad) OST.

 

I'm not exactly a fan of the Morricone-esque Sherlock theme. It works for Downey's interpretation of the character, but still, I don't care for most of the comedic material in both scores, although the RC-sized version of Don Giovanni was fun.

 

As for the action music, until halfway through the boot I was thinking that it was very repetitive... Until I understood what were Zimmer's intentions with that score. See, much of the score is based on a riff (which I couldn't find on the OST) on basses that drives much of the action/suspense sequences. With that riff, Zimmer and Balfe create a sense of forward momentum, of constant building tension, that actually predates the "suspense built on repetition" of Dunkirk. The factory setpiece is a great example, when Zimmer finally releases the tension on 5M35 Forest Battle, the effect is great.

 

It's interesting, but to listen to the complete sessions is a chore. I guess you can use it to build a decent sized OST that represents this effect better than the woeful official OST.

 

All in all, I still prefer Pirates (specially the second and of course the third) on the realm of Zimmer scores for quirky protagonists, but this Sherlock score is better than I've thought. 

Would you look at that? I also listened to this about the same time, since it'd been a while and Sherlock 1 was still in the mind. Overall, I find it the more focused and consistent of the two. The Moriarty theme is probably one of the most fun things HZ has done, and I admire it being the center for 2 that 1 lacked. I will say that I missed a bit of the lightheartedness the first one had, even if I get why it's done here. Not to mention that while the source cues are fun, they do end up distracting from the score itself. Plus, nothing here is as compelling as the Dredger stuff from the first. But all in all, I liked it, and I can see why people wanted this one to leak for a while.

I've grown to become a bit more weary of complete scores. Not because I find them a chore to listen to, but because I feel like I forget some of the good stuff in the midst of a lot of fluff. Revisiting JNH's Peter Pan recently in FYC form opened my eyes a bit, since it reminded me that there was a lot of neat moments that couldn't stick with me because of how lengthy the previous presentation was. I'm not gonna dismiss them outright, as I do like some C&C sets, but I've come to value making my own custom albums. Especially seeing how nicely Craig Armstrong's Incredible Hulk turned out when I made my "Restructured" edit of it.

[Holko 11,075]

On 2/17/2020 at 5:12 PM, Holko said:

For the new semester I somehow gravitated to the roots (-ish, don't get picky/dicky).

King Kong 

 

The Adventures of Robin Hood 

I love it more with every listen after a little more than lukewarm very first one.

 

The Thief of Bagdad 

Why the hell don't I listen to this one more often? I love how even the throwaway stuff like Horseman's Fanfare get a lot more development/fleshing out than you'd expect at first and I always forget how lovely Sultan's Toys/Miniature Acrobats is. Happy 80th!

Continuing onward:

 

Ben-Hur (this time only one, surprisingly)

 

The Private Life of Sherlock Holmes

 

Lawrence of Arabia

[bollemanneke 3,822]

Alex North, 2001. Truly disgusting, as I expected.

[publicist 4,647]

So you're deaf, too?

[bollemanneke 3,822]

No, I have taste.

[Naïve Old Fart 11,038]

Alex North's 2001 is among the greatest rejected scores, ever.

EVER.

[Jurassic Shark 14,229]

Yes, that's indeed the PC opinion.

 

[bollemanneke 3,822]

Why is it great? Because it fails to inspire at any level, unlike Kubrick's classical music?

[Jurassic Shark 14,229]

Emperor's new clothes.

[crocodile 8,863]

 The Departed by Howard Shore. Good score. Shame he doesn't work with Scorsese anymore.

 

Karol

[Jurassic Shark 14,229]

Better than The Aviator?

[Edmilson 9,819]

13 hours ago, HunterTech said:

Would you look at that? I also listened to this about the same time, since it'd been a while and Sherlock 1 was still in the mind. Overall, I find it the more focused and consistent of the two. The Moriarty theme is probably one of the most fun things HZ has done, and I admire it being the center for 2 that 1 lacked. I will say that I missed a bit of the lightheartedness the first one had, even if I get why it's done here. Not to mention that while the source cues are fun, they do end up distracting from the score itself. Plus, nothing here is as compelling as the Dredger stuff from the first. But all in all, I liked it, and I can see why people wanted this one to leak for a while.

I've grown to become a bit more weary of complete scores. Not because I find them a chore to listen to, but because I feel like I forget some of the good stuff in the midst of a lot of fluff. Revisiting JNH's Peter Pan recently in FYC form opened my eyes a bit, since it reminded me that there was a lot of neat moments that couldn't stick with me because of how lengthy the previous presentation was. I'm not gonna dismiss them outright, as I do like some C&C sets, but I've come to value making my own custom albums. Especially seeing how nicely Craig Armstrong's Incredible Hulk turned out when I made my "Restructured" edit of it.

 

Yeah, since the movie came out in 2011, I thought this was a relatively minor entry on Zimmer's canon, but listening to the score as a whole opened my eyes (well, my ears, lol). Although I'm still not a fan of the comedic Romanian source music, the suspense and energy built on this score is impressive.

 

As for the sessions, the sad truth is that most recording sessions on their own are quite hard to listen. This is why many composers, from Zimmer to Williams, prioritize the listening experience of their albums. But still, I'm grateful when scores leak, because then you can create your own listening experiences that will satisfy you. On some scores, this might just consist on editing some cool unreleased material on the OST. On A Game of Shadows' case, however, it would be creating another whole OST, in the chronological order of the movie, prioritizing action and suspense instead of the sillier stuff.

[HunterTech 1,411]

I actually didn't mind the OST too much when I first heard it, especially since I heard a fixed version addressing the severe sound flaws it had. But I can imagine being fairly disappointing returning to it, as a lot of highlights would be gone.

