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  1. The Ghost and The Darkness, The Edge, Congo and The River Wild Goldsmith

    I'm in the middle of a month in British Columbia and I've been listening to these four Goldsmith 90s 'outdoors nature' scores a lot, perfect accompaniment for the surroundings. They're all great but 'The Edge' and 'Ghost and the Darkness' are some of my very favourite Goldsmith. One track that's had a huge amount of plays from me in the last year is the first track of 'River Wild'. I know it's not a Goldsmith melody but it's so beautiful and I love how it builds, played beautifully on flute, then just as perfectly on trumpet and then lushly on strings. It allows the melody to shine and has an elegance and simplicity using the orchestral tools at disposal perfectly.
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      CommentAuthorSteven
    • CommentTimeMar 12th 2016
    Erik Woods wrote
    NP: Raiders of the Lost Ark - John Williams

    Getting the bad taste of Batman v Superman out of my mouth!

    -Erik-


    The perfect antidote. And that's understating it.
    • CommentAuthorAnthony
    • CommentTimeMar 13th 2016 edited
    Erik Woods wrote
    NP: Raiders of the Lost Ark - John Williams

    Getting the bad taste of Batman v Superman out of my mouth!

    -Erik-


    Saw Raiders live at the Royal Albert Hall tonight. You're going to love it. No choir but it didn't have a significant impact. All the dissonant Idol's Temple and Well Of The Souls music is fantastic to "see" live.

    They even played an abridged version of The Adventures Of Mutt after the interval!

    Edit: And now the Jurassic Park tickets were here waiting when I got home. punk
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      CommentAuthorErik Woods
    • CommentTimeMar 13th 2016
    Anthony wrote
    Saw Raiders live at the Royal Albert Hall tonight. You're going to love it. No choir but it didn't have a significant impact. All the dissonant Idol's Temple and Well Of The Souls music is fantastic to "see" live.



    Whoa, whoa, whoa, whoooooooooa! No choir? For real? How can you put on a Raiders of the Lost Ark concert WITHOUT the f__king choir?!?!?!?!?!?!?!

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
    • CommentAuthorAnthony
    • CommentTimeMar 13th 2016 edited
    I initially though the same - the only cue that really suffered was The Miracle Of The Ark. The Map Room: Dawn still sounded fantastic, and other than that, I can't think of any other cues that make significant use of choir. The lack of cimbalom was more apparent.

    Shout out to the oboe player who nailed things like South America, 1936 and the Medallion theme. On several occasions I forgot I was at a concert as I was just into the movie.

    Highlights:

    Main Title / South America, 1936
    In The Idol's Temple
    The Medallion
    The Map Room: Dawn
    Reunion / The Dig Begins
    The Well Of The Souls
    Marion's Theme / The Crate
    Ark Trek

    Could have been better:

    Flight From Peru and The Basket Game - the nature of these cues (lots of plucking strings) meant a lot of them couldn't actually be heard under the sound effects.

    Desert Chase - I don't think a live performance could ever live up to the original recording. It just didn't sound aggressive enough - a bigger brass section would have helped.

    The Miracle Of The Ark - aforementioned missing choir.
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      CommentAuthorErik Woods
    • CommentTimeMar 13th 2016 edited
    NP: 10 Cloverfield Lane - Bear McCreary

    Does this guy ever sleep?! This score is outstanding! One of the best scores of the year! I hope this score, which is getting rave reviews not only from film music fans but film critics as well, gets McCreary more large profiled film gigs! It's about time! So much talent... so much ingenuity... so much love for the art and craft of film music. How can you not love this guy?!

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
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      CommentAuthorSouthall
    • CommentTimeMar 13th 2016
    •  
      CommentAuthorSouthall
    • CommentTimeMar 13th 2016
    Antz - Gregson Powell

    It's good but I'm probably too old for this much energy.
    •  
      CommentAuthorSteven
    • CommentTimeMar 14th 2016
    Lost In Space Bruce Broughton

    This new Intrada album is a bit of a revelation. The new music is fantastic. I had no idea there was anything worth including left, but how wrong I was! shocked I haven't even listened to the bonus material yet. Bruce Broughton's best score, blessed with Don Davis's orchestrations. Film music perfection.
  2. Well, this does lead me into temptation.
    Bach's music is vibrant and inspired.
  3. I heard some bits and pieces, and IMO there isn't a lot that wasn't on the earlier release. Some cues that were edited together are now standalone pieces, that much I noticed. Bonus cues are cool, especially since the music in those is just as good as the original cues.

