Jason-X

Nuff' said.

~Zack~

I got the expanded edition of Star Trek: Generations for Christmas. Seems like I'm collecting all the expanded editions of the odd-numbered scores. So far, I have TMP, TSFS, TFF, and now Generations. By law, when Insurrection is released, I'll probably get that.

As for the score itself, I like it. A lot of people don't and I sorta get that, but it works with the movie. The movie's just a glorified TNG episode, so it's not too glaring that the score was composed by series regular Dennis McCarthy. It's still very melodic and interesting, if a little over-the-top in parts. But I guess my ears just like it.

One thing I'll say is that I don't think there's ever been a bad Star Trek score. But Nemesis, even though it's a Goldsmith score, kinda comes close. It's generic action music, but it has some extremely redemptive parts, too. Namely, the several times it quotes little nuances from TMP. Like "The Enterprise" at the end. "To Romulus" seems to quote "Leaving Drydock" in the opening bars too. But the rest of it's as dull as the movie. Insurrection, while not the most engaging Trek film, had a good score.

As for my all-time favorite Trek scores, I'd say TMP, TFF, and TSFS round out the top 3. TMP introduces the main theme and I really dig the music Jerry wrote for V'Ger.

The Final Frontier is goofy as hell, but The Shat got the music for his movie right by re-hiring Jerry. The TMP quotes are beautiful and that version of the end title is my favorite because it sounds so graceful and it's given time to breathe. Also noteworthy, the return of the Klingon theme and the beginning of "A Busy Man."

The Search for Spock is an incredible score because it has both the majestic, swashbuckling feel from Wrath of Khan, but also the darkness of the rest of the movie. Makes for a very interesting experience. Also, it seems like the score Horner's repeated least over the years.

Quoted from sniper You sure about that, ED? The one I have sounds an awefully lot like the one used in the movie (and a lot better than the Carpenter/Howarth version - the clicking between the base thumps are just too darn loud).

Hey Sniper,

The Humanity tracks are recreations by Howarth that were created by Morricone.
So, it comes down to a matter of opinion on the previously released tracks.

But there are four new tracks on this CD that are not available elsewhere.
They are newly recorded cues and ambient drones used in the film
Those are tracks originally created by Carpenter and Howarth in post production.
They were cut into the film, but NEVER on any LP/CD release.

You may not like Howarth's new recordings of Morricone's work.
BUT, you'll never get Carpenter and Howarth's tracks (4 of them)...
Unless you buy this CD.

Alan Howarth told me this story himself at the screening.
I asked him, "Why the new release?" when he autographed the CD for me.
And that's the story he told me.

Regards,
E.D.

Quoted from Electric Dreamer But there are four new tracks on this CD that are not available elsewhere.

Well, that settles it then. I obviously have to get my hands on that CD  

Quoted from sniper Well, that settles it then. I obviously have to get my hands on that CD

Sniper,

If you go to Alan Howarth's website, that will get you the cheapest price.
AND... He will autograph the CD for you and even PERSONALIZE IT!

http://alanhowarth.com/pgcart.pga

Regards,
E.D.

Quoted from danbotha Music is another big part of my life. I love seeing how much impact the music can have on a film. So, I have a question. What are your favourite film scores? Here's one of mine... Haven't even seen the film, but the score's amazing!

Whoa! Thanks for posting this, Dan - hadn't heard it before, but wow. Absolutely awesome.

As for bodies of work, my two favorite scorers are Williams and Morricone. The breath of their combined works is staggering. Williams obviously has so many iconic scores that so added to the legendary movies he worked on from horror (Jaws) to the many action/adventures. He had a knack for creating great complements to both high octane chases and subtle moments. Kudos also to Morricone whose work on endless Spaghetti Westerns is also iconic and for their time ground-breaking. But Enio also did masterful work in some of my favorite Italian movies including my favorite foreign film Cinema Paradiso. He had a way of creating the perfect melancholic riffs that just lifted sad or poignant scenes.

