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YOUR ALL TIME FAVOURITE FILM SCORE ALBUMS!!!

General Discussions » YOUR ALL TIME FAVOURITE FILM SCORE ALBUMS!!! (Posts 1171 to 1200 of 1484)

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    •  
      CommentAuthorThor
    • CommentTimeSep 30th 2014 edited
    My pick:

    40. TO KILL A MOCKINGBIRD (Elmer Bernstein)

    Although the film is part coming-of-age story, part procedural drama, hardly anyone has captured the spirit of childhood as good as this -- both the beauty of innocence and the sense of dread. In the film (a favourite of mine), it's beautifully spotted and comes to the fore at just the right moments, and a superb example of how to score dialogue. On album, it segues back and forth between these musical worlds with perfect ease. I've only ever had one soundtrack, and that is the Varese rerecording from the 90s with Bernstein conducting the Royal Scottish National Orchestra. I sampled the original version once (with a 30-year-old John Williams on piano, no less), but I really prefer the rerecording when all is said and done.

    I was reminded of the beauty of this score just a couple of days ago when the theme was performed at the Krakow concert celebrating the 100th anniversary of ASCAP. Sara Andon performed on flute, and had a very interesting 'free-flow' interpretation of the melodic line before the 'straight' rendition followed.
    I am extremely serious.
    • CommentAuthorTimmer
    • CommentTimeSep 30th 2014
    Faultless choices gentlemen.

    It's the 'let's all pat ourselves on the back for making exemplary choices' day today. cool wink
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    • CommentAuthorTimmer
    • CommentTimeOct 1st 2014
    Thor wrote
    Fantastic, stupendous score! It's probably the most Herrmann Williams has ever been, except maybe the main titles from WITCHES OF EASTWICK. Like you, I have the 2CD set with the original tracks, but I never play them. Always the superb soundtrack rerecording.


    I must point out that I'm very happy to have the 2 CD release of THE FURY. There are some wonderful pieces not included on the original release but yes, it is invariably the sublime rerecord that is mostly played by me.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    •  
      CommentAuthorCobweb
    • CommentTimeOct 1st 2014 edited
    My next selection has a few similarities with Thor's #40: a black-n-white film from 1962 which has sequences with children ... but there the similarities stop. smile

    #40: PRESSURE POINT (1962) by Ernest Gold, on Kritzerland CD (2009).

    As with my #10 (LADY IN A CAGE), Kritzerland seems to have released PRESSURE POINT especially for those people who have been intimately familiar with film's content for decades and waited almost as long for a corresponding soundtrack album.
    Being a fan of director Stanley Kramer, I bought PRESSURE POINT on VHS tape in the 1990s and on DVD (2005) simply because Kramer produced this film. It was a blind buy that I never regretted and also made me a fan of director Hubert Cornfield (who did very little ... but ... I love his films).
    I never expected a soundtrack for PRESSURE POINT to ever surface - but when I learned Kritzerland was issuing Ernest Gold's PRESSURE POINT it was an insta-buy.
    Now, SAE is attempting to unload copies of PRESSURE POINT in its bargain section.
    This is a shame to me because this says soundtrack customers are not interested in this title for whatever reasons.

    Ernest Gold has always been 'around' for me since I've owned albums of his such as ON THE BEACH for ages but I never really considered him as one of my favorite composers.
    For PRESSURE POINT, Mr. Gold demonstrated that he had it in him to produce astounding music unlike anything he had done before or after.
    PRESSURE POINT is a free-associating aural psychiatrist's couch onto which Gold bounces all varities of musical styles and harmonics. It's jazzy. It's B-movie outlandishness. It is also as sincere as it is fantastic.
    How did Ernest Gold manage to pull all of this material out of himself and control it all so deftly? I don't know - but I relish every minute of it. The tracks near the end of the disc are less interesting to me since they are rather martial in character (accompanying scenes of Nazi behavior prior to WW II), but I still like them and what came before in the expostition and development sections entrances me.
    Salacious saxophones describe the boy's promiscuous father in the flashback scenes which also, later on, contain a lengthy speak-easy bar sequence from the 1930s in which a game of tic-tac-toe is played all over the place with white paint and woman's lipstick accompanied by Gold's 12-tone jazz motif on bass fiddle.
    Most impressive of all, though, is Gold's celli and double-basses and queasy brass depicting a slab of raw liver organ in a butcher shop!

    The other cues of psychological turmoil are difficult to descripe verbally; the core of Gold's score simply needs to be heard (or seen) for fullest appreciation:

    http://www.kritzerland.com/pressure.htm
    • CommentAuthorTimmer
    • CommentTimeOct 2nd 2014
    Good to see Gold represented though I've never heard this score or seen the film.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    •  
      CommentAuthorCobweb
    • CommentTimeOct 13th 2014
    Is Timmer OK? His #40 was posted at the end of Sept...and it's been more than a week...
    •  
      CommentAuthorSteven
    • CommentTimeOct 13th 2014 edited
    If you use the search the function, you will see that Timmer has posted in different threads. I know this may come as a shock to you.
    • CommentAuthorTimmer
    • CommentTimeOct 13th 2014
    I honest to goodness clean forgot last week. I'll put # 41 up soon.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    • CommentAuthorTimmer
    • CommentTimeOct 14th 2014
    What was my # 41 again? Oh yeah....


