publicist 4,643 Posted August 26, 2019 Share Posted August 26, 2019 This is 2004 and it wasn't rejected...strange indeed! Link to comment Share on other sites More sharing options...
Incanus 5,714 Posted August 26, 2019 Share Posted August 26, 2019 The Mummy by Jerry Goldsmith The Ghost and the Darkness by Jerry Goldsmith Link to comment Share on other sites More sharing options...
#SnowyVernalSpringsEternal 10,265 Posted August 26, 2019 Share Posted August 26, 2019 Braveheart - James Horner Most likely the greatest score in film history. Certainly Horner's Magnus Opes. Like the film it is both uncompromising and delicate. Horner's music for the courtship of Wallace and Murron speaks volumes of love as the LSO's gorgeous string section weaves through the material with detail and poise. (The strings of the LSO have never sounded better). The music for Wallace revenge is primal and single minded, like Wallace himself i guess. Horner eschews the fanfaric heroism of his earlier epics and goes for a strongly rhythmic, percussive sound. The music for Scotland and its revolution feel both deliberately contained and highly uplifting. In the film Wallace's death is an uplifting, triumphant scene. Horner's penchant for "ethnic" flavouring reach his zenith here. The Ullean pipes feeling almost inseparable from the LSO at times. All the "world music" parts are very well done actually. And the synth is used very effectively. It must be the greatest score in the world! Right @Chen G.? bollemanneke and Chen G. 2 Link to comment Share on other sites More sharing options...
Jurassic Shark 12,055 Posted August 26, 2019 Share Posted August 26, 2019 Nah, but definitely better than Titanic, and holds up much better! Link to comment Share on other sites More sharing options...
publicist 4,643 Posted August 26, 2019 Share Posted August 26, 2019 Tbh, a soon as the fake bagpipes waft away i'm turned off by it (nowadays) but the solemn british string writing is still top notch. Link to comment Share on other sites More sharing options...
#SnowyVernalSpringsEternal 10,265 Posted August 26, 2019 Share Posted August 26, 2019 Its gorgeous! Such an expressive instrument! Chen G. 1 Link to comment Share on other sites More sharing options...
crocodile 8,000 Posted August 26, 2019 Share Posted August 26, 2019 I'm not sure whether it is the best score in the world but it's a damn well scored movie for sure. In terms of emotional content, spotting and mix this is perfection. Horner was simply born to do this. I would love to attend a live to projection performance of this. Call of the Champions compilation on the train to NYC. Karol Chen G. 1 Link to comment Share on other sites More sharing options...
Chen G. 3,949 Posted August 26, 2019 Share Posted August 26, 2019 1 hour ago, publicist said: Tbh, a soon as the fake bagpipes waft away i'm turned off by it. It’s not a “fake bagpipe”, it’s just a different version of the instrument. Highland Bagpipes (which I believe are used, in Stirling) would have been all wrong for what Horner was going for here. 32 minutes ago, crocodile said: I would love to attend a live to projection performance of this. I think I’d implode if I watch this live to projection. Link to comment Share on other sites More sharing options...
KK 3,307 Posted August 26, 2019 Share Posted August 26, 2019 It's a score that nails the essence of Horner is best at. I personally really dig the gritty atmospheric sections. Chen G. 1 Link to comment Share on other sites More sharing options...
#SnowyVernalSpringsEternal 10,265 Posted August 26, 2019 Share Posted August 26, 2019 3 minutes ago, Chen G. said: It’s not a “fake bagpipe”, it’s just a different version of the instrument. Highland Bagpipes (which I believe are used, in Stirling) would have been all wrong for what Horner was going for here. The Irish pipes are far more expressive. Chen G. 1 Link to comment Share on other sites More sharing options...
Chen G. 3,949 Posted August 26, 2019 Share Posted August 26, 2019 More lyrical, yeah. Think about “Wallace Courts Murron” with highland bagpipes. It’d be awful. With Uileann Pipes, it’s wonderfully romantic. That moment at the end is just so sweet. Link to comment Share on other sites More sharing options...
