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What Is The Last Score You Listened To?

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Mission: Impossible - Fallout Lorne Balfe

 

Giving this a second go around, this barely crosses into the guilty pleasure category. There's enough interesting ideas here to prevent it from feeling like a complete rehash, but man did I wish they were for a different score. This is lucky that my love for the TDK trilogy makes me more lenient on it. Plus the fact it's more tolerable of a listen than M:I-3, which just has little to offer in comparison.

 

I just hate how much this represents people of today just wanting that Zimmer sound and rejecting anything else, as I doubt they've actually heard prior installments to know this is truly the best the series has to offer. I might not love Rogue Nation's score, but it's still very respectable in what it achieved.

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I really like both Rogue Nation and Fallout, they're both really enjoyable for me. RN has a more classic sound which I probably prefer but I think Fallout works like gangbusters in the film itself. That use of Turandot in RN for Ilsa Faust's theme (I think?) is gorgeous. 

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I was actually pleasurably surprised to not hear any Williams theme in this release!  Very refreshing.

 

I'd be surprised if that doesn't come in a future episode, but it was nice that this initial release is all Gorannsson.

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2 hours ago, Disco Stu said:

The Mandalorian - Chapter 1 (Ludwig Gorannsson)

 

I love it!  Some really cool sounds and production.  There's a few parts I'm not a fan of, but they're short.  Overall I really enjoyed the first listen.  I'll listen again after I see the episode tonight.

 

Everybody should at least listen to the end credits cue, it's so cool and groovy.  Touches of Morricone, which makes sense for the Western style.  I love that they let Gorannsson do something pretty unique for the series, instead of going for a Kevin Kiner-esque simulacrum.

 

 

To be fair Clone Wars had some Kiner that was pretty different from the films (except for a few cues), as opposed to Rebels Kiner, which leaned way to heavily on re-recordings

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4 hours ago, Disco Stu said:

The Mandalorian - Chapter 1 (Ludwig Gorannsson)

 

I love it!  Some really cool sounds and production.  There's a few parts I'm not a fan of, but they're short.  Overall I really enjoyed the first listen.  I'll listen again after I see the episode tonight.

 

Everybody should at least listen to the end credits cue, it's so cool and groovy.  Touches of Morricone, which makes sense for the Western style.  I love that they let Gorannsson do something pretty unique for the series, instead of going for a Kevin Kiner-esque simulacrum.

 

 

It kinda reminds me of Rocky for some reason.

50 minutes ago, Naïve Old Fart said:

Hey, @Fal J. M. Skywalker,nice avatar.

Thanks.

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Di$ney+ takes no big risks to musically offend their Netflix-educated audience. Apart from a main motif that amusingly recalls Bill Conti's 'Gonna Fly Now' what we get here is mostly solid sound design with only one or two cues with a recognizable narrative ('You Are A Mandalorian', 'The Mandalorian'). Now it's only 25 minutes long so there might me something better in store, so let's wait and hear it.

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On the 10th of December 2018 John Burlingame interviewed the actor and director Norman Lloyd (aged 104!) about Bernard Herrmann. Lloyd mentioned a TV movie for which he told Herrmann to compose music "like Shostakovich". Herrmann supposedly expressed annoyance by such suggestion.

 

Two days after the interview was recorded (was it published the same very day?), on the 12th of December 2018, a video was shared on Youtube, containing a recorded and sloppily edited music from said movie. The top comment under the video claims to have recorded and edited this exact excerpt in 1968 and sent it to some journalist.

 

Curious story. Anyway, the music sounds interesting, and indeed seems to feature a couple "Shostakovich-like" moments, so Herrmann clearly honoured Lloyd's suggestion. There are quite a few diverse interesting moments, so it's a recommended listen for all Herrmann fans. Only 20 minutes, but as good as any other film score of his.

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Finally listened to The Mandalorian episode 1 score for the first time in full.

