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

[JNHFan2000 2,966]

The Man Who Killed Don Quixote - Roque Baños

 

I love this score. I feel it's Baños best score and one of the most fun and enjoyable scores of the last 10 years.

Great themes, orchestrations. I love Latin aspects in score, so this is right up my alley!!

[Andy 4,138]

2 hours ago, GerateWohl said:

The cover is probably the most direct imitation of the original Star Wars poster, that I have ever seen.

This one’s pretty good too.  I haven’t heard the score though. 
 

 

[Thor 7,508]

There were lot of those posters at the time. James Horner had two SW knock-offs in KRULL and BATTLE BEYOND THE STARS, for example.

 

 

Somewhat morose, but there's beauty in the darkness. I wish there were more good films about this period in North American history (there's THE VVITCH, but not a lot otherwise).

[Tom Guernsey 2,286]

Aliens (James Horner) - Ripley, Ripley, the Klingons have got Newt! #oldiebutagoodie

[Knight of Ren 789]

2 hours ago, JNHFan2000 said:

The Man Who Killed Don Quixote - Roque Baños

 

I love this score. I feel it's Baños best score and one of the most fun and enjoyable scores of the last 10 years.

Great themes, orchestrations. I love Latin aspects in score, so this is right up my alley!!

Yeah, fun score, but I think his Evil Dead score is even better, and I would say it's one of my favorites from him. Absolutely recommend it if you haven't heard it yet. The main theme is instantly memorable and there are some great variations on it, especially in the track "The Pendant / Evil Tango". So much fun!

 

[Tom Guernsey 2,286]

12 minutes ago, Tom Guernsey said:

Aliens (James Horner) - Ripley, Ripley, the Klingons have got Newt! #oldiebutagoodie

No wait… it’s those dastardly astronauts who “died” on the first manned trip to Mars who have her! They mostly come at night. Mostly. 

[JNHFan2000 2,966]

5 minutes ago, Knight of Ren said:

Yeah, fun score, but I think his Evil Dead score is even better, and I would say it's one of my favorites from him. Absolutely recommend it if you haven't heard it yet. The main theme is instantly memorable and there are some great variations on it, especially in the track "The Pendant / Evil Tango". So much fun!

 

True. That's incredible.

 

Abominations Rising is one of the most cool, intense cues ever. And the use of the air siren is truly genius.

[Jurassic Shark 12,079]

The part starting at 2:40 is very much a Piazzolla rip-off.

[Naïve Old Fart 9,534]

17 minutes ago, Tom Guernsey said:

No wait… it’s those dastardly astronauts who “died” on the first manned trip to Mars who have her! They mostly come at night. Mostly. 

Stop yer grinnin', and drop yer linen.

[thestat 348]

This awesome comparison video between Goodwin and Mancini's Frenzy score. Skip to 25:00 for the most awesome piccolo/dark waltz that presages especially Christopher Young's expertise in this field - I think Hitchcock was right to ditch Mancini (as much as I love his work, especially the Main Titles here) - Goodwin gets the irony and lightens up the insanely grim film with his stuff:

 

[Tom Guernsey 2,286]

Last Crusade (JW) - I can never quite decide if this is my favourite Indy score or if it’s Raiders. For all the driving exciting of the Raiders action, the writing for Last Crusade is more musical (for want of a better word). I know Desert Chase (for example) is thrilling but there are passages which rely on repetition and the sheer power of the LSO brass to ramp up the intensity which makes it less satisfying musically away from the film (I would emphasise that it’s still brilliant and these things are all relative). On the other hand the complexity in Last Crusade isn’t quite as manic as Temple of Doom. The set pieces are beautifully constructed and function especially well as stand alone scherzos. Also the first Indy score to feature the theme for a biblical/mystical object in the end credits (even if it owes a bit to Jerry’s religious theme for Patton).

