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

[Thor 7,495]

9 minutes ago, GerateWohl said:

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

 

Check out PRISONERS, the best score of 2013. Gorgeous religioso stuff. I shared a beer with Jòhannsson just a few months prior to his death. So absurd to think about, in retrospect. What a loss!

 

 

This remains Ola's best score, IMO. In the same vein as Jóhannsson, actually -- slowmoving, elegant, melancholic.

[filmmusic 1,826]

I have moved on to 2016 Oscar nominations.

I had listened to Moonlight (Nicholas Britell) some time ago. Effective (I haven't seen the film) but with a very simple main theme I'd say.

Passengers (Thomas Newman): didn't say anything to me.

 

 

I didn't know about this film, score, or the composers.

Apart from some sound design-y cues, this is quite good. Minimalistic of course, as it's the norm with more recent scores, but well crafted.

[Thor 7,495]

Best score of 2016 was NERVE (Rob Simonsen), but in its electronic goodness, not your cup of tea, K. Was not thrilled with LION or MOONLIGHT, but PASSENGERS (directed by a Norwegian, no less) at least had some worthwhile segments. If you're going through years, I'm going to be high and mighty and suggest my own annual best of lists since 2013, at Celluloid Tunes. Better scores than the Academy actually picked. But I realize it's a warm-up to the ceremony itself this night.

 

 

While talking about Jóhannsson, I wanted to give this wonderful 2014 score another go -- from another Icelandic fav of mine, Ólafur Arnalds. Shimmering, gorgeous textures throughout.

[GerateWohl 4,357]

43 minutes ago, Thor said:

Check out PRISONERS, the best score of 2013. Gorgeous religioso stuff. I shared a beer with Jòhannsson just a few months prior to his death.

You journalist guys are too gracious about the music when you had a social contact with the composers.

You really should go out for a beer with Michael Giacchino. Then let's talk again about his music.

[Thor 7,495]

1 minute ago, GerateWohl said:

You journalist guys are too gracious about the music when you had a social contact with the composers.

You really should go out for a beer with Michael Giacchino once in a while. Then let's talk again about his music.

 

LOL! Well, I came close with his sister (hey....just a meeting, no funny business!), but I'd actually love to sit down with MG. He seems like a really cool fellow. Just not a composer I like (except bits and pieces of JOHN CARTER....and LOST, in-context of the show).

[GerateWohl 4,357]

Just now, Thor said:

 

LOL! Well, I came close with his sister (hey....just a meeting, no funny business!), but I'd actually love to sit down with MG. He seems like a really cool fellow. Just not a composer I like (except bits and pieces of JOHN CARTER....and LOST, in-context of the show).

Let's talk again after your pub crawl.

[Naïve Old Fart 9,516]

2 hours ago, Thor said:

 I'd actually love to sit down with MG. He seems like a really cool fellow. Just not a composer I like (except bits and pieces of JOHN CARTER....and LOST, in-context of the show).

JOHN CARTER is, probably, Giacchino's best score.

My top-5 would consist of 

JOHN CARTER 

UP 

INSIDE OUT 

TOMORROWLAND 

THE INCREDIBLES

 

[Edmilson 7,436]

 

I don't care what anyone says, this is one of my favorite James Horner scores, period. It was one of his scores that made me fall in love with his music when I was a teen, and I think it remains great to this day. The love theme is up there with Braveheart's in my list of favorite JH themes and the whole music is very emotional, but I also like the darker parts of the score: a perfect representation of a turbulent mind.

 

 

On the other hand, this one is a decent collection of Hornerisms that were used to better effect in other scores for kids movies. It's not bad or anything, but it's not in the same league of Balto and The Land Before Time, mostly because it's so sugary that I hope I don't get diabetes while listening to this.

[Thor 7,495]

19 minutes ago, Edmilson said:

I don't care what anyone says, this is one of my favorite James Horner scores, period.

 

Does anyone say anything to the contrary? I believe A BEAUTIFUL MIND is a celebrated and well-liked score across the board, as it should be.

[Tallguy 3,385]

As is the case with many Horner scores I liked it better when it was Sneakers. But I understand if the "Horner dials" are set better for someone's tastes in A Beautiful Mind.

