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      CommentAuthorErik Woods
    • CommentTimeJan 10th 2011
    It's time for a new Now Playing thread... because we take our shit seriously!

    NP: Tai-Pan - Maurice Jarre

    My favorite Jarre score!

    -Erik-
    host and producer of CINEMATIC SOUND RADIO | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
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      CommentAuthorSouthall
    • CommentTimeJan 10th 2011
    Total Recall - Jerry Goldsmith

    One of the great action scores (and "End of a Dream" is one of the great action cues) but there is so much more to this score, a surprising depth. "The Mutant" is simply incredible.
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      CommentAuthorErik Woods
    • CommentTimeJan 10th 2011
    yeah
    host and producer of CINEMATIC SOUND RADIO | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
    • CommentAuthorTimmer
    • CommentTimeJan 10th 2011
    yeah yeah

    Doubled!
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
  1. TR is one of those scores I have to admire, for the honest, I can't completely like it. But I sometimes think it's because the deluxe edition wasn't the right way to get into the score. The album everyone fell in love with, before they heard anything Goldsmith wrote for the rest of the 90s, is the one I wished I'd heard first.

    NP: Adoration (Danna)

    Now I'm going to be perverse and just say I listen to this one more than I do to TR. You may now sacrifice me at the shrine of Jerry. Tell my mother I loved her, and tell everyone else I know to hurry up and finish their films.
    A butterfly thinks therefore I am
    • CommentAuthorKevinSmith
    • CommentTimeJan 10th 2011 edited
    Gettysburg - Randy Edelman

    In my experience, people seem to love or hate this score (arguably one of the most stylistically quintessential score written by RE). Although it would have been interesting to see what a more major composer would have done but for what he did, Randy Edelman wrote a good listening experience for the album with varied themes and a orchestral/synth mix (its effectiveness in the film can depend on who you ask).

    Star Trek VIII: First Contact

    I usually enjoy a Star Trek based score, but this one leaves me rather cold. When people (at least non film score fans say they like it/love it, I suspect it's mostly based of the grand string/brass theme heard at the start and end of the score). The Star Trek theme is barely used on the legal album and the scary/action bits (aside from 'Red Alert') are nothing special. I much prefer the better written Star Trek IX: Insurrection score to this.
    Revenge is sweet... Revenge is best served cold... Revenge is ice cream.
  2. I also tend to prefer Insurrection to First Contact, actually. Not only because of the romanticism.
    http://www.filmmusic.pl - Polish Film Music Review Website
    • CommentAuthorMatt C
    • CommentTimeJan 11th 2011
    Hollywood '95 - Various

    I blind-bought it due to the positive reviews it got, and what a treat it is. McNeely and RSNO did record some great suites for Batman Forever, First Knight, Silvestri's Judd Dredd and Casper. Still sounds good, even 14 years later.

    Makes me wish Varese still did these sort of CDs... I'd love to buy a Hollywood 2010 CD with suites from The Last Airbender, Harry Potter and the Deathly Hallows, Salt, How to Train Your Dragon, and The Wolfman.
    http://unsungfilmscores.blogspot.com/ -- My film/TV/game score review blog
  3. I suppose the only equivalent at the moment are the compilations Silva are putting out regularly. A lot of the tracks are recycled favourites but they do seem to re-record recent stuff too. They have just released a selection of tracks for 2010 releases.
    The views expressed in this post are entirely my own and do not reflect the opinions of maintitles.net, or for that matter, anyone else. http://www.racksandtags.com/falkirkbairn
  4. Christodoulides wrote
    DreamTheater wrote
    Erik Woods wrote
    Christodoulides wrote
    Different shows, different mediums, totally different musical needs. For what LOST is, he wrote some brilliant music too; no need to compare them.


    I don't think anyone is comparing them... it's just a want for Giacchino to go back to the style that we MOH fans fell in love with in the first place.

    -Erik-


    Well we were comparing Djawadi's effort to Giacchino's for Medal of Honor, because that's normal, as the scores are written for the same series. But as the latest MOH was a clear reboot in the series, it demanded another kind of score, just a kind of score I'm not too fond of. But comparing will always be done, especially by me. I will always judge something compared to something else that came before it, if it's from the same family or medium, so to speak.


