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


Ollie

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Raya and the Last Dragon (Original Motion Picture Soundtrack) - Album by James  Newton Howard | Spotify

 

It's not consistent enough for an entirely enjoyable listening experience; very much a 'it has its moments' affair. Nevertheless, those 'moments' - few and far between - are really quite good.

 

The final cue The New World is one of those sublime resolution cues that JNH is so good at. A slow emotional build-up to a cathartic fanfare; the same winning formula of similar cues in The Water Horse: Legend Of The DeepTreasure Planet, et al.

 

Wouldn't mind James being invited back to do some more animation.

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Indiana Jones and the Kingdom of the Crystal Skull

 

I've been binging Indy music for the past few weeks, and now the time has come to re-evaluate the most controversial of the four scores.

 

Listening to the bootleg, I think I can pinpoint the exact reason why this score isn't as beloved as the other three. It all boils down to reel 3, which concentrates all the "boring suspense cues" that bring the listening experience down. But, aside from that, all the other reels contain interesting and energetic music that, although not as inspired as the underscore for the other three, it's still quite fun and have some great moments. 

 

So, when listening to KOTCS again, you may want to skip reel 3 altogether, or just keep one or two cues from it in order to have a calm bridge between "A Whirl Through Academe" on reel 2 and "Staring Down the Skull" on reel 4.

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Tolkien (Original Motion Picture Soundtrack) - Album by Thomas Newman |  Spotify

 

I admit - and it saddens me to admit - that it's been a few years since Newman has truly impressed us. His output over the past few years has been dour.

 

I look at this particular score as the last genuinely great thing he did. Revisiting it now, it's really really lovely. There's some textures here that are still a relatively uncommon thing for Newman... the use of real voices, choirs. Really gorgeous. 

 

It's still a Newman score through and through... unmistakably... but he made this one more interesting than most. It really stands out in his 2015-present discography.

 

I dunno. I'm in mourning. I want my old Newman back. I hope this Wonder film and that Dracula thing he's attached to brings some interesting music.

 

 

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On 03/09/2022 at 4:19 PM, Tom Guernsey said:

Agreed in both Mulan scores. HGW’s didn’t do much for me at all. I actually had modestly high expectations as he has written some decent scores but this was just a bit of a dud. Of course it’s always tricky comparing to Jerry especially when he was firing on all cylinders but even with tempered/realistic expectations I was disappointed.

 

Obligatory hope for a complete Mulan release (although Intrada not Disney. Thanks).

 

Certainly agree about the remake score. 

 

I've mentioned before that when I saw Wreck it Ralph 2 the biggest thrill was when rather than quote any of Mulan's songs they gave a big bright quote of Goldsmith's score. 

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James Horner day 2

 

James Horner - Flightplan OST (Spotify)
James Horner - The Legend of Zorro OST (Spotify)
James Horner - All the King's Men OST (Spotify)
James Horner - The Life Before Her Eyes OST (Spotify)

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9 hours ago, Indianagirl said:

interview with a vampire.jpg

 

Wow. That goes back a bit. I should revisit this. The only Goldenthal scores I know even passingly well are this, Alien 3, and Batman Forever. He is by far the best thing about all three.

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Continuing the Goldenthal theme yesterday, I gave the FYC version of Frida a listen yesterday. Typically fine work, even if for about half its run time you wouldn't necessarily know it's Goldenthal but the later tracks feature some more of his more prototypical orchestral writing with wild brass and the rest. I'm glad he got recognition from the Oscars at least once as he could so easily never have won, although I'd put this in the category of "glad they won and got the recognition they deserved even if it wasn't for one of their best scores" (I have similar feelings about James Horner and Titanic).

 

Can anyone confirm if the Frida FYC is complete? (Not that it necessarily demands a longer presentation, I'm just curious). As far as I can tell, the equivalent score tracks on the soundtrack album are the same as on the FYC and since I never listen to the non-Goldenthal cues, I'm wondering about just keeping the FYC...

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I think the FYC is more enjoyable to listen to (less unnecessary filling).

 

I purchased it exactly because it was impossible to reproduce using the OST.

 

I would suggest you to keep it.

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1 hour ago, Bespin said:

I think the FYC is more enjoyable to listen to (less unnecessary filling).

 

I purchased it exactly because it was impossible to reproduce using the OST.

 

I would suggest you to keep it.

Thanks although are you saying I should keep the soundtrack too? I’m not bothered about the non-Goldenthal tracks so if everything by Goldenthal on the soundtrack is on the FYC then I’ll keep the FYC and ditch the soundtrack. 

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You purchase a CD, you listen to it once, you encode it and then you sell it? :)

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38 minutes ago, Bespin said:

You purchase a CD, you listen to it once, you encode it and then you sell it? :)

Not what I meant at all! I’ll probably keep the soundtrack cd but I’ll delete the tracks from my iTunes library. Frankly selling second hand CDs isn’t worth it, unless they are super out of print… 

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12 hours ago, Tallguy said:

 

Wow. That goes back a bit. I should revisit this. The only Goldenthal scores I know even passingly well are this, Alien 3, and Batman Forever. He is by far the best thing about all three.

I only own 2 Goldenthal scores. This one and Alien 3. Most of his work I feel like I haven't heard. Things like Titus, which I imagine is probably amazing. 

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11 minutes ago, Naïve Old Fart said:

TITUS is amazing. BATMAN FOREVER, and SPHERE are pretty accessable.

If you're feeling adventurous, try FIRE PAPER WATER: A VIETNAM ORATORIO.

Agreed, although of his concert works, I'd suggest his Othello ballet (either the album from the original ballet version or the more recent symphony derived from the material) which is perhaps a bit more approachable. However, Goldenthal tends to me one of those composers where if you like one thing, you'll probably like most of his stuff.

