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

[filmmusic 1,827]

5 minutes ago, Holko said:

Maybe he's waiting for a proper release like I am.

By proper, do you mean one that is not OOP? Because, was there something wrong with the limited edition of 2 cds?

1 minute ago, Marian Schedenig said:

 

*I* said Dark City, not Dark Crystal. It's a terrific score, and no Trevor Jones collection should be complete without it. I have fewer Jones CDs than Bespin (just Dark City, Brassed Off, Cliffhanger, and Labyrinth), but DC is the one I consider essential.

I don't remember the score for the Dark City, I just remember that I didn't like that it had a direct musical quote from Rite of Spring as a theme.

[Holko 9,525]

3 minutes ago, filmmusic said:

Because, was there something wrong with the limited edition of 2 cds?

It used the film stem instead of a proper new scan and mix because Jones refused to allow the tapes, which are in his private collection, to be scanned.

[filmmusic 1,827]

19 minutes ago, filmmusic said:

You have a wrong opinion of me. I enjoy a lot of scores. It's that I just listened to a lot of ones that weren't for me lately.

On the other hand, now that I think of it, maybe you're right.

As I grow up, I've become stricter and stricter in my musical tastes. I don't get enthusiastic easily as I did when I was in my childhood.

[Marian Schedenig 8,193]

15 minutes ago, filmmusic said:

I don't remember the score for the Dark City, I just remember that I didn't like that it had a direct musical quote from Rite of Spring as a theme.

 

You get used to that, and at least Jones does very different things with it. The score as a whole just has a very dense atmosphere that nothing else quite compares to. And most of the songs on the album are good, too.

[crocodile 8,010]

37 minutes ago, filmmusic said:

You have a wrong opinion of me. I enjoy a lot of scores. It's that I just listened to a lot of ones that weren't for me lately.

Just messing with you dude.

 

 Black Panther: Wakanda Forever. It is perhaps a more harsh and difficult score than the first one, and understandably so, but I find it very satisfying. It might seem scattered due to the bigger emphasis on ethnic and electronic elements (as opposed to an orchestra) but there is some logic to it. The film and score obviously deal with a more serious and sombre topics so the music definitely reflects that. What's interesting, the thematic progression is actually much clearer in this score. I particularly love how Shuri's new theme brilliantly represents her journey in the film. Not exactly a catchy tune but constructed in a way that allows for a multifaceted character study. It's introduced softly at the very end of the funeral sequence (right after the screen goes black), and then goes through different permutations reflecting stages of grief. It is at times mercurial (Welcome Home or Wakanda Forever), often lost (He Wasn't There), at one point dangerously intertwined with Namor's theme (Let Us Burn It Together) and finally finding emotional release in Vengeance Has Consumed Us where it is finally fully formed and playing against Mozart-like string arpeggios. It's interesting that Goransson never fully states T'Challa's theme, not with the voices chanting his theme, and merges that Black Panther fanfare with a theme from the original theme that was associated with Shuri (I think). The only thing I find disappointing is that Rihanna's song doesn't end the album as it should, since it is teased early in the score in a scene where Queen Ramonda offers Shuri a chance to burn her funeral robes, and clearly represents the healing. It feels odd the album should end where it does where the song was clearly meant to offer some much needed comfort and, one again, emotional release. I also like how songs feel integrated into the story, rather than just being a simple needle drops. Arboles Bajo Del Mar is nicely built around Talokan theme first heard in Sirens and it works absolutely stunningly against Namor's origin flashback. The score might not be everyone's cup of tea but, to me, it is one of the finest of 2022 - it's intelligent and thoughtful - and an interesting dramatic counterpoint to a much happier and celebratory Black Panther from 2018.

 

Karol

[filmmusic 1,827]

15 minutes ago, Marian Schedenig said:

 

You get used to that, and at least Jones does very different things with it. The score as a whole just has a very dense atmosphere that nothing else quite compares to. And most of the songs on the album are good, too.

I see there is an unofficial 2cd release? I thought that one was official.

https://www.discogs.com/release/19919662-Trevor-Jones-Dark-City-Complete-Motion-Picture-Score-Deluxe-Edition

[Marian Schedenig 8,193]

I knew there was at least one expansion, but as far as I know it's either a bootleg or at least only a very limited promo release. Discogs seems to list two expanded versions that both don't look very legit.

 

The only regular official release I'm aware of is this one.

 

I'd happily buy a proper expansion though. There's certainly much more material in the score than appears on the album. I'm not sure how much of it is significantly different from what we've already have, but I'm curious to hear how it holds up on its own in its original complete form.

[filmmusic 1,827]

Runaway (Jerry Goldsmith)

Very original, only-synth score, that I kind of like (although I prefer orchestral music). 

