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[Closed] Now Playing XLIX
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- CommentAuthorBobdH
- CommentTimeAug 5th 2016 edited
Demetris wrote
FalkirkBairn wrote
NP: Snow White and the Seven Dwarfs - Morey / Churchill / Harline / Smith
Sometimes random shuffling brings up a title I have but very rarely listen to. Some excellent songs and a very solid orchestral score for this groundbreaking animated feature.
My, that Snow White and the Seven Dwarfs is such brazzers material in the fucked up 2016 times we live in anymore
As opposed to 1937, which was a lot less fucked up.
p.s. I googled 'brazzers' as I didn't know what the term meant. I did not expect those results from a term used in the same sentence as Snow White. -
- CommentAuthorCaptain Future
- CommentTimeAug 5th 2016
NP: Star Trek Beyond (2016) - Michael Giacchino
Nice to see all those 13 ST score albums in a row. Nice to know there is now another of those great score trilogies. Michael Giacchino has taken his rightful place among the giants who wrote music for the Federation space opera.
Listening to this music makes me happy. It's lyrical, it's dynamic, it's loud and it's soft. It's melodic and it's intelligently structured and orchestrated.
This music takes me to places where there are warp drives, phaser weapons, camaraderie, fear and love and magnificent star ships.
It brings me home to where my film music voyage first started out 30 years ago. Thank you, Mr Giacchino!
VolkerBach's music is vibrant and inspired. -
- CommentAuthorSteven
- CommentTimeAug 5th 2016 edited
Turtles 2 Steve Jablonsky
This year has been a bit of a disappointment, especially when compared with last year. But this stands as one of 2016's most entertaining scores. The theme is, dare I say, more enjoyable than Tyler's. -
- CommentAuthorJosh B
- CommentTimeAug 5th 2016
Ben Hur - Marco Beltrami
I lowered my expectations (based on the trailer) and I'm still disappointed. Is this the first time Beltrami has used the dreaded HORN OF DOOM? It's all over this score. -
- CommentAuthorTimmer
- CommentTimeAug 5th 2016
Josh B wrote
Ben Hur - Marco Beltrami
I lowered my expectations (based on the trailer) and I'm still disappointed. Is this the first time Beltrami has used the dreaded HORN OF DOOM? It's all over this score.
It is. Probably told to use it most likely. Still, I think there's some really good listening within this score and the horn of doom bits didn't bother me at all.On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt -
- CommentAuthorThor
- CommentTimeAug 5th 2016 edited
Some good bits, as you say, but overall quite disappointing. Not a religious note in sight.
I don't know what's happening to Beltrami. He used to be one of my favourite composers.I am extremely serious. -
- CommentAuthorTimmer
- CommentTimeAug 5th 2016 edited
Thor wrote
Some good bits, as you say, but overall quite disappointing. Not a religious note in sight.
Agree Thor, that aspect was missing and very disappointing.On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt -
- CommentAuthorSteven
- CommentTimeAug 5th 2016 edited
Thor wrote
Some good bits, as you say, but overall quite disappointing. Not a religious note in sight.
A religious film these days gets generic RC-like music. Even I would approach such a project with a little more reverence than that. -
- CommentAuthorSouthall
- CommentTimeAug 6th 2016
The third movement of Pas de Deux, which is about the most James Horner-y piece James Horner ever wrote. -
- CommentAuthorEdmund Meinerts
- CommentTimeAug 6th 2016
Demetris wrote
Steven wrote
Demetris wrote
n.p. the new new bourne - by Powell and Buckley. Oh it's pretty bad. But how are you sure it's Buckley's fault? i mean it could possibly be, yes. But this also sounds like standard bored powell in quick cash-in mode too.
Largely because even a standard Powell score isn't this bland, and partly because Buckley is given credit on the front cover of the album. That's rather telling.
Powell in his uninspired mode is something like this album here, imo. Not much difference. And Buckley isn't that bad, he has done the gorgeous 'the forbidden kingdom' too.
What would you consider "Powell in his uninspired mode"? -
- CommentAuthorSteven
- CommentTimeAug 6th 2016
Southall wrote
The third movement of Pas de Deux, which is about the most James Horner-y piece James Horner ever wrote.
It's one of my favourite Horner tracks. As you say, it's a signature piece... with the added bonus of a violin and cello duet. If it doesn't floor you, you're probably not paying attention. -
- CommentAuthorJ. Flaherty
- CommentTimeAug 6th 2016
FalkirkBairn wrote
NP: 'Voices of Light' - Richard Einhorn
An oratorio based on the 1928 film The Passion of Joan of Arc. It's a beautiful piece of music and if you like Howard Shore's Looking For Richard then I would recommend this. In fact, I would just recommend it to everyone.