#SnowyVernalSpringsEternal 10,265 Posted August 26, 2019 Share Posted August 26, 2019 It speaks of love! Chen G. 1 Link to comment Share on other sites More sharing options...
Jurassic Shark 12,055 Posted August 26, 2019 Share Posted August 26, 2019 13 minutes ago, Stefancos said: The Irish pipes are far more expressive. But are they more expensive? Link to comment Share on other sites More sharing options...
publicist 4,643 Posted August 26, 2019 Share Posted August 26, 2019 2 hours ago, Chen G. said: It’s not a “fake bagpipe”, it’s just a different version of the instrument. Highland Bagpipes (which I believe are used, in Stirling) would have been all wrong for what Horner was going for here. Horner was going for an Irish Moss commercial, which is what it sounds like. Link to comment Share on other sites More sharing options...
Chen G. 3,949 Posted August 26, 2019 Share Posted August 26, 2019 I like the shakuhachi stingers for the scene transitions. Very effective. Link to comment Share on other sites More sharing options...
Gruesome Son of a Bitch 6,488 Posted August 26, 2019 Share Posted August 26, 2019 X-Men OST It's my most-listened-to Michael Kamen score, so I guess it's my favorite. Link to comment Share on other sites More sharing options...
Jay 37,346 Posted August 26, 2019 Share Posted August 26, 2019 You don't enjoy Robin Hood Prince of Thieves more? Link to comment Share on other sites More sharing options...
Gruesome Son of a Bitch 6,488 Posted August 26, 2019 Share Posted August 26, 2019 No. Link to comment Share on other sites More sharing options...
Jay 37,346 Posted August 26, 2019 Share Posted August 26, 2019 Interesting... Link to comment Share on other sites More sharing options...
Incanus 5,714 Posted August 27, 2019 Share Posted August 27, 2019 8 hours ago, Gruesome Son of a Bitch said: X-Men OST It's my most-listened-to Michael Kamen score, so I guess it's my favorite. After the Die Hard 3 OST the X-Men OST is my least listened Kamen album. A rather lackluster superhero score. Link to comment Share on other sites More sharing options...
Gruesome Son of a Bitch 6,488 Posted August 27, 2019 Share Posted August 27, 2019 Love it. Link to comment Share on other sites More sharing options...
Incanus 5,714 Posted August 27, 2019 Share Posted August 27, 2019 Poirot Music from the TV series by Christopher Gunning, Stephen McKeon and Christian Henson: A compilation of music from the later Agatha Christie's Poirot episodes featuring music from the post-Gunning period from 2007 onward (Gunning's main theme opens the album though). While the later episodes of the series, all feature-length, did have some musical highlights, it is evident on this album that neither of the successors wrote as engaging or melodic music as Gunning for the Belgian sleuth. McKeon's music is written for a very modest ensemble enhanced by electronics at times and alas the selection from his episodes is not as complimentary as they could have been, the album producers choosing mostly rather generic suspense pieces for the disc when McKeon actually had some engaging melodic material to choose from. Also some of these subtler episode scores are over-represented (Mrs McGinty Is Dead and Taken at the Flood for example) while almost half, such as Appointment with Death, The Third Girl and Cat Among the Pidgeons, are entirely missing and those were the more interesting ones music-wise anyway. Curious selection choices to say the least. Henson whose music was more colorful and inventive of the two but receives only three selections and they do spotlight some of his stylistic tendencies nicely, like the almost ever-present muted trumpets, but in my opinion he also wrote more interesting music for the 8 episodes he scored for the show than The Clocks and The Big Four which appear here. While Henson's scores for the shows had obvious temp-track bleeds (Desplat was a big stylistic influence at the time and in Henson scored episodes) his music usually had a good balance between the suspense and the melodic main themes featured in each episode. So it is a bit of a missed chance to choose a nearly 9 minute denouement cue from The Clocks and exclude selections from e.g. Murder on the Orient Express, The Halloween Party, Three Act Tragedy or Dead Man's Folly or even the final episode The Curtain. And the album is capped by a chamber orchestra variation on the main theme named Adieu Poirot (as the series ended in 2013 when this album was released) with saxophone solos by the talented Amy Dickson which is indeed a nice homage and a fitting ending for the disc. This is a frustrating album as it does feature a few interesting musical moments from the show's later seasons but for the most part the selection of material seems haphazard and curiously lazily curated. With a little more care the producers could have created a really engaging and fun album and a souvenir from the TV series showing off the elegant and great music these murder mysteries can yield. As it is, this album is perhaps only for the die-hard fans of the show or fans of the composers involved but on the whole I would recommend seeking out Christopher Gunning's album instead as it is in every way more worthy of the great Belgian's detective's name and class. Link to comment Share on other sites More sharing options...
