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

[bruce marshall 1,315]

I bet if Thor listened to this, not knowing the composer he would like it!

Custom playlist app 39 minutes , including the suite.

 

 

Btw the bass is so strong on this recording it knocked a stack of DVD off the speaker#

[Edmilson 7,478]

3 hours ago, filmmusic said:

A Hidden Life (James N. Howard)

 

2 hours ago, Bespin said:

Zimmer - The Last Samurai OST

 

2 hours ago, Bespin said:

JNW - Prince of Tides OST

James Newton Williams?

[crocodile 8,020]

14 minutes ago, bruce marshall said:

I bet if Thor listened to this, not knowing the composer he would like it!

Custom playlist app 39 minutes , including the suite.

 

 

Btw the bass is so strong on this recording it knocked a stack of DVD off the speaker#

As far as I can tell at the very least it is his best recorded score.

 

Karol

[bruce marshall 1,315]

Yes. A fantastic recording. You need good speakers to appreciate it.

Btw It was conducted by someone other than MG, and lists several co- orchestrators and assistants.

Kinda like the German mensch😛

13 minutes ago, Edmilson said:

James Newton Williams?

I dont trust any man with three first names.

He's hiding SOMETHING!😜

[Bespin 8,484]

Danny Elfman - Fifty Shades of Grey

Horner - Iris

James Newton oh-Ward! - News of the World

 

[Bespin 8,484]

I know I posted a lot in the past days... I finally caught covid19, despite being vaccinated three times... So all I can do is listen to music! 

 

Al Silvestri - Predator (2012, Intrada 2nd edition)

James Horner - Avatar OST

JNH - Maleficent OST

 

[Holko 9,535]

Disc 2 - Western II (Bud Spencer & Terence Hill)

 

Nobody has great melodies to carry it and Genio could be fun, but in these presentations both outwore their welcome with some less great pieces, not much of a structure in the former's case and in the latter's case, just nothing much to hold it together. I think I'll combine them in some way.

Occhio alla penna is a huge personal favourite, first score I ever remember wanting to own and have and listen to outside of a movie, I recorded a cue with my flip-phone from the TV to have it as a ringtone, very glad to see it at least acknowledged even if it has many more highlights.

[Holko 9,535]

 

Well the wiki context surfing shows me Italian cinema is pretty fucked up , but this is a nice varied selection nevertheless.

[Thor 7,533]

 

I haven't listened to this, Fenton's single forray into sci fi, very much since it came out in 2014. Love the naïve 'cuteness' of the electronic tracks (something he rarely, if ever, does), while some of the other acoustic landscapes are rather stark and/or quirky. It's not a score I gravitate back to time and again, but kinda mesmerizing when I do.

[Holko 9,535]

 

A bit strange they revisited Sicilian Clan for this one track when they already had many on Volume I. Overall a somewhat less interesting selection on first listen. Trio Infernal's my favourite.

[Disco Stu 15,495]

George Washington II: The Forging of a Nation - Bruce Broughton

 

In honor of George Washington's Birthday, aka President's Day, I listened to the Bruce Broughton's score for this 80s TV miniseries.

 

 

[Holko 9,535]

 

Now this felt like a much meatier selection!

[Thor 7,533]

 

The problem with this (and many other nature documentary scores these days) is that it's stylistically all-over-the-place. It's a fashion now to tap into all kinds of things -- pop, tangos, twangy country, what-have-you -- inbetween the more trademark orchestral lushness. So it doesn't feel as consistent as Fenton's earlier nature documentary scores. You can solve a bit by programming, of course, but only so much since its very nature is eclectic. But by all means, the good parts here are quite good.

[JNHFan2000 2,971]

Masters Of The Universe - Bill Conti

 

Lot's of amazing themes. He-Man's theme and Skeletor's themes are great.

Altough He-Man's theme sounds a bit like Williams' Superman.