    I don't think I'm going to go for this one... I love the flow of the original score album way too much.
    "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.
  4. Captain Future wrote
    Well, this does lead me into temptation.

    Yes, but does it deliver you from evil?
  5. NP: Gods of Egypt -- Marco Beltrami

    This looks like a crappy film (shame became I truly loved Proyas his previous films), but man the music is awesome. ""Obelisk Fight Part 1" is already one of the tracks of the year. As epic as The Mummy Returns. Love it. Gonna give this one a couple of tries more later this week.
    waaaaaahhhhhhhh!!! Where's my nut? arrrghhhhhhh
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      CommentAuthorSteven
    • CommentTimeMar 14th 2016
    DreamTheater wrote
    I heard some bits and pieces, and IMO there isn't a lot that wasn't on the earlier release. Some cues that were edited together are now standalone pieces, that much I noticed. Bonus cues are cool, especially since the music in those is just as good as the original cues.

    I don't think I'm going to go for this one... I love the flow of the original score album way too much.


    The new additions may not be much in terms of quantity (even though for a good few minutes the album starts off completely different to the previous release), but the quality is more than enough to warrant these additional cues.
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      CommentAuthorThor
    • CommentTimeMar 15th 2016
    NP: LADY IN THE VAN (George Fenton)

    Beautiful, including the Nino Rota-ish waltzes. I can hardly think of any other living film composer out there who is as good as merging his own original score with classical compositions.
    I am extremely serious.
  6. DAYS OF THUNDER

    A Zimmer Rock Masterpiece. Awesome score and brilliant LLL release ! punk
    "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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      CommentAuthorThor
    • CommentTimeMar 15th 2016
    DreamTheater wrote
    DAYS OF THUNDER

    A Zimmer Rock Masterpiece. Awesome score and brilliant LLL release ! punk


    Superb score! But I only have an old boot thingie which I've had forever. Haven't upgraded to the LLL yet. I'm a bit nervous, because while I absolutely LOVED the score segments on the original BLACK RAIN OST, the expansion totally ruined it for me (a lot of the music was grating and noisy -- a far cry from the gorgeous power anthems in the original suites). I'm a bit worried that the expanded DAYS OF THUNDER will have a similar result.
    I am extremely serious.
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      CommentAuthorThor
    • CommentTimeMar 15th 2016
    NP: MUHAMMAD: MESSENGER OF GOD (A.R. Rahman)

    There's a lot to like in this score, but I could be without the irritating suspense cues like "Ababeel". But other than that -- a highlight.
    I am extremely serious.
  7. Irritating suspense cue, "Ababeel"? That's a giant action piece with choir! dizzy

    As for Days of Thunder, I think this is a rare case where you can seek the expansion without fear. Unlike Black Rain, it doesn't actually add that much length to the score outside of the extremely necessary (and Mark Mancina-cowritten, incidentally) "The Final Race" - plus the usual collection of alternates. But don't throw out your boot just yet, because its End Titles cue isn't on the La-La Land album. I'd suggest you edit together your own playlist but I know how well that'll go down. rolleyes
  8. Thor wrote
    DreamTheater wrote
    DAYS OF THUNDER

    A Zimmer Rock Masterpiece. Awesome score and brilliant LLL release ! punk


    Superb score! But I only have an old boot thingie which I've had forever. Haven't upgraded to the LLL yet. I'm a bit nervous, because while I absolutely LOVED the score segments on the original BLACK RAIN OST, the expansion totally ruined it for me (a lot of the music was grating and noisy -- a far cry from the gorgeous power anthems in the original suites). I'm a bit worried that the expanded DAYS OF THUNDER will have a similar result.