Gruesome Son of a Bitch 6,488 Posted August 27, 2019 Share Posted August 27, 2019 Die Another Day OST Few themes get me as pumped up as Bond James Bond's, especially in David Arnold's scores Link to comment Share on other sites More sharing options...
Popular Post publicist 4,643 Posted August 28, 2019 Popular Post Share Posted August 28, 2019 Like always with Junkie's scores, you get the feeling someone's just learning the rudimentary ropes of music-making along the way. Unsuccessfully. Kasey Kockroach, Gnome in Plaid and bollemanneke 3 Link to comment Share on other sites More sharing options...
Popular Post Fabulin 3,511 Posted August 28, 2019 Popular Post Share Posted August 28, 2019 . Naïve Old Fart, The Illustrious Jerry, Romão and 1 other 3 1 Link to comment Share on other sites More sharing options...
Naïve Old Fart 9,515 Posted August 28, 2019 Share Posted August 28, 2019 Oh, yeah! A great score, from a so-so film. Link to comment Share on other sites More sharing options...
Arpy 4,145 Posted August 28, 2019 Share Posted August 28, 2019 Harry Potter and the Prisoner of Azkaban - I was itching to get the LLL set and after the first few weeks I had it, for some strange reason it just dropped off my radar and I never really felt like listening to it all that often. Slowly, I'm getting back into listening to the score and it's brilliant, some lovely passages and cues that were excised from the OST that are quiet and contemplative and really fill out the soundscape of the film and bring back many memories watching the film on VHS at my grandparents. The score still shone through the static. Link to comment Share on other sites More sharing options...
Gruesome Son of a Bitch 6,488 Posted August 28, 2019 Share Posted August 28, 2019 Is it the greatest score in the world? Oh, wait. That's Braveheart. Link to comment Share on other sites More sharing options...
Incanus 5,714 Posted August 29, 2019 Share Posted August 29, 2019 Flesh+Blood by Basil Poledouris Damien: Omen II by Jerry Goldsmith Sleepers by John Williams Hard Rain by Christopher Young Kasey Kockroach 1 Link to comment Share on other sites More sharing options...
bollemanneke 3,342 Posted August 29, 2019 Share Posted August 29, 2019 A million ways to die in the west. I AM LOVING THIS! Not Mr. Big 1 Link to comment Share on other sites More sharing options...
Naïve Old Fart 9,515 Posted August 29, 2019 Share Posted August 29, 2019 19 hours ago, Arpy said: Harry Potter and the Prisoner of Azkaban - I was itching to get the LLL set and after the first few weeks I had it, for some strange reason it just dropped off my radar and I never really felt like listening to it all that often. Slowly, I'm getting back into listening to the score and it's brilliant, some lovely passages and cues that were excised from the OST that are quiet and contemplative and really fill out the soundscape of the film and bring back many memories watching the film on VHS at my grandparents. The score still shone through the static. That's why it's the best HP score, for the best HP film. 8 hours ago, Incanus said: Flesh+Blood by Basil Poledouris Damien: Omen II by Jerry Goldsmith Sleepers by John Williams Hard Rain by Christopher Young There's a certain symmetry, in that selection. Link to comment Share on other sites More sharing options...
Romão 2,274 Posted August 29, 2019 Share Posted August 29, 2019 On 8/28/2019 at 10:27 PM, Modest Expectations said: In my book, one of the greatest scores of all time Link to comment Share on other sites More sharing options...
