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    • CommentAuthormsi2
    • CommentTimeAug 6th 2009
    Christodoulides wrote
    Panthera wrote
    DemonStar wrote
    WP: Kung Fu Panda - Hans Zimmer and John Powell

    After watching the (terrific) movie, I began to appreciate this one even more. The ethnic material is perfectly used, the emotional cues (especially Oogway Ascends) are lovely and the action music is spot-on. I also love Po's theme and feel it fits the character perfectly. Even the electronics are well used so they don't feel out of place. 4.5 stars from me, lovely score.


    It's one of my most played scores. I love the film and the music way more than can be expressed over these forums. I hope Zimmer and Powell return for the sequel!


    There's a sequel!?! :buckit:


    And i'm going to depress you even more, expect a fourth Ice Age movie! cheesy
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      CommentAuthorDemonStar
    • CommentTimeAug 6th 2009
    Erik Woods wrote
    You know... with those direct to video Disney sequels McNeely is able to really let loose. Listening to something like Cinderella III or Tinkerbell: The Movie, I don't think he would get away with a "sound" like that THIS if he was scoring a major film. Sad yes, but at least he is working and delivering one gorgeous score after another.

    -Erik-


    Yup... but I'd still love to see him get some bigger projects, at least where his work is properly recognised and released.
  1. I´ve never been a fan of that kind of action mickey mousing. I always preferred action tracks with a well structured rhythmic, if not thematic approach, like Empire´s The Asteroid Field or Hyperspace, to name some famous classic examples.
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      CommentAuthorErik Woods
    • CommentTimeAug 6th 2009
    Ralph Kruhm wrote
    I´ve never been a fan of that kind of action mickey mousing. I always preferred action tracks with a well structured rhythmic, if not thematic approach, like Empire´s The Asteroid Field or Hyperspace, to name some famous classic examples.


    It all depends what the scene calls for. Personally, I love it when a composer has to hit certain sync points (The Chase in E.T. for example) That's what makes film music such a different beast from other kinds of music. Yes, The Asteriod Field and Hyperspace are indeed impressive and I to LOVE that style of composing as well but the McNeely example I gave above is a style that is sorely missed these days and takes an extremely talented and patient composer to pull it off right.

    -Erik-
    host and producer of CINEMATIC SOUND RADIO | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
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      CommentAuthorSouthall
    • CommentTimeAug 6th 2009
    Sunil wrote
    I liked Joel McNeely score for Flipper. It is so sweet and also some of the tracks sounded like of John Williams style. Did anyone have this score?


    Me. Very enjoyable.

    Ironically I think the only released McNeely score I don't have is Lover's Prayer. Oh well.
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      CommentAuthorBregt
    • CommentTimeAug 6th 2009
    REGENERATION | mychael danna

    Gorgeous last two tracks, focusing on that heartbreaking main theme.
    Kazoo
    •  
      CommentAuthorRalph Kruhm
    • CommentTimeAug 6th 2009 edited
    Erik Woods wrote
    Ralph Kruhm wrote
    I´ve never been a fan of that kind of action mickey mousing. I always preferred action tracks with a well structured rhythmic, if not thematic approach, like Empire´s The Asteroid Field or Hyperspace, to name some famous classic examples.

    It all depends what the scene calls for. Personally, I love it when a composer has to hit certain sync points (The Chase in E.T. for example) That's what makes film music such a different beast from other kinds of music. Yes, The Asteriod Field and Hyperspace are indeed impressive and I to LOVE that style of composing as well but the McNeely example I gave above is a style that is sorely missed these days and takes an extremely talented and patient composer to pull it off right.

    I don´t know. I always thought this kind of style doesn´t need any talent at all, since the composer doesn´t have to take any idea further down the road than, let´s say, a couple of seconds. Then he just changes to the next segment and starts all over again. I think it´s a lot more difficult to write a cue with an ongoing structure that is still capable to hit the right spots at the synch points you mention. Mickey Mousing seems to be an easy way out of this to me.

    Additionally, I rarely feel any other emotion than unsatisfaction with such music, since it never keeps up one idea long enough to develop any other feeling than chaos. It´s the exact problem I have with Williams´ recent action scoring. There are some scenes that will call for this style, but I don´t like this style at all for big action scenes. It is certainly more complex than mickey mousing but takes it even a step further down the wrong road for me. If I listen to stuff like that, the only thing I feel is the urge to skip the track, while a structured action piece usually gives me a much greater feeling of tension and urgency, even without watching the accompanying movie. It is a lot more accessible than the chaotic style, especially if listened to seperately.
  2. I feel the same way. Give me the old theme-driven action setpieces over the current writing techniques any day. Leitmotif such as in SW is now become a thing of the past. One such example of basically good ideas never fully explored which results in a downright awful score through overuse of the mickeymousing technique is JNH's Space Jam. It fit the movie, but on CD... vomit

