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

[Incanus 5,714]

The best part of the LOTR scores is how wonderfully distinctive they are. You're barely a few measures into the score, and *boom* (or *poof* if you prefer), you've been transported into another world.

That is really one of the strongest aspects of Shore's music. It really transports you and conjures such immediate mental images. I already experienced this on my first listen of the FotR OST.

[MrJosh 892]

The Missing - James Horner.

I don't know why it is but I just couldn't get into this score very much. I heard some braveheart-like music and some standard emotional Horner music but nothing that connected to me on any kind of special level.

Any fans of this?

[#SnowyVernalSpringsEternal 10,265]

I agree with Alan.

[Taikomochi 1,136]

War Horse and The Adventures Of Tintin: The Secret Of The Unicorn

For the first time since December of last year. The former is still a great listen with much warmth. The latter is still mundane Williams on autopilot. "The Adventure Continues" is the only track that I actually enjoy listening to.

wut...

If anything, War Horse is autopilot. I enjoy both scores, but War Horse just feels like typical drama from Williams. Just look at the battle sequences. They are functional to be sure, but as music, it's so autopilot-y. Some of the opening material is repetitive, but I can overlook it. I can't overlook how uninteresting the middle section of the score is to truly love it.

Tintin, on the other hand, may not be original Williams(War Horse certainly is not either with retreads from a range of score like Far and Away), but I can tell Williams felt some inspiration. He just goes crazy on tracks like the opening titles and "Sir Francis and the Unicorn." Whereas War Horse occasionally feels like Williams glossed over sections, Tintin is always vibrant. It's the best Williams score in a while.

[MrJosh 892]

War Horse and The Adventures Of Tintin: The Secret Of The Unicorn

For the first time since December of last year. The former is still a great listen with much warmth. The latter is still mundane Williams on autopilot. "The Adventure Continues" is the only track that I actually enjoy listening to.

wut...

If anything, War Horse is autopilot. I enjoy both scores, but War Horse just feels like typical drama from Williams. Just look at the battle sequences. They are functional to be sure, but as music, it's so autopilot-y. Some of the opening material is repetitive, but I can overlook it. I can't overlook how uninteresting the middle section of the score is to truly love it.

Tintin, on the other hand, may not be original Williams(War Horse certainly is not either with retreads from a range of score like Far and Away), but I can tell Williams felt some inspiration. He just goes crazy on tracks like the opening titles and "Sir Francis and the Unicorn." Whereas War Horse occasionally feels like Williams glossed over sections, Tintin is always vibrant. It's the best Williams score in a while.

I can see both yours and Koray's points, for me personally though, I connected with War Horse on an emotional level much more. There is beauty in that score that just isn't present in Tintin.

[#SnowyVernalSpringsEternal 10,265]

I like both scores, but enjoy Tintin more.

NP: Sneakers.

Still can't believe the Sax theme opens with the 4 note danger motif and it took me over a decade and someone on FSM pointing it out to actually notice it.

Really wonderful score though.

[Incanus 5,714]

I like both scores, but enjoy Tintin more.

NP: Sneakers.

Still can't believe the Sax theme opens with the 4 note danger motif and it took me over a decade and someone on FSM pointing it out to actually notice it.

Really wonderful score though.

I rather enjoy both of Williams' 2011 scores for different reasons. Tintin captures the spirit and fun of old adventure yarns sprightely and War Horse is more of a lyrical and emotional affair.

Sneakers is a strange experience for me as the scores that came after that contain many of the same elements of this score and dampened my opinion of this older soundtrack. It might have sounded fresh in the early 90's but heard 20 years later the score contains so much familiar elements it is tough to get excited about it as they have been used in so many Horner scores by now. The saxophone is certainly the most pleasant aspect of the score.

[#SnowyVernalSpringsEternal 10,265]

Oh Horners would certainly mine elements of Sneakers for all its worth in later scores. And even upon its release parts were highly unoriginal. (the breaking in cue basically comes from JFK, the Sax solo idea comes from Goldsmith's The Russia House)

It just works so brilliantly though.

NP: D'Artagnan from The Three Musketeers (Kamen)

Such an uplifting cue!