    Very unfair way to look at things: both towards the artists and composers themselves ('cause they don't do what they want, they're commisioned works) and towards yourself; if anything you listen, you quickly search and analyze and try to find resemblances, it will suck the fun out of it.


    Well it certainly did suck the fun out of Djawadi's MOH, because that one is hardly worthy of my attention, for the simple reason it's not much fun at all. Now compared to Giacchino's work on the series....

    I couldn't resist, could I ? cheesy dizzy

    But seriously, do you know I judge everything compared to the holy trinity, the holy grails of film scoring, the most sublime film music ever written? You can take a wild guess what it is, but I'll give you a hint. They're all three scored by John Williams. And those are the standard I use to judge everything by, so either something comes insanely close to those, or at a distance, or not at all.
    "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.
    • CommentAuthorMatt C
    • CommentTimeJan 11th 2011
    Batman - Danny Elfman

    Haven't listened to this in a long time. Probably Elfman's most straightforward and enjoyable score. The orchestration and the playing by the Sinfonia of London Orchestra really elevate this score to a level Elfman doesn't hit often. Just a joy to listen to.
    http://unsungfilmscores.blogspot.com/ -- My film/TV/game score review blog
  5. KevinSmith wrote
    Star Trek VIII: First Contact

    I usually enjoy a Star Trek based score, but this one leaves me rather cold. When people (at least non film score fans say they like it/love it, I suspect it's mostly based of the grand string/brass theme heard at the start and end of the score). The Star Trek theme is barely used on the legal album and the scary/action bits (aside from 'Red Alert') are nothing special. I much prefer the better written Star Trek IX: Insurrection score to this.


    Nope. I love each and every single cue -- to put it simply.
    The views and opinions of Ford A. Thaxton are his own and do not necessarily reflect the ones of ANYONE else.
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      CommentAuthorDreamTheater
    • CommentTimeJan 11th 2011 edited
    Matt C wrote
    Batman - Danny Elfman

    Haven't listened to this in a long time. Probably Elfman's most straightforward and enjoyable score. The orchestration and the playing by the Sinfonia of London Orchestra really elevate this score to a level Elfman doesn't hit often. Just a joy to listen to.


    The original album? Only one of the few Elfman's I can really enjoy. I've never been able to love the man's style, apart from a select few scores.
    "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.
  6. STAR WARS: A NEW HOPE - JOHN WILLIAMS

    One of what I consider the best thee film scores ever written, see my post above. I could never ever tire of this classic, and I'll enjoy the hell out of until the day I die. The genesis of a symphony of epic proportions, and I try to listen to the trilogy at least once a year. punk punk punk

    I SALUTE YOU MR. WILLIAMS!!!! wave
    "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.
  7. DreamTheater wrote
    Matt C wrote
    Batman - Danny Elfman

    Haven't listened to this in a long time. Probably Elfman's most straightforward and enjoyable score. The orchestration and the playing by the Sinfonia of London Orchestra really elevate this score to a level Elfman doesn't hit often. Just a joy to listen to.


    The original album? Only one of the few Elfman's I can really enjoy. I've never been able to love the man's style, apart from a select few scores.


    Personally recommended Elfman scores:

    "Anywhere But Here"
    "Black Beauty"
    "Amazing Stories: Family Dog"
    "Pee Wee's Big Adventure"
    "Mission: Impossible [1]"
    "Edward Scissorhands"
    "Serenada Schizophrana"
    (non score CD, but not songs; http://www.youtube.com/watch?v=mugYfCm27bM)

    ABH only has a suite (about eight minutes, as I recall) on the commercial CD, but well worth it.

