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

[Bespin 8,480]

John Williams - Rosewood (expanded, CD 1 and CD 2)

Trevor Jones - Mississippi burning

[LSH 968]

 

Despite the sheer number of people involved in this score (which, by all accounts, is a fucking lot) I think it might be the best from the Zimmer brigade in the mid-90s. 

 

It's almost obnoxiously thematic, and I love it for that. It certainly set in stone their approach for what followed... I mean, you can hear the beginnings of Pirates.

 

Anyway, I love it. Great film too.

[Tom 4,650]

39 minutes ago, LSH said:

set in stone

[Bespin 8,480]

Nice program from Andrew Collins at Classic FM, celebrating the UK LGBTQ+ History Month.

 

 

[filmmusic 1,825]

Angela's Ashes (John Williams)

Great themes (though I cannot connect with The Lanes of Limerick), but I would prefer it maybe if there was more variety/variation/development of them. Most tracks are characterized by a  paratactic statement of the themes.

 

The Devil's own (James Horner)

Horner on auto-pilot? Not that this is necessarily a bad thing.

By the way I think I prefer Goldsmiths use of synths to Horner's.

[Holko 9,515]

Combined the OST with the film tracks as a basis. Kept the OST ones where they seemed to be close to the film cue, kept The Key as Breakout, put the rest in places where they seem to work. Narrowed the stereo of the OST to make it listenable. I really like it! If there's a Mike redo I'll be happy to get it soon!

[Tallguy 3,381]

On 05/02/2022 at 8:07 PM, LSH said:

 

Despite the sheer number of people involved in this score (which, by all accounts, is a fucking lot) I think it might be the best from the Zimmer brigade in the mid-90s. 

 

It's almost obnoxiously thematic, and I love it for that. It certainly set in stone their approach for what followed... I mean, you can hear the beginnings of Pirates.

 

Anyway, I love it. Great film too.

 

The Rock is one of my go to "Listen to for Getting Shtuff Done" scores. I think Crimson Tide might be a better score but this is so much damn fun! For the OST, leaving The Chase for the last track is brilliant. It's like an encore that isn't an end credits suite.

 

In our line of interest there are so many composers that play the same bag of tricks in one form or the other from Horner (of course) to Zimmer to even Williams. Fort Walton: Kansas is one of those tracks that I wish I could find someone pulling that out of their bag of tricks and running on for six or seven minutes!

 

Me? The Fury again. Spotify served me up Hellraiser this weekend. (I had a flash of annoyance bordering on rage. Do you know how HARD it was to get this CD in the 90's?!?) Which reminded me that I had recently discovered The Fury and found it a likely inspiration. Williams doing scary! How cool is this?

[Holko 9,515]

Stepmom, second try, all the way through this time. Left no impression though. What the hell's happening in Soccer Game, are 3 snipers attacking the stepmom's kid as he's driving across the field?

 

And Amistad. Why the hell did I not like this too much when I previously tried it? It's great! gimme expansion

[Bespin 8,480]

55 minutes ago, Holko said:

What the hell's happening in Soccer Game, are 3 snipers attacking the stepmom's kid as he's driving across the field?

 

There are four of them actually.

[Edmilson 7,424]

48 Hrs. - James Horner

 

Fun score! Very different from what I'm used to with Horner, but still pretty good.

 

The Incredibles - Michael Giacchino

 

I wanted to remember a time when Gia scores could be fun, inventive and complex. This is a terrific score who works great with the movie and is great to hear outside from it. I had a blast with it.

[Naïve Old Fart 9,511]

If memory serves, there's quite a lot of RED HEAT, in 48 HRS. Pounding drums, and so on.

[Raiders of the SoundtrArk 2,433]

Jaws by John Williams

A bit of the Williams/Spielberg collaboration to celebrate the annoucement of their next projet

[Naïve Old Fart 9,511]

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

Jaws by John Williams

No offense, dude, but...who else would it be by? 

[Raiders of the SoundtrArk 2,433]

9 hours ago, Naïve Old Fart said:

No offense, dude, but...who else would it be by? 

I know, let's call it force of habits

[Holko 9,515]

For JW's birthday I caught up on some I haven't gotten to in a while - Five Sacred Trees, the Spotlight album and Seven Years in Tibet.

