Someone pointed out to me that I could post these.
I'm sorry for the mess :(

I believe Lucidolph posted something and noticed it was in the wrong thread, and then deleted what he posted immediatey after. So maybe it wasn't aimed at you.

Anyway, thanks for posting these compilations here. I haven't had the time to try them, but if they're mostly orchestral they're very welcome indeed.

A suggestion though: instead of posting the direct links here, you should edit your posts to put a link to your thread, where people should go to get the stuff. This way you could increase your own number of views.


Bi0: Incredible! This is a extremely rare score. Thanks a lot.


Garcia: Great post! A higher quality of this beautiful score is very welcome.

Ok then, I will do that.
Mostly the tracks are orchestral, but sometimes there are some epic rock tracks, or hybrids with electronica and rock.
Is this a problem?

Mostly the tracks are orchestral, but sometimes there are some epic rock tracks, or hybrids with electronica and rock.
Is this a problem?

No, it's not a problem if there's a significant number of orchestral tracks in your packs. Just tried your EPIC MUSIC COLLECTION II - RISE OF THE HEROES, and there are some really good tracks, my favorite is the very elegant (but not so epic IMO) "Hearts of Fire ~ Out of Time (Castlevania: New Classic)".

Ok, I got that. :D
You really should check the first compilation though.
That's more like what we are all looking for!

Man how awesome is the compilation that you gave me.
It was a big mistake to underestimate anime music.
Right now my favorites are Kasamatsu Kouji - Gankutsuou - Montecristo, Kouhei Tanaka - Busou Renkin - Hangeki, Shiroh Hamaguchi - kiddy grade - Crisis.

MIKE BATT

www.mikebatt.com

Mike Batt, born in Southampton in England, is a composer, songwriter, conductor, producer and arranger. He began his career in pop music and is most famous for his song 'Bright Eyes' from the 1978 animated film Watership Down, sung by Art Garfunkel. He has also released many solo albums and experimental dramatic works, such as 'The Hunting of the Snark', based on Lewis Carol’s epic nonsense poem. A key figure behind ‘crossover’ artists like Vanessa Mae, the string quartet ‘bond’, and ‘The Planets’, whose first cd Classical Graffiti went straight to no.1 in the classical charts, he has unfortunately only written a handful of orchestral scores and concert works (such as his ‘Dublin Overture’), though all are of a high quality and show a great gift for flowing melody and precise orchestration.

Batt says he finds composition and arranging a perfect complement to conducting. "If you know, after years of hard fought experience, how to get the brass and basses, for example, to underpin the bass moments of an orchestration, or you understand the way to allow a woodwind section or soloist to cut through the 90 piece accompaniment, it stands you in good stead to have an opinion on how to balance up a piece by Delius or Prokofiev" he says. "It also works in reverse. If you have had the experience of conducting the LSO at the Barbican or Albert Hall, and can feel the energy coming from the orchestration of the great masters, it must affect your own work as a composer or orchestrator."

Batt is presently dedicating most of his time to guiding the career of Katie Melua, whom he discovered in 2002 while scouting for a jazz musical project he was working on. Melua's album Call Off The Search contains six of his songs including 'The Closest Thing to Crazy'. In 2008, Batt started the year with one concert in Munich and a radio-concert-tour in Germany to promote his new CD A Songwriter's Tale - a compilation of his best written hits, some first sung by himself and most newly recorded with the Royal Philharmonic Orchestra.

[Info from Wikipedia and Mike Batt's official site]

Notable scores:

- Caravans (1978)
Combining exotic instruments, arabesque melodies and jaunty rhythms with his characteristic clarity and warmth, this score also features possibly Batt’s catchiest theme.
http://forums.ffshrine.org/showpost.php?p=1198699&postcount=1145

- The Dreamstone (1990)
An unusually sophisticated score for a children’s series, Batt’s music for The Dreamstone is charctarised by the extensive use of leitmotifs and thematic variations. It’s also perhaps his most rhapsodic work.
http://forums.ffshrine.org/showpost.php?p=1245126&postcount=2124
Thread 65909

- Keep the Aspidistra Flying (1997)
Based on George Orwell’s savage satire of bourgeois complacency in the 1930s, this film gives Batt the chance to indulge in wry pastiche source music. In a similar vein to several of Rachel Portman’s scores, the music is very civilized but still brimming with passion, balancing formality with romance – several passages even resemble Bach in Brandenburg mode!
http://forums.ffshrine.org/showpost.php?p=1246783&postcount=2144

- Watership Down –TV Series (1999)
Watership Down represents a year's work for Batt, and is presented as a Symphonic Suite interspersed with songs especially written for the TV series. The Royal Philharmonic combine with Chris Spedding (guitars), Ray Cooper (percussion), Henry Spinetti (Drums), Mitch Dalton (guitars), Mike Batt(keyboards and conductor) and Tim Harries (Bass guitars) - to produce a musical panoramic atmosphere for the series and an intensely melodic and powerful CD.
http://forums.ffshrine.org/showpost.php?p=1253381&postcount=2244

Edit: New Links

Looking for Sirusjr's Full Metal Panic's post, I just noticed that you heavily edited this post to add a lot of links. Thank you very much. A suggestion: maybe you should link Keep the Aspidistra Flying to your post HERE (http://forums.ffshrine.org/showpost.php?p=1246783&postcount=2144), instead of giving a direct link. Also, Garcia kindly just posted a 256k version of Watership Down.

Done! How very tidy-minded of you arthierr :) Of course, your quote of my post perpetuates the old links, so you might want to edit that out yourself. Hehe.

Thanks to garcia for la mejor calidad on WD!! :D

I've got another action pack (film music) coming soon with composers that weren't featured in the first.. I'm just a litte busy at the mo, but it will be up this week hopefully.

How very tidy-minded of you arthierr :)

Yeah, I know, I tend to be a little perfectionist sometimes...


Of course, your quote of my post perpetuates the old links, so you might want to edit that out yourself. Hehe.

Will do. ;)


I've got another action pack (film music) coming soon with composers that weren't featured in the first.. I'm just a litte busy at the mo, but it will be up this week hopefully.

Great news! Looking forward to hear your personal selections. Very curious about them.

xDD Ahhhh... Just thought i should say... yes, arthierr is correct, i made a request for an OST, but this wasn't the hunt thread ^^' so i, yeah, what i wrote was aimed at my own post, sorry i didn't make that very clear...

Perhaps i should've had it in *s or in brackets,
sorry...

-Isaac

It's cool :D

A Mel Compilation of Orchestral:
Death & Life

http://melkoret.com/Death_and_Life-Mel~Comp.rar


This is a collection of mostly sad songs and a few more upbeat and lively ones thrown in too. Tell me what you think, and dont forget to save that album art, because I forgot to include it! :)

Symphony The Hero With Great Eagle
http://hyperfileshare.com/d/ba241914


Can someone re-up this?
The cover-art is just beautiful,
i MUST have a listen x]

Anyone?