[publicist 4,643]

Oh Horners would certainly mine elements of Sneakers for all its worth in later scores. And even upon its release parts were highly unoriginal. (the breaking in cue basically comes from JFK, the Sax solo idea comes from Goldsmith's The Russia House)

If that indeed was Horner's template, his deft interpolation of Arvo Pärt-minimalisms and the ethereal choir elevates it above the more regular styles of JFK and RUSSIA HOUSE - Horner betrayed a talent for applying unusual new ideas up until FOUR FEATHERS, his last really inventive score.

[TownerFan 4,983]

his deft interpolation of Arvo Pärt-minimalisms

Deft interpolation? Brazen lifts, I'd say

[media=]http://www.youtube.com/watch?v=Em66qzGfC1I

[publicist 4,643]

Deft interpolation? Brazen lifts, I'd say

Form time to time, my softer side comes through and i cut Jamie some slack. Although having seen and heard FOR GREATER GLORY, i might retract these mild observations.

[TownerFan 4,983]

Good ol' Jamie constantly feeds this kind of ambivalent feeling in most of film music aficionados

[Incanus 5,714]

The Mummy by Jerry Goldsmith: A fun adventure romp. It can get a bit relentless at times but the final trio of tracks, Rebirth, The Mummy and The Sand Volcano offer a terrific breathless and grand finale to the whole affair and provide the best material on the album.

Main Title (Theme from Basic Instinct)

[publicist 4,643]

No, Incanus, that would be the trio of TUAREG ATTACK, CAMEL RACE and SAND VOLCANO!

[Incanus 5,714]

Black Gold by James Horner: Despite some familiar constructs this is a grand, sweeping and exotic score from Horner, his trademark sounds alluring and powerful here. If anything this composer can score drama and melodrama, the inherently larger than life nature of Horner's music quite clear from the first notes. The Western symphony orchestra provides most of the faux Middle Eastern colouring although a wailing male voice and a few specialty instruments here and there add a touch of authenticity to the Arabian feel of the music. The main theme is an expansive, slightly wistful and shamelessly romantic piece, conjuring grand desert vistas, sun burned wilderness and oases and certain elegance at the same time and it is almost impossible not to get caught in the enthusiasm and pathos of Horner's music when you hear the full orchestral renditions of it. Definitely some of Horner's best material in the last few years.

[Koray Savas 2,251]

War Horse and The Adventures Of Tintin: The Secret Of The Unicorn

For the first time since December of last year. The former is still a great listen with much warmth. The latter is still mundane Williams on autopilot. "The Adventure Continues" is the only track that I actually enjoy listening to.

wut...

If anything, War Horse is autopilot. I enjoy both scores, but War Horse just feels like typical drama from Williams. Just look at the battle sequences. They are functional to be sure, but as music, it's so autopilot-y. Some of the opening material is repetitive, but I can overlook it. I can't overlook how uninteresting the middle section of the score is to truly love it.

Tintin, on the other hand, may not be original Williams(War Horse certainly is not either with retreads from a range of score like Far and Away), but I can tell Williams felt some inspiration. He just goes crazy on tracks like the opening titles and "Sir Francis and the Unicorn." Whereas War Horse occasionally feels like Williams glossed over sections, Tintin is always vibrant. It's the best Williams score in a while.

I talked a little bit about it in my review when the score was first released, but I hear something new in War Horse that Williams hadn't done before. Yes, there is a slight flavor of Far And Away in there, and it's very much Williams, but on the whole it sounds unlike anything he's done. When I listen to Tintin, all I hear is Catch Me If You Can and Home Alone. Frenetic notes that amount to generic action filler.

[publicist 4,643]

When I listen to Tintin, all I hear is Catch Me If You Can and Home Alone. Frenetic notes that amount to generic action filler.

It's indisputable that TINTIN treads more water than most of its admirers want to admit, but all the stylistic nods aside, it has fun and energy on its side, and it's a style of music which - as i often argue with myself - is the chief reason i once became a film music fan.

[Incanus 5,714]

Looking for Richard by Howard Shore

A History of Violence by Howard Shore

[Matt C 454]

Water Horse: Legend of the Deep - James Newton Howard

It's a bit of an uneven album, sort of like Nanny McPhee Returns in that regard, but when you have something as sublime as "Swimming" and "The Net" within... that's some of Howard's finest writing there.