The action is terrific. Conti was really good in the big orchestral scores. Would have been interesting to see him do something like Star Wars etc.

[crocodile 8,020]

 Superman Returns by John Ottman. I overall enjoy the presentation on the OST album but it is missing certain important cues. On the other hand, the LLL is bit unwieldy and contains some portions I don't really need. I wanted to created an expanded 1-CD album to include everything I need. Originally, tried to create a playlist based on the OST with some additional tracks from the LLL set but the results were some odd and unbalanced in terms of listening experience. Then, I decided to create a list off the LLL based on the same material but it was too long due to all the previously micro-edited bits being now restored. In the end, I just used that second (chronological playlist) as a basis but swapped some of the needlessly long tracks for their shortened OST counterparts in order to trim it all down to much more manageable length. I always liked Lex Luthor's theme so decided to use every (I think) cue with the variation from the score to give it bit more presence. I also included some cues that heavily leaned on JW material (He's Back, for example) to make it even "more Superman" score (if that makes sense).

 

Overall, I was attempting to make it comprehensive, but lean. One thing I hate to lose from my playlist is the lovely Little Secrets/Power of the Sun album edit but decided to go with the strictly chronological presentation for this to make it coherent. Think it flows rather nicely.

 

Think this will end up being my definitive playlist for casual listening (might still tinker it a little). If you fancy checking it out here it is:

 

1. As Time Goes By/The Planet Krypton (1:24) --- (LLL) 

2. Main Titles (2:47) --- (LLL)

3. Dying Wish (2:43) --- (LLL)

4. Tell Me Everything (3:12) --- (OST)

5. Memories (3:06) --- (OST)

6. Rough Flight (5:11)  --- (OST)

7. He's Back (1:39) --- (LLL)

8. You're Not One of Them (2:21) --- (OST)

9. Bank Job (2:19) --- (OST)

10. Kitty Decoy (3:40) --- (LLL)

11. Supermania (1:08) --- (LLL)

12. Little Secrets (1:09) --- (LLL)

13. How Could You Leave Us? (5:47) --- (OST)

14. Not Like the Train Set (5:11) --- (OST)

15. We Have to Go/Who to Save? (3:00) --- (LLL)

16. Metropolis Mayhem (4:05) --- (LLL)

17. So Long Superman (5:29) --- (OST)

18. Saving Superman/The Power of the Sun (5:31) --- (LLL)

19. Saving the World (6:23) --- (LLL)

20. In the Hands of Mortals (1:18) --- (LLL)

21. I Wanted You to Know (2:55) --- (OST)

22. Lex's Paradise/Change of Heart/Parting Words (4:57) --- (LLL)

23. Reprise/Fly Away (4:17) --- (LLL)

 

Total time: 79 minutes and 29 seconds.

 

(I believe track 21 is actually an alternate to 22 but I wanted to have both Lex's theme and Superman's theme at the end without having to use the end credits again).

 

The score perhaps not as good as it should have been. But then, all the non-JW sequels/reboots are a step down from maestro's standards so what else is new. Ottman was never really going to be on the level. So you end up with a mixture of Williams, Horner and Goldsmith in one messy stew...with a sprinkle of Zimmer, even. It is quite a mix. Having said that, I think he shows a remarkable enthusiasm for the material and injects the limp movie with some genuine emotion. Yes, I can hear some temp track here and there. But it does have heart, despite all the deficiencies. So I can't really hate this score.

 

EDIT: Added track 15 (We Have to Go/Who to Save?). Forgot about this one. The unfortunate side effect of that is that we have to similar statements of Superman's fanfare in two consecutive tracks but it's still lesser evil. So the programme is 3 minutes longer... Might try to remove something instead. Perhaps go for the OST version of Saving the World? It contains the only vital part of the track and I'm not sure we need The Thin Red Line rip-off bit at the end. Or might just get rid of track 1. We'll see.