 

Robocop (Basil) - very much a “score I feel I should like more” but somehow it never quite gets going. Even the appearances of its iconic main theme are surprisingly infrequent and rarely blast away as effectively as in his other classic action scores. The programming of source music in the latest release (can’t recall if earlier versions do too) doesn’t help as they kill the mood somewhat (even more so than the “do you want to know more?” news theme from Starship Troopers which is at least based on (one of) the main theme(s)).

 

Had a random realisation that I don’t think there’s a proper Basil compilation/collection in existence. Given the decent number of relatively high profile films he scored, it seems shocking that Silva or Varese never  commissioned one or assembled one from existing (re-)recordings. Shame. 

[Jay 37,368]

1 minute ago, Tom Guernsey said:

Also the first Indy score to feature the theme for a biblical/mystical object in the end credits (even if it owes a bit to Jerry’s religious theme for Patton).

 

 

Woah really? I guess I need to listen to that score again...

[Naïve Old Fart 9,534]

@Tom Guernsey, the holy grail might be mystical, but I guarantee that you won't find it anywhere in The Bible.

[Tom Guernsey 2,286]

52 minutes ago, Jay said:

 

Woah really? I guess I need to listen to that score again...

It’s not a direct lift but you can definitely hear the parallels between both themes. Quite a surprise when I spotted it in Patton! I mean you should listen to Patton anyway, I recommend the original album re-recording, if you have it, the original tracks sound quite thin to me and the RSNO version, while excellent, is a little less detailed due to the more spacious recording, although the version of the entr'acte (ie the Patton March) on that version is easily my favourite.

 

46 minutes ago, Naïve Old Fart said:

@Tom Guernsey, the holy grail might be mystical, but I guarantee that you won't find it anywhere in The Bible.

I know but it has biblical associations (as does the Ark) unlike, say, the Shankara stones.

[Jay 37,368]

I have the Intrada 2-CD set that has both the film tracks and the album re-recording included.

[Tom Guernsey 2,286]

13 minutes ago, Jay said:

I have the Intrada 2-CD set that has both the film tracks and the album re-recording included.

Winning! I remember being quite disappointed when I heard the FSM release of the actual film tracks (as a duo with Waxman’s Flight of the Phoenix). I bought the original soundtrack LP at a second hand music fair (despite not having a record player, had to wait to go to my parents during uni holidays to listen to it) and really enjoyed it and the RSNO recordings. When you listen to the original film tracks, you can understand why Jerry went and re-recorded it for the album. I enjoy the RSNO a recording, although I’m not sure it’s particularly essential given that the original tracks for both a film and original album sound pretty great despite their age. Either way, one of those situations where the two available re-recordings eclipse the original film tracks, nice though they are to have.

[Naïve Old Fart 9,534]

30 minutes ago, Tom Guernsey said:

 know but it has biblical associations (as does the Ark) unlike, say, the Shankara stones.

With respect, Tom, the holy grail has no Biblical associations, at all. It's all part of the Arthur myth.

The Ark, on the other hand, has a pivotal role in the Pentateuch. It was - literally - where The LORD lived.

 

Actually, the plot development in RAIDERS OF THE LOST ARK, is completely wrong.

The broken pieces of the Ten Commandments were not put into The Ark.

[Tom Guernsey 2,286]

35 minutes ago, Naïve Old Fart said:

With respect, Tom, the holy grail has no Biblical associations, at all. It's all part of the Arthur myth.

The Ark, on the other hand, has a pivotal role in the Pentateuch. It was - literally - where The LORD lived.

My recollection from the film is that it’s meant to be the cup from which Jesus drank/shares wine with his disciples from at the last supper. Appreciated it’s more from Arthurian legends and other myths (yes I had a look on Wikipedia, so sue me) but from the story perspective of Last Crusade, it’s meant to be connected to a specific biblical event, the last supper. The whole point is that it’s a simple wooden cup that a carpenter would have used rather than a gold one with jewels on it. Maybe I should have been more specific in how I described it but I kinda thought people might comment on the music than pedantically argue about how I described the grail in my original post.

 

I’m not getting into discussions about the macguffins in Raiders… 

[Bespin 8,483]

You mean the holy grail doesn't exists, that it's only a story?

