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

[Incanus 5,713]

Stanley & Iris by John Williams

Scent of a Woman by Thomas "Snazzy Snooze" Newman

[crocodile 7,984]

The other bummer about the score is that there is no end credits suite, due to the producers filling it up with existing rock tracks. Conclusion Confusion is kind of a weird ending (much like the film itself had a weird ending)

Actually the original albums' 17-minute Matrix Reloaded Suite does that for me.

Karol

[Incanus 5,713]

The other bummer about the score is that there is no end credits suite, due to the producers filling it up with existing rock tracks. Conclusion Confusion is kind of a weird ending (much like the film itself had a weird ending)

Actually the original albums' 17-minute Matrix Reloaded Suite does that for me.

Karol

What does that suite comprise of?

[Jay 37,287]

It's a suite of moments from throughout the entire score. On the OST it was the only place they appeared, on the new CD it's entirely material that is already in the main body of the score program

[Faleel 5,340]

The score didn't do anything for me.

[crocodile 7,984]

The other bummer about the score is that there is no end credits suite, due to the producers filling it up with existing rock tracks. Conclusion Confusion is kind of a weird ending (much like the film itself had a weird ending)

Actually the original albums' 17-minute Matrix Reloaded Suite does that for me.

Karol

What does that suite comprise of?

Free Flight (no electronic overlay alternate) 0-0:26

Entrance to Zion sequence 0:26-2:19

Neo/Trinity elevator scene 2:19-3:23

Neo/Persefone kiss scene 3:23-4:41

Neo meets Seraph 4:41-5:54

Morpheus' speech at the temple 5:54-6:37

The final part of the action scene in the corridor when the Keymaker dies and when Neo enters the source 6:37-8-35

The Plan montage 08:35-11:19

The scene in that weird corridor and the moment when Neo sees Oracle sitting at the bench 11:19-12:27

Neo escapes from the Source and rescues Trinity - 12:27-16:37

Transition to the temple scene (before Morpheus' speech) - 16:37-end

That's from memory.

It's a suite of moments from throughout the entire score. On the OST it was the only place they appeared, on the new CD it's entirely material that is already in the main body of the score program

Not quite. As I said, Free Flight is different to the one in the complete presentation. But they're both on disc, given that the suite is there as well. I like this edit, presents the score nicely.

Karol

[Faleel 5,340]

Though I will admit, that Davis' Ostinatos slice circles around almost anyone elses.

[Brónach 1,301]

The entrance to Zion cue is awesome paired to picture.

[Jay 37,287]

Michael Giacchino - Medal Of Honor: Frontline

Inky is right, there's a lot of good choir work in this one. Gotta listen again when I'm not so focused on work I barely pay attention to it!

Hans Zimmer - Rush

This is crap. Ramin Djawadi does this same thing much better in Pacific Rim. Also, the main theme is a blatant and obvious ripoff of The Lannister's theme from Game of Thrones! (I know this has been pointed out before)

[crocodile 7,984]

Jack the Giant Slayer

Turbulence

War Horse

Hidalgo

Karol

[crocodile 7,984]

The Edge

Evil Dead

E.T. (original album)

Karol

[Jay 37,287]

Jerry Goldsmith - Star Trek: First Contact (GNP Crescendo Complete)

Finally taking shrinkwrap off more purchases and listening to them all the way through What a great score! Love the juxtaposition of crunchy Borg music with dreamy Flight/First Contact music. The Klingon Battle motif reprised for Warf is fun too

[Wojo 2,453]

If Hitler and Lieutenant Warf were to kiss, their mustaches would never touch.

[#SnowyVernalSpringsEternal 10,265]

Psycho.

The Elfman/Bartek recording. I prefer this over the McNeely recording, which has too much "concert hall" reverb. This score works best with a dry mix.

[Melange 446]

What Is The Last Score You Listened To?

OHMSS.

[Jay 37,287]

Henry Jackman - Wreck-It-Ralph

Super fun score!

[Wojo 2,453]

Psycho.