 

Karol

[HunterTech 994]

That's a score I need to give a more thorough revisit eventually. I attribute it as one of those from the mid 2000s that subconsciously informed my love for the medium. Never heard the original album, and the complete never was the more enthralling of listens (especially since the LLL release sucks), so I might give that playlist a go after I listen to the OST.

[bruce marshall 1,315]

Steven Price hasn't been on my radar since GRAVITY- - which I thought was great - and this score is as good or better.

While it is recognizably Price in its strong , rhythmic feel, it doesn't have the dissonance that turned people off GRAVITY.

Check it oot.

[LSH 969]

5 hours ago, Thor said:

 

The problem with this (and many other nature documentary scores these days) is that it's stylistically all-over-the-place. It's a fashion now to tap into all kinds of things -- pop, tangos, twangy country, what-have-you -- inbetween the more trademark orchestral lushness. So it doesn't feel as consistent as Fenton's earlier nature documentary scores. You can solve a bit by programming, of course, but only so much since its very nature is eclectic. But by all means, the good parts here are quite good.

 

Not heard this one but I can kinda predict what you mean. I've heard some of the other 'Disneynature' - Harry Gregson-Williams has done a few - and they are similar to what you describe.

 

I'm not a patriot one bit but leave nature documentary fayre to the BBC please.

 

 

Aww man what a lovely one this is.

 

There are many pleasing Newman trademarks out there but the noodly oboe over warm string chords and airy synth pedal-note just breaks me. It's my Achilles' Heel. It's so pretty and it fucking kills me every time. 

 

More of this please Tom.

[JNHFan2000 2,971]

6 hours ago, LSH said:

 

 

 

Aww man what a lovely one this is.

 

There are many pleasing Newman trademarks out there but the noodly oboe over warm string chords and airy synth pedal-note just breaks me. It's my Achilles' Heel. It's so pretty and it fucking kills me every time. 

 

More of this please Tom.

Honestly this score is one of his best (The movie is also fantastic).

I can listen to Travers Goff, The Magic Kingdom, Ginty My Love and Saving Mr. Banks (End Title) on repeat. Such terrific pieces of music

[Thor 7,533]

 

Such a charm bomb of a score -- perfect for a late morning. One of his most orchestral too.

[Raiders of the SoundtrArk 2,433]

Images (Quartet) by John Williams

A really great score. I learned to appreciate every cues in the past months and now listen to it easily

Really glad Quartet upgraded the sound quality from the previous Prometheus release.

[JNHFan2000 2,971]

I've been listening to scores from certain years. I've just finished what might have been the best year in film music.

 

1989

 

Always - John Williams

Back To The Future II - Alan Silvestri

Batman - Danny Elfman

Black Rain - Hans Zimmer

Born On The Fourth Of July - John Williams

Driving Miss Daisy - Hans Zimmer

Farewell To The King - Basil Poledouris

Field Of Dreams - James Horner

Glory - James Horner

Henry V - Patrick Doyle

Honey, I Shrunk The Kids - James Horner

Indiana Jones And The Last Crusade - John Williams

Licence To Kill - Michael Kamen

Lonesome Dove - Basil Poledouris

Star Trek V: The Final Frontier - Jerry Goldsmith

Steel Magnolias - Georges Delerue

The Abyss - Alan Silvestri

The Fly II - Christopher Young

The Little Mermaid - Alan Menken

We're No Angels - George Fenton

 

There's a lot more. But some of these scores are for me some of the best ever written!!

[Tom Guernsey 2,287]

Karate Kid II (Bill Conti) - I rarely regret supporting LLL or taking a punt on Bill Conti, but this didn't do much for me at all. Kinda nondescript Asian-inflected noodling that I can't really remember much about... which rather sums up my feelings on the first one. Are the third and fourth KK scores any more interesting?! I'm almost tempted to say I prefer Horner's remake, but I don't remember much about that either...