 

 

But for the evening, brought out the big gun, the score I'm still keeping special. The perfect film score in every way,  the one you just show someone when they'd ask how does one score a film. Here, like this. The general restrained small scale beauty with the solo flutes and harps from which the bigger highlights can shine all the brighter, the gradual arc and buildup of both emotion and threat after the prologue, every single beat and change scored perfectly, every tempo and rhythm perfectly chosen and swapped and played by the perfect instrument, all performed impeccably, telling its story tearjerkingly perfectly perfectly. Being, of course, E.T. the Extra-Terrestrial, LLL Disc 1 plus The Encounter plus The Kiss. Thank you, thank you, thank you, thank you, Maestro.

[Bespin 8,480]

For JW's birthday I listen to:

 

- War Horse (OST)

- Tintin (OST)

- Artificial Intelligence (OST)

- Jurassic Park (OST)

- Far and Away (OST)

[Tallguy 3,381]

I actually listened to The Post. (It was ok.) 

 

This evening I'll be listening to Close Encounters. 

[Bespin 8,480]

It was "ok"?

[Naïve Old Fart 9,511]

1 hour ago, Tallguy said:

 

This evening I'll be listening to Close Encounters. 

Fuck, yeah!

[Bespin 8,480]

Maybe he'll find it "ALA"!

[Tallguy 3,381]

I'm not sure what ALA means (someone can post one of those "The joke!" gifs) but Close Encounters is a pretty solid reason for living.

 

The start of End Titles (disc one track 23 of La La Land) is just about the most transcendent piece of music I know. Those chimes!

 

I'm realizing that one the perfect day for a Williams binge that I can hardly decide! I guess I'll have to make a week out of it.

2 hours ago, Bespin said:

It was "ok"?

 

Oh, right. Yeah. Maybe I need to go back to it? I haven't seen the film. But I haven't see Lincoln either and that one grabbed me right away.

[Tallguy 3,381]

E.T.

 

E.T. and Me. Oh. This is just... I don't listen to this score enough.

[Thor 7,490]

 

2019 compilation that went under the radar for many. It's a great little thing covering this underrated collaboration, at times sweeping Americana-like strings, other times softspoken synths or chamber ensembles (string quartets, solo piano). Could be without the sound effects in some tracks, though.

[Naïve Old Fart 9,511]

That's nice. I like his score for ORPHANS, a lot. Peter Mullan is an exceptional actor. Check out THE FEAR.

[Thor 7,490]

1 hour ago, Naïve Old Fart said:

That's nice. I like his score for ORPHANS, a lot. Peter Mullan is an exceptional actor. Check out THE FEAR.

 

He is. I don't believe I've seen any of his films as director, though. Might have seen THE MAGDALENE SISTERS, as the plot seemed familiar to me, but I'm not sure.

[Naïve Old Fart 9,511]

He gives a towering performance, in TYRANNOSAUR.

[Thor 7,490]

 

FURI is a 2016 videogame I've never played, and never will, but adore the soundtrack. OK, it's much too long at 94 minutes (should be sliced in half for optimal listening experience), but it has a great selection of throbbing synthwave (and darkwave), with icons like Carpenter Brut, Waveshaper and The Toxic Avenger involved. Can't go wrong with that.

[Disco Stu 15,495]

Kundun - Philip Glass

 

It's nice to listen to this good score, sip some tea, and say to yourself "Ha, screw you Michael Eisner!"

 

[Jurassic Shark 12,051]

I've always found this score to have too little variation, even for a Glass score.

[GerateWohl 4,350]

Abel Korzeniowski - Escape from Tomorrow

 

Found this one on Spotify and it could turn out to become my favourite Korzeniowski score. As often the stylistic range is quite high. From super minimalistic electronics across interesting vocal pieces to beautiful romantic golden age style orchestra ballads. But I never saw the movie. But the music is quite convincing. Album is very short.

[Jay 37,336]

The movie is terrible - don't bother with it!

 

The score is great!  Still my favorite from him

[Thor 7,490]

20 hours ago, GerateWohl said:

Abel Korzeniowski - Escape from Tomorrow

 

Found this one on Spotify and it could turn out to become my favourite Korzeniowski score. As often the stylistic range is quite high. From super minimalistic electronics across interesting vocal pieces to beautiful romantic golden age style orchestra ballads. But I never saw the movie. But the music is quite convincing. Album is very short.

 

Glad to hear you got around to it, Geratewohl (I believe we discussed Korzeniowski's more muscular, traditional scores in another thread recently)!  If you can find it, I suggest trying COPERNICUS STAR next. Alas, I've noticed it's not on Spotify, so it would have to be elsewhere.

[Thor 7,490]

 

Beautiful, retro synth score by Mansell, in the style of Tangerine Dream. By far the best of the BLACK MIRROR scores (Max Richter's "Nosedive" is also good, but pretty much standard Richter).