    Don't. The bootleg is basically the C&C score except the final race (a Mancina piece, BTW), which was "missing", but the slow ballad ("End Titles") is missing from the bootlegs and was nowhere in the materials LLL got from Hans, from what I was told.

    Anyway, the thing is that the bootleg is fairly complete anyway, so there is no 40 minutes vs. 78 minutes like with Black Rain. If you count out the alternates and the song (which you would not, as LLL preserves the song), it's basically about an hour of score with about additional 9 minutes missing previously. And actually, the 9 minutes add a lot as it's a great summary of the score (it IS the score to the final setpiece of the film after all). So it's about 7-8 additional material.
    http://www.filmmusic.pl - Polish Film Music Review Website
  9. Edmund, you beat me to it. I did inquire about the End Titles, but they were nowhere to be seen. So basically, it's about 8 minutes more.
    http://www.filmmusic.pl - Polish Film Music Review Website
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      CommentAuthorDreamTheater
    • CommentTimeMar 15th 2016 edited
    Isn't the whole The Last Race just infinitely better then the End Titles? Because those 10 minutes are awesome as fuck and the victory theme gets a major rendition at the end (even better then the Darlington race cue). It provides thematic closure. I would recommend this release for this cue alone to be honest.

    Get this Thor, you won't regret this. Black Rain (the expansion) isn't nearly as good as this.

    And I think the score (including then David Coverdale song) is somewhat of 55 minutes long. That's not outstaying its welcome.

    PawelStroinski wrote
    Don't. The bootleg is basically the C&C score except the final race (a Mancina piece, BTW), which was "missing", but the slow ballad ("End Titles") is missing from the bootlegs and was nowhere in the materials LLL got from Hans, from what I was told.



    Wait I'm confused, the slow ballad, is that the song you're talking about? Show Me Heaven?

    Also Thomas' review is wrong, wrong, wrong ! You'll add a star to his rating for sure. cheesy
    "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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      CommentAuthorThor
    • CommentTimeMar 15th 2016
    Thanks for the info. Seems like the LLL is a decent way to go.
    I am extremely serious.
  10. NP: Der letzte Mohikaner / The Last of the Mohicans (1965) - Peter Thomas

    A gorgeous score that German film music legend Peter Thomas penned for this German western. Much like what Martin Böttcher did for the Winnetou westerns during those years but with Thomas' own distinct sound.

    Volker
    Bach's music is vibrant and inspired.
  11. DreamTheater wrote
    Isn't the whole The Last Race just infinitely better then the End Titles? Because those 10 minutes are awesome as fuck and the victory theme gets a major rendition at the end (even better then the Darlington race cue). It provides thematic closure. I would recommend this release for this cue alone to be honest.

    Get this Thor, you won't regret this. Black Rain (the expansion) isn't nearly as good as this.

    And I think the score (including then David Coverdale song) is somewhat of 55 minutes long. That's not outstaying its welcome.

    PawelStroinski wrote
    Don't. The bootleg is basically the C&C score except the final race (a Mancina piece, BTW), which was "missing", but the slow ballad ("End Titles") is missing from the bootlegs and was nowhere in the materials LLL got from Hans, from what I was told.



    Wait I'm confused, the slow ballad, is that the song you're talking about? Show Me Heaven?

    Also Thomas' review is wrong, wrong, wrong ! You'll add a star to his rating for sure. cheesy


    The love theme-based End Titles is a slow ballad of sorts.
    http://www.filmmusic.pl - Polish Film Music Review Website
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      CommentAuthorDreamTheater
    • CommentTimeMar 15th 2016 edited
    But it's Zimmer's? Because I don't think I've ever heard it on the boot (must've heard an edit of that) and I don't remember if it's during the end credits.

    Thor wrote
    Thanks for the info. Seems like the LLL is a decent way to go.