 

But at the time (and probably now) A Beautiful Mind was almost universally beloved.

 

15 hours ago, Naïve Old Fart said:

JOHN CARTER is, probably, Giacchino's best score.

My top-5 would consist of 

JOHN CARTER 

UP 

INSIDE OUT 

TOMORROWLAND 

THE INCREDIBLES

 

 

I just went back to Star Trek for the first time in a long time. Whatever I think of the movie that's a pretty damn fine score.

 

Lost has to be one of the greatest musical achievements on television. Certainly by a single credited composer. My only "problem" with John Carter is that it's one of the best scores buried in the middle of some middle of the road MG.

 

And The Incredibles is just one of those scores that does not have a bad note in it.

 

Oh, and Doctor Strange may be his most underrated score. IMVHO.

[filmmusic 1,826]

 

Honestly, I don't know what to make of this. It was a "weird" score.

Now, I have heard all of the 2016 Oscar nominated scores, except the winner La la land.

Pretty weak year if you ask me. Unless the winner, changes my mind.

[Naïve Old Fart 9,516]

50 minutes ago, filmmusic said:

 

 

50 minutes ago, filmmusic said:

Honestly, I don't know what to make of this. It was a "weird" score.

It's a nice, unobtrusive score. I like it.

 

 

51 minutes ago, filmmusic said:

Pretty weak year if you ask me. Unless the winner, changes my mind.

It won't.

[Knight of Ren 789]

52 minutes ago, filmmusic said:

 

Honestly, I don't know what to make of this. It was a "weird" score.

Now, I have heard all of the 2016 Oscar nominated scores, except the winner La la land.

Pretty weak year if you ask me. Unless the winner, changes my mind.

Yes, listen to La La Land. For me, it's such a great score, and one of my favorites from the last years, and Hurwitz really showed his knack for memorable melodies which he weaves literally everywhere, from the songs to the score, and it's definitely the best score of that eyar, at least from the nominated ones

[Edmilson 7,436]

In 2016, my favorite score among those who were nominated was TN's Passengers. It's not amazing or anything, but I like it "Newman-isms" and also it works perfectly with the film.

[Jay 37,352]

Craig Safan - The Last Starfighter

 

Finally listened to the 2022 rebuild of this score Intrada released.  It's glorious!  Fantastic score that never sounded better.  Great work  

[Raiders of the SoundtrArk 2,433]

23 hours ago, filmmusic said:

Honestly, I don't know what to make of this. It was a "weird" score.

Now, I have heard all of the 2016 Oscar nominated scores, except the winner La la land.

Pretty weak year if you ask me. Unless the winner, changes my mind.

La La Land is really a great score. But yeah the 2016 selection was not really good, they should have selected The BFG, Hail, Caesar! and Fantastic Beasts

[filmmusic 1,826]

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

La La Land is really a great score. But yeah the 2016 selection was not really good, they should have selected The BFG, Hail, Caesar! and Fantastic Beasts

So, I've listened to the La La Land score album.

Yes, it' quite good. No relation to Babylon that I could not finish.

Truly the best of all 5 Oscar nominations that year.

[Andy 4,123]

3 hours ago, Jay said:

Craig Safan - The Last Starfighter

 

Finally listened to the 2022 rebuild of this score Intrada released.  It's glorious!  Fantastic score that never sounded better.  Great work  

Yeah the sound difference is sizable. They nailed it this time. 

[thestat 348]

Very surprised by Tyler's score to 1883. The Yellowstone stuff was okay, but this is an actual theme with a real melody (I know, what a surprise!). It really harkens back to Tyler's early days with Children of Dune and Frailty when he actually composed interesting work and not the copy-paste crap he's been doing. He should step back from the blockbusters (yeah, likely with all the fast cars male modelling he's doing and clearly enjoying!)

 

su

[LSH 968]

 

In my opinion, this is one of Newman's finest and most adventurous scores from the past decade. (A little bit over a decade, I just noticed)

 

This must have been a field day for him... having used exotic instruments from this region in scores all his career... finally to put them to geographical use.

 

An Assault On The Senses is my favourite cue. Only Newman could sustain such a simple idea over 3 minutes and make it as beautiful as this...

