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


Ollie

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Just about every score Giacchino has done has leaked...  I don't think the film studio has any relevance to it.  John Carter is Disney and that leaked.

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Independence Day complete score

Star Trek: Deep Space Nine Collection

Masters of the Universe complete score

Star Trek: First Contact complete score

Star Trek III: The Search for Spock complete score

Star Trek: Generations complete score

Indiana Jones and the Last Crusade expanded

 

What a day!

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James Horner score I've been listening to over the past couple of days (some in their entirety and some just partially):

 

Willow

The Perfect Storm

Bicentennial Man

Flightplan

Apollo 13

Brainstorm

Gorky Park

The Pagemaster

Southpaw

Titanic

A Beautiful Mind

 

Karol

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I may have mentioned this before - hearing the exposed strings at 0:22, love that.  Does anyone who knows the score better than me know if that's just pretty much inaudible in the final mix of If You Love These People (and the film equivalent), or if it appears elsewhere more prominently?

 

 

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The Rocketeer is certainly a paint-by-numbers Horner effort, but you can say the same about a lot of the man's work. Shit, I'm starting to sound like publicist. But, you know, Horner typically reiterated himself so well. The Rocketeer is glorious.

 

Star Trek II: The Wrath of Khan complete score

The Rocketeer OST
Batman Returns complete score

Live Binaural ASMR recordings of Disneyland including Captain EO with music by James Horner

Prince Batman OST

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Iris by James Horner: Although it is a sneaky little ode to the danger motif it is one of Horner's little often overlooked gems of lyricism. There is lovely poignant feel to the music with liberal dose of Vaughan Williams' Lark Ascending spirit to it, further enhanced by the solo violin work of Joshua Bell but it is all done with Horner's usual impressionistic sweep that is hard to resist.

 

All the King's Men by James Horner: Another one of my personal favourites. While not entirely devoid of Hornerisms (Sons of Scotland theme bursts very audibly through at one point for example) the atmosphere of intrigue, tragedy and melodrama is potent with a pair of gorgeous tragedy and darkness tinged main themes and some noirish and sombre accompanying motifs telling a vivid musical story in the relatively moderate running time of 59 minutes, something of a rarity among later often lengthy Horner albums. While it may raise the histrionics in the film to high melodramatic levels, on album the musical narrative is rather masterful in an old fashioned Hollywood way where no expense is spared to broadcast emotion and it makes for a delightful listening experience.

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On ‎21‎/‎06‎/‎2016 at 0:34 PM, Stefancos said:

They bought you, didn't they?

 

More like rented you cheap.

 

I'm switching off, now. Bye-bye.

 

 

On ‎22‎/‎06‎/‎2016 at 5:11 AM, Shatner's Rug said:

You did all this in a day??

 

 

Can I cook, or can't I?

 

 

 

I've been listening to the 5.1 iso score to "Alien: Ressurection". You know what? It's not half bad.

 

I followed that with "Bullit". Classy, funky, utterly cool.

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Return to Oz by David Shire: This is a score that has grown on me gradually. While at first I was impressed by the original album and the lovely melancholy Dorothy theme, listening to the Intrada release really opened up the whole score and its multiple themes and storytelling for me. There is so much colour and movement and nuance here and this music really has its own sound even among the myriad other fantastic fantasy scores of the 1980's thanks to Shire's own indelible voice.

 

The composer slowly starts with the Copland-esque Americana giving Kansas its clear stamp of time and place but also solidity that is enhanced by Dorothy's own music. But as the action moves to Oz the music is permeated by an increasingly off-kilter and eclectic moods that in Shire's explanation are perhaps a reflection of Dorothy's memories of music which she has heard in real life filtered to her imagination, part of which Oz just might be. This includes strange mandolins trickling beneath Mombi's comings and goings, a lopsided rag time march haunting the ruined Emerald City reminding of happer times, the gentle brass band music for the robot Tik Tok and nostalgic and tender orchestral music for Jack Pumpkinhead and percussive clink of villainous rollerskaters chasing the heroine whose bittersweet music which by the end is finally conjoined with the romantic strains of the princess Ozma's music. It's top notch stuff all and so intelligently conceived but never at the expense of emotional heart, which this music has aplenty.

 

It is a rich tapestry of colorful music and well worth investigating to all and the Intrada 2 disc set presents the actual film score on disc 1 (and part of the opening of disc 2) with all kinds of instrumental overlays (percussion especially) while the second disc contains alternate cues and most significantly the original and terrific soundtrack album, that provides a tighter 50 minute musical programme and includes many different takes of various cues which makes it an essential addition to the set. One of Shire's best and one of those classic fantasy scores of the 1980's.

 

 

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I'm glad you like this score, Mikko! One of my (relatively) recently discovered masterpieces!

 

So Charlie Brigden and myself decided to record a new podcast. It's our first attempt to do this together so it's bit of an uncharted territory. We talked briefly about Warcraft, Finding Dory, Indpendence Day: Resurgence and Now You See Me 2. And Horner. And bit of other stuff as well. It is my first real attempt at this sort of thing so there are things to improve (mostly due to my lack of experience). But it was fun and I shall do this again (and better!).

 

(Or should I post it in a separate thread, Jay? Ricard?)