 

[Tom Guernsey 2,286]

6 minutes ago, Bespin said:

You mean the holy grail doesn't exists, that it's only a story?

 

Nah, it’s real. Last Crusade is a documentary. Like Star Trek and Doctor Who.

[Bespin 8,483]

I always thought Indy movies were based on true historical events!

[Tallguy 3,395]

5 minutes ago, Tom Guernsey said:

Nah, it’s real. Last Crusade is a documentary. Like Star Trek and Doctor Who.

 

Historical Documents.

[Andy 4,138]

Wow there is a similarity between that religious Patton motif and the Grail theme. I just never connected them. 
 

The Patton OST is the way to go for sure. 
 

I like your assessment of Robocop. It does feel like the music needs to go bigger or somewhere else.  It never quite reaches Robogasm.    I don’t revisit it often. 

[Jay 37,368]

Daniel Pemberton - Ocean's 8

 

Man, I love this score!  It's real that I love scores that don't have much of a narrative drive, but this one really does it for me.  So much fun, it makes me want to discover more music like it but I don't know where to start.

[Tom Guernsey 2,286]

1 hour ago, Andy said:

Wow there is a similarity between that religious Patton motif and the Grail theme. I just never connected them. 
 

The Patton OST is the way to go for sure. 

Funnily enough, I thought this was one of those fairly well-known similarities, but maybe it isn’t?! I’m sure it’s just a complete coincidence, but I guess it makes sense as they are both very much religious themes, I would say that JW develops his version in a more satisfying way but Jerry’s is meant to be more personal and restrained (which makes sense).

 

1 hour ago, Andy said:

I like your assessment of Robocop. It does feel like the music needs to go bigger or somewhere else.  It never quite reaches Robogasm.    I don’t revisit it often. 

Thank you, I have similar feelings about the Hunt for Red October, which never seems quite as interesting based on its reputation outside of the glorious hymn and a few other choice moments. Strange, given how great a composer Basil was, and how well regarded both of these scores are. I might have to give Robocop 3 a try as I’ve not listened to that one in ages and I honestly can’t remember much about it. I have a sneaking suspicion it doesn’t even feature the main Robocop theme as it’s a different studio (the same reason the Conan sequel doesn’t feature the original themes).

[Jay 37,368]

3 minutes ago, Tom Guernsey said:

I have a sneaking suspicion it doesn’t even feature the main Robocop theme as it’s a different studio (the same reason the Conan sequel doesn’t feature the original themes).

 

The Conan movies were not made by two different studios.  Both were made by Dino De Laurentiis Company for Universal Pictures

[Marian Schedenig 8,199]

52 minutes ago, Tom Guernsey said:

Thank you, I have similar feelings about the Hunt for Red October, which never seems quite as interesting based on its reputation outside of the glorious hymn and a few other choice moments.

 

The album is poorly produced and sequenced, but in the end it might still be a more rounded listen than the full score. Once you get used to it, I think the whole album is pretty listenable, but the only really relevant tracks are the hymn, Nuclear Scam, and the gorgeous Red Route I.

 

Completely agreed about Robocop, probably the only major Poledouris score that I never found access to. (Also agreed about Last Crusade, btw, and the various Patton versions - as far as I remember at least, I really should listen to it again)

 

52 minutes ago, Tom Guernsey said:

Strange, given how great a composer Basil was, and how well regarded both of these scores are. I might have to give Robocop 3 a try as I’ve not listened to that one in ages and I honestly can’t remember much about it.

 

It's not essential in any way, but it's got this bit which I quite dig:

 

[Naïve Old Fart 9,534]

.

[Thor 7,508]

 

Such a drop-dead-gorgeous score melding east and west - a natural continuation of his masterpiece ANNA AND THE KING, released the year before.

 

Relistening to my Fenton collection, I should really make some amendments to my earlier top 10.

[crocodile 8,017]

 Spellbound. As much as I like Rozsa's grand works (in small doses), this is probably my favourite of his.

