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


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The Adventures of Tintin and War Horse. 2011 was an excellent year for John Williams fans. Both albums are hugely enjoyable.   Karol

Elmer Bernstein - The Unused Scores   This set spans three Bernstein rejections, starting in 1985 - probably his first - to 1995, when he already became notorious for being thrown off as muc

LOTR: The Fellowship of the Ring (CR) by Howard Shore   Damn, is this shit good. I've waxed enough poetic about these scores, but this time, I'm especially struck by how FOTR works as a mood

I love to purchase whole albums or expanded ones... then starting by listening to OST or just highlights....

 

In the case of Henry Mancini... why not start by the singles?

 

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On 6/16/2021 at 3:59 PM, Thor said:

 

 

Always been a sucker for elegant, sweeping British scores with melancholic strings and cautious piano flurries. Cantelon is sorta another Christopher Gunning.

 

The movie itself scores low on RT though ... Too bad, I was in the mood for an Emma Thompson costume film.

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1 hour ago, AC1 said:

 

 

The movie itself scores low on RT though ... Too bad, I was in the mood for an Emma Thompson costume film.

 

Never actually seen it myself. It doesn't look or sound like it's on the level of any Merchant/Ivory production or anything (speaking of Richard Robbins), but might still be decent, of course. The score lives its own, full life, at least.

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ab67616d0000b27316f60b91eb49e85be3edb9fa

 

Moroder & Bowie, what's not to like? And in the starstudded personnel, you'll find luminaries such as Brian Banks, Keith Forsey, Sylvester Levay and Craig "Blaster Beam" Huxley.

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ab67616d0000b2731ea1ed56808f6885ec88a8ed

 

Superb videogame score, the best of 2015. Gorgeous, psalm-like choirs and Delerue-ian bittersweetness. Curry's LET US MELT from 2017 is great too, but not quite on this level. Unfortunately, Curry struggles with a serious degenerative disease, which adds a whole other layer to this music.

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A really good surprise. I haven't watch this season but I've seen the two previous when they came out and have a good memory from the main title. Well this season has a really nice score although it's extremely temped on Williams' works which is really funny. For instance the track Leading the Blind is temped on The Spiders.

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The Huntsman: Winter's War Soundtrack

 

Much like "Snow White and the Huntsman", this score has a great main theme and some pretty good cues, specially the more romantic/melancholic ones. However, this score (its predecessor) is also from an era on JNH's career when he used a lot of RC-isms in his scores, which doesn't sound good. The action music is boring and uninspired. Just compare the climax of this album with something like Newt Releases the Thunderbird or Wands into Earth or even Flow Like Water - it's like night and day.

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22 hours ago, Edmilson said:

The Huntsman: Winter's War Soundtrack

 

Much like "Snow White and the Huntsman", this score has a great main theme and some pretty good cues, specially the more romantic/melancholic ones. However, this score (its predecessor) is also from an era on JNH's career when he used a lot of RC-isms in his scores, which doesn't sound good. The action music is boring and uninspired. Just compare the climax of this album with something like Newt Releases the Thunderbird or Wands into Earth or even Flow Like Water - it's like night and day.

 

The action music in Snow White was likewise bad.

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40 minutes ago, publicist said:

 

The action music in Snow White was likewise bad.

Indeed. Early to mid 2010s weren't his best era for action music (SW, Winter's War, After Earth, etc).

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:music: Hard Rain by Christopher Young. Only got around to listening to the new expansion. Not the most distinctive thing ever but this virtually non-stop action score is conceived with skill and remains engaging for the majority of its running time. The orchestrations are really nice but that was to be expected. I particularly like the creepy harmonica solos. The obvious nods to the likes of Horner and Goldsmith are mixed well with Young's own unique orchestral touches. Far from original but still quite entertaining. 

 

Karol 

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Nope, this one sure doesn't need any expansion. Still, it remains - in hindsight - good proof how Powell was able to serve his commercial projects with a nice fusion of style and the expected blockbuster trimmings. He would have been the better David Arnold, though i'm probably a minority in thinking a guy's probably better off without the Bond albatross around his neck, but anyway. Especially the slithery main theme is a plus, the occasional brass-driven action cues which are positively swaggering are five to ten notches above the norm (then and today) - it's only the over-eager electronic/percussion enhancement, swishing and swooshing ADHD-frantic that spoil the fun a bit. I like the spacious instrumental design, though: with Powell, you have woodwinds, harps, piano and electronics all finely delineated, in sharp contrast to his former master's vastly less sophisticated muddy layering. Shave off 15 minutes and it's a great album.

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Even the most obscure things turn up on Spotify these days. I remember watching this inane Disney rubber jumbo flick back in the 80's, of course having no idea it had 'music' back then. Next came the fabled SPFM tribute CD in 1993. This one was only available through heavy dealing via mail-order, and for a long time, the 22 minutes remained all there was. You may be turned off by the chipper sing-along main theme for Baby and its dominating presence (James Horner had an ear or two when he did his own Disney giant animal flick, Mighty Joe Young), but the heavy klingon-esque fanfare for the hunters balances things out. 

 

Synths are there - the Explorers/Legend variety -, but kept in place. The fart excesses of the Rambo 2-variety were yet to come (though Goldsmith already had the awful Runaway on his resume). It's not exactly high art - see nature of flick noted above - but many of the expansive outdoor moments still have that detailed, caring writing JG abandoned in the 90's (for lack of anyone but a handful of fans giving a shit). It's fair to good, and the fact that a pristine edition is up there for almost free streaming is really good news for a number of reasons.