So would I.
I love the oratorio, especially "Torture," "Sacrament," and "Anima," and I love the film too.
As far as music in Dreyer's work is concerned, nothing beats the dreary dirging of Day of Wrath. But that's also my favorite Dreyer film.
Thank you for the Looking for Richard tip. It's been years since I heard a few samples -- never heard the entirety. Will track down the album. -
- CommentAuthorMartijn
- CommentTimeAug 6th 2016
Demetris wrote
Thor wrote
I also think it's rather meaningless to compare it to the Rozsa, for a myriad different reasons.
True. I can't even begin writing reasons why not to compare with Rozsa. Completely pointless.
Except it's Ben Hur.
Which, to all intents and purposes IS Rozsa.
It's like suggesting there are so many reason to not compare Desplat to Williams when scoring Star Wars.
Great. But it's Star Wars.
Which is Williams.
Point being, how could anyone in his right mind NOT compare?
How is it emotionally and psychologically even POSSIBLE to divorce yourself from the source?
To me it's as ludicrous as instructing a jury in an Anglosaxon court to ignore a certain piece of evidence they've seen.
They've SEEN it. How can you UNsee it?'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn -
- CommentAuthorTimmer
- CommentTimeAug 6th 2016
Steven wrote
Southall wrote
The third movement of Pas de Deux, which is about the most James Horner-y piece James Horner ever wrote.
It's one of my favourite Horner tracks. As you say, it's a signature piece... with the added bonus of a violin and cello duet. If it doesn't floor you, you're probably not paying attention.
It's worthy of concert hall performance. His loss is such a crushing blow, personally I was more interested in where he was headed in concert works than his film scores which it would seem he was headed, we have been seriously deprived by his premature loss.On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt -
- CommentAuthorFalkirkBairn
- CommentTimeAug 6th 2016
NP: East of Eden - Leonard Rosenman
Very difficult to sit through and really enjoy. Dense, angry ideas abound with the score only occasionally relenting its aggressive feel to provide something more melodic.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 -
- CommentAuthorPawelStroinski
- CommentTimeAug 6th 2016
Martijn wrote
Demetris wrote
Thor wrote
I also think it's rather meaningless to compare it to the Rozsa, for a myriad different reasons.
True. I can't even begin writing reasons why not to compare with Rozsa. Completely pointless.
Except it's Ben Hur.
Which, to all intents and purposes IS Rozsa.
It's like suggesting there are so many reason to not compare Desplat to Williams when scoring Star Wars.
Great. But it's Star Wars.
Which is Williams.
Point being, how could anyone in his right mind NOT compare?
How is it emotionally and psychologically even POSSIBLE to divorce yourself from the source?
To me it's as ludicrous as instructing a jury in an Anglosaxon court to ignore a certain piece of evidence they've seen.
They've SEEN it. How can you UNsee it?
Scoring trends notwithstanding (that's a wholly different ballgame here and I don't think Marco Beltrami does adhere to them anyway, haven't head this score yet though), filmmaking changed. The film, from what I understand, is a new adaptation of the original source novel rather than a downright remake of the Wyler film (I guess some studio decided they have the rights, a potential cash cow, considering that some Christian films were pretty successful recently and there's been a return, in new aesthetics, to Christ-related epics since, but not just because of that, Gibson) made today. The Rozsa score wouldn't fit the new film, because it doesn't look, is not edited like, the Wyler film at all. Therefore comparisons to Rozsa are unfair in the first place, because while it retains the characters and the title, it's a different film whatsoever .http://www.filmmusic.pl - Polish Film Music Review Website -
- CommentAuthorTimmer
- CommentTimeAug 6th 2016
Martijn wrote
Demetris wrote
Thor wrote
I also think it's rather meaningless to compare it to the Rozsa, for a myriad different reasons.
True. I can't even begin writing reasons why not to compare with Rozsa. Completely pointless.
Except it's Ben Hur.
Which, to all intents and purposes IS Rozsa.
It's like suggesting there are so many reason to not compare Desplat to Williams when scoring Star Wars.
Great. But it's Star Wars.
Which is Williams.
Point being, how could anyone in his right mind NOT compare?
How is it emotionally and psychologically even POSSIBLE to divorce yourself from the source?