Fabulin 3,511 Posted August 30, 2019 Share Posted August 30, 2019 . Link to comment Share on other sites More sharing options...
Gruesome Son of a Bitch 6,488 Posted August 30, 2019 Share Posted August 30, 2019 Not as great as Braveheart. Jurassic Shark 1 Link to comment Share on other sites More sharing options...
Faleel 5,346 Posted August 30, 2019 Share Posted August 30, 2019 Planet of the Apes (LLL) Naïve Old Fart 1 Link to comment Share on other sites More sharing options...
Nick Parker 3,040 Posted August 30, 2019 Share Posted August 30, 2019 2 hours ago, Romão said: In my book, one of the greatest scores of all time I was wondering why I hadn't seen a comment from you yet! Link to comment Share on other sites More sharing options...
publicist 4,643 Posted August 30, 2019 Share Posted August 30, 2019 Pemberton is usually a reliable guy when it comes to offering at least one or two elements of interest, and the Netflix 'Dark Crystal' is no exception - beware, though, of the landfill that the 2.5 hours Volume 1+2 release is. Long stretches of virtually nothing musically happening, this practice is giving film music a worse name than Leroy Holmes. That being said, the mixture of ethereal textures and folksy elements makes it one of 2019's stronger entries, though thematically the few glimpses of Jones' theme make you aware of how mousy our current melodic stuff is. Pemberton still manages to wring out some pretty good sequences - the ultimate cue of Volume One probably will be in rotation in quite a few players - and you can probably make a good album out of both releases ('Outside Podling Wayhouse' seems to be copied from Morricone's 'Two Mules for Sister Sara', as the connaisseur will notice). You can always ask for a one-month refund from Spotify for the meticulous work involved, which, frankly, is the producer's job. Kasey Kockroach and Incanus 2 Link to comment Share on other sites More sharing options...
Incanus 5,714 Posted August 30, 2019 Share Posted August 30, 2019 Star Wars Episode I: The Phantom Menace by John Williams: One of those complete edits which showcases how fun, colorful and varied this lengthy score is. I still love it to bits. Williams poured a lot into this entry of the saga after 17 year hiatus between this and RotJ and it feels much more rollicking action/adventure ride compared to its gloomier (still great) sequels. God of War by Bear McCreary: This one is a strange combination of the current action scoring trends (read blunt as a sledge hammer to the head) and very engaging melodic thematic writing with genuine nuance, emotion and fine use of the Icelandic chorus and Norse specialty instruments. I usually just end up skipping the unisono horn-led percussively plodding action material and listen to a shorter playlist of the lyrical thematic material. Link to comment Share on other sites More sharing options...
Popular Post publicist 4,643 Posted August 31, 2019 Popular Post Share Posted August 31, 2019 My phone shuffled 'Lionheart' quite a lot recently - my 63 minute selection, which is sufficient - and even after all these years and the rightful complaints about the sometimes-dodgy playing by the Hungarian State Opera Orchestra (this was a job made for a top-notch London session orchestra), distracting synth work and a dismal movie nobody ever saw, it remains my favourite knight score - probably because the children's crusade angle inspired a lighter approach than, say, Rózsa's equally splendid score for 'Ivanhoe' that shares the same DNA but is comparably heavy (but also because Goldsmith's distinctive, unmannered imprint has the tendency to appear modern, even after all these years). A big romantic tableau it may be, though what makes it outstanding is - no surprise with this composer - the compositional discipline involved. Goldsmith doesn't shove dozens of leitmotifs at the listener, but intelligently builds the thematic base around the young knight Robert Nerra (an unmemorable Eric Stoltz) and how the story relates to his quest of joining Richard Lionheart for the crusades with a bunch of ragtag children. Like in his more cerebral work, a simple three-note call is endlessly altered into, i . e. a long-lined, noble hymn, a purposeful heralding brass call, a contemplative medieval motif, and a bittersweet love theme. A dancing woodwind figure, representing the traveling children and a Rambo-like all-purpose rhythmic punctuation bracket this journey and it's a textbook example how to manipulate those distinctive ideas into virtually everything from hard-hitting action pieces ('Failed Knight') to gentle, lilting reflections. ('The Lake') Outside this side reflective of Nerra, there is a sinister Orff-ian chanting motif for a dark prince (Gabriel Byrne, promising but under-utilized) and a jaunty english folk tune for tomboy Mathilda as outside intrusions and thus, the only deviations form the three-note approach (the 'jousting' scene between Robert and Mathilda is a joy of virtuoso orchestral writing; the cue 'Mathilda' belongs in a Goldsmith Top 30, even within his hard-to-pin-down oeuvre). Due to the comparably light nature of the story the orchestration is kept airy and agile, though we still get impressive cues like the above-linked finale, 'King Richard' where the most important strains coalesce into a big showpiece. It remains on my bucket list for a good re-recording by, i. e., the Pragues or even in Intrada's Excalibur line, though its relative availability and digital recording make it an unlikely candidate. Still crosses fingers. Incanus, Brundlefly and Kasey Kockroach 3 Link to comment Share on other sites More sharing options...
