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[Closed] Now Playing XLVI

General Discussions » Now Playing XLVI (Posts 391 to 420 of 6016)

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  1. NP: Cleopatra (1963) - Alex North

    It seems Alex North does not have the fan base he would deserve. I for one admire him.

    Volker
    Bach's music is vibrant and inspired.
    • CommentAuthorTimmer
    • CommentTimeDec 16th 2013
    NP : WALKABOUT - John Barry


    A fantastic score, easily in my all time top 50.

    h, and here's a good reason to like comedian and actor Steve Coogan, he's a JOHN BARRY & ENNIO MORRICONE fan cool
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    •  
      CommentAuthorThor
    • CommentTimeDec 16th 2013
    Captain Future wrote
    O, yeah: http://www.youtube.com/watch?v=zHiEKkkDMLQ

    They hired Lex Barker to add some Hollywood flair. The films were based on stories by pulp fiction writer Karl May (about 1900).


    Lex Barker? Is that Les Baxter's evil twin? wink
    I am extremely serious.
    •  
      CommentAuthorScribe
    • CommentTimeDec 16th 2013
    NP: "Adagio & Transfiguration" by Elliot Goldenthal from Final Fantasy: The Spirits Within

    Ok, its more than decent, its a gorgeous piece, but the actual theme still leaves me pretty cold compared to what Shore writes for the Middle-Earth scores, and it would be ridiculous to suggest Goldenthal's work is anywhere near the leitmotif complexity of Shore's work (which has nothing to do with musical complexity, a subject I don't give a damn about as long as it sounds good and engaging either emotionally or mentally).
    I love you all. Never change. Well, unless you want to!
    •  
      CommentAuthorSouthall
    • CommentTimeDec 17th 2013
    The Hobbit - The Desolation of Smaug - Howard Shore

    I really don't like this on my first real attempt to listen to it (Edmund's playlist, with "Smaug" added in second place as someone suggested). So very dark. What I do like is the different recording style, with far greater instrumental clarity than has been heard in Middle Earth before. But is there a memorable melody here anywhere? Is there any sustained relief from the extraordinary doom and gloom? Not for me. (Please don't be offended if you hold a different view. My intention is not to offend. I just don't like it.)
    http://www.movie-wave.net | http://facebook.com/moviewave
    •  
      CommentAuthorSteven
    • CommentTimeDec 17th 2013 edited
    Scribe wrote
    NP: "Adagio & Transfiguration" by Elliot Goldenthal from Final Fantasy: The Spirits Within

    Ok, its more than decent, its a gorgeous piece, but the actual theme still leaves me pretty cold compared to what Shore writes for the Middle-Earth scores, and it would be ridiculous to suggest Goldenthal's work is anywhere near the leitmotif complexity of Shore's work (which has nothing to do with musical complexity, a subject I don't give a damn about as long as it sounds good and engaging either emotionally or mentally).


    I don't think any of the films Goldenthal has worked on has required 3000 themes, so it's not surprising that his work doesn't reflect this. That said, I think Goldenthal would have knocked it out of the park had he worked on Lord of the Rings (as did Shore).
    •  
      CommentAuthorSteven
    • CommentTimeDec 17th 2013
    Southall wrote
    (Please don't be offended if you hold a different view. My intention is not to offend. I just don't like it.)


    But your opinion is so darn... offensive. How dare you! angry
  8. Steven wrote
    Scribe wrote
    NP: "Adagio & Transfiguration" by Elliot Goldenthal from Final Fantasy: The Spirits Within

    Ok, its more than decent, its a gorgeous piece, but the actual theme still leaves me pretty cold compared to what Shore writes for the Middle-Earth scores, and it would be ridiculous to suggest Goldenthal's work is anywhere near the leitmotif complexity of Shore's work (which has nothing to do with musical complexity, a subject I don't give a damn about as long as it sounds good and engaging either emotionally or mentally).


    I don't think any of the films Goldenthal has worked on has required 3000 themes, so it's not surprising that his work doesn't reflect this. That said, I think Goldenthal would have knocked it out of the park had he worked on Lord of the Rings (as did Shore).

    I think any composer worth his/her salt, given the chance of working on something as mindbogglingly rich and complex and rife with opportunity as Lord of the Rings, would practically be required to knock it out of the park. Honestly, I can't imagine bad music coming from this world.
  9. Southall wrote
    The Hobbit - The Desolation of Smaug - Howard Shore

    I really don't like this on my first real attempt to listen to it (Edmund's playlist, with "Smaug" added in second place as someone suggested). So very dark. What I do like is the different recording style, with far greater instrumental clarity than has been heard in Middle Earth before. But is there a memorable melody here anywhere? Is there any sustained relief from the extraordinary doom and gloom? Not for me. (Please don't be offended if you hold a different view. My intention is not to offend. I just don't like it.)