 

Karol

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p_ual3105.jpg

 

The Apartment (1960, United Artists, UAL 3105)

Featuring John Williams (p).

 

(Released in 1960, United Artists, UAS 6105, Stereo)

p_ual4030.jpg

 

Some Like It Hot (1959, United Artists Records, UAL 4030)

Featuring John Williams (p).

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10 hours ago, Incanus said:

Return to Oz by David Shire

 

Me too. The expanded score. I won't call it complete, because it isn't. I prefer the OST! Intrada's release has questionable sound quality. Just compare the OST version of "The Flight in the Storm" to Intrada disc 1. Yeah. They kind of wrecked it, didn't they? Also, the Mombi mandolin, from the film stems sounding like pure shit mixed in with the rest of the score? I can hear some sound effects in there as well. Anyway, the OST has superior sound quality and a perfect selection of music, although the complete score is loaded with additional wonderful music. One of my favorite scores.

 

Twilight Zone: The Movie

Star Trek V: The Final Frontier

Batman (1989) score/Prince album

Brainstorm

Independence Day

The Pagemaster

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Star Trek: Insurrection by Jerry Goldsmith

 

Powder by Jerry Goldsmith

 

Star Trek: Nemesis by Jerry Goldsmith

 

:music:Witcher 3: Wild Hunt by various composers

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5 minutes ago, nightscape94 said:

 

Really, really good, if a bit reliant on the two main themes.

It's still good that it is reliant on themes right? ;) 

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10 hours ago, Lonnegan said:

I remember being 100% disappointed by the Godzilla score, after Independence Day. 

 

Me too. It gets constantly praised here by a vocal minority, but to me it isn't in the same league as Stargate, ID4, and TND.

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1 hour ago, Jay said:

 

Me too. It gets constantly praised here by a vocal minority, but to me it isn't in the same league as Stargate, ID4, and TND.

Godzilla is actually my favourite David Arnold score. I can't explain to you why, just find myself listening to it most often. Enjoy Stargate in context but couldn't get into the album. And Independence Day feels often like too much.

 

Karol

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Memoirs of a Geisha - John Williams

 

The score feels deceptively simple, with Williams giving generous solo passages for Itzhak Perlman and Yo-Yo Ma amidst the orchestra. Williams doesn't overuse the Japanese instruments, but allowing enough to let the audience know the setting. It's not a showy Williams score, but a beautiful showcase for his lyrical dramatic writing. Sayuri's theme is all over the score, but I never get tired of hearing it.

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Star Wars Episode VII The Force Awakens by Johnny T. Williams: It's still as lovely and energetic as ever.

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Marc Shaiman - City Slickers II: The Legend of Curly's Gold


Great stuff, always liked it.  Many fun themes.

 

 

Michael Giacchino - Cloverfield

 

Another instant favorite of mine, still listen regularly to it.

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22 hours ago, crocodile said:

Godzilla is actually my favourite David Arnold score. I can't explain to you why, just find myself listening to it most often. Enjoy Stargate in context but couldn't get into the album. And Independence Day feels often like too much.

 

 

It is too much quite a lot of the time, but I prefer it to his Godzilla. The movies themselves probably play a part in it. 

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I haven't seen either. In fact the only Emmerich film I saw was Stargate. And even that only once on television while doing something else.

 

Karol

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The Empire Strikes Back (RCA Victor 2-CD set)

Star Wars Episode III: Revenge of the Sith (king mark's expanded edit)

Star Wars Episode I: The Phantom Menace (OST)

Amazing Stories: The Mission

Amazing Stories: The Mission (again--a score so nice, I listened to it twice)

Jaws (Intrada complete score)

Return of the Jedi (Anthology presentation with the additional music from disc four)

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Williams on Williams: The Classic Spielberg Scores (John Williams & Boston Pops): I consider this one of the essential John Williams compilations, along with its earlier companion album Spielberg/Williams Collaboration. The ebullient 5 movement Hook Suite is a highlight but the whole disc is a lovely and terrific listening experience where Williams had a chance to flesh out some of his post 1990 Spielberg scores (and some from the previous decades) into concert form and results are magnificent. Sadly there has never been a follow-up album or albums as these two have done so much since then that would be worthy of disc or two or three.

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7 hours ago, Incanus said:

Williams on Williams: The Classic Spielberg Scores (John Williams & Boston Pops): I consider this one of the essential John Williams compilations, along with its earlier companion album Spielberg/Williams Collaboration. The ebullient 5 movement Hook Suite is a highlight but the whole disc is a lovely and terrific listening experience where Williams had a chance to flesh out some of his post 1990 Spielberg scores (and some from the previous decades) into concert form and results are magnificent. Sadly there has never been a follow-up album or albums as these two have done so much since then that would be worthy of disc or two or three.

 

I love those two compilations so much. Honestly, they're what made me a John Williams fan.  I'd love a sequel album! Williams could return to conduct the Boston Pops playing concert arrangements from Spielberg movies 1995 - now!

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:music: Uncommon Valor by James Horner. Another very solid score from composers' arguably best year - 1983 (this, Brainstorm, Krull, Something Wicked This Way Comes, Testament, The Dresser and Gorky Park).

 

8 minutes ago, Jay said:

ebullient?

Enthusiastic, fervorous.

 

Karol

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