[Andy 4,123]

I grew up listening to Runaway (damn entertaining movie too) and while synth like this sounds weird now, I never gave it a second thought in the 80s. It was part of the decade’s sound and this score just rocks. 

[Naïve Old Fart 9,520]

People are never going to believe this, but... RUNAWAY is in my top-10 favourite Jerry scores.

[Naïve Old Fart 9,520]

.

[Jay 37,353]

13 hours ago, Holko said:

It used the film stem instead of a proper new scan and mix because Jones refused to allow the tapes, which are in his private collection, to be scanned.

 

You don't scan audio tapes. You have then transferred. 

[filmmusic 1,827]

I bet many haven't listened to this evocative Vangelis soundtrack, but I love it. Perhaps I'm influenced by the film, the gay-themed life of great Greek poet Cavafy.

 

 

[filmmusic 1,827]

 

Departures (Joe Hisaishi)

Great score mainly for piano and strings, with a nostalgic main theme in the cello.

[Tallguy 3,386]

On 28/01/2023 at 1:24 PM, Andy said:

I grew up listening to Runaway (damn entertaining movie too) and while synth like this sounds weird now, I never gave it a second thought in the 80s. It was part of the decade’s sound and this score just rocks. 

 

I just heard someone this weekend talking about the terrible movies they saw because of Kirstie Alley and they mentioned Runaway. I haven't seen Runaway in almost 40 years, but I recall that I liked it. I seem to recall that Gene Simmons was good in it too. I don't know the score but I know that it is the poster child for Jerry's SYNTH SCORES.

[Bespin 8,480]

John Barry, 12 years already...

 

Moviola (1992 re-recordings conducted by John Barry himself)

 

[Naïve Old Fart 9,520]

1 hour ago, Bespin said:

John Barry, 12 years already...

[Andy 4,123]

Jeepers, this was GREAT!

 

 

A little melancholic aristocratic romance via harpsichord ala Jane Eyre, fused with regal fanfares all with the Barry touch.  I’ll be picking up the Quartet version as soon as I’m able.   

 

 

[Tallguy 3,386]

Journey to the Center of the Earth (1959) - Bernard Herrmann

 

 

 

My favorite Herrmann score. After that it's North By Northwest. (Both 1959. Both James Mason. Hmmm.)

 

This was my first Herrmann score and I had no idea who he was until I saw North By Northwest in my 20's and I said "Hey!" My two favorite standout moments (among many) are Underworld Ocean and Atlantis. That almost too quiet organ is just haunting.

 

And of course Sunrise might be an influence on some composers and filmmakers someday.

[Tom Guernsey 2,284]

15 minutes ago, Tallguy said:

Journey to the Center of the Earth (1959) - Bernard Herrmann

 

 

 

My favorite Herrmann score. After that it's North By Northwest. (Both 1959. Both James Mason. Hmmm.)

 

This was my first Herrmann score and I had no idea who he was until I saw North By Northwest in my 20's and I said "Hey!" My two favorite standout moments (among many) are Underworld Ocean and Atlantis. That almost too quiet organ is just haunting.

 

And of course Sunrise might be an influence on some composers and filmmakers someday.

Great score, will have to give it a listen as I realise I've not listened to it in an age! The only thing I could never quite get on with are the various songs woven into the score but appreciate they would be impossible to extract from Herrmann's score. The remake score by Andrew Lockington from 2008, while clearly not in the same league of inspiration as Herrmann's, is still a thoroughly enjoyable and tuneful action/adventure score.

[Thor 7,495]

 

A couple of years ago, I was surprised to see this nice litte Norwegian short film from 2020 receive a soundtrack release, but it's Preisner, so that gives extra gravitas. 11 minutes of ethereal Preisnerisms.

 

 

Underrated Ross score, one my favs of his. Cautious piano and strings for the most part, but always with his trademark elegance in the orchestration. Has Williams elements, as one would expect.

[filmmusic 1,827]

20 minutes ago, Thor said:

 

I was surprised to see this nice litte Norwegian short film from 2020 receive a soundtrack release, but it's Preisner, so that gives extra gravitas. 11 minutes of ethereal Preisnerisms.

Just listened to it too, thanks.

I just now realized that that heavy reverb must be a Preisner trademark. I wonder how his music will sound live, without any of it.

[Thor 7,495]

6 minutes ago, filmmusic said:

Just listened to it too, thanks.

I just now realized that that heavy reverb must be a Preisner trademark. I wonder how his music will sound live, without any of it.

 

Yeah, he loves reverb, and I love him for it. Especially those flutes that sound like they come from a different world altogether. I've interviewed him, but never heard him live. That's on my bucket list.

