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What is the last score you listened to?


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The Omen (Deluxe Edition) - Jerry Goldsmith.

Brilliant, scary stuff. One thing I noticed - this release seems to be missing the music from when Mrs Baylock arrives at the hospital. Or was that tracked in the film from somewhere else?

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All the synth stuff (rumored by some not to be composed by Goldsmith) from the early part of the film is missing, and a few other cues, most notably a shoirt, choir only vocalisation of the Ave Satani text.

The meat of the score is presented though.

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I'm very happy with the Deluxe Edition, I only noticed that missing cue because I watched the film the day before yesterday, I probably wouldn't otherwise. In fact, all three Omen deluxe CDs are among my favourites.

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The Omen (Deluxe Edition) - Jerry Goldsmith.

Brilliant, scary stuff. One thing I noticed - this release seems to be missing the music from when Mrs Baylock arrives at the hospital. Or was that tracked in the film from somewhere else?

Though I like it, I personally don't find it scary :|

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The Departed by Howard Shore. The music just stuck in my head after seeing the film. A departure from the typical Shore sound of recent years (LotR, History of Violence etc.). Quite sparse and performed mainly by acoustic and electric guitars and strings.

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The Omen (Deluxe Edition) - Jerry Goldsmith.

Brilliant, scary stuff. One thing I noticed - this release seems to be missing the music from when Mrs Baylock arrives at the hospital. Or was that tracked in the film from somewhere else?

Though I like it, I personally don't find it scary :|

It didn't scare me until I saw the film - which in itself didn't scare me (it's more fun-scary than scary-scary) - but it made the music more scary.

The death cues, like "The Killer Storm", "Beheaded" aren't so bad, it's the ones like "The Dogs Attack" that really get me.

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The Departed by Howard Shore. The music just stuck in my head after seeing the film. A departure from the typical Shore sound of recent years (LotR, History of Violence etc.). Quite sparse and performed mainly by acoustic and electric guitars and strings.

How'd you get it early?

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POTC: Dead Man's Chest - Hans Zimmer. After seeing the movie Wednesday I've had the themes going through my head and had to give the soundtrack a listen or two. And yes, I actually enjoy it.

I'm not ashamed to admit I'm a Zimmer fan.:mrgreen:

I've also been listening to Empire Strikes Back chronologically through.

Ying and yang, eh? ;)

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Good one, Morlock. 8O

Of course ESB is far, far superior. But I can still enjoy something like Pirates. A banquet vs. a Happy Meal? (Or a Sad Meal if you prefer.)

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The Final Conflict (non expanded edition). The highlights are simply amazing, but the rest of the score drags a bit. Is the expanded score much better?

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The Final Conflict (non expanded edition). The highlights are simply amazing, but the rest of the score drags a bit. Is the expanded score much better?

Hell yes. But not so much because of the new music - the sound quality - the Deluxe Edition sounds like it was recorded yesterday. The old release sounds like shit, doesn't do the score justice at all.

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So I just got the John Williams - 40 Years of Film Music set, recorded by City of Prague. I really didn't have a problem with it till i reached the fourth disc and listen to Arlington from JFK. More specifically the horn solo in the beggining. Number one...the player hits a wrong note...an easy note at that too. I mean come on, its supposed be be an F#, not natural! And it is played so rigidly and lacks all the emotion it could have. I played that solo better when I was SIGHTREADING it. Ugh. Otherwise...the collection is alrightish.

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I only recently rediscovered Thunderball. I was always a bit underwhelmed by it, and the poor sequencing on the expanded album put me off. I got a nicely re-sequenced version, and it makes quite a difference. And I love how big it all is. The film itself is really of an epic scope anyway, and the score nicely mirrors it.

Diamonds Are Forever is actually better than I remembered it being.

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Nice of Neil to share that with you. :sigh:

The cronological Thunderball is a great listen untill it gets to the underwater fight stuff, were it's just the Calypso version of 007 with the eardrum shattering flutes for about 10 minutes straight.

It's totally annoying and losies any sense of being "underwater". (Barry's underwater music for the rest of the film is outstanding).

YOLT is even better, and a brilliant listen all the way through. OHMSS has some of the best highlights of all the Bond scores, but parts of it are also a bit...dull.

DAF is OK, but it's Barry on autopilot.

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Nice of Neil to share that with you. :music:

Yes, it is. :sigh:

The cronological Thunderball is a great listen untill it gets to the underwater fight stuff, were it's just the Calypso version of 007 with the eardrum shattering flutes for about 10 minutes straight.

It's totally annoying and losies any sense of being "underwater". (Barry's underwater music for the rest of the film is outstanding).

It sort of mirrors the film. The movie's great, but the underwater battle just drags and goes on for ages. And the 007 theme does get a bit much at the end.