A Mel Compilation of Orchestral:
Death & Life

http://melkoret.com/Death_and_Life-Mel~Comp.rar

This is a collection of mostly sad songs and a few more upbeat and lively ones thrown in too. Tell me what you think, and dont forget to save that album art, because I forgot to include it! :)


Hey, very nice initiative, Mel. As often with you, your picks are rather eclectic and display a wide range of genres. Thanks for posting, I'll try this compilation as soon as I can, and then comment a bit later.



Can someone re-up this?
The cover-art is just beautiful,
i MUST have a listen x]

Anyone?

What's the problem? The link is perfectly ok, try again.

Following my Toshihiko Sahashi posts / links, here's the complete Full Metal Panic! Soundtracks (not including OP / ED). Sirusjr posted them here before, but I added the covers this time.



Full Metal Panic! Soundtracks

Music composed by Toshihiko Sahashi

MP3 Lame V-0

Thanks a lot to Sirusjr

Thread 65951

Hey, very nice initiative, Mel. As often with you, your picks are rather eclectic and display a wide range of genres. Thanks for posting, I'll try this compilation as soon as I can, and then comment a bit later.


Thank you^.^
Yeah I always try and make an album that 'flows' correctly and tells a story, while yes introducing a variety of music~!
Please do comment, I appreciate every inch of it, especially if you find something you enjoy!

I also am posting my Phoenix album in a few minutes

This one is all orchestra guys (except for track 2)
They were from the best that I could find.
Give this a try and see if you like it.
The offical thread is Thread 66237




~Epic Music Collection III - The Battle Begins~
http://www.megaupload.com/?d=I7MIX0BQ

1. Communication Breakdown (Xenosaga II)
2. Under Heaven Destruction (BlazBlue)
3. Bounty Hunter (Advent Rising)
4. Grotesque Figures (Shadow of the Colossus)
5. The Opened Way (Shadow of the Colossus)
6. Europa
7. The New Legend (Soul Calibur III)
8. Counterattack (Shadow of the Colossus)
9. Beowulf Slays the Beast (Beowulf)
11. Resident Evil: Outbreak ~ Staff Roll
12. Requiem for a Tower (Mvt. II)
13. Requiem for a Tower (Mvt. IV)
14. With an Iron Fist (No Choir)
15. Promised Pain (Xenosaga III)
16. The Battle of Your Soul (Xenosaga III)
17. Wings of Despair (Soul Calibur III)
18. Gate Watcher of the Castle Ruins (Shadow of the Colossus)
19. With an Iron Fist
20. Alma Awakened (Ninja Gaiden)
21. Divinity II (Final Fantasy VII: Advent Children)
22. Akuma vs. Ryu (Street Fighter IV)
23. Gouken vs. Ryu (Street Fighter IV)
24. Street Fighter IV (Orchestra Version)

*Also I have done a music video with one of the songs http://www.youtube.com/watch?v=bGQnebKLiyE*

Hey, thanks Melkoret for 'Death and Life'! Compliations are great because they have the personal touch :) Some interesting selections there. Looking forward to hearing Phantasy Star and Quigley Down Under because I don't know these.

Is the Stargate one by Joel Goldsmith?

Xhorxhi, I will check yours out too as soon as I have time. Thanks!

Hey, thanks Melkoret for 'Death and Life'! Compliations are great because they have the personal touch :) Some interesting selections there. Looking forward to hearing Phantasy Star and Quigley Down Under because I don't know these.

Is the Stargate one by Joel Goldsmith?QUOTE]

Yes by Joel :)

[QUOTE]
Posted the ENTIRE phoenix discography inlcuding the new album in this thread:

Thread 66316

[QUOTE=garcia27;1247312]Here one of my favorites scores with one of my favorites themes, The Vikings by Mario Nascimbene. A real master piece.

Wow, I've been looking for this one for ages. I remember seeing it at the theater as a kid. The main theme music got way stuck in my head. I can still remember it even though I only saw the film that one time. Thank you very much for posting it! This will be a treat hearing it again. Maybe I'll mix a cocktail first!

I want to call everyone's attention to an awesome anime soundtrack collection by Morrigan666. He posted a fantastic collection of the beautiful Captain Harlock soundtracks. I downloaded a ton of them a while ago and finally started listening to some more and am stunned by their beauty and craft. I especially love the Eternal Edition 1 and 2 which have some fantastic piano tracks.

Thread 65495

Captain Blood: The Classic Filmscores For Errol Flyn

(http://www.postimage.org/)

http://www.megaupload.com/?d=AZVYT4FN

Track listing

1. The Adventures Of Don Juan (Max Steiner) (09:35)
The King; Main Title; Don Juan; The Brocade; Don Juan's Serenade; Parade Into London; Don Juan and the Queen; Final Scene
2. The Sea Hawk (Erich Wolfgang Korngold) (08:08)
The Albatross; The Throne Room of Elizabeth I; Entrance of the Sea Hawks; The Orchid; Panama March; The Duel; Strike for the Shores of Dover
3. Captain Blood (Erich Wolfgang Korngold) (02:08)
Ship in the Night
4. They Died with Their Boots On (Max Steiner) (08:41)
Morning; The Farewell Before the Battle; Preparation and March; The 7th Cavalry; Garry Owen; The Sioux; The Battle of Little Big Horn; Custer's Last Stand
5. Dodge City (Max Steiner) (07:56)
Warner Bros. Fanfare and Main Title; The Open Prairie; The Iron Horse; Surrett; The Comrades; The Covered Wagon; Grazioso; Abbie and the Children; Wade and Abbie; The Blarney; Abbie's Theme
6. Objective, Burma! (Franz Waxman) (02:16)
Parachute Drop
7. The Sun Also Rises (Hugo Friedhofer) (04:42)
Prologue (Solenelle); The Lights of Paris
8. The Adventures of Robin Hood (Erich Wolfgang Korngold) (12:20)
The Archery Tournament; Escape from the Gallows; Robin and Lady Marian; Coronation Procession

Total Duration: 00:55:46

@garcia, Melzi, Sirus, Arthierr, Xhorxhi
Thank you very much for all soundtracks in the last days, wow, too much to download XD

The Captain Harlock-Soundtracks are really great, i love it, too. And the Eternal Edition 1 & 2 are from my collection XDD (okay, enough from my swaggering XD)

Aaah, Errol Flynn, i love this guy and the music in this soundtrack is so great

Hi, I'm trying to check all the film music threads to see if anyone has Alien Invasion: Space & Beyond II. It's a sci-fi compilation done by Nic Raine & The City Of Prague Philharmonic. Thank you.