[Steffromuk 386]

On 31/01/2023 at 3:54 PM, Tallguy said:

Journey to the Center of the Earth (1959) - Bernard Herrmann

 

 

 

My favorite Herrmann score. After that it's North By Northwest. (Both 1959. Both James Mason. Hmmm.)

 

This was my first Herrmann score and I had no idea who he was until I saw North By Northwest in my 20's and I said "Hey!" My two favorite standout moments (among many) are Underworld Ocean and Atlantis. That almost too quiet organ is just haunting.

 

And of course Sunrise might be an influence on some composers and filmmakers someday.

 

I love this score too. I have this album but I really wish Varese would re-release the very rare 36 tracks expanded version they released a while ago.

[Edmilson 7,436]

 

One of my top 3 Newman scores (alongside Shawshank and The Green Mile) and, actually, one of my favorite film scores ever, period. I love everything about this album, who goes from great orchestral themes representing, well, "The Vast Continent", to more atmospheric pianos and darker synth material. It's a tremendous score. 

[Tom Guernsey 2,284]

A pair of (slightly disappointing) Draculas. First up the score from the TV version by David Arnold and Michael Price which is heavy on atmosphere but didn't really do much for me otherwise. While they are usually worth a listen, DA's string of TV scores with Price always feel a touch underwhelming and this was no different. Second up was the Michael Nyman score performed by the Kronos Quartet for (I think) the 1931 black and white film. It's nice enough Nyman but just chugs away without any real feeling of atmosphere or narrative, I would certainly have not had any idea what it was for if I didn't know. Compared to the classic scores by Kilar and JW, both are somewhat disappointing.

[bollemanneke 3,344]

Spider-Man 2. And we don't need the church organ as MJ is getting married, of course... LLL, fill this void please.

[Naïve Old Fart 9,520]

4 hours ago, Tom Guernsey said:

A pair of (slightly disappointing) Draculas. First up the score from the TV version by David Arnold and Michael Price... Second up was the Michael Nyman score...

How do they compare to James Bernard?

[JNHFan2000 2,959]

Passengers - Thomas Newman

 

Listening to this while in the back of the car on the way to a birthday. It is dark and somehow this score got an extra dimension to it because of that. Love little moments like this when during certain moments or things that you do scores can have a different meaning.

[filmmusic 1,827]

23 hours ago, Edmilson said:

 

One of my top 3 Newman scores (alongside Shawshank and The Green Mile) and, actually, one of my favorite film scores ever, period. I love everything about this album, who goes from great orchestral themes representing, well, "The Vast Continent", to more atmospheric pianos and darker synth material. It's a tremendous score. 

I listened to this , after reading your comment.

Are there any recurring themes? I didn't notice any on first listen..

They're certainly very fluid though...

[Romão 2,274]

On 01/02/2023 at 8:46 PM, Steffromuk said:

 

I love this score too. I have this album but I really wish Varese would re-release the very rare 36 tracks expanded version they released a while ago.

 

As much as I love the full score (it's one of my top 5 Herrmann scores), I still think the Hermann-conducted 15 minute suite from The Fantasy Film World of Bernard Herrmann is a near-perfect distillation of the score

[Tallguy 3,386]

32 minutes ago, Romão said:

 

As much as I love the full score (it's one of my top 5 Herrmann scores), I still think the Hermann-conducted 15 minute suite from The Fantasy Film World of Bernard Herrmann is a near-perfect distillation of the score

 

You're not wrong. Well, it's missing Underworld Ocean (right?). Other than that you're certainly not wrong.

[LSH 968]

1 hour ago, filmmusic said:

I listened to this , after reading your comment.

Are there any recurring themes? I didn't notice any on first listen..

They're certainly very fluid though...

 

The Rhythm Of The Horse theme is reprised in End Title and there's the Americana theme that dominates both Double Divide and Montana. Simple Truths and Grace share the same piano idea.  

 

Other than that we are well and truly in Newman 'Vignette' territory. It still works though.

[Andy 4,123]

Waterworld James Newton Howard

 

 

Uh oh... I found my appreciation diminishing with this listen.  No surprise, I love the somewhat goofy Mariner theme, even though it borders on sounding like parody.  But it's definitely hummable.  And there are some good secondary themes and some decent percussion for action sequences (nothing ever comes remotely close to The Lost World).  But for a propulsive action score this one spends a lot of time (ahem) "treading water".  It meanders.  This is often brought up as a top 5 JNH score, but I had a better impression the previous listen.

[Romão 2,274]

1 hour ago, Tallguy said:

 

You're not wrong. Well, it's missing Underworld Ocean (right?). Other than that you're certainly not wrong.