Popular Post Holko 9,519 Posted August 31, 2019 Popular Post Share Posted August 31, 2019 My rerecording batch - first 3 about 3 times each so far, Lawrene only once because it arrived later. King Kong is great! Well performed, well-built, fun, love how the final segments have a pretty different flavour to the jungle stuff that can get tiring after a while - saxophone flavouring for a full-blown Art Deco New York, for example. Can't get enough of Jungle Dance and The Return for some reason. Robin Hood was a complete blindshot, I haven't even seen the movie beforehand (I have since, it's alright), but it was cheap and supposed to be good so I jumped. Didn't regret it! Pretty fun as well. First 83 minute long CD I've come across, the Red Book must be exploding with frustration. Private Life of Sherlock Holmes is really fun when it's fun and really gorgeous when it's gorgeous but doesn't add up to the best listen ever. Next to the great themes/settings for Gabrielle, Baker Street and the monster getting nice workouts, there's a bit too much semi-nondescript lowkey tension material and too much of the copypasted religioso motif (yes, I noticed it has a pizzicato form in the tension stuff, that was fun to recognise). The evolution of Castles of Scotland is fascinating and happens to be a great recap of themes after the main program. Too bad about the brass missing the first note of Version 1, it's pretty much the only significant performance flaw I noticed in a Tadlow rerecording so far! The alternate 221B with the bigger finale is a nice little bow on this package. Lawrence of Arabia - Wonderful. The big sweeping statements of the main theme (?) start wearing thin by a third of the way in but more diverse and fun pieces start taking its place by then. Nevertheless it's fantastic to hear it return in the conclusion of the relentless 4-track desert setpiece which just beforehand devolved into 3.5 minutes of only synth and percssion. Because the score is so frontloaded in the film, this feels like the natural first half-second half separation to pause on (The Riding as a mini-finale and Arrival at Auda's Camp as a mid-intro). Disc 2 is nice and diverse but I don't think it'll get too many listens. Dead Poets Society is the only one I knew from it beforehand and was my favourite track. I also liked Solar Crisis (O Fortuna temp?) and Firefox, but Sunshine almost got under my skin as something I know but don't, or something I should know. Let me look up- " whose thoughtful pieces for this film reflect its intertwining stories of a Hungarian family's struggles from the 1900s through the '50s. " Oh. Huh. That's why then. D'oh, a significant segment towards the end is riffing on our most popular folk song carried by cimbalom! That's pretty nice. SteveMc, The Illustrious Jerry, Naïve Old Fart and 1 other 4 Link to comment Share on other sites More sharing options...
Incanus 5,714 Posted August 31, 2019 Share Posted August 31, 2019 Wilde by Debbie Wiseman: Lovely, just lovely. Link to comment Share on other sites More sharing options...
Naïve Old Fart 9,515 Posted August 31, 2019 Share Posted August 31, 2019 The film is utter garbage, with Fry proving, time and time again, that he couldn't act his way out of a wet paper bag, that had a large tear, at one end, with a big, red neon sign pointing to it, and saying <- THIS WAY OUT. The score is nice, though. Link to comment Share on other sites More sharing options...