    #41 JERRY GOLDSMITH - TOTAL RECALL



    I first saw, and hence heard the score to this film in Los Angeles in 1990 after being away from home for over a year and starved of film music except for the odd trip to various foreign cinemas and video ( yes VIDEO ) cafes for so long it was always a treat to catch up with the latest score from a loved composer whatever the merits of the film ( BATMAN and BACK TO THE FUTURE II were two other scores I remember only experiencing within the film during this time ) as it was with TOTAL RECALL, probably the most action packed sci-fi since James Cameron's ALIENS, what surprised me, and delighted me, was seeing Jerry Goldsmith on board for scoring duties and man he does not disappoint, it isn't for no reason that this is considered one of the greatest action scores ever written, a superb blend of full orchestra and electronics, when I'm in the mood for action scoring this one is near nirvana.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    •  
      CommentAuthorThor
    • CommentTimeOct 14th 2014
    Love the film, love the score (although it is by no means an easy listen). Sure, there are elements that would be considered hokey in today's action films, but that's part of the charm. And Verhoeven's satirical humour.
    I am extremely serious.
  11. ^ A score I much respect but seldom listen to in its entirety.

    No. 41

    Karl-May-Melodien (2006) by Martin Böttcher

    This is a compilation of music from films based on novels by German writer Karl May. Producer Horst Wendlandt helmed a series of adaptations for the Rialto film company during the 60s an early 70s. They were mostly filmed in Serbia, featuring among others French actor Pierre Briece as Apache chief Winnetou and Lex Barker as his German friend Old Shatterhand.
    In Germany there is no piece of film music more popular than this. Everyone is familiar with it. The style is somewhat comparable to John Barry, its main characteristic being sweeping unisono strings and easily memorable melodies.
    There hase been a ton of compilations on vinyl and CD over the years. I have the above CD and a three CD set in my collection. The single CD above gives you the music in a nutshell. Böttcher hasn't written much underscore. Indeed there are long passages of film without any music. This is comparable to how Morricone scored his westerns during the same period of time. That's why Böttcher's music was released almost exclusively as theme compilations.

    http://www.youtube.com/watch?v=Im1JAnrCkCI

    My final thesis in German Literature was on Karl May, so this is really dear to me.

    Volker
    Bach's music is vibrant and inspired.
    •  
      CommentAuthorThor
    • CommentTimeOct 14th 2014
    I only know Böttcher from TATORT. But that clip sounded nice in a Barry-ian sense, and it looks like a fine compilation.
    I am extremely serious.
    • CommentAuthorTimmer
    • CommentTimeOct 14th 2014
    Thor wrote
    But that clip sounded nice in a Barry-ian sense


    Cripes! You can't get your mental vowels around Barry-ian Thor, let alone your physical vowels. BarryESQUE Thor. Barryesque wink
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    •  
      CommentAuthorThor
    • CommentTimeOct 14th 2014
    Barry-ian sounds much nicer and easier to write, but yeah -- probably easier to say 'Barry-esque'.
    I am extremely serious.
    •  
      CommentAuthorThor
    • CommentTimeOct 14th 2014 edited
    My pick:

    41. LADYHAWKE (Andrew Powell)

    Oh, where to start?

    Back in my pre-teen years (sometime in the late 80s, I think), I became a huge fan of The Alan Parsons Project after having heard a compilation LP that my father had borrowed. It was one step closer to what would eventually lead to my interest in soundtrack albums. Over the next decade, I would get every single APP album out there (and then some). Towards the tailend of this exploration, I discovered the GNP release -- only produced by Parsons, but with APP stalwart and orchestral arranger Andrew Powell as the composer. This was probably around 2000 or whenever they released that CD. I fell immediately in love with the pop-influenced tracks, as they bore a strong resemblance to the instrumentals on the APP albums, but I also loved the more classical symphonic music -- whether the lush love theme or the delightful medieval source music.

    I was very surprised when I discovered that this was, in fact, a popular 'hate object' among film score fans, especially those that were more traditionally inclined (even though it has tons of that kind of music too), and began my year-long quest of defending it left and right. Here's an FSM thread where I defend both album and the score as it works in the movie -- I saw the film much later:

    http://www.filmscoremonthly.com/board/p … ;archive=1

    Long story short, I cannot count it among the TOP favourites, but it definitely belongs in my Top 50 (which in itself is a feat), and I don't think I can ever tire of it. Whatever happened to Andrew Powell, by the way? A loss to film music.
    I am extremely serious.
  16. Thor wrote
    I only know Böttcher from TATORT. But that clip sounded nice in a Barry-ian sense, and it looks like a fine compilation.


