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      CommentAuthorAtham
    • CommentTimeDec 26th 2012
    Life of Pi - Danna

    This is rather spellbinding to say the least! Just Beautiful!
    Certainly one of the finest scores to come out in a long time! cool
    • CommentAuthorTimmer
    • CommentTimeDec 26th 2012
    NP : THE BLACK HOLE - John Barry


    The C&C release of this proves it to be a far more enjoyable score than I had once previously believed, nothing superfluous about the extra tracks, wonderful stuff!
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    • CommentAuthorTimmer
    • CommentTimeDec 26th 2012 edited
    Well, I was about to play some more Barry but in light of the death of creative genius GERRY ANDERSON it's not John but Gray, Barry Gray and I make no apologies for putting up one of my very favourite pieces again ( I posted this only days ago ), enjoy!

    ZERO-X THEME

    And also this really neat version of that theme played by....

    THE SHADOWS

    cool
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
  1. "On Earth as it is in Heaven" - THE MISSION - Ennio Morricone

    WHAT a piece of music this is. Glorious. Few films have been given a score with as many wonderful themes as Morricone gave to this film.
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      CommentAuthorDemetris
    • CommentTimeDec 26th 2012
    Erik Woods wrote
    Titanic > For Greater Glory. I couldn't get past the first track of For Greater Glory. Actually, I did... but I didn't want to. vomit

    -Erik-


    Titanic? The one score with the synthetic chicks' singing?
    Love Maintitles. It's full of Wanders.
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      CommentAuthorSteven
    • CommentTimeDec 26th 2012
    For Greater Glory annoyed the shit out of me. I usually don't mind Horner's re-use of themes and whatnot, but this one just took the piss. If ever the phrase "phoning it in" applies, it's here.
    • CommentAuthorTimmer
    • CommentTimeDec 26th 2012
    I always have time for this score love

    NP : ON HER MAJESTY'S SECRET SERVICE - John Barry



    The best Bond score bar none!
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
  2. Steven wrote
    For Greater Glory annoyed the shit out of me. I usually don't mind Horner's re-use of themes and whatnot, but this one just took the piss. If ever the phrase "phoning it in" applies, it's here.


    It was TOTALLY my reaction.
    http://www.filmmusic.pl - Polish Film Music Review Website
  3. Thank God we all have different ears. rolleyes
    • CommentAuthorTimmer
    • CommentTimeDec 26th 2012 edited
    Kevin Scarlet wrote
    Thank God we all have different ears. rolleyes


    I haven't heard it ( oh' but you have say everybody else wink ) so can't comment, but really, if you enjoy it then that's ALL that counts and bugger everyone else.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
  4. Demetris wrote
    Erik Woods wrote
    Titanic > For Greater Glory. I couldn't get past the first track of For Greater Glory. Actually, I did... but I didn't want to. vomit

    -Erik-


    Titanic? The one score with the synthetic chicks' singing?


    Yes, awsome, don't you think? wink
    Im sure you agree, that the original version carried the mood much better then the real-choir-version that VS did back in the day.
    This is not a question of synthenic or not synthetic. The question is, what the composer tried to achieve. There are no forbidden means for that purpose. Horner dind't try to fake a real quier, rather the synthetic choir was a means to transport us back into a world of long gone.
    "It was called the ship of dreams." Remember? The surreal sounds take us there perfectly.
    Bach's music is vibrant and inspired.
    • CommentAuthorTimmer
    • CommentTimeDec 26th 2012
    A case of James Cameron's temp tracks being music of ENYA.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
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      CommentAuthorSteven
    • CommentTimeDec 26th 2012
    Timmer wrote
    Kevin Scarlet wrote
    Thank God we all have different ears. rolleyes


    I haven't heard it ( oh' but you have say everybody else wink ) so can't comment, but really, if you enjoy it then that's ALL that counts and bugger everyone else.


    Indeed! I'm glad people can enjoy this. No need to worry about what we think, Kevin. It's not the end of the world if we don't like what you like.
  5. Timmer wrote
    A case of James Cameron's temp tracks being music of ENYA.


    There is a persistent rumour that Enya actually sued Horner over the score and it was settled out of court, I think it even hit IMDb trivia.
    http://www.filmmusic.pl - Polish Film Music Review Website
    • CommentAuthorTimmer
    • CommentTimeDec 26th 2012 edited
    Well, there's no getting past the fact that it does sound like Enya.