The Elfman/Bartek recording. I prefer this over the McNeely recording, which has too much "concert hall" reverb. This score works best with a dry mix.

It's raining like hell right now. Great time to listen to it.

[MovieMusicMania 8]

Listening, as a few others have been, to Hans Zimmer's "Rush": very familiar but still exciting and high-octane.

READ MY REVIEW

[Incanus 5,713]

The Mists of Avalon by Lee Holdridge: A rather soothing and serene listen, a beautiful and melodic score for a retelling the Arthurian legends through the eyes of the female protagonists. Slightly new age feel permeates the ethereal portions of the score but Holdridge creates here a sumptuous symphonic work with several thematic ideas, the orchestra augmented by a good array of percussion, choir and a soloist voice (depicting the main character Morgaine). The album offers a good deal of variety from the aforementioned mystical meditations to robustly exciting orchestral and choral action. Loreena McKennit's Mystic's Dream, which was featured in the film a few times in fragments and the end title song I Will Remember You Still performed by Aeone are pretty decent pieces that bookend the score experience. This score comes highly recommended.

[lonzoe 18]

[Incanus 5,713]

Appalachian Spring by Aaron Copland (Minnesota Orchestra, Eiji Oue): It is not difficult to hear why this is one Copland's most popular works. Accessible, lively, highly melodic and animated (it is for a ballet after all) and most of all exuding what many of us have come to call the musical sound of Americana, it is a masterful collection of moods and melodies that seem to reach to the roots of the American cultural heritage yet the composer does so more in allusion than application of every known musical style that all came together in USA. The end result sounds quintessentially American and has influenced countless composers ever since. I rather tend to think that Copland's musical sound has become inseparably part of Americana thanks to this and few of his other popular and influential works like A Fanfare for the Common Man and The Lincoln Portrait. A tender, spirited, noble, playful and most of all a beautiful piece of music.

Third Symphony by Aaron Copland

(This is my first listen; Very awesome!)

[crocodile 7,984]

How is this set, by the way. I've never heard any of it and can't remember anyone sharing opinions.

Third Symphony by Aaron Copland

(This is my first listen; Very awesome!)

I have yet to discover Copland. In greater depth, I mean.

Karol

[lonzoe 18]

How is this set, by the way. I've never heard any of it and can't remember anyone sharing opinions.

Third Symphony by Aaron Copland

(This is my first listen; Very awesome!)

I have yet to discover Copland. In greater depth, I mean.

Karol

I enjoy the Box set every time I listen to it. I think it's mostly for fans of the F13 movies, of horror scores, and of Manfredini. Other than that it might not be everyone's cup of tea. LLLR used the film stems of I-V from the dvd I believe b/c the masters are lost. So there isn't any alternates or dialed out music that was available. Manfredini held on to the masters for part VI though. So that one might have the best sound. But for something taken from film stems the sound for parts I-V sound great also, imho. Part 3 and 4 reused a lot of material from parts 1 and 2, which made the album of those particular entries. Manfredini was barely available for part 3 b/c he was working on a musical at the time. So he mostly scored the 3rd act. I don't know why part IV was mostly rehashed. Manfredini was available for that one. Most of the new material came from the first 5 -10 minutes and the last 20 minutes of that film. I guess TPTB liked the temp more than Manfredini's new material. I hope someday the masters are found of IV so I could hear Manfredini's original material. I know it's highly unlikely, but I can still dream. Manfredini started with a small orchestra that gets bigger each film (up to part six anyway). The scores mostly highlight the tension of the killer lurking as well as the kills. I think each score captures the personalities (for lack of a better word) of each film. It's a testament to Manfredini skills that he makes these films seem like more than just a mass murderer killing a bunch of horny teens (especially his scores for V and VI) . Btw, if you're interested Part I is still available, but seperate. That one gives me a very Herrmann-esque vibe, but I really enjoy all of the scores. Ever since this was released I've been making it a tradition to listen to it every Friday the 13th.

