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    • CommentAuthorTimmer
    • CommentTimeJan 20th 2015
    #49 coming tomorrow.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    • CommentAuthorTimmer
    • CommentTimeJan 20th 2015 edited
    You're a foolish man Mister Flint


    #49 JERRY GOLDSMITH - OUR MAN FLINT / IN LIKE FLINT



    Due to a very recent and incredibly welcome release ( at least by me ) by Intrada I can actually choose an album that has two of my favourite score albums contained on one disc. I had the two LP releases since the late 70's and played them almost to death, years later Varese Sarabande released the almost complete original to film scores on one disc but the original film tracks never had the magic for me that Jerry Goldsmith's rerecorded 1960's albums had for me. This Intrada album puts all the fun on one disc, 1960's "mod" scoring at its very best, love it! love
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
  1. ^ I never watched those films nor did I listen to the scores. I take that as an recommendation.
    I'm writing semester marks tonight, my entry will follow tomorrow.
    Bach's music is vibrant and inspired.
    • CommentAuthorTimmer
    • CommentTimeJan 20th 2015
    Captain Future wrote
    ^ I never watched those films nor did I listen to the scores. I take that as an recommendation.
    I'm writing semester marks tonight, my entry will follow tomorrow.


    The films are very much of their time, James Bond spoofs from when James Bond films themselves were becoming spoofy. Great fun though.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    •  
      CommentAuthorThor
    • CommentTimeJan 20th 2015 edited
    I've always been meaning to check out the FLINT scores. From clips and themes I've heard over the years, it's always sounded like a type of jazz I would like -- the more funky kind, a la Lalo Schifrin. But I just never got around to it.
    I am extremely serious.
    •  
      CommentAuthorThor
    • CommentTimeJan 20th 2015 edited
    My pick:

    49. THE BIG COUNTRY (Jerome Moross)

    Yeah, I needed a western score on my list. So of all the western scores I liked, which one would represent them ALL on my list? It was quite a challenge with so many contenders (SILVERADO, MAG 7, THE COWBOYS, WYATT EARP, QUIGLEY DOWN UNDER, BACK TO THE FUTURE III, HOW THE WEST WAS WON, anything by Morricone etc.), but ultimately I fell down on THE BIG COUNTRY. It's strange, because I've never seen the film, but I've always adored the album -- the Silva rerecording with Tony Bremner conducting, ever since I took a chance on it back in the early 2000s. Something about the unashamed melodicism, the openness and the "joie-de-vivre" that makes it the winner in this category. And some saloon/source cues too, but they're not my favourites.
    I am extremely serious.
  2. No 49:

    Indiana Jones and The Last Crusade (1989) by John Williams

    As with STAR WARS, I like the third entry best. As with STAR WARS the third film is a bit of a remake of the first one. Williams delivers a mix of pastoral elegance and first rate action music. Also the father-son topic is nicely reflected musically as are all the diffrent locations.
    I prefer this score a wee tiny bit to RAIDERS OF THE LOST ARC, probably because of that pastoral Grail theme. I am refering to the Concord edition here that expanded the way too short orignal release. The musical narrative is intact now and flows like a river to the ocean.

    Volker
    Bach's music is vibrant and inspired.
  3. @Thor:

    The film is well worth seeing, despite I remember it to be a bit too long for my taste. Nice story, great cast, great landscapes. The score goes without saying. smile
    Bach's music is vibrant and inspired.
    •  
      CommentAuthorThor
    • CommentTimeJan 20th 2015 edited
    Captain Future wrote
    No 49:

    Indiana Jones and The Last Crusade (1989) by John Williams

    As with STAR WARS, I like the third entry best. As with STAR WARS the third film is a bit of a remake of the first one. Williams delivers a mix of pastoral elegance and first rate action music. Also the father-son topic is nicely reflected musically as are all the diffrent locations.
    I prefer this score a wee tiny bit to RAIDERS OF THE LOST ARC, probably because of that pastoral Grail theme. I am refering to the Concord edition here that expanded the way too short orignal release. The musical narrative is intact now and flows like a river to the ocean.

    Volker


    Great pick, my favourite of the INDY scores. And -- of course -- it featured on my 13th place, like, a year ago (the original abum, of course, I can't stand the expansion)!
    I am extremely serious.
    • CommentAuthorTimmer
    • CommentTimeJan 20th 2015
    Brilliant choice Thor. #4 on my list of course wink

    Great choice too Captain. Not on my list but excellent score.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    •  
      CommentAuthorCobweb
    • CommentTimeJan 21st 2015
    #49: THE STORY OF RUTH (1960) by Franz Waxman, on Varese Club CD (2003).