[Jay 37,364]

I don't hear Catch Me If You Can or Home Alone at all in Tintin. Tintin's pretty unique sounding to me, but to each their own

[JoeinAR 1,949]

War Horse and The Adventures Of TinTin: The Secret Of The Unicorn

For the first time since December of last year. The former is still a great listen with much warmth. The latter is still mundane Williams on autopilot. "The Adventure Continues" is the only track that I actually enjoy listening to.

wut...

If anything, War Horse is autopilot. I enjoy both scores, but War Horse just feels like typical drama from Williams. Just look at the battle sequences. They are functional to be sure, but as music, it's so autopilot-y. Some of the opening material is repetitive, but I can overlook it. I can't overlook how uninteresting the middle section of the score is to truly love it.

TinTin, on the other hand, may not be original Williams(War Horse certainly is not either with retreads from a range of score like Far and Away), but I can tell Williams felt some inspiration. He just goes crazy on tracks like the opening titles and "Sir Francis and the Unicorn." Whereas War Horse occasionally feels like Williams glossed over sections, TinTin is always vibrant. It's the best Williams score in a while.

I talked a little bit about it in my review when the score was first released, but I hear something new in War Horse that Williams hadn't done before. Yes, there is a slight flavor of Far And Away in there, and it's very much Williams, but on the whole it sounds unlike anything he's done. When I listen to TinTin, all I hear is Catch Me If You Can and Home Alone. Frenetic notes that amount to generic action filler.

when I listen to it I hear Prisoner of Azkaban, so that cannot be bad. All in all I prefer Warhorse but Tintin is wonderful too. It was a great duo of scores

[Jay 37,364]

It was a great duo of scores

[Brónach 1,302]

I listened to Tintin too.

This is one of those score where I love every fuking note for entires sections and how they put together. It just makes me smile, it's a constant "I see what you did there", as if you saw JW's mind at work constantly.

Whoever said this is "autopilot" should be hung.

[Romão 2,274]

It's clearly among my favorites now, I love the Tintin score

[Incanus 5,714]

Open Range by Michael Kamen: Kamen's last score, a sweet and surprisingly intimate Western with a lot of lyricism and heart to it and those typically unique Kamen orchestrations. While the album opens promisingly with solo trumpet and sweeps to a rather good main theme, a good dose of Kamen with a hint of Copland and continues with solo guitar and rustic fiddle, the middle section of the album is reserved for some subdued if melodic material that doesn't quite gell due to the lack of strong thematic presence. Kamen introduces several promising ideas but never opens them up to truly satisfying exploration, leaving the listener with a feeling of a lot of potential that is never followed up. I do not know in what circumstances the score was composed and how late Kamen worked on it but there are a few signs of fatigue in the writing, namely some lifts from his previous scores, Robin Hood staff fight music making surprising appearance in Wagon Wheel orchestrated for fiddle and the Love theme of the score a melody derived from Kamen's score for 2000 TV series Band of Brothers. Still while listening to the detailed colorful music you can't help but think how Mr. Kamen was taken too early from us as he was truly a talented artist with a lot of heart and a great sense of drama.

[Taikomochi 1,136]

I can see both yours and Koray's points, for me personally though, I connected with War Horse on an emotional level much more. There is beauty in that score that just isn't present in Tintin.

True, I did connect with War Horse more on an emotional level, but I feel like there is more to the two scores than that. Tintin functions on a whole other level - It's pure craftsmanship.

In addition, I find Tintin to be the more functional of the two scores. I wasn't really conscious of War Horse's score in the film, aside from the final half hour, but Tintin's score was always present. I was always aware of it and how it affected the film itself. I am rarely this affected by a score in the film.

[Marian Schedenig 8,193]

When speaking about Sneakers lifts, don't forget this one:

http://www.youtube.com/watch?v=s2A7nhjdbA8&feature=relmfu

Awesome score nevertheless.

And as for The Mummy: My Favourite Plague with its rhythmic shifts is among my favourite Goldsmith tracks. And The Caravan has a wonderfully elegant polyphonic buildup.

