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


Ollie

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There are more unsettling pics of Stiff popping up on this board than usual these days...

Bound to be his latest FB pic soon ;)

So I've noticed...

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I brought Braveheart yesterday, effectively a 'new' Horner for me as I've not watched the film or heard the score properly.

The main titles resembled Enemy at the Gates' opening but this aside, it wasn't a bad score, the Celtic sound I liked but a few more re-listens is needed probably.

Ahem it is the other way around. ;)

First Blood by Jerry Goldsmith

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I brought Braveheart yesterday, effectively a 'new' Horner for me as I've not watched the film or heard the score properly.

The main titles resembled Enemy at the Gates' opening but this aside, it wasn't a bad score, the Celtic sound I liked but a few more re-listens is needed probably.

Ahem it is the other way around. ;)

I know, just I heard Gates long before now. Roundabout way of looking at things. :)

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John Carter of Mars. Still Giacchino's finest live action film score. Love all the principal themes. Action music could have been better, though.

Karol

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Actually Jupiter Ascending improves upon some of the things in this one while perhaps faltering in others. Between those two you have a perfect Giacchino score.

Karol

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John Carter of Mars. Still Giacchino's finest live action film score. Love all the principal themes. Action music could have been better, though.

Karol

I feel the other way around. The action music is really fun but the themes are lacking.

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The Hunted by Kodo: A 1995 Christopher Lambert action thriller scored by the famed Japanese taiko performing arts ensemble Kodo. The end result is to Western ears quite authentically Japanese in style and instrumentation (right down to the conventional Japanese shouts while playing the taikos during the piece Matsuri (Irodori)) with conventional synth and woodwind interludes (the different versions of Kirina's Theme) providing a few more melodic moments along the way. Otherwise the score is overwhelmingly focused on rhythms and momentum. The drums, the drums are everywhere!

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Actually Jupiter Ascending improves upon some of the things in this one while perhaps faltering in others. Between those two you have a perfect Giacchino score.

Carter does nothing for me. But Tomorrowland, Jurassic World and Inside Out are among his best, even if the albums are probably all overlong. He's certainly having a very strong year.

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While i appreciate the catalogue listings, would it be possible to at least write a sentence or two about these?

A fair question. I usually don't partly because I'm lazy and partly because my impressions tend to be on the vague side anyway, but I'll keep this in mind.

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Hellraiser and Hellbound: Hellraiser II.

These are a pair of go-to scores that I pull off the shelf quite often. The symphonic power of these scores cannot be understated. Clive Barker got lucky in meeting Christopher Young because he brought scope to these low-budget horror/fantasy flicks that could have easily received yet another low key synth clone that the decade was littered with. Not that I mind synth scores, but the Hellraiser films benefitted from Young's big orchestral sensibilities.

Their album arrangements could use some work as I'm not fond of the carnival music that rears itself in the second score. And the album for the first score is rather front-loaded.

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Capricorn One (Intrada 2015 release) by Jerry Goldsmith: Pulse pounding, haunting, economic, tense, suspenseful this 1970s conspiracy thriller score has it all.

:music: The Sand Pebbles (Intrada complete release)

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Terms of Endearment (Gore)

Ah beautiful movie and theme! Don't know the entire score, just heard the music in the movie.

William Ross reprised the theme in the sequel Evening Star. That one, I bought it when it came out!

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12287.jpg

Can we agree on something here? That The Temple of Doom is musically the most energetic and vibrant JW score in existence?

I can't think of another where he weaves all those themes and ideas together with such relentlessness, barely leaving the orchestra time to breathe in between cues.

This Concord release is excellent, a full CD of everything that makes Indiana Jones music fun. Or how an expansion can bring so much more brilliance to something which was already fantastic.

The action cues for Doom are maybe less focused (but not less amazing) than what we had in Raiders, it's like the maestro went all out to make the action as hectic as possible.

The one theme for Short Round is good lighthearted fun, especially when playing off Indy's.

The darker, more ominous cues are great as well, and there aren't too many of those compared to Raiders. Once again, Williams didn't dwell long on the darker side, opting for wonderfully exuberant fun.

The best theme, apart from the march is of course the one for 'Slave Children's Crusade'. One of his most heroic themes of all time.

The 'End Credits' is once again the perfect send-off for everything that Indiana stands for. I can't hope for a more rousing closing cue. It sends me to filmscore heaven.

So where do I put it in relation to Raiders and Crusade? Just a notch below the two. It's fantastic, and superbly written, but it may just be too borderline crazy to reach the heights of the other two.

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Bury My Heart at Wounded Knee (Clinton)

Terms of Endearment (Gore)

"Bury My Heart At Wounded Knee". Good.

"Terms Of Endearment". Good.