    I've always loved the Titanic soundtrack but it's only ever been for the 'meat' of the score, The Sinking etc etc, if I want Enya I can listen to the real thing and as for that ruddy Celine dion song.....

    kill fireworks
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    • CommentAuthorTimmer
    • CommentTimeDec 27th 2012
    NP : FLASH GORDON - Queen & Howard Blake



    Not many soundtracks can boast this much fun punk
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
  6. Just finished my second full listen of Panu Aaltio's METSAN TARINA this morning. It's very good! There is a lot of variety in it, and a lot of strong tracks. It's not as thematically memorable as HOME OF DARK BUTTERFLIES, but it is lovely. There are some tracks that are sweeping, some that are playful, some that are really fun, and some that have a quiet beauty that is really really nice. Good stuff!
  7. PawelStroinski wrote
    Timmer wrote
    A case of James Cameron's temp tracks being music of ENYA.


    There is a persistent rumour that Enya actually sued Horner over the score and it was settled out of court, I think it even hit IMDb trivia.


    As far as I know she did. "Southampton" and "Book of Days" sound very much alike. If I remember correctly, Cameron wantet her to to contribute to the scoring, as she would later do for "Felloship of the Ring". Maybe Horner wouldn't have it, I don't know.
    Bach's music is vibrant and inspired.
    • CommentAuthorAnthony
    • CommentTimeDec 27th 2012 edited
    NP: Live And Let Die - George Martin

    I think aside from any of the Arnold/Barry scores, this is probably the best Bond score. cool
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      CommentAuthorSouthall
    • CommentTimeDec 27th 2012
    lp wrote
    Southall wrote
    Tsunagu - Naoki Sato

    Very elegant, lovely music.


    James,

    Is it melodically driven?


    Yes, very much so.
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      CommentAuthorSouthall
    • CommentTimeDec 27th 2012
    christopher wrote
    Just finished my second full listen of Panu Aaltio's METSAN TARINA this morning. It's very good! There is a lot of variety in it, and a lot of strong tracks. It's not as thematically memorable as HOME OF DARK BUTTERFLIES, but it is lovely. There are some tracks that are sweeping, some that are playful, some that are really fun, and some that have a quiet beauty that is really really nice. Good stuff!


    I'm listening to it now! Very good one.
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      CommentAuthorSouthall
    • CommentTimeDec 27th 2012
    Captain Future wrote
    PawelStroinski wrote
    Timmer wrote
    A case of James Cameron's temp tracks being music of ENYA.


    There is a persistent rumour that Enya actually sued Horner over the score and it was settled out of court, I think it even hit IMDb trivia.


    As far as I know she did. "Southampton" and "Book of Days" sound very much alike. If I remember correctly, Cameron wantet her to to contribute to the scoring, as she would later do for "Felloship of the Ring". Maybe Horner wouldn't have it, I don't know.


    Apparently Enya was Cameron's first choice to actually score the film, but she said no. He then went through a lot of film composers who all said no (including Williams and Barry if the rumours are to be believed) before he went to Horner - with whom he had an absolutely almighty row on Aliens and both vowed at the time never to work with the other again.
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      CommentAuthorSouthall
    • CommentTimeDec 27th 2012
    Steven wrote
    For Greater Glory annoyed the shit out of me. I usually don't mind Horner's re-use of themes and whatnot, but this one just took the piss. If ever the phrase "phoning it in" applies, it's here.


    There's the obvious one, using the Four Feathers theme all the way through it, but I missed all the others. What else is in there?
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      CommentAuthorSouthall
    • CommentTimeDec 27th 2012
    Martijn wrote
    Bregt wrote
    Martijn wrote
    Queimada - Ennio Morricone

    Was reminded by the phenomenal rendition of Aboliçao in Antwerpen on Saturday that I hadn't listened to this score in ages!!!!
    Damn, this is fine!

    Wow, that's a great score! Had a listen to this last weekend as well. But the rendition at the concert (or the link above) is funkier.


    Agreed. I wouldn't mind a recording of the concert version in my colllection!


    Ah! I have a couple of concert recordings of this piece. Perhaps Santa will send you an MP3 of one of them if you behave well.
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      CommentAuthorSouthall
    • CommentTimeDec 27th 2012 edited
  8. Southall wrote
    Steven wrote
    For Greater Glory annoyed the shit out of me. I usually don't mind Horner's re-use of themes and whatnot, but this one just took the piss. If ever the phrase "phoning it in" applies, it's here.


    There's the obvious one, using the Four Feathers theme all the way through it, but I missed all the others. What else is in there?


