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

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16 minutes ago, Jurassic Shark said:

I just pop mine into the CD player.


Since I've grown with that... (and well it had an unperfect but usefull anti-skipping feature... but not enough to prevent skipping while listening in the bus!)


Sony D-321


...I never really listened to a CD with a CD player... Buggy physical mechanism that can damage the CDs... and the lens which can be dirty... For me a CD, always was an archival medium, not a playable one. And that horrible sound: THE DIGITAL GLITCH... The worst sound in the universe!


I always prefered listening to mp3s and now, FLACs.


My music NEVER skips.

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54 minutes ago, Bespin said:

Well, Bernard Herrmann, you got it!

Hangover Square (1945) is my new favorite score!


I hear the connection with Taxi Driver already, it's simply marvellous!


On the Gerhardt album (arranged as a wonderfull piano concerto, a slight revision made by Herrmann himself for this '73 re-recording) and as a kind of "reconstructed" score on the 2010 BBC re-recording (Gamba).





The piano concerto is great.

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22 minutes ago, Marian Schedenig said:


"Dangerous", you mean? The Death Hunt is fantastic, but the rest of the score didn't do much for me and I don't remember it now.


Yes, that's what I meant. You can make a good, suspenseful suite from perhaps a third of the score.

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This is one of my absolute favourite Bernstein scores, but I've always found it funny that he had to use the ondes martenot in absolutely everything at this point in time - even about a 14th/15th century nun. :D Neat versions of the "Dies Irae" too.

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The sudden marches and galops come out of left field (much like in Young's MURDER IN THE FIRST), but the broad, impressionistic writing is great. Nice to have something from my favourite Bergman, WILD STRAWBERRIES, on album.

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3 minutes ago, Edmilson said:

I like this score as well. Calling to the Wind is a beautiful, touching cue.


Absolutely. And 'cue' is somewhat of a misnomer in many of these superlong Horner tracks, IMO. At 10 minutes, it's almost like a self-sufficient composition.

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1 hour ago, Thor said:



A lot of people find this boring. I don't agree. While there are no fireworks, and plenty of Horner-isms, I can get lost in this type of soulful stuff forever.


And let's not forget the Britten-inspired action stuff, which is a lot more challenging than what Horner used to put out around this time with his never-ending melodramatic ostinatos.


Interestingly, a lot of that was re-written for the movie. This would be a good candidate for a LLL style release.

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4 minutes ago, Raiders of the SoundtrArk said:

Pain and Gain by Steve Jablonsky

We can say what we want about the Bay's movies but each time Jablonsky write a really pleasant score.

Superb score for a superb film!

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I don't think Michael Bay has ever made a movie that can be classified as "superb". They range from "bad, but watchable" to "completely terrible pieces of crap that don't deserve even being called cinema".

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3 minutes ago, Edmilson said:

Do you even like the Transformers movies? I really don't like any of them, they're all utterly horrible. 

I like the first. But the Transformers movies are not where I get my Bay kick.

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10 hours ago, Edmilson said:

Yeah, they're not his best work. 


Some of his old movies I kinda like, such as the first Bad Boys, The Rock and Armageddon. The Island is also okay, I guess.

I find that the desert action sequence from Transformers 1 and 2 were pretty good. You can really feel the power of the big robots (damn that sentence is so stupid to say ;)) and I like the fact that you can really see Bay enjoyed doing the movie, it feels always nice to me.

To me his best are The Rock and The Last Knight because it's make no sense and there are humans fighting with giant robots all across history on a Hopkins' narration while a sociopath butler robot plays the organ on Earth which in fact a Transformer! :bash:

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