 

Karol

[GerateWohl 4,370]

9 hours ago, crocodile said:

 Spellbound. As much as I like Rozsa's grand works (in small doses), this is probably my favourite of his.

 

Karol

Recently watched the movie and was surprised that there is actually an overture in front which is not on the re-recording. On the other hand, the score is already so repetetive that I don't really miss it on the album. The love theme is great but really a little overused. I think, Hitchcock complained about this as well afterwards. At least He found, the music distracts from the action on screen (what I rather enjoyed). Then movie has rather some other flaws than the beautiful soundtrack.

 

Edit: By the way, watching the film, I had to think of Ridley Scott's Alien. For these are examples for a congenial integration of an artists work for a film into its visuals.

[Edmilson 7,466]

 

Sounds like JNH took his previous Shyamalan scores and put them in a blender: there's the dark atmosphere with creepy pianos from The Sixth Sense and Unbreakable, the minimalistic motifs from Signs and Maya Beiser's cello acting like the violin from The Village. It's decent, but not as good as his previous M. Night scores.

[Naïve Old Fart 9,534]

Agreed. The film is one huge "WTF?", but the score is really quite nifty.

[Edmilson 7,466]

 

This is more crowdpleasing than The Happening, and the OST is a decent collection of highlights (I have the recording sessions and there isn't much interesting material left out of the original album). It has a fantastic collection of themes, probably one of the strongest sets for a JNH score, but I don't think the score lives up to this huge potential. The album starts promising enough, but the middle cues covering the desert race aren't exactly interesting. Things do improve by the end, which has some of Howard's most emotional conclusions for any score.

[Tydirium 1,167]

Not sure where else to post this, but just wanted to let you guys know that Waxman's "A Place in the Sun" soundtrack is now available digitally for streaming/purchase! Looks like it just came out yesterday.

 

http://filmmusicreporter.com/2023/03/10/a-place-in-the-sun-digital-soundtrack-album-released/

 

https://www.qobuz.com/us-en/album/a-place-in-the-sun-music-from-the-motion-picture-franz-waxman/ph6m5cxihk4dc

 

https://music.apple.com/us/album/a-place-in-the-sun-music-from-the-motion-picture/1673796079

 

[filmmusic 1,829]

 

I have stayed away from this, mainly because I didn't like the film.

Now that I've heard it, well, I'd say it's quite good, although static at most times.. I liked the use of the organ though.

Having listened to all the Oscar nominated scores of that year (and the winner of course), I think I'd prefer this over the others.

(I have to re-listen to Mr. Turner to remember it though. The thing I remember is that it was a highly sophisticated score).

 

 

An Oscar winner really?

Morricone has written hundreds of scores, some magnificent ones, and you give the Oscar to this?

Well, I'd say it felt more of a whole-career-Oscar than for the specific score. 

 

 

The main theme is like listening to Philip Glass.

 

 

I think Thomas Newman is best when he remains to his distinctive style. This deviated a bit in my opinion.

[Edmilson 7,466]

Wyatt Earp (JNH)

 

One of JNH's most enjoyable scores of the 90s, and actually from his whole career. I think it was his trilogy of Kevin Costner scores (this, Waterworld and The Postman) that helped his career advance toward more big-budget spectacles. It's rather funny that these three flops helped him so much while at the same time sinking Costner's bankability .

 

I really like it, but the 3-disc LLL begs for a more curated approach. The score has an amazing first half, but then things become a little boring and repetitive on the second disc. Still, the collection of themes is great.

[filmmusic 1,829]

 

Another one of those Oscar nominations I cannot understand. 

Has anyone seen the film? Did the score add much to it? Because listening to it isolated from the picture, I didn't hear much. A pulsating rhythm most of the times.

In Desert Music something is going on and trying to emerge, but again it's quite static.

So, now that I've heard all the 2015 nominations (and winner), I'd pick The Force Awakens, although it includes rehashed material.

As I'm going through recent years, the quality of scores nominated seems to be declining...