Have no idea if ANYONE here is interested in this, but here are all five volumes of my personal "Adventure" retrospective. Please enjoy.

Thread 66320

Hi, I'm trying to check all the film music threads to see if anyone has . It's a sci-fi compilation done by Nic Raine & The City Of Prague Philharmonic. Thank you.

I have it.

Tomorrow I can upload it.

Best

Thank you in advance garcia...u r the man!!!! I've been missing this for so long, I used to have it, but it suffered age and abuse, i. e. scratch city! I love digital tunes man! Thank you Thank you Thank you!

Crap, I almost forgot...can you upload Space 3: Beyond the Final Frontier as well? Don't mean to sound so demanding...

Ahhhhhhhhhhh! At last some real free time.

Thanks for all your recent posts, guys. More comments soon.

Hello guys, more soundtracks in my thread to listen ^^, a big thanks to Sisko
Look in the first post ^^

RACOON RASCAL


DOG OD FLANDERS


ANNE OF THE GREEN GABLES


HEIDI


PRINCESS SARAH


Thread 63760

The fifth album guys! Hope you like it!
(Maybe I should take a break with these compliations :D)




~Epic Music Collection IV - Omega~
http://www.megaupload.com/?d=LHJB85WZ

01. Xenosaga I - Omega
02. Chaos Legion - Solemn Voice
03. Zanarkand (Inspired by Final Fantasy X)
04. Front Mission 5 - War of the Titans
05. Mission Impossible 2 - Bare Island
06. Ace Combat 6 - Chandelier
07. Ace Combat 6 - Main Theme
08. Metal Gear Solid 4 - Theme of Love (Brawl Ver.)
09. Soul Edge - An Oath of the Sword
10. Actraiser - Filmoa (Symphonic)
11. Freedom Fighters - Main Title
12. Vagrant Story - Ifrit
13. Ys - The Morning Grow (Metal Ver.)
14. Final Fantasy VII - J-E-N-O-V-A (The Black Mages Ver.)
15. The Da Vinci Code - Chevaliers de Sangreal
16. Dark City - You Have the Power

@xhorxhi
Waaah, no, please no break ^^
The Music in your compilation are really great, thank you very much for sharing with us m(_ _)m

@xhorxhi
Waaah, no, please no break ^^
The Music in your compilation are really great, thank you very much for sharing with us m(_ _)m

Thank you Billie, I really appreciate this :D
I am very happy to share my favorite music with all of you.
But I would also appreciate if people told me their ideas and told me what tracks they like most from my albums, because there are some selections that I need to make :D

Following my Toshihiko Sahashi posts / links, here's BLACK BLOOD BROTHERS OST. As usual with anime scores there are some filler tracks, but the highlights... WOW THE HIGHLIGHTS! Many tracks are indeed fantastic, I'd even say exceptional, powerful, epic, and masterfully composed - just listen to 07-Katazu.mp3, 19-Shimei.mp3, 21-Kanashiki Ken.mp3, 29-Haseru.mp3 or 41-Gin Katana.mp3, among others, superb stuff. This one is one of my favorite Sahashi scores. Highly recommended.



BLACK BLOOD BROTHERS

Music composed by Toshihiko Sahashi

MP3 320 kbps

Thanks to usagi

www.megaupload.com/?d=YL4DLZ0F





01 - Ashita no Kioku ~ TV version
02 - BBB ~ Jirou
03 - Yuukei no Toki
04 - Heigei
05 - Tsuji Basha
06 - Kattou to Wadakamari
07 - Katazu
08 - Magamagashii Kehai
09 - Senpuku, Soshite...
10 - Chi to Taihai
11 - Nagai Ichi Nichi
12 - Kyuuketsuki no Koubou
13 - Itara nu Omoi
14 - Chan
15 - Kanashii Ketsumatsu
16 - energy
17 - Kyuu Ryuu no Kettou
18 - Tokku no Theme
19 - Shimei
20 - OLD BLOOD
21 - Kanashiki Ken
22 - Dokuro
23 - ethnic
24 - Hiru Sagari
25 - Oshioki
26 - Ikari!
27 - Ocha no Jikan
28 - Kotarou
29 - Haseru
30 - Kokou Soshite Unmei
31 - Kiri Geki
32 - spirit
33 - Fuan ni Natte...
34 - Shinen to Konwaku
35 - Kuroi Shitto
36 - Alice no Omokage
37 - Mimiko
38 - Cassa to Alice to Jirou to
39 - Shinrai no Kokoro
40 - Setsugen
41 - Gin Katana
42 - Jouka
43 - Alice to no Ai
44 - Shinkirou ~ TV version

For anybody who's interested - it looks like we're going to get our first new Sahashi anime score since 2007 (in 2008 and 2009 he only scored TV drama and feature films) - but now he's scoring Element Hunters due to premiere in July. Apparently it's an educational show for kids, but it's on NHK and it's sci-fi, so our chances of a nice meaty orchestral score are quite good...

Apologies for the slight veering off topic. Normal service will now be resumed.

For anybody who's interested

I am. :D


it looks like we're going to get our first new Sahashi anime score since 2007 (in 2008 and 2009 he only scored TV drama and feature films) - but now he's scoring Element Hunters due to premiere in July. Apparently it's an educational show for kids, but it's on NHK and it's sci-fi, so our chances of a nice meaty orchestral score are quite good...

*Drooling*


Apologies for the slight veering off topic. Normal service will now be resumed.

Why? This is perfectly on topic. Thx for the hot tip.

The BLACK BLOOD BROTHERS OST is pretty cool.
Thanks for the upload arthierr :D

The BLACK BLOOD BROTHERS OST is pretty cool.
Thanks for the upload arthierr :D

In fact I didn't upload it, I got the link from a blog. That's why I thanked the original uploader (usagi).

And thanks for your epic packs. Tonight I'll have plenty of time to try them, then I'll tell you my favorite cues.