To me it's as ludicrous as instructing a jury in an Anglosaxon court to ignore a certain piece of evidence they've seen.
They've SEEN it. How can you UNsee it?
The 1959 Ben-Hur was a remake and a one-off film that doesn't require a part II, III etc, it isn't Star Wars where JW has stamped his seal over multiple films, Wallace's novel is open to new interpretations. No one, ever will top Rozsa's genius work so there is no point comparing it.
I might change my miiond tomorrow as I'm realllly drunk right now.On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt -
- CommentAuthorTimmer
- CommentTimeAug 6th 2016
Like Star Wars I feel the same way about James Bond, when composers leave the John Barry template it just sounds like every other action film.On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt -
- CommentAuthorTimmer
- CommentTimeAug 6th 2016
FalkirkBairn wrote
NP: East of Eden - Leonard Rosenman
Very difficult to sit through and really enjoy. Dense, angry ideas abound with the score only occasionally relenting its aggressive feel to provide something more melodic.
I like a lot of Rosenman but never warmed to this overly dramatic score and likewise the film.On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt -
- CommentAuthorMartijn
- CommentTimeAug 6th 2016
Timmer wrote
The 1959 Ben-Hur was a remake and a one-off film that doesn't require a part II, III etc, it isn't Star Wars where JW has stamped his seal over multiple films, Wallace's novel is open to new interpretations. No one, ever will top Rozsa's genius work so there is no point comparing it.
But it's a landmark film! The silent original is all but forgotten, and its score is lost. The 1959 version is of such importance that, new interpretation or not, it simply IS the benchmark. Mark my words: there will be NO review -not a single one- that will not reference the Wyler version, if even only in passing.
That's my point.
NOT comparing them simply makes no sense.
I might change my miiond tomorrow as I'm realllly drunk right now.
You 'n' me both, kid. But I ain't changing my mind.'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn -
- CommentAuthorTimmer
- CommentTimeAug 6th 2016
Martijn wrote
You 'n' me both, kid. But I ain't changing my mind.
I wish you were here or me there right now, we'd come to an understanding eventually drinking our chosining poisons followed by putting the worlds to rights and crushing our enemies and hearing the lamentation of their woman all put to the most bestest of sountdracks of course!On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt -
- CommentAuthorTimmer
- CommentTimeAug 6th 2016
I just read all my spelling mistakes which I'm leaving 'as is'.
concentrated carefully on yonder sentence above dis I
On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt -
- CommentAuthorDemetris
- CommentTimeAug 6th 2016 edited
Steven wrote
Thor wrote
Some good bits, as you say, but overall quite disappointing. Not a religious note in sight.
A religious film these days gets generic RC-like music. Even I would approach such a project with a little more reverence than that.
Religious these days = cheap Passion of the Christ with a bit of gladiator-style female wailing and duduks ripoffLove Maintitles. It's full of Wanders. -
- CommentAuthorDemetris
- CommentTimeAug 6th 2016
Edmund Meinerts wrote
Demetris wrote
Steven wrote
Demetris wrote
n.p. the new new bourne - by Powell and Buckley. Oh it's pretty bad. But how are you sure it's Buckley's fault? i mean it could possibly be, yes. But this also sounds like standard bored powell in quick cash-in mode too.
Largely because even a standard Powell score isn't this bland, and partly because Buckley is given credit on the front cover of the album. That's rather telling.
Powell in his uninspired mode is something like this album here, imo. Not much difference. And Buckley isn't that bad, he has done the gorgeous 'the forbidden kingdom' too.
What would you consider "Powell in his uninspired mode"?
Not scores as a whole. But various in-between score filler pieces he writes in his scores, feel to me, like auto-pilotish passages up to the real 4-5 highlights in each album. In fact many of his scores feel like that to me. A collection of great 4-5 highlight standouts and a lot of filler in between. Stuff like green zone, fair game, knight and day, and almost all of his animated sequel scores.Love Maintitles. It's full of Wanders. -
- CommentAuthorDemetris
- CommentTimeAug 6th 2016 edited
Martijn wrote
Demetris wrote
Thor wrote
I also think it's rather meaningless to compare it to the Rozsa, for a myriad different reasons.
True. I can't even begin writing reasons why not to compare with Rozsa. Completely pointless.
Except it's Ben Hur.
Which, to all intents and purposes IS Rozsa.
It's like suggesting there are so many reason to not compare Desplat to Williams when scoring Star Wars.
Great. But it's Star Wars.
Which is Williams.
Point being, how could anyone in his right mind NOT compare?