While i appreciate the catalogue listings, would it be possible to at least write a sentence or two about these?

There you go, smiler: a sentence or two about said scores.

12287.jpg

Can we agree on something here? That The Temple of Doom is musically the most energetic and vibrant JW score in existence?

I can't think of another where he weaves all those themes and ideas together with such relentlessness, barely leaving the orchestra time to breathe in between cues.

This Concord release is excellent, a full CD of everything that makes Indiana Jones music fun. Or how an expansion can bring so much more brilliance to something which was already fantastic.

The action cues for Doom are maybe less focused (but not less amazing) than what we had in Raiders, it's like the maestro went all out to make the action as hectic as possible.

The one theme for Short Round is good lighthearted fun, especially when playing off Indy's.

The darker, more ominous cues are great as well, and there aren't too many of those compared to Raiders. Once again, Williams didn't dwell long on the darker side, opting for wonderfully exuberant fun.

The best theme, apart from the march is of course the one for 'Slave Children's Crusade'. One of his most heroic themes of all time.

The 'End Credits' is once again the perfect send-off for everything that Indiana stands for. I can't hope for a more rousing closing cue. It sends me to filmscore heaven.

So where do I put it in relation to Raiders and Crusade? Just a notch below the two. It's fantastic, and superbly written, but it may just be too borderline crazy to reach the heights of the other two.

Just 3 words, dude, "Approaching The Stones" . Magnificent!

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Can we agree on something here? That The Temple of Doom is musically the most energetic and vibrant JW score in existence?

Such grand declarative statements of a popular Williams score usually don't play out very well here.

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The Fury (both the film score and the OST re-recording) by John Williams: Simply tremendous in its haunting sense of tragedy, thunderous darkness and visceral energy. The OST album is inarguably the more powerful experience of the two thanks to the monolithic performance of the LSO. The Epilogue is up there with Arlington among my favourite JW string elegies.

Capricorn One (both the film score and the OST re-recording) by Jerry Goldsmith: As I said above on this page, top stuff from Jerrald. Again might be that the OST re-recording holds slightly the upper hand as a listening experience.

The Sand Pebbles by Jerry Goldsmith: After hearing the original score (as opposed to the re-recording later done by Goldsmith) my opinion of this music simply soared. A sombre and thoughtful masterpiece.

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Can we agree on something here? That The Temple of Doom is musically the most energetic and vibrant JW score in existence?

Such grand declarative statements of a popular Williams score usually don't play out very well here.

Hasn't he heard that AI is better than TOD??!!

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Can we agree on something here? That The Temple of Doom is musically the most energetic and vibrant JW score in existence?

Such grand declarative statements of a popular Williams score usually don't play out very well here.

He happens to be right!

It's brilliant. Though I'm sure you disagree KK.

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Can we agree on something here? That The Temple of Doom is musically the most energetic and vibrant JW score in existence?

Such grand declarative statements of a popular Williams score usually don't play out very well here.

Hasn't he heard that AI is better than TOD??!!

He's new.

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Capricorn One (both the film score and the OST re-recording) by Jerry Goldsmith: As I said above on this page, top stuff from Jerrald. Again might be that the OST re-recording holds slightly the upper hand as a listening experience.

Well that's good news, because that's the one I've ordered (Perseverance release). I only know the overture, and I decided to get the re-recording, because I simply had to have one iteration of Capricorn One, Goldsmith nut that I am... :)

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Well, the two are very different. It's a different type of recording/performance altogether. The OST was recorded in London and it sounds bigger and more symphonic. Film version is drier and less imposing.

Karol

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Hook... the original album or the expanded one... after hearing it, I'm always still hungry.

The big default of this score will always be the missing of "Flight to Neverland" Concert Suite. :mellow:

Imagine one moment the ESB album without the "Imperial March" track... for me, it's the same.

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Williams never wrote that arrangement until years later, though.

Thanks for us he did, this arrangement is ESSENTIAL in his corpus.

williams_on_williams.jpg

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Yeap. That Hook suite is awesome and the rest of the album is not bad either. :)

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Well, the two are very different. It's a different type of recording/performance altogether. The OST was recorded in London and it sounds bigger and more symphonic. Film version is drier and less imposing.

Karol

Thor-retically there is only one version: Goldsmith's 37-minute album, newly assembled and arranged for listening purposes. In this case, i find the complete score with all its sudden starts and stops grating (the dry, dwarfish sound is another drawback).

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I agree with that as well. However, there is a bigger gap between the two recordings of Capricorn One than there is between two The Fury versions. So the film version of Goldsmith's score has more of an archival value. But isn't necessarily the best of listening experiences.

DUqDHmV.gif

I've been listening to both Mission: Impossible III and Mission Impossible - Rogue Nation today.

Karol

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