Alien Invasion: Space & Beyond 2

(http://www.postimage.org/)

http://www.megaupload.com/?d=K5NCJV79

Track listing


Disc/Cassette 1

1. MARS ATTACKS - Introduction & Main Title (04:02)
(Danny Elfman)
2. THE DAY THE EARTH STOOD STILL Suite (05:40)
(Bernard Hermann) - Outer Space / Radar / Farewell & Finale
3. DUNE - Suite (08:42)
(Toto)
4. STAR TREK: THE MOTION PICTURE (05:38)
(Jerry Goldsmith) - Klingon Attack
5. STAR TREK: DEEP SPACE NINE (03:10)
(Dennis McCarthy) - One Last Visit
6. STAR TREK: FIRST CONTACT (05:10)
(Jerry Goldsmith) - End Title Suite
7. WHEN WORLDS COLLIDE Suite (08:28)
(Leith Stevens) - Main Title / Foreword / Doomsday Drawing / The Takeoff / The New World
8. BATTLE BEYOND THE STARS (04:04)
(James Horner) - Theme
9. THE THING FROM ANOTHER WORLD Suite (07:34)
(Dimitri Tiomkin) - Main Title / The Melting Sequence / The thing Electrocuted
10. TWILIGHT ZONE: THE MOVIE End Title Suite (06:29)
(Jerry Goldsmith) (includes THE TWILIGHT ZONE TV Theme - Maurius Constant)
11. BATTLESTAR GALACTICA Suite (11:07)
Prologue (Stu Phillips) / Main Title (Glen A. Larson / Stu Phillips) / The Destruction of Peace (Stu Phillips) / A Chance to Live / Exodus One (Glen A. Larson / Stu Phillips)
12. STARGATE - Giza 1928 / Going Home (04:46)
(David Arnold)

Disc/Cassette 2

1. FORBIDDEN PLANET - Prelude (03:15)
(Louis & Bebe Barron)
2. MARS, THE BRINGER OF WAR from THE PLANETS (08:07)
(Gustav Holst)
3. CONTACT - End Title (08:49)
(Alan Silvestri)
4. STARSHIP TROOPERS - Bugs (02:07)
(Basil Poledouris)
5. STARSHIP TROOPERS - Fed Net March / Klendathu Drop (05:03)
(Basil Poledouris)
6. PREDATOR - Theme (04:07)
(Alan Silvestri)
7. WAR OF THE WORLDS - Suite (10:35)
(Leith Stevens) - Main Title & Introduction / Martian Man Dies / Evacuation & Finale
8. THE EMPIRE STRIKES BACK - The Imperial March (03:13)
John Williams
9. INVADERS FROM MARS - End Title (03:44)
(Christopher Young)
10. SPACE: ABOVE & BEYOND - Suite (07:32)
(Shirley Walker)
11. V - Theme (01:50)
(Joe Harnell)
12. STARMAN - End title (Symphonic Version) (04:44)
(Jack Nitzsche)
13. INDEPENDENCE DAY - End title Suite (09:01)
(David Arnold)
14. THE THING FROM ANOTHER WORLD - The Thing Lives! (02:12)
(Dimitri Tiomkin) - Bonus Track

Total Duration: 02:29:09

About Space 3 Beyond the Final Frontier, I am very sorry but for some reason I only have the first CD:

Disc/Cassette 1

1. Aliens / Prelude / Ripley's Rescue (05:54)
James Horner
2. Ghostbusters / Main Theme (03:12)
Elmer Bernstein
3. It Came From Outer Space / The Thing Strikes / Desert Rendezvous (04:17)
Henry Mancini
4. Strange Invaders / Suite (08:27)
John Addison
5. Judge Dredd / Suite (04:50)
Alan Silvestri
6. Robocop / Suite - Rock Shop / Home / Van Chase / The Dream (09:31)
Basil Poledouris
7. The Time Machine / London 1900 - Filbey's Theme (02:28)
Russell Garcia
8. Back To The Future / Main Theme (03:25)
Alan Silvestri
9. The Cape / Main Theme (03:11)
John Debney
10. Star Trek: The Menagerie / Suite (08:27)
Henry Mancini
11. Star Fleet Academy / Opening (04:02)
Alexander Courage
12. Star Trek: Insurrection / End Title Suite (05:06)
Jerry Goldsmith

Best!!!

Wow, many thanks Garcia. This is really appreciated. Btw, I found a link in the Score hunt thread with a full version of Space 3 Beyond the Final Frontier (the megaupload links are alive).



http://forums.ffshrine.org/showpost.php?p=1130148&postcount=3239




Disc One: Aliens (James Horner), Ghostbusters (Elmer Bernstein), It Came From Outer Space (henry Mancini), Strange Invaders (John Addison), Judge Dredd (Alan Silvestri), Robocop (Basil Poledouris), The Time Machine Russell Garcia), Back to the Future (Alan Silvestri), The Cape (John Debney), Star Trek: Menagerie (Alexander Courage), Star Fleet Academy (PC game - Ron Jones), Insurrection (Jerry Goldsmith).

Disc Two: The Last Starfighter (Craig Safan), Silent Running Peter Schickele), Journey to the Far Side of the Sun (Barry Gray), Lost in Space (Bruce Broughton), Galaxy Quest (David Newman), Thing's to Come (Sir Arthur Bliss), The Matrix (Don Davis), Meteor (Lawrence Rosenthal), Deep Impact (James Horner), Armageddon (Trevor Rabin), Star Wars: The Phantom Menace (John Williams)

Yeah, I found that post of space 3, but a couple tracks sound like the 1st CD was scratched a bit...the 2nd was fine though...

Thanks a million garcia!

I would like to share with you guys the soundtrack to the Wii game Fragile! You may have heard Fragile Moonlight Tracks, a short CD that I believe came with the Japanese release of the game. This is the full 2cd version that was just released a few weeks ago.

Fragile ~Sayonara Tsuki no Haikyo~ Original Soundtrack PLUS


http://rapidshare.com/files/239524888/free4vn.org_hero1711_Fragile_OST_PLUS_sonixgvn.rar
Pass: [email protected]
OR
http://www.rapidspread.com/file.jsp?id=qpt4jqtx39
Pass: smile
Thanks to sonixvgn for his fantastic post on his blog!

my second compilation

Sounds of Heaven - Drama II (3CDs)



Thread 66475

have fun :)

I would like to share with you guys the soundtrack to the Wii game Fragile! You may have heard Fragile Moonlight Tracks, a short CD that I believe came with the Japanese release of the game. This is the full 2cd version that was just released a few weeks ago.
Thanks to sonixvgn for his fantastic post on his blog![/center]

Pass:

[email protected]

oh yeah thanks danny! That would be important. I am uploading my own mirror so that i am not stealing his link but until then people might need that.

Thanks Sirus and Danny! The sample on the preview website sounded a bit hisaishi-ish (hehe). Really hope this game gets a release in the west. The stylisation and pace look just up my street.

Thanks Sirus and Danny! The sample on the preview website sounded a bit hisaishi-ish (hehe). Really hope this game gets a release in the west. The stylisation and pace look just up my street.
It is coming in the west for sure! I don't know about European releases but the US release is this winter with no real date set.

Yes, you can never be sure with Eurpoean releases. I can't import either as the latest firmware update has blocked the freeloader! This means I have to re-buy Okami as well in order to complete it :notgood:

Are the SPACE collections the Prague crew in action? It's a good looking selection - I hope the performances aren't too rough and ready..