    While the Academy Award for best music score from 1960 was bestowed upon Ernest Gold's EXODUS, I prefer a different score for another similarly Hebraic-themed project: Waxman's RUTH.
    Part of my reasoning for this preference is because I feel that "Jewish" music is more evocative of time periods within the Old Testament than post-WWII Israel. Underscoring denizens of the 20th century with ethnic music can colorize the characters in stereotypical fashion whereas such music seems more 'at home' depicting times and places in historical/Biblical epics.

    The prevailing reason, though, why I like THE STORY OF RUTH so much is that the music is constructed almost as if it is a rhapsody for solo cello and orchestra with chorus.
    Waxman's score is orchestral throughout its duration and contains passages for choral narrative (sounding like a Hebrew lament) or concertante-type cello monologues.
    Another instrument which stands out in THE STORY OF RUTH is the sarrusophone, a member of the 19th century wind band which normally does not appear in standard orchestras.

    The overall disposition of Waxman's score is mournful, but there also exist cues of dissonant Stravinskian violence. These aspects are why THE STORY OF RUTH is my No.1 Waxman.
    Don't let my allusion to Igor's early-period ballet music misguide you, though. THE STORY OF RUTH would be an ideal companion in a concert program featuring works by Ernest Bloch such as "Schelomo" and/or "Voice In The Wilderness" (both for cello and orchestra).
    Cellist Gregor Piatagorsky even approached Waxman to create a cello concerto from material from RUTH, but this never came to fruition.

    Varese's CD positions the tracks in chronological film story order. However, some of the cues are in stereo and some exist only in mono - which likely annoys most of the album's customers but doesn't bother me personally.
    "Tech Talk" is absent from the liner notes, which also neglect to mention the source of the sound elements. Whether the complete stereo master tapes are missing or were otherwise not restorable according to then-current technology is a subject still undisclosed. This soundtrack album is in any way incomplete as there is much more music in the movie than appears here.
    Will there ever be a definitive future edition of THE STORY OF RUTH (which would no doubt require 2 discs)? Since this Club CD took around 10 years to finally sell out, I don't anticipate a subsequent & expanded reissue (but would buy it if ever materialized smile ).
    • CommentAuthorTimmer
    • CommentTimeJan 29th 2015
    THE STORY OF RUTH is a fantastic score. A very fine choice.

    I feel hesitant to do #50 but on the plus side it might enable Martijn to catch up wink
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    •  
      CommentAuthorThor
    • CommentTimeJan 29th 2015
    Don't be hesitant. We can keep this going for a long time still, with all our "51st places" (meaning all the scores that were contenders).
    I am extremely serious.
    • CommentAuthorTimmer
    • CommentTimeJan 29th 2015
    That's true! smile
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    •  
      CommentAuthorMartijn
    • CommentTimeFeb 1st 2015
    Timmer wrote
    THE STORY OF RUTH is a fantastic score. A very fine choice.

    I feel hesitant to do #50 but on the plus side it might enable Martijn to catch up wink


    I feel a bit of pressure now... sad
    'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn
    • CommentAuthorTimmer
    • CommentTimeFeb 1st 2015
    No pressure.

    Why not try one word descriptions for each choice and join in on comments made about particular choices? I think it'll work, I'll MAKE IT work. wink
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    •  
      CommentAuthorCobweb
    • CommentTimeFeb 7th 2015
    Thor wrote
    41. LADYHAWKE (Andrew Powell)

    Oh, where to start?
    ... Whatever happened to Andrew Powell, by the way?


    Hi, Thor.

    La-La Land is issuing a 2-CD set on LADYHWAKE. No doubt you are already aware of this, but, since this title is in your top 50, I'm updating this thread about it because I haven't seen any comment by you yet (either here or @ FSM) on this archival edition.

    According to the announcement,: LADYHAWKE "...finally receives the deluxe presentation it has always deserved -- clocking in with a running time of over two full hours. Produced by Ford A. Thaxton, Mark Banning and James Nelson, with input and supervision by Powell, and mastered by Nelson, this 2-CD limited edition contains previously unreleased music, including bonus tracks."

    So Andrew Powell is still around and was involved with James Nelson on the album mastering.
  4. Well, as we all know, Thor has his special views concerning C&C releases. In this case, I will content myself with the GNP Crescenso edition that seems to be a well balanced compromise between the original release and this new LLL one.

    Volker
    Bach's music is vibrant and inspired.
    •  
      CommentAuthorCobweb
    • CommentTimeFeb 7th 2015
    Did Timmer get the latest edition of Legrand's THOMAS CROWN AFFAIR?

    How does the film's recording sessions compare with Legrand's album re-recording for UA records?