 

It's really fun hearing some of the alternative ideas composers might've had in mind, whether it be minor or major. It can sometimes lead you making presentations that emphasize certain aspects than what might've been prioritized in writing. Like, I don't think the love theme is in too much of Incredible Hulk's score, so I made sure to emphasize it as much as the brawnier material for the title character. Even making suites are fun, since you can cut down everything the score has to offer in just a short amount of time. I just think it's a shame that people prioritize having everything over making the music something they can truly enjoy, since I can imagine key C&C presentations not doing it for folks.

[1977 1,747]

Cocoon (OST)

 

I miss Horner.

[mrbellamy 7,080]

Star Wars: Episode VII-IX

 

Took a shot at compiling my own playlist. Killed some darlings but enjoyed it as an attempt to distill the trilogy into a listenable marathon.

 

Spoiler

 

 

 

 

2

 

 

 

 

2

 

 

 

 

2

Spoiler

Overture and The Force Awakens

Main Title and The Attack on Jakku Village - The Scavenger - I Can Fly Anything (FYC) - Finn's Trek - Follow Me and The Falcon - Finn's Confession - Maz's Counsel - Kylo Ren Arrives at the Battle - The Resistance - The Abduction - Han and Leia - The Bombing Run - Torn Apart - The Ways of the Force - Farewell and The Trip

 

Entr'acte

The Jedi Steps (Concert Version)

 

The Last Jedi

Ahch-To Island - The Supremacy - Old Friends - Lesson One - Fun with Finn and Rose - Canto Bight - The Master Codebreaker - The Fathiers - Lesson Two - Rey's Journey - A New Alliance - Holdo's Resolve - The Battle of Crait - The Spark - The Last Jedi (FYC) - Peace and Purpose

 

Entr'acte

The Rebellion is Reborn - The Rise of Skywalker

 

The Rise of Skywalker

Journey to Exegol - Falcon Flight - We Go Together - The Speeder Chase - Hallway Shooting - Join Me - Healing Wounds - Advice - They Will Come - Approaching the Throne - Battle of the Resistance - Parents - Seeing Sights - Farewell - A New Home

 

Exit Music 

Finale from The Force Awakens

 

Not overly familiar with expanded score edits or anything but made room for "Lesson Two" plus a handful of my fave FYC cuts. Ep IX's "Rey Trains" and "Lando Arrives" are probably needed.

 

The only actual edit I did myself was to slice out "The Jedi Steps" in order to use TFA's suite as the trilogy capper starting with Binary Sunset. Honestly loved it, really paid off the feeling of Rey's Theme building throughout and made up for some of the overall shortcomings of ROS as a finale imo. Meanwhile moving it to the end gave "Peace & Purpose" more weight. I found the amount of Force Theme more tolerable in general.

 

Hottest takes, I decided to ditch "The Starkiller" and "Scherzo for X-Wings" in an effort to keep things moving and focus on material that crosses all 3 scores as much as possible. "Bombing Run" is just fine for X-Wing action plus has some Rey and Kylo themes in there. "Escape" from TLJ is also hard to lose but "The Jedi Steps (Concert Version)" into "Ahch-To Island" was too good and "The Supremacy" with its focus on Resistance, Kylo, and Leia themes arguably flows better from TFA as an Act 2 action opener. Plus the good stuff shows up again in "The Battle of Crait" anyway. Big takeaway was just how exciting TLJ's highlights really are in succession when stripped of excess, filler, repetition. It was easily my favorite of the three in this mashed-up context.

 

Anyway, good scores  

[publicist 4,647]

 

Best Sinbad score ever. Not that much competition, but still.

[Nick Parker 3,047]

34 minutes ago, publicist said:

 

Best Sinbad score ever. Not that much competition, but still.

 

Your favorite Herrmann-Harryhausen?

[Jurassic Shark 14,229]

On 2/17/2020 at 10:46 PM, Kasey Kockroach said:

Zimmer scores have “ideas”?

 

Yes, unfulfilled ones.

[Incanus 5,848]

On 2/23/2020 at 11:22 PM, Jurassic Shark said:

Better than The Aviator?

I actually enjoy The Departed more than The Aviator.

[Naïve Old Fart 11,038]

I tried to listen to THE DEPARTED, but it had gone.

[Jurassic Shark 14,229]

1 hour ago, Incanus said:

I actually enjoy The Departed more than Avatar.

 

I hear you, brother!

[Incanus 5,848]

4 hours ago, Jurassic Shark said:

 

I hear you, brother!

Obviously not very well! I said AVIATOR, not Avatar.

4 hours ago, Naïve Old Fart said:

I tried to listen to THE DEPARTED, but it had gone.

Ouch that was too punny! Get your coat! Right now! 

[crocodile 8,863]

5 hours ago, Incanus said:

I actually enjoy The Departed more than The Aviator.

Curious, any specific reason?

 

Karol

[Richard P 4,517]

Listened to the first handful of tracks from Zimmer's Thin Red Line album during the morning commute.

 

This album is one of my most frequent and favourite ambient/relaxation albums - it's beautifully assembled if you ignore any connection to the film (which I've never seen).

[Jurassic Shark 14,229]

Avatar just isn't that good.

[Bespin Copilot 9,262]

 

 

https://open.spotify.com/user/12175214313/playlist/1J90wyfRKyowol25VX8k0w?si=Sy8JMb_tS6SZOzxMZh1aMA

[Naïve Old Fart 11,038]

Any good?

[Incanus 5,848]

The Phantom Menace OST album is among the worst in the Star Wars series. It is missing so much great music. On the other hand the complete score in the way the composer intended it is nothing short of masterful, so full of great themes, energy and colours.