    Goldsmith understood this, I don't think I've ever heard him doing that. Even Williams isn't able to compose big structered action anymore, though it's still something of a much higher quality than what most newer composers would do. That's one of the reasons I just can't appreciate the music of Powell, which is basic mickeymousing, albeit with some good themes. But I can't stand more than 5 minutes of it.
    "considering I've seen an enormous debate here about The Amazing Spider-Man and the ones who love it, and the ones who hate it, I feel myself obliged to say: TASTE DIFFERS, DEAL WITH IT" - Thomas G.
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      CommentAuthorMartijn
    • CommentTimeAug 6th 2009
    NP: Great Expectations - Patrick Doyle

    Enchanting score. Doyle has a true gift for melody and orchestration.
    It's the oddest thing: there are a couple of composers that I consistently overlook, and yet -whenever I rediscover them (again)- rate amongst the finest! I can't for the life of me understand that mechanism. I'm enjoying the heck out of this warm, broad score. It's lovely, Romantic, quirky when needed, powerful throughout and with a fantastic flait for the classics!
    Great stuff!
    Shot right from my "gotta listen to this at some point" list to my "classic to keep forever" list!
    'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn
    • CommentAuthorTimmer
    • CommentTimeAug 6th 2009 edited
    NP : PROLOGUE : THE ARTIST WHO DID NOT WANT TO PAINT - Jerry Goldsmith



    Thanks to Tom's Alex North thread I've decided to play this in preparation for...
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
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      CommentAuthorDemonStar
    • CommentTimeAug 6th 2009
    NP: Bolt - John Powell

    By far one of his most enjoyable scores with really lovely and well fleshed out themes. Love, love this score!
    • CommentAuthorTimmer
    • CommentTimeAug 6th 2009
    Timmer wrote
    NP : PROLOGUE : THE ARTIST WHO DID NOT WANT TO PAINT - Jerry Goldsmith



    Thanks to Tom's Alex North thread I've decided to play this in preparation for...



    NP : THE AGONY AND THE ECSTASY - Alex North



    Also conducted by maestro Jerry Goldsmith. Wonderful score.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
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      CommentAuthorEric
    • CommentTimeAug 6th 2009
    NP : Medal Of Honor - The Definitive Collection - Michael Giacchino

    Ideal music to get you back on your feet again !
    Still one of my all time favourites ...
    "Simplicity is the key to brilliance"
    • CommentAuthorTimmer
    • CommentTimeAug 6th 2009 edited
    NP : WATER COLORS - Pat Metheny



    A very minimal, uncomplicated work with just Pat on guitar, Lyle Mays - piano, Eberard Weber - bass and Danny Gotlieb - drums.

    With tracks with titles like 'Lakes', 'Oasis' it's very impressionistic. A very enjoyable melodic and very relaxing listen.

    EDIT:-

    and totally in the wrong thread rolleyes shame
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
  3. Eric wrote
    NP : Medal Of Honor - The Definitive Collection - Michael Giacchino

    Ideal music to get you back on your feet again !
    Still one of my all time favourites ...


    Welcome back, man. So how are you feeling after your ordeal?

    And what is that you're playing? Your very own playlist of kickass MOH themes? smile
    "considering I've seen an enormous debate here about The Amazing Spider-Man and the ones who love it, and the ones who hate it, I feel myself obliged to say: TASTE DIFFERS, DEAL WITH IT" - Thomas G.
    • CommentAuthorAnthony
    • CommentTimeAug 6th 2009
    msi2 wrote
    Christodoulides wrote
    There's a sequel!?! :buckit:


    And i'm going to depress you even more, expect a fourth Ice Age movie! cheesy


    Less animation, more action please! I want another Paycheck. cool
    • CommentAuthorPanthera
    • CommentTimeAug 6th 2009 edited
    Anthony wrote
    msi2 wrote
    Christodoulides wrote
    There's a sequel!?! :buckit:


    And i'm going to depress you even more, expect a fourth Ice Age movie! cheesy


    Less animation, more action please! I want another Paycheck. cool


    I never heard his Paycheck score, but I've enjoyed every single one of his animated scores. And I want more lick

    NP: Doctor Who Series 3 - Murray Gold

    Over the past year, this has been one of my favorite scores. I highly recommend this and series 4 as well.
  4. DreamTheater wrote
    I feel the same way. Give me the old theme-driven action setpieces over the current writing techniques any day. Leitmotif such as in SW is now become a thing of the past. One such example of basically good ideas never fully explored which results in a downright awful score through overuse of the mickeymousing technique is JNH's Space Jam. It fit the movie, but on CD... vomit

    Goldsmith understood this, I don't think I've ever heard him doing that. Even Williams isn't able to compose big structered action anymore, though it's still something of a much higher quality than what most newer composers would do. That's one of the reasons I just can't appreciate the music of Powell, which is basic mickeymousing, albeit with some good themes. But I can't stand more than 5 minutes of it.