[crocodile 8,017]

On 11/03/2023 at 10:03 AM, Edmilson said:

 

This is more crowdpleasing than The Happening, and the OST is a decent collection of highlights (I have the recording sessions and there isn't much interesting material left out of the original album). It has a fantastic collection of themes, probably one of the strongest sets for a JNH score, but I don't think the score lives up to this huge potential. The album starts promising enough, but the middle cues covering the desert race aren't exactly interesting. Things do improve by the end, which has some of Howard's most emotional conclusions for any score.

I really enjoy this one.

 

Karol

[Knight of Ren 789]

7 minutes ago, filmmusic said:

 

Another one of those Oscar nominations I cannot understand. 

Has anyone seen the film? Did the score add much to it? Because listening to it isolated from the picture, I didn't hear much. A pulsating rhythm most of the times.

In Desert Music something is going on and trying to emerge, but again it's quite static.

So, now that I've heard all the 2015 nominations (and winner), I'd pick The Force Awakens, although it includes rehashed material.

As I'm going through recent years, the quality of scores nominated seems to be declining...

This is one of those scores that definitely needs to be experienced within the movie it accompanies, because outside of it it's mostly just that, a bucn of pulsating rhythms that slowly increase the tension, but in the movie it's quite effective in how it greatly enhances Villeneuve's mood and atmosphere, and it's quite essential to it.

 

I don't know if it's one of the best five scores of that year (I don't remember what other great scores were released that year), but it works really well within the movie, and that's why they probably nominated, but it's true that it's not the most rewarding listening experience.

[Jay 37,368]

Great movie, score is perfect in it

[Raiders of the SoundtrArk 2,433]

Sicario is really great in the movie but yeah on its own there's only The Beast that really stands out.

It's certainly not in my top 5 of 2015:

1. The Force Awakens by John Williams (by miles)
2. Living in the Age of Airplanes by James Horner (simply Horner at his best)
3. Mission Impossible: Rogue Nation by Joe Kraemer (perfect action writting)
4. The Hateful Eight by Ennio Morricone (a really efficient score, well handle)
5. Tomorrowland by Michael Giacchino (just for the main theme and craft around it)

[filmmusic 1,829]

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

Living in the Age of Airplanes by James Horner (simply Horner at his best)

First time I hear about this score. I will check it out, thanks.

[Raiders of the SoundtrArk 2,433]

Really do it's a top 3 Horner for me

[Thor 7,508]

 

This has always been one of my favourite Doyle scores, and one of the top 10 "Irish-flavoured" scores I can think of. Shame it's so rare these days, deserves a reissue. I program out the songs, though.

[Jay 37,368]

It's one of my favorite Horner's too. It's get discussed on this forum a lot! 

[Thor 7,508]

 

That's right. Nick Mason of Pink Floyd did a film score, just as his colleagues Roger Waters and David Gilmour (and the band as a whole, of course). Never seen it, but glad it finally got a release a few years back -- some neat, twangy guitars goin' round.

[Naïve Old Fart 9,534]

Hmm. It's not PULSE, or anything, is it? 

[Thor 7,508]

1 hour ago, filmmusic said:

First time I hear about this score. I will check it out, thanks.

 

Personally, I think it's "just OK", but you might be interested in Nils' review of the score on Celluloid Tunes, here as run through Google Translate. 

 

By the way, the best score of 2015 was THE DUKE OF BURGUNDY by Cat's Eyes.

 

4 minutes ago, Naïve Old Fart said:

Hmm. It's not PULSE, or anything, is it? 

 

He, he. No, but that's a damn fine set. Even includes bits from the Oslo gig, which was one of my first major concert experiences, and the only time I've seen Pink Floyd as Pink Floyd (I also saw Waters solo in 2007).

[GerateWohl 4,370]

4 hours ago, filmmusic said:

Because listening to it isolated from the picture, I didn't hear much. A pulsating rhythm most of the times.

That's Jóhann Jóhannsson in a nutshell for me. Never heard anything that would make sense to me outside the picture.