    M:I1 can divide the fanbase; some don't like it at all, while others (like myself) love it.
    The views and opinions of Ford A. Thaxton are his own and do not necessarily reflect the ones of ANYONE else.
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      CommentAuthorDemetris
    • CommentTimeJan 11th 2011
    If only film music was blessed with more people like him.
    Love Maintitles. It's full of Wanders.
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      CommentAuthorDreamTheater
    • CommentTimeJan 11th 2011 edited
    Well he certainly is an original composer, but personally I've never been able to get into his stuff that others absolutely love. To give you an example, when Sleepy Hollow was released I bought and listened to the score multiple times, but I found it atrocious. It literally gave me a headache when Elfman was going all out in the dark action cues. The calmer thematic music was okay but not enough to make me hold on to the CD. I've long since sold it, and I haven't regretted that.
    "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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      CommentAuthorDemetris
    • CommentTimeJan 11th 2011
    Well i feel you partly 'cause i can't get into his pre-2000 material mostly. But what about WOLFMAN, T4, ALICE IN WONDERLAND, WANTED, etc? I find his music more and more mature and interesting as years go by and the afore-mentioned are excellent scores, for me at least.
    Love Maintitles. It's full of Wanders.
    • CommentAuthorTimmer
    • CommentTimeJan 11th 2011
    I definitely find Elfman more interesting as the years go by, he is still hit and miss for me ( really didn't like either T4 or Wanted ) but absolutely loved 'Alice' and Wolfman is good too.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
  8. Hans Zimmer - Crimson Tide

    One of my all-time favourite scores. I refer to my review's analysis of the score in film, which really aids it. Great theme, very good French horn writing (still some of the best Hans did in his whole career and we all know that with very notable exceptions, like Spanglish, Hans isn't exactly the best orchestrator in the world) and, especially, the ATMOSPHERE.

    I love it.
    http://www.filmmusic.pl - Polish Film Music Review Website
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      CommentAuthorplindboe
    • CommentTimeJan 11th 2011 edited
    Kick-ass (the score) (by a bunch of dudes)

    Soundtrackcollector.com says "Ilan Eshkeri (rejected score)", "Marius De Vries (rejected score)", "John Murphy (rejected score)", "Henry Jackman", so I can't imagine the chaos it took to arrive at the final score. One thing I like is that even though scores apparently were rejected all over the place, parts of the rejected scores were still kept in the movie so the final result consists of a hodgepodge of music by all four composers. On paper this sounds like a bad idea, but I think it comes together really well and they all provide interesting cues. Highly listenable album for an entertaining movie.

    One of my favourite cues of 2010, despite being rather short, is "Flying home" (Marius Vries). It's great in the movie, as well as a standalone listen.

    Peter punk
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      CommentAuthorThor
    • CommentTimeJan 11th 2011
    plindboe wrote
    Kick-ass (the score) (by a bunch of dudes)

    Soundtrackcollector.com says "Ilan Eshkeri (rejected score)", "Marius De Vries (rejected score)", "John Murphy (rejected score)", "Henry Jackman", so I can't imagine the chaos it took to arrive at the final score. One thing I like is that even though scores apparently were rejected all over the place, parts of the rejected scores were still kept in the movie so the final result consists of a hodgepodge of music by all four composers. On paper this sounds like a bad idea, but I think it comes together really well and they all provide interesting cues. Highly listenable album for an entertaining movie.

    One of my favourite cues of 2010, despite being rather short, is "Flying home" (Marius Vries). It's great in the movie, as well as a standalone listen.

    Peter punk


    And Danny Elfman too!
    I am extremely serious.
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      CommentAuthorThor
    • CommentTimeJan 11th 2011
    NP: THE SAINT OF FORT WASHINGTON (James Newton Howard)

    Really underrated score...moody, slightly jazzy, ambient.
    I am extremely serious.
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      CommentAuthorplindboe
    • CommentTimeJan 11th 2011 edited
    KevinSmith wrote
    I usually enjoy a Star Trek based score, but this one leaves me rather cold. When people (at least non film score fans say they like it/love it, I suspect it's mostly based of the grand string/brass theme heard at the start and end of the score). The Star Trek theme is barely used on the legal album and the scary/action bits (aside from 'Red Alert') are nothing special. I much prefer the better written Star Trek IX: Insurrection score to this.


    I've always considered the theme from First contact to be one of Jerry's greatest and most sweeping. It's up there alongside "The trees", "Lost in the wild" and "Theme from Powder". The rest of the album could be a pile of stinking poo, and I'd still love it, since that theme makes such an immense impact.