How is it emotionally and psychologically even POSSIBLE to divorce yourself from the source?
To me it's as ludicrous as instructing a jury in an Anglosaxon court to ignore a certain piece of evidence they've seen.
They've SEEN it. How can you UNsee it?
'Cause it's a stupid, mindless and uninspired 2016 cheap remake for the money? how could we take this as serious as to compare it with a classic? it's a fast and hopefully forgettable cashing-in like all the uninspired reboots and remakes sequel-prequels and whatnot the dreadful state of hollywood brings us in the last 10 years or so, so why even bother with comparisons or talking seriously about it. If the score is enjoyable, then that's that, we film score fans gained something, but that's just that, nothing more, imo.Love Maintitles. It's full of Wanders. -
- CommentAuthorDemetris
- CommentTimeAug 6th 2016
Timmer wrote
Like Star Wars I feel the same way about James Bond, when composers leave the John Barry template it just sounds like every other action film.
Indeed. All that 'dark' and 'gloomy' 'grim' moden reality of hollywood action films and their scores is getting really tiresome. Produces the same results for supposedly different films all the time.Love Maintitles. It's full of Wanders. -
- CommentAuthorThor
- CommentTimeAug 6th 2016
Comparing Beltrami's BEN HUR to Rozsa's BEN HUR would be like comparing Tiomkin's THE THING to Carpenter's THE THING. Regardless of the respective quality of the movies, the temporal divide is so great, not to mention intentions, styles etc. that it would be absurd to draw qualitative comparisons.I am extremely serious. -
- CommentAuthorEdmund Meinerts
- CommentTimeAug 6th 2016
Demetris wrote
Edmund Meinerts wrote
Demetris wrote
Steven wrote
Demetris wrote
n.p. the new new bourne - by Powell and Buckley. Oh it's pretty bad. But how are you sure it's Buckley's fault? i mean it could possibly be, yes. But this also sounds like standard bored powell in quick cash-in mode too.
Largely because even a standard Powell score isn't this bland, and partly because Buckley is given credit on the front cover of the album. That's rather telling.
Powell in his uninspired mode is something like this album here, imo. Not much difference. And Buckley isn't that bad, he has done the gorgeous 'the forbidden kingdom' too.
What would you consider "Powell in his uninspired mode"?
Not scores as a whole. But various in-between score filler pieces he writes in his scores, feel to me, like auto-pilotish passages up to the real 4-5 highlights in each album. In fact many of his scores feel like that to me. A collection of great 4-5 highlight standouts and a lot of filler in between. Stuff like green zone, fair game, knight and day, and almost all of his animated sequel scores.
Hm, okay. But most scores excepting the really rare treasures and masterpieces are like that. You've got your highlights, your not-quite-as-highlights and your filler. (And I couldn't even find 4-5 highlight standouts in Fair Game, so perhaps you're a kinder man than me.
)
-
- CommentAuthorCaptain Future
- CommentTimeAug 6th 2016 edited
I have compiled a new Star Trek playlist. The beef I had with my previous one was the omnipresence of the Courage Fanfare. The new list is chiefly inspired by Erik's recent program. At 86 minutes it's relatively short. For anyone interested, this is the list:
1. Into the Final Frontier - Narrated by Leonard Nemoy
2. Star Trek TOS Main Theme (Courage)
3. TMP The Enterprise (Goldsmith)
4. TMP Elia's Theme
5. TWOK Main Title (Horner)
6. TWOK Genesis Countdown
7. TSFS Klingons
8. TSFS Stealing the Enterprise
9. TSFS The Katra Ritual
10. TFF Life Is a Dream (Goldsmith)
11. TUC Sign Off (Eidelman)
12 TUC End Credits Suite
13 TNG Best of Both Worlds: Captain Borg (Ron Jones)
14 Generations End Titles / Overture (Dennis McCarthy)
15 Deep Space Nine Main Theme
16 FC Flight of the Phoenix (Joel Goldsmith)
17 Voyager Main Theme (Goldsmith)
18 Insurrection: Growing Up
19 STB Night on the Yorktown (Giacchino)
20 ST End Credits
VolkerBach's music is vibrant and inspired. -
- CommentAuthorCaptain Future
- CommentTimeAug 6th 2016
NP: Ghostbusters (2016) - Theodore Shapiro
First Shapiro in my collection, mostly because I am ignorant of the films he has scored so far.
This is very accessible. Choir and pipe organ make for the Gothic mood. Fine score if not something terribly special.Bach's music is vibrant and inspired.