    TATORT? I think, that would be Doldinger?
    Böttcher did score some of the German Edgar Wallace films though, alongside Peter Thomas.
    Bach's music is vibrant and inspired.
    •  
      CommentAuthorThor
    • CommentTimeOct 14th 2014
    I'm well aware that Doldinger did TATORT, but didn't Böttcher do some too? Or was that Peter Thomas?
    I am extremely serious.
  18. Or all of them? I'm too lazy to check that right now. sleep wink

    I never saw or heard Ladyhawke, but you certainly triggered my interest.
    Bach's music is vibrant and inspired.
  19. I don't really like Ladyhawke at all. I hunted it down fairly recently because of the love the score has with people but I couldn't get into it at all.
    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
    •  
      CommentAuthorThor
    • CommentTimeOct 14th 2014
    FalkirkBairn wrote
    I don't really like Ladyhawke at all. I hunted it down fairly recently because of the love the score has with people but I couldn't get into it at all.


    Not even this?:

    http://www.youtube.com/watch?v=LcN8XQYHrMM

    How is it possible to dislike that?
    I am extremely serious.
    • CommentAuthorTimmer
    • CommentTimeOct 14th 2014
    FalkirkBairn wrote
    I hunted it down fairly recently because of the love the score has with people.


    I don't know where you read that!??? confused wink

    Except for Thor having to continually champion it it's mostly reviled.


    Just for the record, I quite like it.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    • CommentAuthorTimmer
    • CommentTimeOct 14th 2014
    Thor wrote
    Barry-ian sounds much nicer and easier to write, but yeah -- probably easier to say 'Barry-esque'.


    Barry-ian? No. No. No. No. NO.

    Even non-film music journalists will refer to music influenced by JB as Barryesque
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    •  
      CommentAuthorCobweb
    • CommentTimeOct 14th 2014
    With my 31st selection, MISSISSIPPI MERMAID, I highlighted a composer who, as it turned out, passed away a few months afterwards - Antoine Duhamel.

    The composer of my 41st entry below unfortunately also passed away this year before I could spotlight one of his soundtracks in my Top 50...

    #41: LA NOTTE DEI DIAVOLI (1972) by Giorgio Gaslini, on Digitmovies CD (2003).

    One of the earliest releases by Digitmovies over 10 years ago when the label was new, LA NOTTE DEI DIAVOLI has not yet sold out and lingers around (and recently reduced in price @ SAE).

    As with PRESSURE POINT above, I think it's a shame that quite a number of composers and film titles lack familiarity amongst soundtrack customers.

    I've never seen this 1972 version of "The Wurdalak" story which was done earlier within the Boris Karloff segment of Mario Bava's BLACK SABBATH (#13 in my Top 50).
    The score by Giorgio Gaslini here is different than Roberto Nicolosi's 1963 effort but I love them both.

    Gaslini was a contemporary of Ennio Morricone and he, like EM, utilized dodecaphonic techniques in his late-'60s/early '70s film music. The similarities end there, though, because Gaslini (who also had a career in classical music as well as jazz) had his own clean-edged and neo-classical stylisms and was no mere Morricone knock-off. Indeed, Bruno Nicolai was much more in carrying on in the Morricone vein than Gaslini (who seemed more of a lone wolf to me).

    As with many of my picks, the film music of Gaslini can be a tough nut to crack for some listeners.
    Genre buffs, though, should not let this obscurity pass them by. The orchestrations may sound thin but Gaslini's musical foundations are solid.

    LA NOTTE DEI DIAVOLI is one of those examples of an album planned by its composer to be released at the time of the film but never finally produced until Claudio Fuiano rescued the album master tapes from the CineVox archives.
  24. Thor wrote
    FalkirkBairn wrote
    I don't really like Ladyhawke at all. I hunted it down fairly recently because of the love the score has with people but I couldn't get into it at all.


    Not even this?:

    http://www.youtube.com/watch?v=LcN8XQYHrMM

    How is it possible to dislike that?

    I may have to revisit that score tomorrow and get past the first few tracks this time! wink
    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
  25. Timmer wrote
    FalkirkBairn wrote
    I hunted it down fairly recently because of the love the score has with people.


    I don't know where you read that!??? confused wink

    Except for Thor having to continually champion it it's mostly reviled.

    Various sources through the film music messageboard-dom do foster a love of this score. But, now I'm not sure whether this may just be Thor on different messageboards! wink
    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
    • CommentAuthorTimmer
    • CommentTimeOct 15th 2014
    Mostly Thor biggrin
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    •  
      CommentAuthorThor
    • CommentTimeOct 15th 2014 edited
    biggrin

    (I know that Elin, who doesn't post here anymore, is also a fan of the score).
    I am extremely serious.
    •  
      CommentAuthorMartijn
    • CommentTimeOct 16th 2014 edited
    How convenient we can't ask her to verify that then! wink
    'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn
    •  
      CommentAuthorBregt
    • CommentTimeOct 16th 2014 edited
    I have to confirm Elin's appreciation of the score. I heard the score while driving a car through La Mancha on the way to Ubeda. I can safely say it was not as terrible as I had expected.
    Kazoo
    • CommentAuthorTimmer
    • CommentTimeOct 16th 2014 edited
    Martijn wrote
    How convenient we can't ask her to verify that then! wink


    Ha! This made me laugh. biggrin ( I read it in a Mr Burns voice )

    But I too concur, as I remember Elin saying how much she liked it.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt

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