    Does this affect Timmer's choice in any way (lower or higher than Timmer's initial ranking?)
    • CommentAuthorTimmer
    • CommentTimeFeb 7th 2015
    No, I didn't get the new edition.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    •  
      CommentAuthorCobweb
    • CommentTimeFeb 8th 2015
    Timmer wrote
    No, I didn't get the new edition.


    Oh - do you intend to get that Quartet expansion on THOMAS CROWN AFFAIR?
    Or have you no interest in the film's original cues?

    Just curious because it's one of your faves and you didn't get its most recent version.
    (I didn't get it either, but it's not the type of Legrand that I would collect)
  5. One still to go to 50 and another Monday is coming up! smile
    Bach's music is vibrant and inspired.
    • CommentAuthorTimmer
    • CommentTimeFeb 8th 2015
    Point taken.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    • CommentAuthorTimmer
    • CommentTimeFeb 8th 2015
    Cobweb wrote
    Timmer wrote
    No, I didn't get the new edition.


    Oh - do you intend to get that Quartet expansion on THOMAS CROWN AFFAIR?
    Or have you no interest in the film's original cues?

    Just curious because it's one of your faves and you didn't get its most recent version.
    (I didn't get it either, but it's not the type of Legrand that I would collect)


    Oh yes, I certainly intend to get it.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    •  
      CommentAuthorThor
    • CommentTimeFeb 8th 2015
    Captain Future wrote
    Well, as we all know, Thor has his special views concerning C&C releases. In this case, I will content myself with the GNP Crescenso edition that seems to be a well balanced compromise between the original release and this new LLL one.

    Volker


    Yes, Volker nailed it. I'm aware of the new edition, but I'm perfectly pleased with my GNP Crescendo release.
    I am extremely serious.
    • CommentAuthorTimmer
    • CommentTimeFeb 10th 2015 edited
    Drum roll please...


    #50 THE FILM SCORES - BERNARD HERRMANN



    Considering Bernard Herrmann is one of my all time favourite film composers it might seem a bit strange that he doesn't appear on my list until the fiftieth and final(? wink ) choice, This is because despite his brilliance I can rarely make it through entire albums of his film scores, I thought long and hard about various Herrmann scores but all were dismissed due to having tracks I didn't like or were albums I had difficulty sitting all the way through, I think only VERTIGO could have been a contender for this placing but I've gone for Esa-Pekka Salonen's fabulous recording with the Los Angeles Philharmonic which packs in extended suites from such classics as PSYCHO, MARNIE, FAHRENHEIT 451, VERTIGO, TAXI DRIVER and more. If you don't have this album in some form or another then you are seriously missing out. FACT! wink
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    •  
      CommentAuthorErik Woods
    • CommentTimeFeb 10th 2015
    ^ One of THE greatest re-recordings of all time! FACT!

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
    •  
      CommentAuthorThor
    • CommentTimeFeb 10th 2015
    I had that album once upon a time. In fact, I discovered the CD in my local record store when I was still living in my hometown in 1996, I think. Took a chance on it, but was ultimately disappointed. Didn't like the short burts of 'clusters'; the intensity of it all. In fact, it's only in the last 10 years or so that I've come to appreciate Bernard Herrmann's music more thoroughly. So I think I would have enjoyed this album FAR more today than I did then.
    I am extremely serious.
    • CommentAuthorTimmer
    • CommentTimeFeb 10th 2015 edited
    Erik Woods wrote
    ^ One of THE greatest re-recordings of all time! FACT!

    -Erik-


    BTW Erik, If I had gone for the album for VERTIGO, which was a close choice in my head, it would have been Joel McNeely's, which made your #1 recording.

    p.s. It's a shame you didn't join in with this thread, I'd have thought it was right up your street.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
  6. I'm not famliar with that Herrmann sampler. I have one by Milan and of course the Gerhardt album. Those are great too imho.

    Initially I planed No 50 to be JAWS. But then that was never a score that I liked to listen to from start to finish. That has changed recently (as I discovered), but anyhow I'll leave it at an honorary mention. That JAWS is an hihgly eminent score goes without question.


    No 50:

    Morgaine speaks - In my time I have been called many things ...

    The Mists of Avalon (2001) by Lee Holdridge

    The brilliant, brilliant score to a fine adaptation (given the limited funds) of one of my all time favourite novels. As a high school student I read the whole series two or three times. From THE LIGHT OF ATLANTIS thorugh THE FIREBRAND to MISTS. The later written sequels to MoA I found did not treach the same level of brilliance, but they are still worthwhile reads.

    ______________________________

    The above I posted a few weeks ago. I have since revisited the novel and I must say, this whole Great-Earth-Mother-Goddess-70s-New-Age-Mythology dates the concept. The score is great though, a lush symphonic score with a touch of New Age. The dreamy, melancholic atmosphere of novel and film is perfectly captured.

    Volker
    Bach's music is vibrant and inspired.