[GerateWohl 4,350]

15 hours ago, Thor said:

 

Glad to hear you got around to it, Gerateowhl (I believe we discussed Korzeniowski's more muscular, traditional scores in another thread recently)!  If you can find it, I suggest trying COPERNICUS STAR next. Alas, I've noticed it's not on Spotify, so it would have to be elsewhere.

Hi Thor, yes, you definitely motivated me to dig deeper.

I found Copernicus Star on YouTube. His sugar plum choir writing reminds me quite a lot of Danny Elfman.

But I was really surprised that he actually writes such "big" orchestra music. I was more used to his more chamber like scores like A Single Man or W.E..

The orchestration is nice. What I am missing here are a little bit recognizable themes, where his Penny Dreadful score is quite strong at and W.E. as well. Even though these two don't have such good arrangements as this one. But Copernicus Star is for sure a great addition to his palette.

Thank you for the hint!

 

[Raiders of the SoundtrArk 2,433]

Baby: Secret of the Lost Legend (Intrada) by Jerry Goldsmith

A really good Goldsmith score with some great highlights.

[Thor 7,490]

 

Theme is more famous than the 1972 score, but it's been a while since I had my dose of Morricone lyricism. Needed it now.

[Bespin 8,480]

#johnwilliams90

 

Roy Budd/LSO - John Williams Greatest Action Hits (Film Classics Vol. I) (Compilation of 1984/85 recordings)

Roy Budd/LSO - Film Classics Vol. II Compilation (Compilation of 1984/85 recordings)

[Thor 7,490]

 

Had this CD since the 90s, and I understand it's hard to find these days. While TWAIN is fine, the real gem here is Korngold's fun THE PRINCE AND THE PAUPER. Always loved the rollicking cue "Duel", in particular. That string ostinato sounds kinda modern -- like it could have been pasted right into CUTTHROAT ISLAND or something without anyone noticing.

[Bespin 8,480]

CE3K - The Collector’s Edition (1998).

 

Why listen to this version?

 

I DON'T KNOW!

[Tallguy 3,381]

3 hours ago, Bespin said:

CE3K - The Collector’s Edition (1998).

 

Why listen to this version?

 

I DON'T KNOW!

 

Because it's the one that's on Spotify?

[badbu 123]

in my opinion the best score from hans!

 

[Thor 7,490]

 

Lorenc is perhaps not as famous as Preisner or Kilar as far as Polish film composer legends go, but he's damn good (slightly more traditional in sound). 1997 was a particularly strong year for him, with this and the wonderful Rafelson/Nicholson film BLOOD & WINE. Lavish folk music arrangements ("Taniec Eleny" is beefed-up klezmer), some bonafide action pieces plus the quintessential Eastern-European melancholy.

[Naïve Old Fart 9,511]

Is that Brad Pitt, and Pete Postlethwaite, on the cover?

 

(edit) it is Pete Postlethwaite on the cover! The film also stars John Hurt. Whoa! I'll check it out, post haste 

[Thor 7,490]

5 minutes ago, Naïve Old Fart said:

Is that Brad Pitt, and Pete Postlethwaite, on the cover?

 

Pitt, no. Posthletwaite, yes. The young guy is Til Schweiger, one of Germany's most famous actors -- some might remember him as Stiglitz from INGLORIOUS BASTERDS, for example.

[Raiders of the SoundtrArk 2,433]

[badbu 123]

Till Schweiger...:D  he is such a bad actor.

[Bespin 8,480]

10 hours ago, Tallguy said:

 

Because it's the one that's on Spotify?

 

You chose poorly.  I have this CD in my collection!

[Tallguy 3,381]

15 minutes ago, Bespin said:

 

You chose poorly.  I have this CD in my collection!

 

Me too. Doesn't mean that I listen to it. This is seriously the least satisfying expansion... Ever? It manages to almost convince me that I don't like Close Encounters. Thank heavens for the more recent expansion which is sublime. And the original LP is Thor-like in its bare bones perfection.

[crocodile 7,998]

 Rogue One: A Star Wars Story. The release is bit rough around the edges but I am really enjoying having the entire thing. It's one of my favourite Giacchino scores. Not Williams adaptations, mind you, but Giacchino scores. It's probably because it harkens back to his fun early video game work. John Williams it ain't but it's still very fun.

 

Karol

[Bespin 8,480]

When I'm listening to Giacchino's music, I still often have the feeling that his music is not "resolved", like if he lacked just a bit more hours to complete his melodies and transitions to make them really work.

 

That's a side of his art that can just be improved with time. Maturity.