[Koray Savas 2,251]

Adore by Christopher Gordon

Very pleasant and easy listening, but not an extraordinary score. Some really great writing for piano, though. Reminds me a bit of Chris Tilton's SimCity.

[Incanus 5,713]

Carlito's Way by Patrick Doyle

Sabrina by John Williams

[crocodile 7,984]

A.I.

War of the Worlds

Memoirs of a Geisha

Harry Potter and the Prisoner of Azkaban

War Horse

Karol

[Incanus 5,713]

A.I.

War of the Worlds

Memoirs of a Geisha

Harry Potter and the Prisoner of Azkaban

War Horse

Karol

That's a pretty fantastic playlist right there Karol. And with quite a wide range of styles and moods.

[crocodile 7,984]

I still hope A.I. will be revealed as one of the titles from LLL's WB 90th Anniversary line.

Karol

[Incanus 5,713]

I still hope A.I. will be revealed as one of the titles from LLL's WB 90th Anniversary line.

Karol

Well that would be beyond greatness and a minor miracle. Top-10 JW material for me. A complete and comprehensive presentation would be definitely a treasure.

I had completely forgotten how delightfully charming and romantic score Sabrina is. It was about time to revisit it.

[Brónach 1,301]

http://www.youtube.com/watch?v=3LiaXIAwemk

I find this hilarious in a heartwarming way.

4:40 onwards -> oh yeah

I know I always hate on Zimmer's really deep and dark and resonant BOOM BOOM BOOM everywhere but here it kind of works.

[Romão 2,274]

I actually agree And it's great stuff to listen to while running

[Dixon Hill 4,233]

Appalachian Spring by Aaron Copland (Minnesota Orchestra, Eiji Oue): It is not difficult to hear why this is one Copland's most popular works. Accessible, lively, highly melodic and animated (it is for a ballet after all) and most of all exuding what many of us have come to call the musical sound of Americana, it is a masterful collection of moods and melodies that seem to reach to the roots of the American cultural heritage yet the composer does so more in allusion than application of every known musical style that all came together in USA. The end result sounds quintessentially American and has influenced countless composers ever since. I rather tend to think that Copland's musical sound has become inseparably part of Americana thanks to this and few of his other popular and influential works like A Fanfare for the Common Man and The Lincoln Portrait. A tender, spirited, noble, playful and most of beautiful piece of music.

Third Symphony by Aaron Copland

(This is my first listen; Very awesome!)

The Third Symphony is spectacular. To my ears, the Bernstein recording is some of the most stirring music out there.

[indy4 155]

Appalachian Spring by Aaron Copland (Minnesota Orchestra, Eiji Oue): It is not difficult to hear why this is one Copland's most popular works. Accessible, lively, highly melodic and animated (it is for a ballet after all) and most of all exuding what many of us have come to call the musical sound of Americana, it is a masterful collection of moods and melodies that seem to reach to the roots of the American cultural heritage yet the composer does so more in allusion than application of every known musical style that all came together in USA. The end result sounds quintessentially American and has influenced countless composers ever since. I rather tend to think that Copland's musical sound has become inseparably part of Americana thanks to this and few of his other popular and influential works like A Fanfare for the Common Man and The Lincoln Portrait. A tender, spirited, noble, playful and most of all a beautiful piece of music.

It's interesting how Copland's music seems to have become as legendary as the folk songs he quoted so often. If you look at the way JW references Appalachian Spring in Lincoln for instance, it reminds me of how Copland references Simple Gifts in Appalachian Spring, to provide one example.

[Incanus 5,713]

Appalachian Spring by Aaron Copland (Minnesota Orchestra, Eiji Oue): It is not difficult to hear why this is one Copland's most popular works. Accessible, lively, highly melodic and animated (it is for a ballet after all) and most of all exuding what many of us have come to call the musical sound of Americana, it is a masterful collection of moods and melodies that seem to reach to the roots of the American cultural heritage yet the composer does so more in allusion than application of every known musical style that all came together in USA. The end result sounds quintessentially American and has influenced countless composers ever since. I rather tend to think that Copland's musical sound has become inseparably part of Americana thanks to this and few of his other popular and influential works like A Fanfare for the Common Man and The Lincoln Portrait. A tender, spirited, noble, playful and most of all a beautiful piece of music.