 

 

 

[Tallguy 3,385]

King Kong (1976) - John Barry

 

Wow what a powerhouse of a score. What a terrific piece of music. What a terrible film. Arguably better than James Newton Howard's score and that's saying something.

[Naïve Old Fart 9,516]

An easy top-5 Barry score, for me.

 

 

 

52 minutes ago, Tallguy said:

King Kong (1976) - John Barry.

Arguably better than James Newton Howard's score and that's saying something.

You're damn right, it is!

[filmmusic 1,826]

3 hours ago, Tallguy said:

What a terrible film.

I love the film. It was the first King Kong I ever saw, and it holds a special place in my heart!

[Tallguy 3,385]

18 minutes ago, filmmusic said:

I love the film. It was the first King Kong I ever saw, and it holds a special place in my heart!

 

Mine too. That's why I didn't realize how bad it was until I was in my 40's.

[filmmusic 1,826]

 

I didn't know Newman had pulled a Zimmer.

[Naïve Old Fart 9,516]

1 hour ago, filmmusic said:

I love the film. It was the first King Kong I ever saw, and it holds a special place in my heart!

It may not be the best KING KONG, but it's my favourite KING KONG.

 

 

 

 

1 hour ago, Tallguy said:

Mine too. That's why I didn't realize how bad it was until I was in my 40's.

I still think it's a good film, and I'm... let's just say, I'm not in my 40s 

[crocodile 8,006]

 Creed, Creed II and Creed III by Ludwig Göransson and Joseph Shirley. My 2-hour-and-58-minute playlist of all three score albums. While many other franchises might spark huge debates in regards to how they handle the "legacy" material, this humble trilogy is probably one of the finest there is in that department. Interesting genre crossover, clever thematic development and just solid proper melodic and textural writing. And a very good update of what made the old scores so appealing in the first place. It's a pure proof that's is not "what" but "how" that matters the most. Classy stuff all around plus probably the best main theme in modern non-Williams score, period.

 

Karol

[Tallguy 3,385]

19 hours ago, Naïve Old Fart said:

I still think it's a good film, and I'm... let's just say, I'm not in my 40s 

 

Yes, that was a while ago for me as well.

 

Anyway, 'tis the season:

 

Also up for today: Memphis Belle and Titianic. Maybe some episodes of Star Trek. Something with The Incredible Hulk?

[filmmusic 1,826]

 

Oscar winner for 2020.

I've somewhat enjoyed the jazz stuff by Batiste, but I wouldn't say the same for the electronic score by Reznor and Ross.

It's strange to think that they have already 2 Oscars and Jerry Goldsmith has 1!

[Holko 9,525]

Wintory's Traveler - never played Journey, never heard the actual score - but this is just fantastic.

 

The Banner Saga Trilogy - I have played these and love them. And the scores are a wonderful journey from bleak nordic travel music to a hopeless drawn-out apocalyptic last stand battle, incorporating thematic development where needed, athematic but still melodic music for the developing journey where needed, and more sound-designy atmospheric but still interesting music where needed, greatly enhancing the games' emotional heights in a film scorey way like in Of Our Bones, The Hills/We Are All Guests Upon the Land for the (spoilers) main character's loss and burial, the first violent stages of the siege in Steel Flowing as Water/Ruin Beyond the Wall the cutting back and forth between the siege in the real world and the plodding road in the netherworld from Blades Sing From Below to With a Mighty Grief That Was Our and Theirs, or the climactic release in Fate, Chosen. I just love it.

 

Deriviere's A Plague Tale: Innocence (Bandcamp Deluxe) - I bought this because I loved the soundscape in the first game, I always adore nonstandard instruments or nonstandard ways to use them, and the way this score handles the cello and other string and medieval instruments (with some organ and synth to darken it even more) is just a beautiful joy.