Jurassic Shark 12,055 Posted August 31, 2019 Share Posted August 31, 2019 2 hours ago, Holko said: it's alright The film is more than alright, and the score is indeed great! Link to comment Share on other sites More sharing options...
publicist 4,643 Posted September 1, 2019 Share Posted September 1, 2019 Calling Captain Editorializer! Another Spotify session dump, this time 101 minutes for a horror thriller sequel and the result is just as satisfying as you might imagine. Wallfisch again rattles around a very conventional Hollywood sound, ca. 90's Chris Young and JNH with lots of fateful piano/string (it's rather reminiscent of 'The Sixth Sense'), bred with, also very Young, musique concrète ideas (Verfremdungseffects, voice manipulations) that are unfortunately often just used for effect and seldom end up being more than glorified stingers (though in all fairness, there are some inventive sequences harmstrung by being too glued to on-screen action, i. e. cues 34-40)). The lack of a more gripping thematic base haunts the thing, though, and in the end, it just recalls Howard's infinitely better Shymalayan work and can't even begin to wrestle with Young's ballsy efforts (from 'Nightmare on Elm Street 2' to 'Bless the Child'). Add the fact that no time was spent on editing/re-conceptualizing of what might be enough for a 40-minute release and you're left with another messy release that is musically unsatisfying . Link to comment Share on other sites More sharing options...
Gruesome Son of a Bitch 6,488 Posted September 1, 2019 Share Posted September 1, 2019 I like the New Nightmare score. Link to comment Share on other sites More sharing options...
publicist 4,643 Posted September 1, 2019 Share Posted September 1, 2019 I dutifully listened to this much-touted new Williams release and while re-arrangements of famous Williams tunes for virtuoso solo performers is low on my agenda, i will say that JW put a lot of effort in the new arrangements. Some of them just not work ('Cinderella Liberty'), some others (Potter, Sabrina, Dracula) really shine. Recording quality is also very good! The Illustrious Jerry and SteveMc 2 Link to comment Share on other sites More sharing options...
bollemanneke 3,342 Posted September 1, 2019 Share Posted September 1, 2019 Dawn of the planet of the apes. My goodness, this is BAD! Link to comment Share on other sites More sharing options...
Incanus 5,714 Posted September 1, 2019 Share Posted September 1, 2019 The Mummy Returns by Alan Silvestri Sinbad: Legend of the Seven Seas by Harry Gregson-Williams Link to comment Share on other sites More sharing options...
Jurassic Shark 12,055 Posted September 1, 2019 Share Posted September 1, 2019 1 minute ago, Incanus said: Sinbad: Legend of the Seven Seas by Harry Gregson-Williams Link to comment Share on other sites More sharing options...
Faleel 5,346 Posted September 1, 2019 Share Posted September 1, 2019 13 hours ago, publicist said: Calling Captain Editorializer! Another Spotify session dump, this time 101 minutes for a horror thriller sequel and the result is just as satisfying as you might imagine. Wallfisch again rattles around a very conventional Hollywood sound, ca. 90's Chris Young and JNH with lots of fateful piano/string (it's rather reminiscent of 'The Sixth Sense'), bred with, also very Young, musique concrète ideas (Verfremdungseffects, voice manipulations) that are unfortunately often just used for effect and seldom end up being more than glorified stingers (though in all fairness, there are some inventive sequences harmstrung by being too glued to on-screen action, i. e. cues 34-40)). The lack of a more gripping thematic base haunts the thing, though, and in the end, it just recalls Howard's infinitely better Shymalayan work and can't even begin to wrestle with Young's ballsy efforts (from 'Nightmare on Elm Street 2' to 'Bless the Child'). Add the fact that no time was spent on editing/re-conceptualizing of what might be enough for a 40-minute release and you're left with another messy release that is musically unsatisfying . Just be glad it's not the complete score! Link to comment Share on other sites More sharing options...
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