    Men Fire Bullets, But God Decides Where They Land is a simple rewrite of the Braveheart Sons of Scotland speech music, used in an identical context in the film. Made me *laugh* when I saw the movie.

    Four-note motif is the four-note motif, obviously.

    Bullet on the Floor is a rewrite of the main theme and the action style from The Missing. The Entre la luz y el pecado song is something between The Mask of Zorro and A Beautiful Mind. Also We're Cristeros Now is Avatar filtered through Mask of Zorro's flamenco.
    http://www.filmmusic.pl - Polish Film Music Review Website
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      CommentAuthorSteven
    • CommentTimeDec 27th 2012
    Southall wrote
    Steven wrote
    For Greater Glory annoyed the shit out of me. I usually don't mind Horner's re-use of themes and whatnot, but this one just took the piss. If ever the phrase "phoning it in" applies, it's here.


    There's the obvious one, using the Four Feathers theme all the way through it, but I missed all the others. What else is in there?


    Lots probably. I just remember the Four Note Danger Motif™ and the fact that the score sounds so... lazy. I don't mind Horner's re-use of themes, in fact I often enjoy it - as long as the score itself is enjoyable and has a strong and interesting narrative. I don't remember this one having that. I do remember getting quite annoyed (well, annoyed in relative terms).
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      CommentAuthorSouthall
    • CommentTimeDec 27th 2012
    Ah - thanks. I don't listen to Braveheart or The Missing very often at all so am not surprised I missed those.
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      CommentAuthorScribe
    • CommentTimeDec 27th 2012 edited
    PawelStroinski wrote
    Men Fire Bullets, But God Decides Where They Land is a simple rewrite of the Braveheart Sons of Scotland speech music, used in an identical context in the film. Made me *laugh* when I saw the movie.


    But they sound different because of the instrumentation and are thus worthily different pieces of music to me. It doesn't remind me of Braveheart at all and I've heard Braveheart quite a few times. I don't feel like this is anywhere near as bad as the lift from Casper to The Spiderwick Chronicles because that was done with the exact same sort of piano playing.

    Also We're Cristeros Now is Avatar filtered through Mask of Zorro's flamenco.

    Which is awesome and exactly why I like to collect dozens of scores from the same composer...to hear them come up with new combinations of their own personal tricks.
    I love you all. Never change. Well, unless you want to!
  9. For Greater Glory was the first time when Horner's reuse of previous material felt actually offensive to me. On the other hand one of his most derivative scores, which though includes a totally new atmosphere never before heard in him (granted, through usage of the darker elements of 20th Century Russian classical music, like a very distinct Shostakovichesque harmony and a dissonant use of Prokofiev's dirge-like rhythmic pattern is used quite a lot, of course the Saint-Saens influences are firmly there also, but contrary to popular opinion I think - also through the use of intervals - that the main theme is NOT a Schindler's List rip-off, but rather a reference to and elaborate enhancement of a subtheme of Mahler's 8th Symphony, used by him before in Apollo 13, Balto and even Titanic) that was Enemy at the Gates.

    In fact, a little known fact about my musical development, which I rarely talk about here, is that when, back in 1996 when I started listening to film music, well, outside of Zimmer, whose music I had on albums, I very quickly started to recognize three composers by their style just by hearing them in the film. They were James Horner, Jerry Goldsmith and, you will be probably surprised, Carter Burwell. When Titanic was released in cinemas, I actually missed it and later borrowed it from my aunt. Anyway, I heard the score and I HATED it, literally hated it. I tended to avoid Horner quite a lot at the time (to the point of the constant repetitions of the main three themes in Perfect Storm made me laugh when I first watched the movie). So I was basically a James Horner hater for about 4 years, even if I got a cassette of Mask of Zorro, which I listened to once in a while. I still was a James Horner hater.

    Then there was this movie I was very interested in. I am quite a history nerd when it comes to World War II. And I don't remember why, but one of the most interesting events for me was the Battle of Stalingrad, I didn't know much except the dates of the battle and that it was the first major victory for the Soviet forces and that Paulus (originally the General of the Sixth Army, then made a Field Marshal by a personal Hitler order to make him more eager to fight, which didn't help) surrendered and that it was hard winter. So this little (or not) movie called Enemy at the Gates appeared and I had to see it in the cinema. So I did. And I utterly loved it. I heard the Horner score in film and God, it worked WONDERS.

    So I got interested in James Horner's career and now I am quite well-versed in his music.
    http://www.filmmusic.pl - Polish Film Music Review Website