 

Lots of fun! When I imagine a space Western, I imagine a very eclectic menagerie of different cultures at play, and the music delivers that in spades. The bass recorder theme is surprisingly versatile, musically, receiving more naked renditions, as well as more groovy variations where its inherent rhythm is more pronounced and obvious. Overall the music definitely feels more isolated and cold, which I'm sure is perfect for the subject matter.

 

I really admire the spirit that pervades it: as a kid, one of my favorite things about Star Wars was the vast worlds you were transported to, while still maintaining a grounding in our own world. Williams wrote music that achieved that balance--the exotic and the familiar--and so far Goransson has done so as well. A great inheritance of musical philosophy, if you will.

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Saving Private Ryan by John Williams

War Horse (Complete) by John Williams

John Williams made Remembrance Day all that much more special with two fantastic scores, the former being Williams at his noblest and the latter being one of his absolute delights of the early 10s, whose beauty is further revealed in the recent leak. Love the "war" theme from War Horse. Defense Preparations stood out to me from SPR on this latest listen too.


The Adventures of Tintin by John Williams

OST minus the opera track with the breaking glass SFX. Williams most fun score in a good while. I wish there was some way we could one more of these from him, but I'd say it's unlikely at this point. Snowy's Theme really reminds me of Rachmaninoff and Prokofiev.

 

Somewhere in Time by John Barry

Quintessential Barry (see flute solos, repeating passages, and gorgeous melodies)!

 

Hubris: Choral Works by John Powell (6-7 times)

Someone try and stop me!

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Also listened to Tintin this week, the FYC version. 

 

It's like a mix of his first two Harry Potter scores and Kingdom of the Crystal Skull with Catch me If You Can. I really love the "mystery theme", it reminds me of the Chamber of Secrets theme and his more conspiratorial music of the 2000s - and this is something his scores for the Sequel Trilogy could really benefit of, specially The Last Jedi. 

 

Still, I'm not exactly a fan of the action music. It's fun in some parts, but maybe because I love so much his more "punchy" and "brassy" action music from the 70s and 80s, or the more violent and energic music from the 90s towards 2005, but I don't find his more lighthearted music since then all that engaging. Stuff like Pursuit of the Falcon the Clash of Cranes are okay, but not exactly my favorites. Thankfully, TLJ represented a change on this area, with his action music becoming more dramatic and intense.

 

 

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3 hours ago, Edmilson said:

Also listened to Tintin this week, the FYC version. 

 

It's like a mix of his first two Harry Potter scores and Kingdom of the Crystal Skull with Catch me If You Can. I really love the "mystery theme", it reminds me of the Chamber of Secrets theme and his more conspiratorial music of the 2000s - and this is something his scores for the Sequel Trilogy could really benefit of, specially The Last Jedi. 

 

Still, I'm not exactly a fan of the action music. It's fun in some parts, but maybe because I love so much his more "punchy" and "brassy" action music from the 70s and 80s, or the more violent and energic music from the 90s towards 2005, but I don't find his more lighthearted music since then all that engaging. Stuff like Pursuit of the Falcon the Clash of Cranes are okay, but not exactly my favorites. Thankfully, TLJ represented a change on this area, with his action music becoming more dramatic and intense.

 

 

No Man's Land. War Horse.

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It's an exception, and maybe because of that, one of my favorites stuff he wrote this decade.

 

Still, The Adventures of Mutt, Jungle Chase, Pursuit of the Falcon, Clash of the Cranes, etc, all very lighthearted, and in a way I don't find particularly interesting.

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Men in Black (1997) Danny Elfman

 

I think I now know why I thought this was "style over substance" initially when I first heard it. It has a very neat sound to it, but the actual ideas behind it feel very undercooked. This probably is more the fault of the film, since there aren't many scenes that could build on the more intimate character interactions. Particularly that emotional guitar motif with K that only really shows up 3 times. I don't know if there was even a theme for Edgar, considering everything went by so quickly. Not to mention too many short cues, and the few lengthier ones that are here don't make too big of an impression. It's still ultimately a very quick and fun listen, but this almost feels like a trial run for the score that proceeded it (M:I) instead of the follow up.