Thanks for the 5th Album Xhorxhi. I like all of them :)

I would like to share with you guys the soundtrack to the Wii game Fragile! You may have heard Fragile Moonlight Tracks, a short CD that I believe came with the Japanese release of the game. This is the full 2cd version that was just released a few weeks ago.

Fragile ~Sayonara Tsuki no Haikyo~ Original Soundtrack PLUS

http://rapidshare.com/files/239524888/free4vn.org_hero1711_Fragile_OST_PLUS_sonixgvn.rar
Pass: [email protected]
OR
http://www.rapidspread.com/file.jsp?id=qpt4jqtx39
Pass: smile
Thanks to sonixvgn for his fantastic post on his blog!


The RAR file in the rapidshare link is totally broken. When I extracted it every single file errored out. I am downloading the one from the rapidspread link now to see if that one works.

The rapidshare link worked fine for me. Check you did the correct psswd.

In fact I didn't upload it, I got the link from a blog. That's why I thanked the original uploader (usagi).

And thanks for your epic packs. Tonight I'll have plenty of time to try them, then I'll tell you my favorite cues.

My bad! Ok, so, thanks for the upload usagi, and thanks for posting the link arthierr! :D

The rapidshare link worked fine for me. Check you did the correct psswd.

Yup. Correct password. rar file opened properly, but when I extracted it, everything errored out. The rapidspread one worked just fine for me though *shruggs* beats the heck out of me :P

Great music so far I have to say! :D

Arthierr thanks for Black Blood Brothers! Too bad it has so many filler tracks.

Yup. Correct password. rar file opened properly, but when I extracted it, everything errored out. The rapidspread one worked just fine for me though *shruggs* beats the heck out of me :P

Great music so far I have to say! :D
Weird, considering I uploaded the rapidspread one from the rapidshare version but as long as it works :)

Weird, considering I uploaded the rapidspread one from the rapidshare version but as long as it works :)

Yeah..LOL! Havn't a clue lol

Arthierr thanks for Black Blood Brothers! Too bad it has so many filler tracks.

Yeah, I know, but I don't care about them, I usually just delete them. My objective is to focus mainly on highlights, only the best parts. And BBB has quite some top-notch tracks.

It's a common problem with anime scores. For various reasons, mostly time and budget limitations, composers often have to make filler tracks.

Edit: And thx for Fragile. 1st time I hear about it. I'll try it ASAP.

For those of you who love Orchestral Suites!

EPICS-The History Of The World According To Hollywood (2005)
The City Of Prague Philharmonic Orch.



Disc 1

1. One Million Years Bc (cosmic Sequence / Tumak Meets Luana /In The Domain Of The Shell People / Eruption 7:18
2. The Ten Commandments Overture 7:54
3. Alexander (across The Mountains) 4:16
4. Sodom And Gomorrah Overture 5:01
5. The 300 Spartans 4:01
6. Troy (remember) 6:06
7. Alexander (eternal Alexander) 4:14
8. Quo Vadis (ave Caesar) 4:52
9. The Robe (prelude / Love Theme) 5:42
10. Demetrius And The Gladiators (opening Titles / Finale) 5:36
11. Cleopatra (caesar And Cleopatra) 2:47
12. Antony And Cleopatra 6:41
13. Gladiator 7:17
14. Gladiator (now We Are Free) 4:27


Disc 2

1. Masada 5:12
2. Spartacus - Main Title 3:39
3. Spartacus - Love Theme 2:49
4. Fall Of The Roman Empire - Pax Romana 5:31
5. Fall Of The Roman Empire - Overture 3:57
6. The Greatest Story Ever Told - The Great Journey 7:14
7. Jesus Of Nazareth (suite) 8:23
8. Ben-hur - Parade Of The Charioteers 3:37
9. Ben-hur - Love Theme 2:56
10. The Silver Chalice - Prelude 2:51
11. Passion Of The Christ - Resurrection 4:52
12. The War Lord - Prelude/main Title 4:20
13. El Cid - Love Theme 4:16
14. El Cid - Overture 3:32
15. The Vikings - Ragnar Returns / Love Theme / Dancing On The Oars Funeral 10:04

Disc 3


1. Flesh And Blood 5:02
2. The Last Valley - Main Title / End Title 8:06
3. Prince Valiant - Prelude 1:53
4. Taras Bulba - The Ride To Dubno 4:56
5. The Sea Hawk 6:29
6. The Crimson Pirate - Pirate Capers Overture 7:23
7. Pirates Of The Caribbean 7:34
8. Captain Blood C 2:53
9. The Lion In Winter - Main Title / Eleanor's Arrival /We're All Jungle Creatures 8:55
10. Henry V - Prelude / O For A Muse Of Fire 4:29
11. Henry V - Overture - The Globe Theatre 6:26
12. Mary, Queen Of Scots - Main Title 2:31
13. Private Lives Of Elizabeth And Essex 7:18

Disc 4


1. Excalibur - O Fortuna From Carmina Burana 2:44
2. First Knight - Arthur's Fanfare / No Surrender 6:10
3. The Adventures Of Robin Hood - March Of The Merry Men 4:05
4. Braveheart 7:06
5. Mutiny On The Bounty - Overture 5:23
6. 1492: Conquest Of Paradise 5:06
7. Captain From Castile - Conquest 3:23
8. The Mission - The Mission / Gabriel's Oboe /On Earth As It Is In Heaven 8:44
9. The Alamo - Overture 5:07
10. The Charge Of The Light Brigade - Forward The Light Brigade 2:27
11. Lawrence Of Arabia - Overture 4:38
12. Zulu - Theme / Isandhlwana 2:35
13. The Last Samurai 6:25
14. Exodus - Overture 4:28



MEGAUPLOAD:
http://www.megaupload.com/?d=QGX47Z14
http://www.megaupload.com/?d=8G2610QL
http://www.megaupload.com/?d=2LM0ML7P
http://www.megaupload.com/?d=DDF8ZG9E

Credit goes to the original uploader.

Here this theme, marvelous:

http://www.4shared.com/file/110679757/f019b329/Facil5.html

Enjoy!

^^ 'Car Trouble' from Goldsmith's Looney Tunes!! :) I listen to this track so often. The whole score in fact. It's hard to believe Jerry was in the final stages of cancer when he wrote this. Such joyful, exuberant, playful music. Although there is that eerie moment in one of the last tracks - 'Pressed Duck' I think - where he quotes the 'Dies Irae' from the mass for the dead; very reflectively, mournfully, on ethereal soft strings. It bears no relation to the action that's occuring on screen and somehow stands apart from anything else in the score. It's like a sad 'farewell' to the world and to music..

Perfect Lens of Truth, a better description is almost impossible.

