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


Ollie

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ab67616d0000b273ebb550a460d050fef19e1582

 

My favourite score of 2018 -- glorious synthwave by my favourite synthwaver Waveshaper (Robert Parker ain't too shabby either), for a Swedish film that nobody saw. Channels Carpenter, Faltermeyer, Moroder, Pet Shop Boys, Depeche Mode and everything inbetween. Go to Spotify and listen for yourself!

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That was my pairing (excellent parinig!) of scores I listened last evening:

 

John Williams - The Eiger Sanction (Score)

Jerry Goldsmith - The Russia House (expanded)

 

This morning, I'll discover Goldsmith's Mummy (the expansion) and... and... and...

 

John Williams - Indiana Jones and the Last Crusade (Concord set + Bonus from the fifth CD)

 

Do you know, you can use Windows+Shift+S to take a Screen Shot?
 

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THE ADJUSTMENT BUREAU - THOMAS NEWMAN

 

An underrated score from Newman, I think. It’s mostly born from his quirky rhythmic stylings but in a mature context. Colour me a fan.

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1 hour ago, Naïve Old Fart said:

It's a decent score, from what I believe to be quite a misunderstood film

 

It too easy to say a film is misunderstood when it's just not that good.

 

3 hours ago, AC1 said:

550x550.jpg

 

Not my Williams.

 

A library copy?

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30 minutes ago, Naïve Old Fart said:

It wouldn't get into my top 20 JW scores, but it's a competently made piece of work.

 

Yeah, it's a well made score that works really well in the movie. 

 

22 minutes ago, Jurassic Shark said:

It too easy to say a film is misunderstood when it's just not that good.

 

It's no masterpiece but still a pretty decent sci-fi. Spielberg's direction is top notch, too bad the dialogues aren't great.

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There are so many competent scores out there, it doesn't mean I have to enjoy them. 

 

 

59 minutes ago, Naïve Old Fart said:

The film, on the other hand, is becoming an Spielberg favourite, of mine.

 

Well, for what it's worth, I think it's better than War Horse

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2 hours ago, Jurassic Shark said:

 

It too easy to say a film is misunderstood when it's just not that good.

There's the rub! If you understood it, maybe it would go up, in your estimation?

 

 

1 hour ago, AC1 said:

There are so many competent scores out there, it doesn't mean I have to enjoy them. 

Of course not. Horses, for courses.

 

 

1 hour ago, AC1 said:

Well, for what it's worth, I think it's better than War Horse

Anything is better than WAR HORSE. An endoscopy is better than WAR HORSE.

I tried to watch the film, the other day: I gave up, fifty minutes in. It's not often I call a Spielberg film "dull", but WAR HORSE certainly is....as ditchwater. Not even the likes of the great Peter Mullan, can save it.

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7 minutes ago, Naïve Old Fart said:

There's the rub! If you understood it, maybe it would go up, in your estimation?

 

I considered that, then I realised I understand it 100%.

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To paraphrase Dr. Loomis about Jurassic Shark: "I spent eight years trying to reach him, and then another seven trying to keep him locked up because I realized what was living behind that boy's eyes was purely and simply... --clown--. "

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I don't think War Horse is the most tedious Spielberg movie. That position belongs to Lincoln, which is one of the dullest movies I've ever watched. Great Williams score though.

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5 hours ago, Edmilson said:

I don't think War Horse is the most tedious Spielberg movie. That position belongs to Lincoln, which is one of the dullest movies I've ever watched. Great Williams score though.

 

You're probably right. At least I was able to finish War Horse. I gave up on Lincoln twice. And while I did watch War Of The Worlds 2 or 3 times, it never had any effect on me. Spielberg is going down a path I cannot follow. 

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6 hours ago, Kasey Kockroach said:

He should’ve stopped after Jaws and taken up chimney sweeping instead.

 

That's a great Alex parody! :D

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Just now, Jurassic Shark said:

 

He's making George Lucas' art movies.

 

 

Do you mean the "experimental movies" that Lucas promised us?

 

ray-ferrier-war-of-the-worlds-jacket.jpg

 

"The chances of anything coming from Mars are a million to one."

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Had a fantastic semi-thematic week.

 

Empire of the Sun (expanded)

Always (expanded)

Schindler's List (expanded/mostly chrono)

Seven Years in Tibet (OST)

Memoirs of a Geisha (OST)

Indiana Jones and the KOCS (OST)

 

After Always and Tibet I would've been really happy to fit an expanded complete chrono Terminal in too. Hmph.