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The Five Man Army by Ennio Morricone.

I hadn't spun this one for a while. Wow! it never fails. Such a great score. I had the old 1977 Duse LP and always wished there was more of the main theme. The FSM release certainly cured that. Incredible work.

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But, oh, those summer nights! (Final part of my summer score playlist!)

 

Jerry Goldsmith - Psycho II Expanded

John Williams - Spacecamp Expanded

Alan Silvestri - Predator Expanded

Jerry Goldsmith - Total Recall Exanded

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Howard Shore - The Return of the King (OST)

 

Last week I got a random desire to listen to some LOTR music, and went with the ROTK OST album, something I hadn't listened to in a while.  Boy, it's a well-assembled highlights collection, innit?  Like knowing the full score very well now thanks to the CR, when you put this on you know right away you're listening to a highlights collection, but it's well done. It just blasts through the narrative from big moment to big moment with a fast pace, but it works.

 

The one complaint I would have about it is that the Grey Havens theme just arrives out of nowhere at the end of the album; The film and CR don't have this problem thanks to the great little "A Far Green Country" cue that perfectly introduces the theme and gives you all the setup you need for its powerful statements at the climax.  Oh well.

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Musically more appealing (to me, there's a solid Horner/Barry vibe throughout) than the Price and Zimmer outings for such documentaries. The Budapest Symphony...do they remember the old Jerry sessions?

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Just a random thought, I liked this footnote from John Mauceri's most recent book.  What's funny, is that I sometimes see this coding of words like "Hollywood" and "cinema" or "movie" and "film" even among users on this forum that is dedicated to the very symbol of Hollywood sentimentality.  These things get ingrained in the culture.

 

image.png

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3 hours ago, Jay said:

Howard Shore - The Return of the King (OST)

 

Last week I got a random desire to listen to some LOTR music, and went with the ROTK OST album, something I hadn't listened to in a while.  Boy, it's a well-assembled highlights collection, innit?  Like knowing the full score very well now thanks to the CR, when you put this on you know right away you're listening to a highlights collection, but it's well done. It just blasts through the narrative from big moment to big moment with a fast pace, but it works.

 

The one complaint I would have about it is that the Grey Havens theme just arrives out of nowhere at the end of the album; The film and CR don't have this problem thanks to the great little "A Far Green Country" cue that perfectly introduces the theme and gives you all the setup you need for its powerful statements at the climax.  Oh well.

Is the "I can carry it for you" statement not on the album?

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That's the statement I'm referring to that appears out of nowhere on the score album because "A Far Green Country" doesn't set it up first like the film or CR

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Howard Shore - The Desolation of Smaug (complete)

 

Had a weird craving for Hobbit music too, and went with this.  I think it might be my favorite of his Hobbit trilogy.  AUJ may have higher highs and that great MM theme, but isn't as consistent as DOS is.  I feel like right from note one this score puts me in the mood for it, and is just solidly good until the end.  I like all the new themes and action material, and it helps that I really really like all the Smaug material a lot.

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Honestly, when I reach for a Hobbit I reach for AUJ.

 

DOS may be and have all that you said, but AUJ sounds more like a warm ME score, and has more of those cool clusters, sick brass, and aleatoric Shorian techniques that I so love.

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John Powell - X-Men: The Last Stand

 

You can really feel the temp track bleeding in (Elfman, Davis, Williams), but still this is a very entertaining score, probably my favorite from the X-Men franchise. 

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7 minutes ago, Roll the Bones said:

Honestly, when I reach for a Hobbit I reach for AUJ.

 

DOS may be and have all that you said, but AUJ sounds more like a warm ME score, and has more of those cool clusters, sick brass, and aleatoric Shorian techniques that I so love.

 

I'd love to visit the dimension where PJ didn't split the film into 3 and micromanage the music, and we got 2 tight great LPO scores conducted by Shore

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2 minutes ago, Jay said:

 

I'd love to visit the dimension where PJ didn't split the film into 3 and micromanage the music, and we got 2 tight great LPO scores conduected by Shore

With all those unused themes used all the way through for a less serious and more whimsical adventure!

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YES

 

His company theme is my favorite theme of the trilogy, and Bilbo's Theme really deserved a proper continuation and climax

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It remains what it always was: a 'sentimental favourite'. The repetitions of the main theme really grate on this 65 minute version. My favourite stuff in this score since 1993: the fanfare in 'Take Us Out' or its longer version, 'Tryouts'. These are really standouts no other composer could have nailed as well.

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Swing Kids - James Horner (1993)

 

For most people this probably goes in the mish mash of Horner-y Horner scores. It's short and sweet (at least as it was released). 24 minutes, 7 tracks. The Letter and Swing Heil are the standouts for me because they contain the theme that I enjoy the most. Since it's Horner he probably has an entire score based on this theme that I would love and I just don't know it.

 

I was a very enjoyable way to spend half an hour.

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5 hours ago, Tallguy said:

Oh! I had no idea Rudy was up on the streamers! Ferb, I know what we're gonna do today!

 

Low hanging fruit...;)

 

 

This on the other hand, is a much more substantial 1993 offering, probably Bernstein's last *great* score, it's a bit as if Brahms were reincarnated as jewish film composer in Southern California. It needed a filmmaker of Scorsese's standing to allow for it, but whatever the circumstances were, the 'classical' (in the best sense) idiom Bernstein employs here is unique and the orchestration is gorgeous (Bernstein even smuggles in his beloved Ondes Martenot, 'Ellen at the Beach'). There's virtually no filler, it plays like a concert work. I would also urge everyone who's into historical movies (minus trolls and dwarfs) and has not seen 'Age of Innocence' to watch it. 

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