 

Howard the Duck (John Barry) - Only just got round to listening to the original album presentation and actually rather digging the Thomas Dolby songs. Barry's score is pretty decent even if I found it a bit repetitive by the end.

 

The Potato Venture (Panu Aaltio) - Fun and tuneful comedy score. Shame Aaltio hasn't had some slightly higher profile assignments, his nature scores are great.

 

The Messenger: Joan of Arc (Eric Serra) - I remember enjoying this a lot more than I did this time round. A bit too much dark, low-key underscore that doesn't really go anywhere.

 

OK, that was a bit negative. Sorry about that.

[Disco Stu 15,495]

I file the Karate Kid scores firmly under "For People With a Lot of Nostalgia For those Films."  Which is fine, I have a bunch of those.

[Jurassic Shark 12,100]

8 minutes ago, Tom Guernsey said:

I rarely regret supporting LLL or taking a punt on Bill Conti, but this didn't do much for me at all.

 

List it on Discogs when it's OOP.

[Disco Stu 15,495]

53 minutes ago, JNHFan2000 said:

I've been listening to scores from certain years.

 

 

 

I also love to organize my listening like this sometimes.  I have a ton of playlists for things like "Film Scores Written in the 1940s" (specified "written in" since I have so many re-recordings) or "OSTs Released Between 1975 and 1980" or whatever.  Mostly just based on random fancies.

[Tom Guernsey 2,287]

42 minutes ago, Disco Stu said:

I file the Karate Kid scores firmly under "For People With a Lot of Nostalgia For those Films."  Which is fine, I have a bunch of those.

I think you might be right! I'm sure I must have seen one or other of them at some point but I really don't know. I guess it's a surprise given how fun and strident Conti scores can be, especially for films I'd kinda consider sports movies, at which he has considerable experience! (I have no interest in sport, but sport movies often sport great scores... hah).

39 minutes ago, Jurassic Shark said:

 

List it on Discogs when it's OOP.

Hmmm, to be honest, I doubt I'd miss them if I sold them. Then again, I've kinda given up on selling my unwanted CDs anywhere outside of the UK due to the complicated new customs requirements to post to Europe.

32 minutes ago, Disco Stu said:

 

I also love to organize my listening like this sometimes.  I have a ton of playlists for things like "Film Scores Written in the 1940s" (specified "written in" since I have so many are re-recordings) or "OSTs Released Between 1975 and 1980" or whatever.  Mostly just based on random fancies.

Anyone who followed by decade-anniversary postings for JW's and JG's recent birthdays (albeit sadly JG's being posthumous) may not be massively surprised to know that I have playlists going back 10, 20, 30 etc. years from the current year, so 2012, 2002, 1992 etc. I then pick scores from those years I have either listened to once or don't know very well. I usually line them up one decade at a time, this year the earliest being 1942 (although I do have The Most Dangerous Game by Max Steiner from 1932, apparently!). Quite a nice way to listen to a range of scores and eras, and rediscover less well known efforts by composers I know well or, usually, less well known composers I'd forgotten about!

[JNHFan2000 2,971]

44 minutes ago, Disco Stu said:

 

I also love to organize my listening like this sometimes.  I have a ton of playlists for things like "Film Scores Written in the 1940s" (specified "written in" since I have so many re-recordings) or "OSTs Released Between 1975 and 1980" or whatever.  Mostly just based on random fancies.

I do this as well. I can sort my albums alphabetically, by artist or by year of release.

I usually have them sorted by year. I love the way you can kind of see the 'sound' and sort of scores that were made each year

[Jurassic Shark 12,100]

1 hour ago, JNHFan2000 said:

I've been listening to scores from certain years.

 

I've also listened to scores from years.