    Shame. I do think that there are quite a few memorable melodies in there (not just the old ones), and while there is certainly doom and gloom aplenty, there is also plenty of variety. If nothing else, certainly the cue "Beyond the Forest" ought to solve both ills for you, no?
  10. ISABEL - Federico Jusid

    This is the new release with music from the first two seasons. It is very impressive. Especially for television music. It's better than most of the film scores I've heard that were composed this year.
  11. NP: The Debt (Thomas Newman)

    Great stuff. smile As much as I like Desplat, Newman is surely one of the most amazing scorers of our time.

    Also just off The Words (Marcelo Zarvos) and Vendredit Soir (Tindersticks). Great modern, melodic film music between those two.
    A butterfly thinks therefore I am
  12. franz_conrad wrote
    NP: The Debt (Thomas Newman)

    Great stuff. smile As much as I like Desplat, Newman is surely one of the most amazing scorers of our time.

    Also just off The Words (Marcelo Zarvos) and Vendredit Soir (Tindersticks). Great modern, melodic film music between those two.

    Michael, do you have the "Claire Denis Film Scores 1996-2009" set? I like dipping into this set every so often.
    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
    •  
      CommentAuthorchristopher
    • CommentTimeDec 17th 2013 edited
    THE ICEMAN - Haim Mazar

    First listen.

    Edit: Not good. It's got some moments (I think the best tracks are 1, 3, 9, 17), but a lot of it is just dark unsettling drone.
  14. Moving on to ALL IS LOST - Alexander Ebert
    •  
      CommentAuthorDemetris
    • CommentTimeDec 17th 2013
    christopher wrote
    ISABEL - Federico Jusid

    This is the new release with music from the first two seasons. It is very impressive. Especially for television music. It's better than most of the film scores I've heard that were composed this year.


    Glad you liked it Christopher! Are you also familiar with his older, THE SECRET IN THEIR EYES?
    Love Maintitles. It's full of Wanders.
    •  
      CommentAuthorSteven
    • CommentTimeDec 17th 2013
    Saving Mrs. Banks Thomas Newman

    If you're Bored of The Rings, this is the perfect antidote to the murky world of Shore's Hobbit scores. This is wonderful!
  17. Hans Zimmer - Rush

    I really like this movie and score. Probably his best in-film score this year and, maybe even for quite a while (12 Years a Slave is very good, but I don't think it quite gets to stuff like Lost But Won or Nurburgring in its respective context).
    http://www.filmmusic.pl - Polish Film Music Review Website
  18. FalkirkBairn wrote
    franz_conrad wrote
    NP: The Debt (Thomas Newman)

    Great stuff. smile As much as I like Desplat, Newman is surely one of the most amazing scorers of our time.

    Also just off The Words (Marcelo Zarvos) and Vendredit Soir (Tindersticks). Great modern, melodic film music between those two.

    Michael, do you have the "Claire Denis Film Scores 1996-2009" set? I like dipping into this set every so often.


    In fact that is where the tracks from VENDREDIT SOIR came from. I only bought a few tracks from that score, as I didn't quite have the guts to buy the whole box. Worth it, you reckon, if I like that score?
    A butterfly thinks therefore I am
    •  
      CommentAuthorScribe
    • CommentTimeDec 17th 2013
    NP-FFT*: Planet Ocean - Armand Amar

    I'm getting so used to the Brian Tyler school of album production where all the highlights are stuffed in the first 5-10 tracks, that I was pleasantly surprised to find "The Ocean Is Not Infinite" be so gorgeous after 8 more meandering tracks at the beginning of the album. I wonder what other wonders are in store...

    (*this is now my official lazy designation of "for the first time")
    I love you all. Never change. Well, unless you want to!
  20. franz_conrad wrote
    FalkirkBairn wrote
    franz_conrad wrote
    NP: The Debt (Thomas Newman)

    Great stuff. smile As much as I like Desplat, Newman is surely one of the most amazing scorers of our time.

    Also just off The Words (Marcelo Zarvos) and Vendredit Soir (Tindersticks). Great modern, melodic film music between those two.

    Michael, do you have the "Claire Denis Film Scores 1996-2009" set? I like dipping into this set every so often.


    In fact that is where the tracks from VENDREDIT SOIR came from. I only bought a few tracks from that score, as I didn't quite have the guts to buy the whole box. Worth it, you reckon, if I like that score?

    I find the set to be quite variable so buying the 5 CDs based on that score alone may be a leap too far? I'd recommend listening to the clips for the other scores on the set before deciding.