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The Terminal 

Pretty charming.  The shimmering cues are quite different from the the more folky, jazzy or broadly romantic ones.  The contrast is nice, but it does make for a score that is not quite as unified as some others.  The charming character provides most of the common thread in the score.

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Discovering 3 James Horner scores he wrote in his Spielberg Productions years, I like them!

- Fievel Goes West (OST, minus the songs)

- Dad OST

- Balto (OST, minus the songs)

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1 hour ago, Disco Stu said:

Paul J. Smith is my favorite of the Golden Age Disney composers (a group that is generally underrated by film score enthusiasts).  

 

 

I'll give it a listen. 20K Under the Sea is a fave.

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36 minutes ago, Tallguy said:

 

I'll give it a listen. 20K Under the Sea is a fave.

 

20k is definitely his greatest score.  I also recommend another of his nature documentary scores, The Vanishing Prairie.  It doesn't have a music streaming release but here's a great taste of the main theme.  Also both Secrets of Life and Vanishing Prairie are on Disney+

 

 

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10 hours ago, Bespin said:

- Dad OST

 

This one i find horrific in its banality. It sounds like a tv score (which the movie certainly warrants).

 

 

Another long release where the old one was too long already. One thing that bothers me with the two BTTF sequel scores: they sound tinny, as if recorded with only a handful musicians in a small-ish room. It sounds as if they were written for a larger sound but the budget got slashed or something. Wasn't that Universal's biggest franchise for a while? 

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It's funny to realize that James Horner scored a lot of movies produced by Spielberg, but not directed by him (An American Tail, Batteries not included, The Land Before Time, Dad, An Americam Tail: Fievel Goes West, We're Back! A Dinosaur's Story, Casper, Balto, The Mask of Zorro, The Legend of Zorro, Deep Impact).

 

He was like his 2nd John Williams.

 

But also, "Spielberg Productions" offered great movies to Silvestri (Who Framed Roger Rabbit, Back to the Future I, II and III), Goldsmith (Gremlins I & II, Innerspace), Trevor Jones (Arachnophonia) and Elfman (Men in Black).

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Silvestri came via Zemeckis. And Goldsmith lost out big time when he gave up 'An American Tail' (though at least he did 'Hoosiers' instead), but Horner took to animation like a duck to water, so...

 

While neither the most beloved nor the most entertaining of Horner's Amblin scores, 'A Far Off Place' is actually one of his more ambitious ones, for a movie virtually no one saw...

 

 

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I remember being bewildered the first time I heard A FAR OFF PLACE (many, many years ago). Not having seen the film, I had expected something broad and lyrical, but got something harsh and abrasive instead. Like Alex North's AFRICA or whatever. It has grown on me, though.

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Listened to the LLL Superman IV this morning.  It's maybe not the most "nutritious" listen (if you know what I mean), but it's fun and entertaining start to finish.  Just real easy to put on and have a light good time.

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Jerry was offered AN AMERICAN TAIL? I did not know that, but it stands to reason, after he scored the previous Don Bluth film.

Personally, I'll take HOOSIERS over AAT, any day.

 

 

3 minutes ago, Disco Stu said:

Listened to the LLL Superman IV this morning.  It's maybe not the most "nutritious" listen (if you know what I mean), but it's fun and entertaining start to finish.  Just real easy to put on and have a light good time.

Indeed. It's a surprisingly good listen...as is SUPERMAN II, if people would give it a chance.

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37 minutes ago, crocodile said:

A lot of it sounds suspiciously non-Horner though. 

 

Still, he had to supervise and record it, so the explanation that ghostwriters came up with a highly modernist and Bartok-ian approach by accident seems a bit naive.

26 minutes ago, Naïve Old Fart said:

 

Personally, I'll take HOOSIERS over AAT, any day.

 

But for him it probably was a bummer, AAT was a big hit during a time when he scored losses.

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3 minutes ago, May the Force be with You said:

A really nice score from the best Zimmer area

I think you meant the "best Zimmer era"?

Anyway, your statement is correct, Zimmer's best years were from 1998 (Prince of Egypt and The Thin Red Line) to the late 2000s.

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9 hours ago, publicist said:

Another long release where the old one was too long already. One thing that bothers me with the two BTTF sequel scores: they sound tinny, as if recorded with only a handful musicians in a small-ish room. It sounds as if they were written for a larger sound but the budget got slashed or something. Wasn't that Universal's biggest franchise for a while?

The Skateboard Chase and the Hoverboard Chase make that very obvious, when you compare them only by their beginnings. Same composition, same orchestration - but different orchestra size.

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