 

The Year of living Dangerously

A Year in Providence

2010: The Year We Make Contact

A Good Year

The 40-Year-Old Virgin

12 Years a Slave

[Naïve Old Fart 9,557]

45 minutes ago, Jurassic Shark said:

The Year of living Dangerously

 

46 minutes ago, Jurassic Shark said:

2010: The Year We Make Contact

... and also 

[Jurassic Shark 12,100]

Haven't seen them, but I will.

[Holko 9,535]

 

Another fine batch of mad misfits with some real strong highlights

 

Man, my strategy with the previous set was to separate out the bigger standalone selections (15+ minutes from 1 score) into their separate albums on my phones, and the rest could go into a big common album after going through a filter. So far after a first pass filter I already have 5.5 hours I'd keep in such a common big album from this set

[Disco Stu 15,495]

Apple acquired the rights to make Peanuts shows a few years back and they've been producing cartoons since 2019.  There's 2 seasons of "Snoopy in Space", 2 seasons of "The Snoopy Show" and recently a New Year's special.  My kids found these and absolutely love them and I must admit I find them very charming and well-done, probably the best Peanuts shows in decades.

 

The music for all of these seasons/specials is by a guy named Jeff Morrow.  From IMDB he's done a lot kids TV music over the years, and worked a bunch with Christophe Beck (which makes sense as Beck scored The Peanuts Movie and it looks like Morrow worked with him on it).

 

Anyway, there's some cues that I hear as my kids watch the shows that strike me as really cool.  Like this is just great:

 

 

[crocodile 8,020]

On 21/02/2022 at 9:04 PM, HunterTech said:

That's a score I need to give a more thorough revisit eventually. I attribute it as one of those from the mid 2000s that subconsciously informed my love for the medium. Never heard the original album, and the complete never was the more enthralling of listens (especially since the LLL release sucks), so I might give that playlist a go after I listen to the OST.

It's not a brilliant score by any stretch of imagination. Speaking of which, I've actually decided to create my own album based on my list. It required some editing. But now I'm completely satisfied with it:

 

 

I separated the WB logo music from the Krypton prologue and joined the latter with the main title. Tell Me Everything and Memories swapped places to allow for more variety (they're out of chronological order now). Added the LLL track Things Have Changed that features a tiny cute cameo of love theme. Removed the Superman fanfare from the end of Not Like the Train Set so the cue ends on a very downbeat note which leads nicely into the unnerving opening of Who to Save? (again, this is not chronological). And then decided to trim the finale a bit as the two LLL cues were a bit of an overkill. So kept just bits and bobs of the first track (about 1 minute 40 seconds consisting of the best segments) and merged it with the full version of the final cue. Now I am happy with the presentation.

 

Karol

[bruce marshall 1,315]

THE EIGER SANCTION

LP program

[publicist 4,643]

 

[GerateWohl 4,389]

8 hours ago, crocodile said:

I separated the WB logo music from the Krypton prologue and joined the latter with the main title. Tell Me Everything and Memories swapped places to allow for more variety (they're out of chronological order now). Added the LLL track Things Have Changed that features a tiny cute cameo of love theme. Removed the Superman fanfare from the end of Not Like the Train Set so the cue ends on a very downbeat note which leads nicely into the unnerving opening of Who to Save? (again, this is not chronological). And then decided to trim the finale a bit as the two LLL cues were a bit of an overkill. So kept just bits and bobs of the first track (about 1 minute 40 seconds consisting of the best segments) and merged it with the full version of the final cue. Now I am happy with the presentation.

 

Karol

While reading this I was imagining someone posting something like that in the classical music thread. "Well, I cut out the lush 56th to 78th bar from the first movement of Beethoven's sixth symphonie. Therefore, I added the first 20 bars from the third movement into the finale just for the variety. The extensive finale I cut off right at the beginning and put it as a vitalizing separate track right in the middle etc." 

 

[crocodile 8,020]

25 minutes ago, GerateWohl said:

While reading this I was imagining someone posting something like that in the classical music thread. "Well, I cut out the lush 56th to 78th bar from the first movement of Beethoven's sixth symphonie. Therefore, I added the first 20 bars from the third movement into the finale just for the variety. The extensive finale I cut off right at the beginning and put it as a vitalizing separate track right in the middle etc." 