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Alan Silvestri - The Mummy Returns (Complete)


Listened to this after the recent thread about the two scores; These are two scores I've never been terribly familiar with and have always wanted to dive deeper into.  Unfortunately, I was left unimpressed with this one once again.  I don't know what it is about it but I never retain a single thing about this score after I listen to it.  Maybe I need to see the two movies again.

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The Saint Of Fort Washington

 

I just watched the film a few days ago, and I'm still letting the music marinate while going about daily life, but overall I liked it. I was amused to hear some of the keyboard samples used in The Fugitive reappear here, but the more I listen it, the more I feel like JNH nailed the atmosphere of the big city for the most part. Some cues are a little too jaunty considering the harsh subject matter (imo), but percussive cues like "Back To The Shelter" are very catchy while "Rosario" captures the angst of a miserable existence and sudden drama of running from the police. The main title has a motif that's repeated twice later, deceptively simple but masterful. And oh, that jazz trumpet!

I would welcome a complete release, but unfortunately, something like 99.9% of humanity has never heard of the film despite having two well-known actors, so I'm sure that doesn't encourage Varese Sarabande to consider releasing the complete score. However, @BryonDavis, if you're reading, consider me as someone who will purchase that on day one!

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4 hours ago, Corellian2019 said:

The Saint Of Fort Washington

 

I just watched the film a few days ago, and I'm still letting the music marinate while going about daily life, but overall I liked it. I was amused to hear some of the keyboard samples used in The Fugitive reappear here, but the more I listen it, the more I feel like JNH nailed the atmosphere of the big city for the most part. Some cues are a little too jaunty considering the harsh subject matter (imo), but percussive cues like "Back To The Shelter" are very catchy while "Rosario" captures the angst of a miserable existence and sudden drama of running from the police. The main title has a motif that's repeated twice later, deceptively simple but masterful. And oh, that jazz trumpet!

I would welcome a complete release, but unfortunately, something like 99.9% of humanity has never heard of the film despite having two well-known actors, so I'm sure that doesn't encourage Varese Sarabande to consider releasing the complete score. However, @BryonDavis, if you're reading, consider me as someone who will purchase that on day one!

 

Posted here too, eh? ;)

 

As I said over on FSM, it's one of my favourite JNH scores of all time, and also one of my favourites within the "genre" of scores that portray poetic cityscapes. I featured it in this recently published article (in Norwegian).

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ab67616d0000b2733a987502643fe2de495614e1

 

Spurred by someone posting about it over on Maintitles. Haven't listened to it a long time, but it's really a favourite. Shearmur not only blends orchestra and electronics, but taps into these gorgeous New Age/Café del Mar/chillout moments that just make the album stand out. Perfectly sequenced and perfect length too. "Taxi Drive" reminds me of the opening of Leftfield's dub techno classic "Release the Pressure".

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2 hours ago, Thor said:

ab67616d0000b2733a987502643fe2de495614e1

 

Spurred by someone posting about it over on Maintitles. Haven't listened to it a long time, but it's really a favourite. Shearmur not only blends orchestra and electronics, but taps into these gorgeous New Age/Café del Mar/chillout moments that just make the album stand out. Perfectly sequenced and perfect length too. "Taxi Drive" reminds me of the opening of Leftfield's dub techno classic "Release the Pressure".

 

lol I was just listening to "4th of July" from this album two days ago while running errands. One of my favorite scores, and a holy grail for expansion

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The Trouble with Harry - Bernard Herrmann (1998 McNeely re-recording)

 

Very underrated Herrmann score (even though it is the first Hitchcock collab). I love all the musical representations of the idyllic New England autumn.

 

What a gorgeous horn solo!

 

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On 6/24/2021 at 2:21 PM, Thor said:

ab67616d0000b2733a987502643fe2de495614e1

 

Spurred by someone posting about it over on Maintitles. Haven't listened to it a long time, but it's really a favourite. Shearmur not only blends orchestra and electronics, but taps into these gorgeous New Age/Café del Mar/chillout moments that just make the album stand out. Perfectly sequenced and perfect length too. "Taxi Drive" reminds me of the opening of Leftfield's dub techno classic "Release the Pressure".

 

Funny you mentioned this one... I was listening to it the other day after re-watching the film, first time in many many years.

 

Fantastic stuff. Shame Shearmur isn't or hasn't been more prolific because he's clearly very versatile. I love his score for REIGN OF FIRE... brutal dissonant stuff... the complete opposite of K-PAX.

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Home Alone ꞉ Lost in New-York (The Deluxe Edition).jpg

It's been a while I haven't listen to this score well it's still a true pleasure, in short a brilliant work.

The best higlight of the score (beside the previous themes of the first movie) is to me the track "To the Plaza, Presto" which is really a crazy action cue. It gives me such a positive energy.

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18 hours ago, Thor said:

federico-fellinis-la-dolce-vita-7-bonus.

 

Some of the tracks grate a bit, but I've always been a sucker for the period jazz/blues/lounge bit of this soundtrack.

Rota wrote a ballet called "La Strada" which used not only the music from the movie "La Strada" but a bunch of music from "La Dolce Vita". It sounds to me like a mesh-up of both scores.

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ab67616d0000b273a451f3bdc427fbf77519755a

 

I adore Johnny Jewel's shoegaze electronica; been a fan since the early days of Chromatics. This 2015 effort is often overlooked, but floats away in dreamy, succulent soundscapes.

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