As to individual movie scores, Godfather and Halloween are obvious favorites. Can't picture either of those movies without those particular scores. Fatal Attraction is another favorite. Can't think of too many current ones, though I can say a lot of the foreign films I've seen the past five years (mostly Euro and Asian) have slamming scores that really accentuate the moods of their films.

Quoted from Manowar Can't think of too many current ones, though I can say a lot of the foreign films I've seen the past five years (mostly Euro and Asian) have slamming scores that really accentuate the moods of their films.

Most scores suck nowadays. If I were given the money to make a movie and could hire any composer I wanted, I wouldn't know who to pick. Obviously, I'd go for Williams if he were up for it (these days I think he's just sticking to STAR WARS and Spielberg movies in his semi-retirement from films). After that, I'd pick Horner or Silvestri. However, their recent works haven't been as fun as the scores they did throughout the 80s or early 90s. I know Horner could bring that 80s sound back, but I'm not sure about Silvestri. I don't know if they're just not being challenged by directors or if they're worn out. But the composers that could still be alive that I'd want to hire are all dead...namely, Kamen and Poledouris. (Goldsmith too, even though he'd be in his early 80s, like Williams and Morricone.)

I'm kind of digging Abel Korzeniowski, though. He's got a very unique sound that  channels Herrmann, Williams, and Barry. Very good with strings. I haven't seen the movie, but A SINGLE MAN (not the Coens' A SERIOUS MAN) was a phenomenal score. There was a track based on Herrmann's VERTIGO and it fit perfectly with the rest of Korz's stuff. I'm on the fence about Desplat, though. He's versatile for sure and he can be good, but a lot of his work seems generic. The orchestration and the textures aren't, but there's not enough melody or thematic content to elevate the rest.

A few of my personal favorites:







2 of the 3 movies are quite bad, but their scores are great.

I also listen to music from Trailer Music World II on Youtube as I write.

A theme I'd like to consider as Fracture's main theme is:



Lee

The Place Beyond The Pines was superb.

The Place Beyond The Pines was terrific!

I also thought The Perks of Being a Wallflower had a fucking amazing score/soundtrack.

Also, can't forget Marco Beltrami.  If you don't dig the Scream franchise for the story, then you can't diss the score!

Curt

Quoted from Toby_E The Place Beyond The Pines was superb.

That's because Mike Patton is the Quentin Tarantino of music. One can only hope he does many, many, many more soundtracks.

Anyway, for me, it's all about...









Sick scores for sick movies!

First off, I think Hans Zimmer is a God. Love everything he's ever done. Had to look him up after I watched Thelma and Louise. Yeah, that long ago. The soundtrack just evoked the right emotion for the story and that's what I love about Hans. He does it again and again.



Hans was a bit ripped for his Man of Steel soundtrack. They said it didn't stand out, had no distinction. I loved it. I heard he couldn't write for months. How do you follow Williams? Altough I love Zimmer, Williams still rules Superman.

Please excuse cartoonish S logo. The soundtrack resonates with any of us born in the 70s. It was the best copy I could find.

James

Always been a music nut...and a baseball fan. So, Randy Newman's score for The Natural, for me, is a standout. It's one of only two soundtracks I've ever purchased. The other being...

Lennie Niehaus' Unforgiven. Everything about that movie resonated deeply with me, and the one basic musical theme was just beautiful, sad and lonely. Kinda like how I felt at the time.

Another great piece, I think, is the score for the Disney/Pixar film Up. I can't remember who scored it, but I thought it added so much to that movie. Especially the first ten minutes of the film. Brought me to tears.
Steve

Quoted from SAC Always been a music nut...and a baseball fan. So, Randy Newman's score for The Natural, for me, is a standout. It's one of only two soundtracks I've ever purchased. The other being... Lennie Niehaus' Unforgiven. Everything about that movie resonated deeply with me, and the one basic musical theme was just beautiful, sad and lonely. Kinda like how I felt at the time. Another great piece, I think, is the score for the Disney/Pixar film Up. I can't remember who scored it, but I thought it added so much to that movie. Especially the first ten minutes of the film. Brought me to tears. Steve

I like these. The Natural is a classic.