 

Well till you hear my 16-minute edit of Beethoven's 9th!

 

Karol

[GerateWohl 4,389]

1 minute ago, crocodile said:

Well till you hear my 16-minute edit of Beethoven's 9th!

 

Karol

I at least remember that in the 80s a five minute single edit of Ravel's Bolero had been created and it was in the pop charts.

[Naïve Old Fart 9,557]

1 minute ago, GerateWohl said:

I at least remember that in the 80s a five minute single edit of Ravel's Bolero had been created and it was in the pop charts.

There was a damn good reason, for that 

[bruce marshall 1,315]

1 minute ago, GerateWohl said:

I at least remember that in the 80s a five minute single edit of Ravel's Bolero had been created and it was in the pop charts.

Well, that is a pretty long winded piece!

[GerateWohl 4,389]

Just now, bruce marshall said:

Well, that is a pretty long winded piece!

I mean, it is basically a dance piece with a choreography.

As far as I remember that was as well the reason for the edit in the 80s. Because it was used for a five minute figure scating choreography.

[Naïve Old Fart 9,557]

That's "figure skating" 

[Thor 7,533]

 

That's always been the fascinating thing about Armstrong -- he can do orchestral finesse and wonderfully crafted synth scores with equal ease. This 2011 title is an example of the latter, in fact my favourite within this particular idiom of his. Ethereal, spacey chords and dark pulses. Occasional strings and other acoustic elements superimposed on top. Melody.

[GerateWohl 4,389]

It seemed to me, that Craig Armstrong with his sound belonged to the trip hop corner, that was a fashion in the 90s. I used to see him there until I heard the score of The Quiet American, which I liked a lot. But somehow still I never saw him really as an orchestral composer but the orchestra as an extension of his electronic work, but that in a very pleasant and crafted way.

[Thor 7,533]

3 minutes ago, GerateWohl said:

It seemed to me, that Craig Armstrong with his sound belonged to the trip hop corner, that was a fashion in the 90s. I used to see him there until I heard the score of The Quiet American, which I liked a lot. But somehow still I never saw him really as an orchestral composer but the orchestra as an extension of his electronic work, but that in a very pleasant and crafted way.

 

Armstrong has an extremely eclectic background. There's the electronica work, as you mention (gigs with Massive Attack, Ultravox and others), but he's also classically schooled and loads of experience in jazz. All of this is mirrored in his scores. He gets to showcase his orchestral chops on scores like PLUNKETT & MACLEANE, or the sweeping romance or lyricism of things like LOVE ACTUALLY, FAR FROM THE MADDING CROWD or -- my favourite of his -- WORLD TRADE CENTER. He's just a fascinating composer through and through that I cannot pigeonhole into one particular style or idiom.

[bruce marshall 1,315]

Didn't know about his pop work!

 

I like QUIET AMERICAN alot.

GREAT GATSBY is fantastic!

[Thor 7,533]

 

A definite highlight of 2016 -- soft, cautious and exploratory, while keeping a melodic identity. Just my kind of score these days. Not to be confused with the recent Icelandic film by the same name.

[Edmilson 7,478]

I really like Armstrong's Far from the Madding Crowd, it's almost as good as its obvious inspiration (The Village).

[Tallguy 3,402]

Star Trek: The Motion Picture - 2012 La-La Land, film score

A farewell spin until the 2022 discs arrive. As is my tradition I don't listen to an original if I order a re-release or an expansion. (Is it bad that this happens often enough that I have a tradition?) This time is going to be hard.

 

Superman - La-La Land, film score

I almost spun up the LP section. Might do it today.

 

Actually I think I'm going to try and keep today Williams, Star Wars, and Star Trek free. Just to mix things up.