    No, it's not a decent way at all... it's the only way. Destroy that boot and order it at LLL before their 25 % off sale ends. But you'll have to hurry:

    This special sales event will definitely expire at 9:59pm (PST) on 3/15. It will NOT be extended beyond 3/15.
    "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.
    •  
      CommentAuthorSteven
    • CommentTimeMar 15th 2016
    Fantastic Four Marco Beltrami (and Philip Glass)

    The dark horse of 2015. Or at least in terms of its quality. I can't wrap my head around why this wasn't better received? Anyway. I love it. Beltrami has written some less-than-interesting scores among his fantastic ones, but I firmly put this in the latter.
    •  
      CommentAuthorThor
    • CommentTimeMar 15th 2016
    DreamTheater wrote
    But it's Zimmer's? Because I don't think I've ever heard it on the boot (must've heard an edit of that) and I don't remember if it's during the end credits.

    Thor wrote
    Thanks for the info. Seems like the LLL is a decent way to go.


    No, it's not a decent way at all... it's the only way. Destroy that boot and order it at LLL before their 25 % off sale ends. But you'll have to hurry:

    This special sales event will definitely expire at 9:59pm (PST) on 3/15. It will NOT be extended beyond 3/15.


    Yeah, I wasn't thinking about buying a physical copy, due to the high shipping costs. Even with the sale, the total comes to about $30, and with poor Norwegian exchange rates, it's an expensive affair. I was more thinking about buying a digital version, if it's available.
    I am extremely serious.
  12. Not sure if they do that now, but they should. Not everybody wants to import CDs and all the hassles / costs that come with that.

    But I'm hands on kind of guy, physical copies are my thing. I still listen to all my discs, and look in the books that comes with it. I'm old-school, passé, stuck in the past you could say... I don't even have a smartphone. It's awesome ! biggrin
    "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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      CommentAuthorSteven
    • CommentTimeMar 16th 2016
    Star Wars: The Force Awakens John Williams

    "I spent an obscene amount of my childhood lying on the shag rug of my bedroom, wearing headphones and listening to film soundtracks composed by John Williams.

    This was of course years before digital downloads, Blu-Ray discs and video on demand. There was only audio on demand back then, but Mr. Williams' scores -- without images or dialogue -- were complete and wondrous adventures. Deeply moving, profoundly exciting, epic in scope and majesty.

    He is, without question, one of the great storytellers of all time. His music grabs us by the heart and thrusts us into the deepest and most primal emotional states. His skill and humanity, his gift and his magic, are unprecedented. The impact that he has had on every film he's composed for cannot be overstated.

    When Kathy Kennedy asked if I would consider directing Episode VII of Star Wars, there were too many incredible enticements. Not the least of which was my love of the world George Lucas gloriously created. Star Wars was, and remains, a seminal and profound impact on my life.

    But there was more: The opportunity to work with the preposterously wonderful Ms. Kennedy, the iconic screenwriter Lawrence Kasdan, and the original legendary cast. But there was also the ultimate carrot at the end of the stick: the chance to collaborate with John Williams.

    Listening to Steven Spielberg talk about his long and deep friendship with Mr. Williams ("Johnny" as he refers to him) is a thing of beauty. Before production on The Force Awakens began, Steven told me that working with Johnny would exceed all expectations. That he becomes only more wonderful and lovelier the longer you work with and know him. That he is simply the best.

    In short, Steven (perhaps the most passionate and wonderfully effusive person I'll ever know) was so hyperbolic about what the experience with John would be that I was certain he was overselling it.

    And now, the collaboration behind us, I see just how much Steven undersold it all.

    Yes, John's score for The Force Awakens is achingly wonderful. The majesty and beauty of Rey's theme. The darkness and threat of Ren's. The lift and exuberance of the Resistance theme... it is all brand new and yet an inevitable continuation of his Star Wars oeuvre.

    I can define how perfect and powerful his score is, how much John improved every scene he touched. However, it is not possible for me, within the constraints of the liner notes, or anything else for that matter, to properly honor the man himself.

    We are familiar with and gifted by John Williams' staggering musical ability. But what must be said here is that he is as generous and gentle, as wise and funny, as caring and tireless as he is brilliantly accomplished.

    And, somehow, it's as if we knew it all along.

    Go lie on a rug, put on your headphones, fire up one of Mr. Williams' scores, any of them, and close your eyes. What you'll hear isn't just the soundtrack to a film -- wonderful, transportive, impossible music. What you'll hear is the soul of a man, a sublime man to whom I've been grateful for a long, long time." - JJ Abrams