    In saying that, I did buy the digital download which is currently £15 for the 5 discs (compared with £30+ for the discs).
    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
  21. With a break for First Blood, I continue with my series of sports scores having four letters in title and starting with "Ru" :

    Jerry Goldsmith - Rudy

    Having seen the film last night... it's a great score and a great little film. I think the real saving grace is that it stays pretty low-key throughout and is very sincere (Sean Astin's performance is just plain genuine). It's one of those feel-good stories that stays with you for the next day.

    Goldsmith's score, one of his most melodic, boasts a great theme and the same low-key approach with some very well executed emotional outbursts. The introduction of the game theme when Rudy gets to the field for the first time is a masterful stroke and carefully spotted and scored, this strikes a personal chord. It's just one of these small-scale works going big at times that I tend to adore. The David Anspaugh/Angelo Pizzo/Jerry Goldsmith trio was some of the most rewarding post-1980 collaborations, even if so short-lived in the end. It's a pity that Goldsmith didn't make it to score A Game of Their Lives, though I remember that William Ross's score was pretty strong.
    http://www.filmmusic.pl - Polish Film Music Review Website
  22. NP: Chariots of Fire (1982) - Vangelis

    The one that started it all, the first score (on vinyl) back in 1989. At 0:28 into the Main Title, when the music explodes, that still gives me goosbumps more even than the STAR WARS fanfare. That will never change.

    Volker
    Bach's music is vibrant and inspired.
  23. Casablanca - Classic Film Scores for Humphrey Bogart

    The Gerhardt compilation. Seeing myself as an alternative to getting that CD binned, I decided to go for the giveaway and boy, was I right. Most of the scores here are by Max Steiner, which was, largely, my introduction to the man's work. The suites are lovely and I'll definitely have to explore him more. This particular CD is one to return to.


    Thanks, Martijn smile
    http://www.filmmusic.pl - Polish Film Music Review Website
    •  
      CommentAuthorErik Woods
    • CommentTimeDec 17th 2013
    ^ All the Gerhardt discs are brilliant!

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
  25. ^ Great album, that!

    NP: Chariots of Fire - The Play (2012) - Vangelis

    Powerful. Inspired.

    Volker
    Bach's music is vibrant and inspired.
    • CommentAuthorTimmer
    • CommentTimeDec 17th 2013 edited
    Erik Woods wrote
    ^ All the Gerhardt discs are brilliant!

    -Erik-


    yeah

    Nice one for picking that up Pawel, it would have been painful knowing Martijn had to bin it.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
  27. Timmer wrote
    Erik Woods wrote
    ^ All the Gerhardt discs are brilliant!

    -Erik-


    yeah


    yeah self-evidently

    Let me mention "The Prince and the Pauper" (Varese). Another compilaton of Gerhardt / George Korngold recordings with the NPO.
    Bach's music is vibrant and inspired.
    •  
      CommentAuthorMartijn
    • CommentTimeDec 17th 2013
    PawelStroinski wrote
    Casablanca - Classic Film Scores for Humphrey Bogart

    Thanks, Martijn smile


    Really glad you like it.
    Golden Age scores are a bit of an acquired taste, so it's always a bit of a gamble.

    My pleasure, Pawel. beer
    'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn
    •  
      CommentAuthorThor
    • CommentTimeDec 17th 2013 edited
    I've never been a big fan of Steiner (for various reasons), which is why I sold this album awhile back, but that album flows quite well.
    I am extremely serious.
  30. Martijn wrote
    PawelStroinski wrote
    Casablanca - Classic Film Scores for Humphrey Bogart

    Thanks, Martijn smile


    Really glad you like it.
    Golden Age scores are a bit of an acquired taste, so it's always a bit of a gamble.

    My pleasure, Pawel. beer


    I'm trying to be as versatile as I can, really. I think I like all the conventions there are and it's not changed by the fact I listen to Golden Age scores rarely. It stems from a couple of things, first is of course the scope of the music and second is that this is one era, where a programmed album (sorry, Thor! wink ), as painstakingly created as it may be, does no justice to the way the music was written. There are so many nuances to notice in terms of the very creation of the film music structure that something has to be said for it. So there you go - I can love a suite from Casablanca almost as much as I love The Thin Red Line or Inception!

    It's not just a matter of discovery. It's a matter of understanding that there is no wrong paradigm to write a film score in as long as it is informed and as long as the choice fits the particular project. So, if people are complaining how many scores today sound the way like do in terms of the popularity of the RCP style, I am joining the choir. As much as I wouldn't want Legends of the Fall to sound like, say, Tron: Legacy, I wouldn't also want Tron: Legacy to sound like Legends of the Fall smile .

    I admire the complexity of the Golden Age style, for one. I know that it's an acquired taste, but I believe every scoring convention deserves its understanding. We may not fully enjoy these scores (I do!), but the complexity and scope of not just the respective scores, but the whole era deserves at least that.
    http://www.filmmusic.pl - Polish Film Music Review Website

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