 

That's why I wrote "a near-perfect distillation". But you could hardly capture that score in 15 minutes any better

[filmmusic 1,827]

5 minutes ago, Andy said:

(nothing ever comes remotely close to The Lost World)

I vastly prefer Waterworld to Lost World.

 

 

I LOVE this score! From the ethereal cues with Tori Amos, the dramatic Estella's theme and the John Williams (the guitarist) played cues to the soprano vocals cues, this is one of the best Patrick Doyle scores for me.

My favourite cue is Kissing in the rain, despite the modern percussion rhythm.

[Tom Guernsey 2,284]

14 hours ago, filmmusic said:

I vastly prefer Waterworld to Lost World.

 

 

I LOVE this score! From the ethereal cues with Tori Amos, the dramatic Estella's theme and the John Williams (the guitarist) played cues to the soprano vocals cues, this is one of the best Patrick Doyle scores for me.

My favourite cue is Kissing in the rain, despite the modern percussion rhythm.

Totally agree with all of this, such a great Doyle score. I think the percussion works really well in context. I wish he still wrote scores this great today... but nice to have such classics to treasure. He was on fire in the 90s.

[Jay 37,353]

John Williams - Amistad (LLL)

Listened to my physical copy of the expansion.  Glorious!

[Bespin 8,480]

[Bespin 8,480]

Some albums of my CD collection turning 20 in 2023.

• Howard Shore - Return of the King OST
• James Horner - Beyond Borders OST
• James Horner - The Missing OST
• James Horner - House of Sand and Fog OST
• City of Prague Philh - The Essential Nino Rota Film Music Collection
• Randy Newman - Seabiscuit OST
• Erich Kunzel - Epics
• Thomas Newman - Angels in America OST
• Thomas Newman - Finding Nemo OST
• Danny Elfman - Big Fish OST
• Danny Elfman - Hulk OST
• Hans Zimmer - The Last Samurai
• Jerry Goldsmith - Looney Tunes: Back in Action OST

[filmmusic 1,827]

The Ice Storm (Mychael Danna) [promo]

It has an appealing charm to me.

[Thor 7,495]

1 hour ago, filmmusic said:

The Ice Storm (Mychael Danna) [promo]

It has an appealing charm to me.

 

It's brilliant -- one of his best. Third favourite, in fact, after EXOTICA and LIFE OF PI.

[LSH 968]

 

 

This is my favourite Horner score.

 

I could talk at length about several moments in this film but the finale cue, Re-Entry And Splashdown, is a masterclass in music-to-picture marriage.

 

It begins with the sign-off to re-entry. It's tense... snare-drums-a -snaring, Horner chimes, huge melodic trumpet lines, choir in the background.....

 

And then.... 

 

The four minutes of radio silence (in the film).... four minutes of the cast staring at TV screens...

 

While Horner somehow builds and resolves... builds and resolves.... etc.

 

Four minutes of tension... beautifully constructed. Choir coos sometimes. Snareless snare.

 

Bass drum is there now and again. 

 

And then.....

 

An eruption of harmonic Horner magic. Horns and trumpets doing counterpoint. More choir. More snare drum. More crescendo. More everything that I love about Horner.

 

That's why it's my favourite Horner score.

 

Yes, I'm drunk.

[Jay 37,353]

YES!

[LSH 968]

19 minutes ago, Jay said:

YES!

 

Thank you! It's my favourite Horner cue, without a doubt.

[Jay 37,353]

It's a great cue in a great score.  Always been one of my top 3 favorite Horner's

[LSH 968]

10 minutes ago, Jay said:

It's a great cue in a great score.  Always been one of my top 3 favorite Horner's

 

As a nineties kid, I knew the film before I knew the score. It was the point when I retrospectively discovered who-composed-what that my life changed. Apollo 13 was one of the first.

 

Still has the same effect on me. But that cue in particular makes me tear up massively.

[Jay 37,353]

For some reason when I was just getting into film scores, I used to think Alan Silvestri scored it, for some reason

[LSH 968]

2 minutes ago, Jay said:

For some reason when I was just getting into film scores, I used to think Alan Silvestri scored it, for some reason

 

AMERICANA

[Jurassic Shark 12,071]

20 hours ago, Andy said:

Waterworld James Newton Howard

 

 

Uh oh... I found my appreciation diminishing with this listen.  No surprise, I love the somewhat goofy Mariner theme, even though it borders on sounding like parody.  But it's definitely hummable.  And there are some good secondary themes and some decent percussion for action sequences (nothing ever comes remotely close to The Lost World).  But for a propulsive action score this one spends a lot of time (ahem) "treading water".  It meanders.  This is often brought up as a top 5 JNH score, but I had a better impression the previous listen.

 

Try the OST.