[Closed] Now Playing XXXII

MARC SHAIMAN - the american president

Gorgeous, over-the-top melody and patriotism of the musically good kind Love it.

Well, if I'd made the list longer it would have included the likes of Star Trek's I, II & III, Starship Troopers, Bourne.....

I did. I am still trying to come in terms with what i saw. The world is ending. It's 2 to 2012.

It's a series comic-like thingy, 1st event in time at the top, last one at the bottom. Here have a look at this one and don't rush into judging!

Here, i know you'll love their humor

http://comixed.com/

O rly?

I totally do.

Yeah, I like that

I liked this one too but it's time to take these to the 'funny' thread.

Holy shit!

It doesn't sound middle eastern in the slightest!

It does a little, to me. Much in the same way a Rimsky-Korsakov piece describing the Orient sounds not remotely Chinese, but kind of does at the same time.

INDIANA JONES AND THE LAST CRUSADE - John Williams

While waiting for the roast beef to cook. This is how Sundays should be spent.

Went on a couple of long drives this weekend, and I tried to listen to albums that I've not spent much (or indeed, any) time with...

The Agony and the Ecstasy (Alex North) - even now, I still find I have to be in the mood for Alex North. The last time I listened to this, it was one of the great scores. This time, it was work. There's no doubt his was one of the most articulate voices in film music, but also one that requires work from (and often amply rewards) the listener

The Right Stuff (Bill Conti) - the Varese Club release from earlier this year. I really liked it. A strong 80s score if ever there was one. Even like the synth cues. It's the opening cue - 'breaking the sound barrier' - that really does it for me however. (I didn't appreciate the album liner notes though. Julie Kirgo really tears Kaufmann apart for having something negative to say about the Mercury astronauts. Has political correctness achieved such heights in America that noone who makes an expensive film can have an even slightly contrary opinion?)

The Merchant of Venice (Jocelyn Pook) - Pook handles the renaissance setting and the dominance of voice as well as you'd expect her too. I love the cues 'With Wandering Steps' (sung by Andreas Scholl), Hilary Westenra's 'Bridal Ballad' and the first instrumental track.

Lonely are the Brave (Jerry goldsmith) - Tried listening while driving through the countryside, but just wasn't in the mood. Will give it another go at another time.

Harmonielehre (John Adams) - not film music, but I was sick of film music at this point, and Adams is not a bad thing to go to. What an incredible piece.

Something wicked this way comes (James Horner) - ah now, isn't this interesting? I haven't finished it yet, but I think I enjoy this one a bit more than the - more universally-lauded - Journey of Natty Gann.

Now out of the car, and home, and onto Baaria. Typical Morricone goodness. One of the best albums of film music this year, without doubt.

It's just that something like Harmonielehre is one the level of a great Beethoven work, for me. It's a very different kind of music to connect to. Rather than two-three minute cues with lovely themes, you have these incredible lengthy setpieces which can take you on a more elaborate musical journey than most scores can attempt. (Because film scores have to stay out of the way of dialogue, effects, support stories, make the point quickly, etc.) Film music is an artform because greatness has emerged despite all the constraints under which it is produced, but sometimes you can't help but head for a bit of the real thing.