[Incanus 5,714]

Seems like The Mummy is all good stuff. It is a very enjoyable album.

[Faleel 5,348]

it's so autopilot-y.

I think this term needs to be defined/explained....

[Koray Savas 2,251]

I talked a little bit about it in my review when the score was first released, but I hear something new in War Horse that Williams hadn't done before. Yes, there is a slight flavor of Far And Away in there, and it's very much Williams, but on the whole it sounds unlike anything he's done. When I listen to TinTin, all I hear is Catch Me If You Can and Home Alone. Frenetic notes that amount to generic action filler.

when I listen to it I hear Prisoner of Azkaban, so that cannot be bad. All in all I prefer Warhorse but Tintin is wonderful too. It was a great duo of scores

This post is awesome just because you changed the spelling of Tintin in the quote.

Whoever said this is "autopilot" should be hung.

That would be me.

I can see both yours and Koray's points, for me personally though, I connected with War Horse on an emotional level much more. There is beauty in that score that just isn't present in Tintin.

True, I did connect with War Horse more on an emotional level, but I feel like there is more to the two scores than that. Tintin functions on a whole other level - It's pure craftsmanship.

In addition, I find Tintin to be the more functional of the two scores. I wasn't really conscious of War Horse's score in the film, aside from the final half hour, but Tintin's score was always present. I was always aware of it and how it affected the film itself. I am rarely this affected by a score in the film.

Perhaps partial reason is because I haven't seen either film. But after revisiting it almost a year later and still having the same reaction... seeing the film won't change much.

it's so autopilot-y.

I think this term needs to be defined/explained....

Going through the motions, something that can be done in one's sleep. That's what I hear in Tintin. It's just Williams throwing as much notes at you as possible. Heartbeeps has more heart and melody than this score.

[Romão 2,274]

I love the Mummy. It's like all the clichés and conventions of this sort of score all wrapped up in a wonderful package. It is absolutely whan you expected it to be, and yet, it still sounds so fresh

[Brónach 1,302]

Going through the motions, something that can be done in one's sleep. That's what I hear in Tintin. It's just Williams throwing as much notes at you as possible.

I'm not sure how much in War Horse and Tintin is something JW does in his sleep and how much is hard work.

What's with the "amount of notes" idea some people have? "It's got "many notes" and that's good/bad because of no reason." ¿¿??

[publicist 4,643]

When speaking about Sneakers lifts, don't forget this one:

[media=]http://www.youtube.com/watch?v=s2A7nhjdbA8&feature=relmfu

Awesome score nevertheless.

Haha. Thanks for the heads-up and i quite liked the Glass piece. James Horner stays James Horner stays...in aeternum.

[KK 3,307]

The Missing - James Horner.

I don't know why it is but I just couldn't get into this score very much. I heard some braveheart-like music and some standard emotional Horner music but nothing that connected to me on any kind of special level.

Any fans of this?

I love The Missing, one of my favourites from the man in the past decade. All the Horner regurgitation aside, it has all the weighty themes of his melodramatic greats with with an enticing use of various ethnic elements (one of Horner's fortes). It's essentially a darker cousin of Legends of the Fall and the atmospheric qualities are haunting. Put some great action tracks on top of that and you've got a real gem here. Love this score!

[Koray Savas 2,251]

Going through the motions, something that can be done in one's sleep. That's what I hear in Tintin. It's just Williams throwing as much notes at you as possible.

I'm not sure how much in War Horse and Tintin is something JW does in his sleep and how much is hard work.

What's with the "amount of notes" idea some people have? "It's got "many notes" and that's good/bad because of no reason." ¿¿??

I already addressed the writing earlier.

[chuck 154]

I love the Mummy. It's like all the clichés and conventions of this sort of score all wrapped up in a wonderful package. It is absolutely whan you expected it to be, and yet, it still sounds so fresh

Me too. Though I get the feeling that JG was going through "autopilot-y" mode as one poster puts it here.

[publicist 4,643]

I love the Mummy. It's like all the clichés and conventions of this sort of score all wrapped up in a wonderful package. It is absolutely whan you expected it to be, and yet, it still sounds so fresh

Me too. Though I get the feeling that JG was going through "autopilot-y" mode as one poster puts it here.