 

Deriviere's A Plague Tale: Requiem (Deluxe) - This on the other hand I bought after spending a couple hours ingame and already finding multiple pieces that were not only enjoyable but a very strong emotional driver/support for the fantastic character beats and story. I only saw after buying that it was 3 hours long, that's how motivated I was And boy, what a 3 hours! Pretty much a chrono assembly from what I could tell, it guides you through the much heavier and darker story perfectly, utilising themes from the first game to a much fuller extent while also enriching the sound with new themes, choir and bagpipes. I particularly love No Turning Back for Amicia's first breaking point with violently lashing out, and everything on the island, from the optimistic first impressions (This Island/The Child/The Holy Child) to the dark undercurrents (The Spirit of the Island/The Darkest Island), the desperate reaching back through centuries' layers of dust for answers (Tomb/Ruins/The Protector/The Truth/The Night), and the ultimate failure (The Count/Kneel/The Lost City).

[Naïve Old Fart 9,516]

1 hour ago, filmmusic said:

It's strange to think that they have already 2 Oscars and Jerry Goldsmith has 1!

I know of someone else who has two Best "Original Score" Oscars, and he doesn't deserve either of them.

[GerateWohl 4,357]

1 hour ago, filmmusic said:

It's strange to think that they have already 2 Oscars and Jerry Goldsmith has 1!

It clears up a little if you look at against whom they won and against whom Jerry lost.

[Tom Guernsey 2,284]

2 hours ago, filmmusic said:

 

Oscar winner for 2020.

I've somewhat enjoyed the jazz stuff by Batiste, but I wouldn't say the same for the electronic score by Reznor and Ross.

It's strange to think that they have already 2 Oscars and Jerry Goldsmith has 1!

Not to mention Bernard Herrmann, Elmer Bernstein (not even for best score!), Alex North (not even competitive!), Ennio (if you exclude the honorary one)... etc... but yeah, I had similar thoughts on Soul. The jazz is fun, the whispy electronic stuff is fine as it goes, but would much rather have had a score by someone who could have covered both and linked both facets.

[crocodile 8,006]

 Amistad. One of the best expansions in recent years, no doubt about that. It boosted the score from good to great in my book. It's not something I will listen to too often necessarily but I will cherish it whenever I do.

 

As for my appetite for more Williams expansions...

 

 

Karol

[filmmusic 1,826]

 

Oscar nomination 2020.

I didn't know Reznor/Ross could write orchestral stuff. I thought they compose only electronic music.

Anyway, that said, it's not something extraordinary, but decent.

I just don't understand the need to release all those demos, raising the duration to 3,5 hours.

 

[Bespin 8,480]

Having a Jerry Goldsmith Sunday

 

[Edmilson 7,436]

I listened to quite a lot of stuff over the last couple of days:

 

JNH - Jungle Cruise

 

I didn't really care for it when it came out (except for the Metallica covers). But listening to it now, I like it so much more! Not one of Howard's best adventure scores, but still rather fun with some great highlights.

 

James Horner - The Rocketeer

 

One of the most enjoyable scores ever written for a comic book adaptation. The main theme is simply delightful and, alongside JW's Superman theme, one of the most wide-eyed optimistic themes ever written for a superhero.

 

JNH - A Hidden Life

 

Decided to revisit this one for the first time in years. It's still great, and the kind of score of that I would prefer JNH to do more than just blockbusters.

 

Also JNH - News of the World

 

I like the moods, the atmosphere, the textures... It's not always easy to listen, but it does have some amazing moments.

 

John Powell - Bolt

 

Everything I love about a kid-friendly John Powell score in one package: great themes (including a folksy one that for some reason reminded me of The Shawshank Redemption), awesome action music (this one mixing synths and orchestra in a similar way to Paycheck) and the general warmth of his music. This is why I love Powell's animated scores, they're often very wholesome to listen!

[JNHFan2000 2,959]

Mary Poppins Returns (The Song Instrumentals)

 

How I love this album!! All the songs all so well orchestrated and to hear them without the vocals on top it is just so great.

Shaiman really is a master at this sort of thing. All the songs have great melodies and the orchestrations are also incredible!

 

I still wish, and I've said it before, we'd get more well produced instrumental version of songs (things like Disney Renaissance, Les Miserables Full Symphonic album, West Side Story)

[filmmusic 1,826]

12 minutes ago, JNHFan2000 said:

Mary Poppins Returns (The Song Instrumentals)

 

How I love this album!! All the songs all so well orchestrated and to hear them without the vocals on top it is just so great.

Shaiman really is a master at this sort of thing. All the songs have great melodies and the orchestrations are also incredible!