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I don't know, I quite like DAF. It may be Barry on autopilot, but he's having so much fun doing it...it has some tremendous highlights. Of course the classic slinky theme for Messrs. Wint & Kid is first and foremost. But there are several other things- his melding the Bond theme with the song in 'Bond Meets Bambi And Thumper', the action/suspense material in 'Peter Franks', 'Moon Buggy Ride', '007 And Counting' is a fine takeoff on his Space March. 'Slumber Inc.' is terrific. In general, his use of the theme from the song is good, several good cues, and some fantastic small snippets, like the end of 'Peter Franks', which echoes OHMSS, and the wonderful Bond cue 'Bond Smells a Rat'.

Unfortunately, I am in a Bond mood, with not all that much to do about it. I've got all the Arnold ones, but I'm not all the fond of the two in the middle, and I've played to TND and CR to death. I've got three of the Barry scores- DAF, GF and OHMSS. DAF I am very fond of, as I wrote above, but the other two are spottier. I love the theme from OHMSS (How can you not?), but the album just doesn't do it for me. I'm not a big fan of largely mono-thematic scores. And with GF, it all basically comes down to 'Dawn Raid On Fort Knox'. While that is, without a doubt my favorite Bond cue ever, I don't think the album has much other good material.

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The score (Goldfinger) works better in the film than on album.

I think a chronological and complete (although there isn't much unreleased stuff) presentation would actually make a world of difference. Same with The Man With The Golden Gun.

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And with GF, it all basically comes down to 'Dawn Raid On Fort Knox'. While that is, without a doubt my favorite Bond cue ever, I don't think the album has much other good material.

You must be joking, right?

Well, I have trouble finding it.

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Bond Back In Action Again

The Title Song, for pete's sake!

Into Miami (some of the most agressive brass work in any Barry score)

Alpine Drive - Auric's Factory

Oddjob's Pressing Engagement

The Arrival of the Bomb and Count Down (great suspense writing)

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So I just got the John Williams - 40 Years of Film Music set, recorded by City of Prague.  I really didn't have a problem with it till i reached the fourth disc and listen to Arlington from JFK.  More specifically the horn solo in the beggining.  Number one...the player hits a wrong note...an easy note at that too.  I mean come on, its supposed be be an F#, not natural!  And it is played so rigidly and lacks all the emotion it could have.  I played that solo better when I was SIGHTREADING it.  Ugh.  Otherwise...the collection is alrightish.

Prague is one of the worst professional orchestras that I have ever heard. The only good Williams recording by them is (that I can think of) The Flag Parade.

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City of Prague do strings and slow Barry style cues very well.Marions Theme on the Trilogy c.d. is better than the OST for example.

They suck at action cues,which is why they couldn't get "underground heroics" from ToD possibly right if a rerecording was to be done.

K.M.

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I'll give those a listen.

Bond Back In Action Again

Indeed, great use of the theme.

The Title Song, for pete's sake!

Well, obviously. Though I don't listen to it all that much. I have to be in a Bond-song mood.

Into Miami (some of the most agressive brass work in any Barry score)

I don't know if agressive is the best best way to describe it....but it is great fun.

Alpine Drive - Auric's Factory

Wonderful use of the song...I should have mentioned, I generally listen to a track of a Barry compilation I have, which uses the first half of this track and all of the Fort Knox cue.

Oddjob's Pressing Engagement

Very fun.

The Arrival of the Bomb and Count Down (great suspense writing)

I love it in the film, but on the album, I feel the Fort Knox cue is all of that kind of writing I want in one sitting.

This is more or less what I thought. It's the main theme, the title theme, Fort Knox, and one short fun cue. A great 20 minute suite...but I like a little more from my Bond scores. DAF is varied and interesting enough for me to listen to it the whole way through. As is TND. And CR is 45 minutes of sparkling entertainment spread out over a 75 minutes CD (and missing the good song). I must get Moonraker, Thunderball and OHMSS. I've tried listening to TWISE and DAD a few times, but they never grabbed me. I can't remember a single cue from either, save the Cuban one from DAD.

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The Iron Giant - Kamen

Fateless - Morricone

Red Dragon - Elfman

Serenada Scizophrana - Elfman

Lost: Season 2 - Giacchino

Jane Eyre - Williams

Apocalypto - Horner

Eragon - Doyle

Karol, who considers Serenada Schizophrana to be absolutely Elfman's best ever.

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In a bit of a Bill Conti mood at the moment:

Rocky II - waka-chicka-waka-chicka-Gonna Fly Now!!

Masters of the Universe - surprised JW didn't sue him for plagarism.

FYEO - Can someone remind me why everybody seems to hate this score (aside from its '80s influences)?

Aside from that:

GM's Towering Inferno - bowdown

Casino Royale - Arnold's first Bond score that I'm pretty sure in 20 years won't sound as dated as "Runaway" does now

Superman Returns - Best score of the year, hands down, no trademark smartass Stef replies.

Star Wars Episode III - I'm not allowed to have an opinion and say anything bad about JW's music on this forum or else I get vilified, so I will say nothing.

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The Blue Planet and Deep Blue by Fenton.

Mission: Impossible by Lalo Schifrin.

bowdown The Lord of the Rings: The Two Towers - Complete Recordings (audio DVD) for the first time.

Karol

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