I don't know what you people were expecting, back in '99 THE MUMMY (along with 13TH WARRIOR and MULAN) was a firm reminder how to score brawny Hollywood adventure flicks and i can't really remember any big adventure score since that has bettered these, mainly due to the fact that nobody (and that includes JW) can write such no-nonsense and still excitingly colorful action music.

[Incanus 5,714]

Far and Away by John Williams

Always by John Williams

[chuck 154]

I love the Mummy. It's like all the clichés and conventions of this sort of score all wrapped up in a wonderful package. It is absolutely whan you expected it to be, and yet, it still sounds so fresh

Me too. Though I get the feeling that JG was going through "autopilot-y" mode as one poster puts it here.

I don't know what you people were expecting, back in '99 THE MUMMY (along with 13TH WARRIOR and MULAN) was a firm reminder how to score brawny Hollywood adventure flicks and i can't really remember any big adventure score since that has bettered these, mainly due to the fact that nobody (and that includes JW) can write such no-nonsense and still excitingly colorful action music.

Yeah, I could be wrong but I think Tintin was the closest JW has got to ever wrote one.

[publicist 4,643]

No, that would be TEMPLE OF DOOM, still Williams' crowning achievement in the colorful, exotic action adventure genre (for the record, TOD is better than either THE MUMMY or MULAN, but how could you possibly top it?).

[chuck 154]

I'd say Baby: Secret of the Lost Legend is equal to TOD.

[publicist 4,643]

No way. BABY is a fun and cheesy adventure score with one strong theme and heavy debts to RAMBO, TOD is so chock-full of themes, sub-themes, variations of them and an exotic pageantry only Rózsa could have possibly matched. It may lack the profound mysteriousness of the ark theme or the stately quality of the grail music, but it more than makes up for it on the sheer spectacle scale.

[Incanus 5,714]

No way. BABY is a fun and cheesy adventure score with one strong theme and heavy debts to RAMBO, TOD is so chock-full of themes, sub-themes, variations of them and an exotic pageantry only Rózsa could have possibly matched. It may lack the profound mysteriousness of the ark theme or the stately quality of the grail music, but it more than makes up for it on the sheer spectacle scale.

But also is a score that you have to be in the right mind set to listen to. It is so energetic, sprightly, zany and going ahead full throttle much of its running time that it might tire you out before you get to the end. But Williams succeeded in injecting some calmer mysterious and comedic interludes throughout so as not completely daze the listeners. It is still a musical equivalent of a dazzling roller coaster ride. I mean the action music around the Slave Children's Crusade is just breathless!

[publicist 4,643]

Sure, but that's to argue that a listener with a heart condition must be cautious, objectively, Williams never has equalled it (he traded it for the more regal, theme-independent scherzo style of LAST CRUSADE, which even today is his template for this kind of score).

As for last listen

My favourite Nyman score, a melancholic study in shimmering minimalism, never as inspired as his Greenaway stuff fro mthe 80's or even THE PIANO, but more fully rounded than either. And the final presentation of the main ideas in THE SNOWY DEATH rivals James Horner in desperate beauty.

[Romão 2,274]

The more quiet, mystical parts are my favorite sections from TOD. And the sound of those horns in the first part of To Pankot Palace is breathtaking

[Brónach 1,302]

TOD is bloody awesome when you're in the correct mood for it.

[Incanus 5,714]

The Terminal by John Williams

Amistad by John Williams

[alicebrallice 134]

The Terminal by John Williams

Jazz Autographs

[Incanus 5,714]

The Terminal by John Williams

Jazz Autographs

The score always reminds of Rome as I was there on a university field trip when the CD came out in 2004. Ah the sweet memories.

Closing In from Escapades for Alto Sax and Orchestra

[Marian Schedenig 8,193]

My favourite Nyman score, a melancholic study in shimmering minimalism, never as inspired as his Greenaway stuff fro mthe 80's or even THE PIANO, but more fully rounded than either. And the final presentation of the main ideas in THE SNOWY DEATH rivals James Horner in desperate beauty.

I should check it out then. Big Nyman fan, but I haven't heard this one yet.