The last great theme by one of the best!!!

Amazing share Goisles01! I very much appreciate it!
EDIT: Lens, could you please post the full Looney Toons album? I hate to say but I have never heard it before garcia posted the one track!

:shock: :shock: :shock: Certainly, as soon as I can!!

Don't you find it moving that the last track title name on a recorded Goldsmith soundtrack (Timeline rejected that is), is called "To My Friends".
It's like he was waving goodbye for everyone who loves his music.
I miss him. :(

To My Friends (http://rapidshare.com/files/242454583/14_-_To_My_Friends.mp3)

I have never heard it before garcia posted the one track!

Here it is, from the scorehunt thread, thanks to joserael.





DOWNLOAD (http://rapidshare.com/files/135184906/LTBckActin.zip)

Composed by Jerry Goldsmith. Released in November 2003.

(320kb/s)


goisles01: thanks a lot, great share. :)


Garcia: excellent choice of track. I'd like to point out that I also posted it long ago in one of my packs. :D


For this week's update, as many people seem to enjoy it (me too), here's a special ORCHESTRA + BEAT selection. As there are too many cues this time to comment them individually, I'll just do a few remarks :


There are several cues by Toshihiko Sahashi. Well, I did it on purpose because he's my favourite eastern composer.
http://www.animenewsnetwork.com/encyclopedia/people.php?id=114
http://en.wikipedia.org/wiki/Toshihiko_Sahashi


A composer I recently discovered and who totally blew my mind is Kousuke Yamashita. He's a rather young composer (born in 1974) but has the talent and the skills of the most experimented composers.
http://www.animenewsnetwork.com/encyclopedia/people.php?id=32506


The Super Sentai cues (Magiranger,...) are just terrific. I downloaded them by curiosity and was totally impressed by their intensity and the way the composer perfectly combined a big symphonic orchestra with a modern beat.
http://en.wikipedia.org/wiki/Super_Sentai
http://en.wikipedia.org/wiki/Mahou_Sentai_Magiranger


A special mention for Headhunter's "Jack's Theme" wich is one of the most beautiful cues I've heard in western game music. Just listen how the use of the piccolo enhance this piece and give it some elegance and subtlety. Kudos, Mr Jacques !
http://www.richardjacques.co.uk/
http://en.wikipedia.org/wiki/Richard_Jacques


Jerry Goldsmith - Looney Tunes Back In Action - Car Trouble.mp3

Joel Goldsmith - Kull The Conqueror - Saving Zereta.mp3

John Debney And Christophe Beck - The Tuxedo - Superhuman.mp3

Kousuke Yamashita - Dragonaut -The Resonance - Moero! Howling Star.mp3

Kousuke Yamashita - Getsumen Toheiki Mina Ost - Kyarottouepon .mp3

Michael Giacchino - The Incredibles Ost - The Incredits.mp3

Noriyuki Iwadare - Sega Saturn History ~saturn Was Our Youth~ Theme Of Grandia.mp3

Richard Jacques - Headhunter Ost - Jack's Theme.mp3

Tanaka Kouhei - One Piece - GomuGomu Bazooka!!.mp3

Tatuya Hirakawa - Mahou Sentai Magiranger - Magical Stage 1 - It's On Magi!.mp3

Tatuya Hirakawa - Mahou Sentai Magiranger - Magical Stage 1 - We Are The Magic Kings! .mp3

Toshihiko Sahashi - Full Metal Panic! The Second Raid - Shissou.mp3

Toshihiko Sahashi - Fullmetal Panic - Counterattack.mp3

Toshihiko Sahashi - Gundam Seed - Gundam Shutsugeki.mp3

Toshihiko Sahashi - Simoun - Oozora No Auriga.mp3


http://rapidshare.com/files/140827992/Orchestra_and_Beat_Selection.zip

.

.

:D Many thanks lens! Somehow I haven't heard timeline either!! I shall enjoy listening to these two very much!

I thought it was Bryan Tyler who made the score. is that one a different movie ? I may be wrong but I really think it was Bryan. Who knows?

First of all please don't quote a full post with images and tracklist. Second, if you look there you will notice that it is the UNUSED score. Brian Tyler likely composed the score that was used. I don't see how anyone could reject this fantastic goldsmith score though.

Well, really is not a unused score, directly this work by Goldsmith was rejected by Richard Donner after a lot of changes in the film montage.

Donner believed that Goldsmith music didn't work with the images. He offered to Goldsmith re-write the score but Goldsmith didn't accept, so Bryan Tyler came to compose the music for the final movie that we watched at the theaters.

Best!

Welcome to Japan

Konnichi wa minna-san, irashaimase de Nihon *bow* (Welcome everyone in Japan)

A Musicalic Journey to Japan

Mount Fuji or Fujisan (highest mountain in Japan)
http://3.bp.blogspot.com/_b-YuSdvMmaQ/SZDLvqcmzvI/AAAAAAAAAUs/Umk7XQzVytE/s400/Mount+Fuji,+Japan.jpg

Kinkakuji Temple, Kyoto
http://2.bp.blogspot.com/_b-YuSdvMmaQ/SZDLTPHDfgI/AAAAAAAAAUU/4t4qUY4OS0Y/s400/Kinkakuji+Temple,+Kyoto,+Japan.jpg

Imperial Palace, Tokyo
http://2.bp.blogspot.com/_b-YuSdvMmaQ/SZDLS1WkrMI/AAAAAAAAAUM/LEUgjPT2slI/s400/Imperial+Palace,+Tokyo,+Japan.jpg

Himeji-jo Temple, Kinki
http://1.bp.blogspot.com/_b-YuSdvMmaQ/SZDLSgj80jI/AAAAAAAAAUE/I_3phwbqYxY/s400/Himeji-jo+Castle,+Himeji,+Kinki,+Japan.jpg

Ninnaji Temple, Kyoto
http://4.bp.blogspot.com/_b-YuSdvMmaQ/SZDLSrFX3xI/AAAAAAAAAT8/3B8LESqC5oE/s400/Cherry+Blossoms,+Ninnaji+Temple,+Kyoto,+Japan.jpg

01. Aka Tombo, performed by Lily Laskine and Jean-Pierre Rampal (Flute and Harp) >> calm, a little bit melancholic, quiet, hovering
02. Hokkai-Bayashi (Festival Version), performed by Nihon Daiko (Taiko [Big Drums]) >> vivid, buoyant, rhythmic
03. Zangetsu, performed by Masayuki Koga (Shakuhachi [Japanese Flute])
04. Rokudan, performed by Nanae Yoshimura (Koto [Japanese Stringed Musical Instrument]) >> folklore, graceful, hovering
05. Sagano, performed by Satomi Saeki And Alcvin Takegawa Ramos (Koto and Shakuhachi) >> arcane, mystic
06. Festival Dream (Yume Matsuri), composed by Ron Korb >> cheerful, sweet, narrative, hovering (it's maybe a little bit Narutostyle, but my absolute favourite track in the compilation)
07. Yamagoe (Going Over The Mountain), performed by Alcvin Takegawa Ramos (Shakuhachi) >> arcane, mystic, dark
08. Summer Sunset >> gentle, warm, light, graceful
09. Theme and Variations - The Prince and the Ugly Maiden, performed by Shin'chi Yuize (Koto) >> soulful, quiet, narrative

A Musicalic Journey to Japan (http://rapidshare.com/files/242691810/A_Musicalic_Journey_to_Japan.zip)

Wow, thanks Billie! Looks very interesting. I'll let you know what I think :)


Well, really is not a unused score, directly this work by Goldsmith was rejected by Richard Donner after a lot of changes in the film montage.