    Amazing. beer
  5. James Horner - Thunderheart

    A largely forgotten work by Horner which ironically was forgotten in context to inferior Patriot Games. Here the atmosphere (with added Native American chants, something Horner would return to in Windtalkers and The Missing. The atmosphere is REALLY good. I haven't seen the Apted movie, but it's effective in album.
    http://www.filmmusic.pl - Polish Film Music Review Website
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      CommentAuthorSouthall
    • CommentTimeAug 6th 2009
    It's a nice film. I remember enjoying it. I could never really enjoy the album - though the score is great in context.
  6. Do you enjoy Patriot Games or not really?
    http://www.filmmusic.pl - Polish Film Music Review Website
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      CommentAuthorSouthall
    • CommentTimeAug 6th 2009
    I couldn't remember so I had to read my own review, but it seems I was reservedly complimentary.
  7. Very interesting thought. I would say Red Heat, Patriot Games, and Thunderheart are very similar in style, just with different cultural aspects immersed into the orchestra. Take away the Russian, Irish, and Native American stuff, and they could be one score indeed.
  8. To get Patriot Games you need to:

    Get Thunderheart, take away the shakuhachi, add Gaelic vocals here an there and a pennywhistle ensemble playing a remotely Celtic motif and you get Patriot Games.
    http://www.filmmusic.pl - Polish Film Music Review Website
  9. Ralph Kruhm wrote
    Very interesting thought. I would say Red Heat, Patriot Games, and Thunderheart are very similar in style, just with different cultural aspects immersed into the orchestra. Take away the Russian, Irish, and Native American stuff, and they could be one score indeed.


    I don't agree about Red Heat, Thunderheart is somewhat much more mature and maybe slightly better rhytmically. And it doesn't have that odd saxophone stuff.
    http://www.filmmusic.pl - Polish Film Music Review Website
  10. Bregt wrote
    REGENERATION | mychael danna

    Gorgeous last two tracks, focusing on that heartbreaking main theme.


    The combination of Danna's melody with that saddest of Wilfred Owen poems is a killer.
    The whole score is wonderful, IMO.
    A butterfly thinks therefore I am
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      CommentAuthorBobdH
    • CommentTimeAug 7th 2009
    JP: THE FLY II - Christopher Young
    All this talk of Drag Me To Hell got me wanting this so bad, that I decided to give this horror 'classic' a spin - especially since it lay dorment here since I bought it almost two years ago. And yes, it reminds me of Hellraiser - a lot. From the almost exact use of its main theme (Come Fly With Me) up to the outbursts of the orchestra, even though this is a relatively lighter affair. However, it does have some excellent scares and several good moments, even though the lack of freshness places it in the (dark) shadows of the Hellraiser scores and Bless the Child.
    • CommentAuthorTintin
    • CommentTimeAug 7th 2009
    Martijn wrote
    NP: Great Expectations - Patrick Doyle

    Enchanting score. Doyle has a true gift for melody and orchestration.
    It's the oddest thing: there are a couple of composers that I consistently overlook, and yet -whenever I rediscover them (again)- rate amongst the finest! I can't for the life of me understand that mechanism. I'm enjoying the heck out of this warm, broad score. It's lovely, Romantic, quirky when needed, powerful throughout and with a fantastic flait for the classics!
    Great stuff!
    Shot right from my "gotta listen to this at some point" list to my "classic to keep forever" list!


    Yeah, that's one "broad" score. There is a lot of variety in this but it does seem to gel all together for some reason. I really like the ethereal/ eerie/breathy vocal by Tori Amos at the beginning. That was one of the only scores with Sleuth that Doyle used overt electronics.
    •  
      CommentAuthorSunil
    • CommentTimeAug 7th 2009
    Point of no return - Back to the Future III (Alan Silvestri)

    I call this masterpiece by Alan Silvestri. This is one of the best track in whole Back to the Future trilogy. AWESOME indeed!
    Racism, Prejudices and discrimination exists everywhere.
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      CommentAuthorErik Woods
    • CommentTimeAug 7th 2009 edited
    Np: Spacecamp - John Williams

    I've read a few comments on other message boards stating that this score is just Williams on auto-pilot. IMHO, I think its Williams at his best. I made a few comments concerning this score last year so instead of repeating myself please CLICK HERE for my thoughts.

    -Erik-
    host and producer of CINEMATIC SOUND RADIO | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!