    Peter smile
    • CommentAuthorAnthony
    • CommentTimeJan 11th 2011
    plindboe wrote
    Kick-ass (the score) (by a bunch of dudes)

    Soundtrackcollector.com says "Ilan Eshkeri (rejected score)", "Marius De Vries (rejected score)", "John Murphy (rejected score)", "Henry Jackman", so I can't imagine the chaos it took to arrive at the final score. One thing I like is that even though scores apparently were rejected all over the place, parts of the rejected scores were still kept in the movie so the final result consists of a hodgepodge of music by all four composers. On paper this sounds like a bad idea, but I think it comes together really well and they all provide interesting cues. Highly listenable album for an entertaining movie.

    One of my favourite cues of 2010, despite being rather short, is "Flying home" (Marius Vries). It's great in the movie, as well as a standalone listen.

    Peter punk


    I thought they all worked together on this one? There wasn't any "replacing" going on as far as I'm aware.
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      CommentAuthorlp
    • CommentTimeJan 11th 2011
    franz_conrad wrote
    TR is one of those scores I have to admire, for the honest, I can't completely like it. But I sometimes think it's because the deluxe edition wasn't the right way to get into the score. The album everyone fell in love with, before they heard anything Goldsmith wrote for the rest of the 90s, is the one I wished I'd heard first.


    Before the Deluxe Edition, I didn't love TR. Only until after I was able to hear all that Goldsmith offered for the movie that I can really say that it's really one of his best score (if not the best score) that he had ever written for the action/scifi genre.
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      CommentAuthorlp
    • CommentTimeJan 11th 2011 edited
    NP: Tron - Daft Punk

    I like this score. But I don't love it. The orchestral writing can seem too generic, however well appointed and executed. I don't understand how one can say that it was written with pen and paper, especially when considering how the the melodic development is elementary at best. The electronic portion is on par with what they've done before. So nothing new there. Good score, not a great score.
  9. Anthony wrote
    plindboe wrote
    Kick-ass (the score) (by a bunch of dudes)

    Soundtrackcollector.com says "Ilan Eshkeri (rejected score)", "Marius De Vries (rejected score)", "John Murphy (rejected score)", "Henry Jackman", so I can't imagine the chaos it took to arrive at the final score. One thing I like is that even though scores apparently were rejected all over the place, parts of the rejected scores were still kept in the movie so the final result consists of a hodgepodge of music by all four composers. On paper this sounds like a bad idea, but I think it comes together really well and they all provide interesting cues. Highly listenable album for an entertaining movie.

    One of my favourite cues of 2010, despite being rather short, is "Flying home" (Marius Vries). It's great in the movie, as well as a standalone listen.

    Peter punk


    I thought they all worked together on this one? There wasn't any "replacing" going on as far as I'm aware.


    That's right! They all complemented one another. Coincidentally yesterday I was watching the making of documentary of Kick-ass, where you see all of them busy but basically only Jackman and Murphy talking about how it was a collaborative experience and nobody wanted to steal the thunder from someone else. It was very interesting to see how they managed to stay in sync all the way until the end of the scoring process. I may get this score soon, because I love how it works in the film.
    "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.
  10. Christodoulides wrote
    Well i feel you partly 'cause i can't get into his pre-2000 material mostly. But what about WOLFMAN, T4, ALICE IN WONDERLAND, WANTED, etc? I find his music more and more mature and interesting as years go by and the afore-mentioned are excellent scores, for me at least.


    I have only listened to Wolfman, and even that I didn't find that interesting, except for 3-4 cues.
    "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.
  11. plindboe wrote
    KevinSmith wrote
    I usually enjoy a Star Trek based score, but this one leaves me rather cold. When people (at least non film score fans say they like it/love it, I suspect it's mostly based of the grand string/brass theme heard at the start and end of the score). The Star Trek theme is barely used on the legal album and the scary/action bits (aside from 'Red Alert') are nothing special. I much prefer the better written Star Trek IX: Insurrection score to this.


    I've always considered the theme from First contact to be one of Jerry's greatest and most sweeping. It's up there alongside "The trees", "Lost in the wild" and "Theme from Powder". The rest of the album could be a pile of stinking poo, and I'd still love it, since that theme makes such an immense impact.

    Peter smile


    Agreed. First Contact has a killer secondary theme. If I had to choose between this and Insurrection, I would pick First Contact, but only slightly because I like Insurrection a lot too. Nemesis didn't do anything for me, however.
    "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.