Donner believed that Goldsmith music didn't work with the images. He offered to Goldsmith re-write the score but Goldsmith didn't accept, so Bryan Tyler came to compose the music for the final movie that we watched at the theaters.

The reason I said 'unused' as opposed to 'rejected' is that, as far as I'm aware, Donner did like Jerry's music a lot, but at the last minute much of the film was re-edited and so he score didn't fit. With Jerry's failing health he wasn't able to make the commitment to recompose much of it, so they drafted in Tyler to do a new score. To say 'rejected' to me doesn't seem quite accurate.

Lens of Truth: many thanks for these fabulous posts. I haven't listened to these scores since a long time, so it's a good occasion to rediscover them. Btw, is this version of TIMELINE official or bootleg?


The reason I said 'unused' as opposed to 'rejected' is that, as far as I'm aware, Donner did like Jerry's music a lot, but at the last minute much of the film was re-edited and so he score didn't fit. With Jerry's failing health he wasn't able to make the commitment to recompose much of it, so they drafted in Tyler to do a new score. To say 'rejected' to me doesn't seem quite accurate.
This is very true. Donner said in interviews that he liked the score but it somewhat lacked some action to him. This is the other reason, with re-editing, explaining the "rejection".


Billie781: sweet, sweet compilation! I'm extremely fond of Japan's culture, it's a very beautiful country, with a solid culture harmoniously blending tradition and modernity. The pics you posted are gorgeous (I also have many Japan wallpapers - a real treat for the eyes), and the tracks you've chosen seem very promising. Thanks for this tasteful post and your very aesthetic presentation.

It's the official one. Now no longer available it would seem. I've been so happy with it that I've never checked out the bootleg version (which has about 10 mins extra if I recall).

removed.

The reason I said 'unused' as opposed to 'rejected' is that, as far as I'm aware, Donner did like Jerry's music a lot, but at the last minute much of the film was re-edited and so he score didn't fit. With Jerry's failing health he wasn't able to make the commitment to recompose much of it, so they drafted in Tyler to do a new score. To say 'rejected' to me doesn't seem quite accurate.

Basically I agree with you, and of course this score literally was unused.

If Donner thought that this work wasn't adequate for the final movie, in this case the score should be consider as "rejected".

However there are two theories about this issue, the one that we comment here with the difference that I read that Goldsmith didn't want to compose more music.

Whether the reason was his illness is not clear, since after Timeline he was able to compose the music for Looney Tunes directed by his best collaborator during the 80s and 90s Joe Dante, and curiously it is documented that John Debney had to finish the music for this movie due to Goldsmith's health.

The other theory is that Donner himself changed his mind after agreeing with the composer what the music should be like and didn't think it fair for him to have to do it again. If this is the case we could consider that Goldsmith's score was unused.

Anyway, I really prefer the work unused that rejected, more when we're speaking about my favorite composer.

Best!!

On a similar theme, here's another action pack, this time all classical.



http://rapidshare.com/files/232321378/Classical_Action_Pack.rar
320kbps / 174MB / 12 tracks / 1hr 16 mins
Let me know what you think, as I may post another :)

Thanks for this! I would be interested in another, if you haven't already started developing one, that is. ;)

From what I remember, it wasn't rejected per se. Donnor did like the music but it didn't fit the film's tone when it was re-edited.

This is the theory that I describe in the previous post. The real thing is that nobody knows by sure what happened.

For me when one author composes or writes a piece of music and this is not used because it doesn't fit with the images it is clearly a rejection beyond that we believe that Donner liked Goldsmith's music or the decision was after the film was re-edited.

This is a paragraph from http://www.jerrygoldsmithonline.com/timeline_review.htm

When the news broke that Jerry Goldsmith's score to Timeline would not be used and a replacement score would be sort the film music community was in a state of shock and Goldsmith fandom especially, were livid. The composer had suffered a handful of rejected scores in his long career but this one seemed to beggar belief. Those associated with the film, and attendees of the recording sessions had been unanimous in their praise for the score and it was thought that the only thing to be announced after its recording was a date for the soundtrack album to be released. Sadly it wasn't to be as Timeline the movie was in trouble and last minute changes in the edit, and a decision by the director to ask for a grittier more action orientated score meant dramatic changes would be required. It appears Goldsmith was offered the chance of a re-score but turned it down feeling his job had been done. Donner, in interview, was generous with his praise for Goldsmith, and his score, taking responsibility for the rejection saying that Goldsmith had done what he had asked; to write a very specific kind of score, that played down the action, and in his words was a very strong orchestral piece. But when Donner laid it up to the picture he felt the score needed to be much more aggressive and full on.

A lot of specialized internet webs called it Timeline - Rejected:

http://www.soundtrack-express.com/osts/timelinerejected.htm
http://www.mundobso.com/es/verbandasonora.php?id=4119
http://www.movie-wave.net/titles/timeline_goldsmith.html
http://www.soundtrackcollector.com/catalog/soundtrackdetail.php?movieid=53258
http://www.scoremagacine.com/Resenas_det.php?Codigo=149&letra=

Something similar happened with other works by Goldsmith and other authors and normally the people consider them as rejected more than unused. Other thing is that the word unused sounds more politically correct, but an the end it is the same.

Best!!!