 

I still wish, and I've said it before, we'd get more well produced instrumental version of songs (things like Disney Renaissance, Les Miserables Full Symphonic album, West Side Story)

I haven't listened yet to the Oscar nominated score. Is it based on the songs, or is it a completely different thing?

[JNHFan2000 2,959]

23 minutes ago, filmmusic said:

I haven't listened yet to the Oscar nominated score. Is it based on the songs, or is it a completely different thing?

There is a theme for Mary Poppins which is used a lot. And most of the song melodies make multiple appearances in the score 

There's 2 great action cues (althought the Race To Big Ben is actually 8 minutes and would've been great to have on the official album)

 

It's my favorite score of 2018. One of my favorite scores ever, but that all might be because I grew up with Mary Poppins. So everything to do with her has a special place in my heart

[Holko 9,525]

Went through the French Connection LLL Collection now that I got it. My main motivation was the samples, I watched the first movie because of them but so much of the score is unused that I didn't really get that much more to go on, but still I liked it all enough to get it.

 

Holy crap the first one is so good. Groovy, jazzy, varied but a focused vision, fun as shit, compounded, and together like this it feels longer, more substantial than it is. A very happy big discovery!

 

The second one's not bad. Certainly has highlights and even not that fun cues surely support the narrative well from what I gather, but overall I didn't find it nearly as fun or such a satisfying whole as the first. Maybe it'll be  a grower.

 

I was surprised about Popeye Doyle, I was expecting it'd be a one-and-done skipper that's only there to fill the discs but actually once my brain was programmed to click onto the repetitive rhythm in the middle section, I started getting into it. It doesn't amount to much in the end and I'll still probably cut it down a lot but a nice enough addition. Kinda funny/interesting that all 3 of these scores end up at 38 minutes.

 

One big disappointment is the liner notes - you open this gorgeous Titus booklet that's mostly pictures, get a short text about the movies and some score praise, but zero technical information about the release, assembly, sources, why some cues are lesser quality mono (suspiciously mostly the ones from the first one that were used in the film) and some are better sounding stereo, etc.

[Naïve Old Fart 9,516]

@Holko, if you like THE FRENCH CONNECTION, try David Shire's THE TAKING OF PELHAM ONE TWO THREE,  Chris Boardman's PAYBACK, and Elia Cmiral's RONIN.

[Marian Schedenig 8,192]

2 hours ago, Naïve Old Fart said:

David Shire's THE TAKING OF PELHAM ONE TWO THREE

 

A *brilliant* score.

[thestat 348]

On 09/03/2023 at 11:15 PM, Marian Schedenig said:

 

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)

 

 

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

 

Not sure where this nonsense questioning Poledouris's Robocop started - that is an absolute classic score that combines a brilliant emotional main theme with dynamic evocative action that is idiosyncratically both Poledourian and Verhoeven - ie. synths and orchestra playing to complement one another. For action, Van Chase, Rock Shop? Who are you, Leonard Rosenman? Robocoooop (by four sopranos, perhaps?). Questions:

 

 

 

[crocodile 8,006]

Hostage by Alexandre Desplat. Believe it or not, this might be my favourite score from the composer. Or at least very close. It's darkly elegant and interesting even at its most suspenseful spots. Always engaging and beautifully played by the LSO. Not the kind of thing you'd hear in mid-2000s thriller movie. Classy.

 

 

 

Karol

[Marian Schedenig 8,192]

Sounds quite Basic Instinct/Hollow Man-inspired.

[crocodile 8,006]

Goldsmith's spirit definitely looms large over the whole thing, no question about that. And merged with Desplat's gentle elegance, it is quite a wonderful, if overarchieving, score.

 

Karol

[JNHFan2000 2,959]

Sleeping Beauty - George Bruns

 

Wonderful score, which beautifully incorporates Tchaikovsky's ballet.

And the final battle remains one of my all time favorite battle musical cues 

 

 

[crocodile 8,006]

The Red Violin

The Conversation

Star Wars: The Rise of Skywalker

Watership Down

 

Karol

[Naïve Old Fart 9,516]

2 hours ago, crocodile said:

Watership Down

Aaw. A beautiful score from a beautiful film.