 

I remain curious in the sequels, even if I'm told they're more of the same.

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Men In Black wasn't his next score after Mission: Impossible.  He did The Frighteners, Extreme Measures, and Mars Attacks! in between.

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Big Movie Themes album by Stanley Black & LSO. Magnificent. M A G N I F I C E N T

Anyone who hasn't heard these recordings of Raiders March & Marion's Theme, and the concert Star Wars Main Title, should immediately do so!

https://open.spotify.com/album/0TflQXkU4hQj5S2kR4m78P?si=i4UoeibSRKSbufwgWEnp2w

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R-3744642-1346490077-2928.jpeg.jpg

 

I haven't listened to Sleepers in decades and yesterday it became clear why. It's simply not that good and feels a bit like Williams on automatic pilot. The Football Game features one of the most ugliest-sounding drums ever recorded. JFK -> Sleepers

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These days I listened to LLL's E.T. and Home Alone.

The first is obviously a gorgeous score, but I never really gave HA that much attention before, and I have to say, I enjoyed it a lot.

Plus, winter is on its way, so these Nutcracker-y vibes fit perfectly these days.
 

Then I went on to Intrada's Jaws, which is always a great listen, and I had an epiphany: I somewhat had never realized JW scored Jaws 2 as well.
I felt so stupid, so I opened Spotify and gave the OST a listen.
My jaw dropped. You can really feel the different approach of a JW that had scored A New Hope and Close Encounters (among others).

The fact is, I've never watched Jaws 2 (I surely will now), so that's probably the reason why I've never searched for the soundtrack before.
But I'm curious to know: is this score a bit underrated or not that much regarded, or it's just that I'm a bit ignorant?

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7 minutes ago, Jurassic Shark said:

Well, it's good, but pales in comparison to Jaws. It doesn't have that many standout tracks.

 

I was actually surprised by the lushness of the orchestration; before I knew JW scored the sequel I imagined a more redundant and throwaway score.
I've read Jaws 2 is not as bad as the other sequels: is it any good? I remember catching a glimpse of a couple scenes on TV years ago, but I loved Jaws so much I didn't watch it all.

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36 minutes ago, redishere said:

...is this score a bit underrated or not that much regarded, or it's just that I'm a bit ignorant?

No, you're not ignorant.

There's a fair bit of love, for JAWS2 , on this site, but the general consensus is that it's inferior to JAWS. The C+C is definitely worth getting hold of.

As to the film: you really are not missing much. Good score; good cinematography; annoying kids (a few of which get eaten :thumbup:); Schneider, Gary, and Hamilton sleepwalking all the way through it; lackluster direction, and writing.

As Jack Napier once said: "Don't bother".

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19 minutes ago, Naïve Old Fart said:

annoying kids (a few of which get eaten :thumbup:)

Not nearly enough!

I was mostly bored and annoyed by Jaws 2 - I don't think it had any clue what made the first one great and such a success. The samples didn't make me want to investigate the score either.

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8 hours ago, bollemanneke said:

Since we were going to have snow today (still hasn't happened), I listened to the Home Alone OST. The first track is so unnecessary and weird: music that gets repeated in track 3 and a carol that shouldn't open the narrative at all. C&C next month.


Yeah the Home Alone OST has an odd presentation. The HP1 OST has the same issue: Hedwig's Theme sure returns a lot in the C&C version, but man oh man in the OST it's almost unnerving. 
 

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6 hours ago, Alexcremers said:

R-3744642-1346490077-2928.jpeg.jpg

 

I haven't listened to Sleepers in decades and yesterday it became clear why. It's simply not that good and feels a bit like Williams on automatic pilot. The Football Game features one of the most ugliest-sounding drums ever recorded. JFK -> Sleepers

 

It's absolutely one of his greatest works, in my view. You're missing out

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