It's interesting how Copland's music seems to have become as legendary as the folk songs he quoted so often. If you look at the way JW references Appalachian Spring in Lincoln for instance, it reminds me of how Copland references Simple Gifts in Appalachian Spring, to provide one example.

And I think the same impulses, the same stylistic traits that Copland culled from the folk idiom and musical vernacular of the country are part of this same cycle, where Williams was clearly trying to capture something very American in his music for Lincoln, to evoke those communal memories and feeling of America, perhaps idealized and perhaps another new invention in itself but still no less authentic than Shaker hymns. They have come to represent America in music. Allusion is as I have always said a very central tool for a musical storyteller, an ability to evoke with or without clear or exact reference or quote from existing works a certain music mood, feel, style, geographic location or point in history. An ability to distill or understand certain musical elements central to the sound that is required and communicating it to the audience in a direct way.

[crocodile 7,984]

FSM's Poltergeist and Kritzerland's Poltergeist II: The Other Side releases back to back.

Karol

[Incanus 5,713]

FSM's Poltergeist and Kritzerland's Poltergeist II: The Other Side releases back to back.

Karol

You already commented on how different the scores are. How does Poltergeist 2 work as a sequel score? Does it contain any traces of the previous one?

[#SnowyVernalSpringsEternal 10,265]

Of course it does.

[Incanus 5,713]

Of course it does.

Would you care to elaborate?

[crocodile 7,984]

It uses Carol Anne's theme here and there, but the rest is very different. Here, listen to this, it should give you a good clue just how much.

And here is a sample of how he treats old material

Karol

[#SnowyVernalSpringsEternal 10,265]

Of course it does.

Would you care to elaborate?

See above. | I don't have too.

[Incanus 5,713]

Of course it does.

Would you care to elaborate?

See above. | I don't have too.

Thank you for all your help!

[#SnowyVernalSpringsEternal 10,265]

It was no trouble at all....

[crocodile 7,984]

Karol

[Faleel 5,340]

The Legend of Zelda: Spirit Tracks (The Score Album) - Koji Kondo, Tōru Minegishi, Asuka Ōta, and Manaka Tominaga

A very good entry in the franchise, one of the first of the scores that started the Reboot factor in terms of themes, there is a notable sense of moving away from the old themes and introducing new ones, this trend continued in Skyward Sword, but is far less satisfying in its result.

[Jay 37,287]

John Williams - E.T. The Extra-Terrestrial

Hey this is a good score, people should check it out!

 

John Williams - War Horse

After all the time that has past since it's released, my opinion of the score hasn't diminished at all. This is a beautiful score, with that achingly beautiful "reunion" theme that appears in the final tracks being the highlight above all others. It's one of the best themes from any composer of the last 20 years

 

Mark Mancina - Speed 2

One of the best action scores of the 90s. LOVE THIS SCORE. Shame it's barely known, and never had any pieces appear on compilation albums, etc.

 

Henry Jackman - Turbo

Wow, what a fun score! Between this and Wreck-It-Ralph, he's making me interested in checking out more of his stuff!

 

Bear McCreary - Europa Report

Loved the juxtaposition of piano medleys and synthy drum beats in this score.

 

Mark Mancina - Planes

WOW! The opening track of this album is easily one of the best film score cues of the year! Probably THE best so far. Must listen to the whole CD again!

[Marian Schedenig 8,174]

Bear McCreary - Europa Report

Loved the juxtaposition of piano medleys and synthy drum beats in this score.

That sounds promising.

[Brónach 1,301]

I noticed the score in the film but I didn't it was his.

[KK 3,307]

Still don't get the appeal to McCrearys sound...

[BloodBoal 7,538]

[Koray Savas 2,251]

Planes is a great score. It'll probably make my Top 10 for the year.