Thanks for that info garcia. I think we’re all basically singing from the same hymn sheet on this; it’s just a difference of designation. It was a flip of a coin when I made the post whether to use 'rejected' or not, but simply for the fact that things weren't so cut and dried in this case, and Goldsmith had produced what was required of him (that is, before the no doubt idiotic post-post-production decisions that were made - more action emphasis, less subtlety, faster cutting) I thought it didn't really fit. 'Unused' still implies as much anyway, and, as you suggest, doesn't sound so uncomfortable as to consider one of the final works of a great artist and a great man a 'reject'! But I wasn’t insisting on this as a technical term in any way - hehe - merely an issue of semantics and not important in the slightest to the quality of the music :D

Thanks for this! I would be interested in another, if you haven't already started developing one, that is. ;)

I haven't put anything together yet, as I been pretty busy, but it will materialise at some point over the summer! In the meantime here's a great selction on classical stuff by streichorchester:
http://forums.ffshrine.org/showpost.php?p=1120904&postcount=89

And a film music one I did earlier:
http://forums.ffshrine.org/showpost.php?p=1230035&postcount=1713

Thanks for that info garcia. I think we�re all basically singing from the same hymn sheet on this; it�s just a difference of designation. It was a flip of a coin when I made the post whether to use 'rejected' or not, but simply for the fact that things weren't so cut and dried in this case, and Goldsmith had produced what was required of him (that is, before the no doubt idiotic post-post-production decisions that were made - more action emphasis, less subtlety, faster cutting) I thought it didn't really fit. 'Unused' still implies as much anyway, and, as you suggest, doesn't sound so uncomfortable as to consider one of the final works of a great artist and a great man a 'reject'! But I wasn�t insisting on this as a technical term in any way - hehe - merely an issue of semantics and not important in the slightest to the quality of the music :D

Agree

Welcome to China

Dizi - The Beautiful Greeting from China

Nǐhǎo! Sh�u huāny�ng de y� Zhōng (Hello! Welcome to China)

Sorry for the big pictures ^^ and enjoy the Music from China, especially the sound from the Dizi (chinese Flute)

Great Wall of China


Terracotta Warriors, Xi'an, Shaanxi province, China near the Mausouleum of the First Qin Emperor


Li River Guangxi


China Rice Terraces - Guangxi



01. Six Clappers In Zhong Hua, performed by Chen Zhong >> folklore, warm, hovering
02. Hanging Red Lanterns, performed by Feng Zichun >> cheerful, buoyant, dancing
03. A Young Cowherd's Melody, performed by Liu Sen >> gentle, vivid, narrative
04. Hurry On The Journey, performed by Wang Tiechui >> hectic, expectant, graceful
05. A Little Soldier Bravely Went Through The Blockade, performed by Chen Dake >> powerful, a little bit battlesome, narrative
06. A Boat Song in the River Region, performed by Jiang Guoji >> beautiful, warm, graceful
07. A Gold Bar, performed by Huang Jincheng >> expectant, vivid, hardworking
08. The Beautiful Northern Shaanxi, performed by Gao Ming >> buoyant, cheerful, beautiful
09. Splendid Beauties Of Nanshan, performed by Li Zengguang >> beautiful, hovering, relaxing
10. The Flower Of Hsin-Jang, performed by the Ming Flute Ensemble >> calm, bittersweet, narrative

Sendspace
Dizi - The Beautiful Greeting from China (http://www.sendspace.com/file/may2hi)

Rapidshare
Dizi - The Beautiful Greeting from China (http://rapidshare.com/files/243068759/Dizi_-_The_Beautiful_Greeting_from_China.zip)

PS: Thank you very much for the last posts with great music, a big thanks to the uploader, much appreciated

@Billie781: Could you provide another link for your files? I love asian instrumental musics and sadly, I cant listen to these songs T.T because of the filehoster

@Billie781: Could you provide another link for your files? I love asian instrumental musics and sadly, I cant listen to these songs T.T because of the filehoster

It's Rapidshare better for you?

anything other than sendspace is welcomed.. thanks in advance

you are welcome, i upload the compilation now on rapidshare ^^

Dizi - The Beautiful Greeting from China upload on Rapidshare

Hey guys, while we are on the topic of the Master Goldsmith himself, has anyone listened to his music for Kull the Conqueror? Its a very fun fantasy soundtrack, that fits right alongside with The 13th Warrior and The First Knight.

Dizi - The Beautiful Greeting from China upload on Rapidshare

Thank you so much! the instrumentals are great.. cant express it on words xD Thanks again Billie!

Hey guys, while we are on the topic of the Master Goldsmith himself, has anyone listened to his music for Kull the Conqueror? Its a very fun fantasy soundtrack, that fits right alongside with The 13th Warrior and The First Knight.

Kull The Conqueror is not a work by Jerry Goldsmith, it is a score by his son, Joel Goldsmith. For me it is impossible to compare Kull The Conqueror with a master piece as First Knight.

Goldsmith son needs a lot to learn in order to be closer to his father.

Anyway I like pretty much Joel works for Stargate(s) series. And this one, Kull The Conqueror is not bad. Probably one of his best works. I like too his score for other TV miniseries, Helen of Troy. It is nice.

Best!!!

good thread

Kull The Conqueror is not a work by Jerry Goldsmith, it is a score by his son, Joel Goldsmith. For me it is impossible to compare Kull The Conqueror with a master piece as First Knight.

Goldsmith son needs a lot to learn in order to be closer to his father.

Anyway I like pretty much Joel works for Stargate(s) series. And this one, Kull The Conqueror is not bad. Probably one of his best works. I like too his score for other TV miniseries, Helen of Troy. It is nice.

Best!!!

LOL... :D

I agree 100% with this post.

Thank you so much! the instrumentals are great.. cant express it on words xD Thanks again Billie!

You are very welcome and I am glad, that you like this music ^^

Kull The Conqueror is not a work by Jerry Goldsmith, it is a score by his son, Joel Goldsmith.

:ashine:

You are very welcome and I am glad, that you like this music ^^

Thanks a lot for this new compilation, Billie. I didn't even have the time to try the previous one, and here's another one! I'll enjoy both of them this weekend, when I'll have at last some free time. And again, very nice choice of pics.

Thanks again for these tasteful treats. :)

Thanks a lot for this new compilation, Billie. I didn't even have the time to try the previous one, and here's another one! I'll enjoy both of them this weekend, when I'll have at last some free time. And again, very nice choice of pics.

Thanks again for these tasteful treats. :)

You are very welcome, too, Arthierr. I love to make compilations with chinese and japanese instrumentworks and i am very glad, that you and the others like my compilations.
Hehe, I have luck by the search from pictures. Ones again you are welcome XD

I haven't put anything together yet, as I been pretty busy, but it will materialise at some point over the summer! In the meantime here's a great selction on classical stuff by streichorchester:
http://forums.ffshrine.org/showpost.php?p=1120904&postcount=89

And a film music one I did earlier:
http://forums.ffshrine.org/showpost.php?p=1230035&postcount=1713

Many thanks for the links, kind sir.

EDIT: streichorchester, would you mind re-uploading Hardcore Ballet for me? Dang link is down.

Regarding Joel - it actually freaks me out a little listening to his music sometimes.. I mean, it can be pretty good, but it's kind of too similar to Jerry's on one level and not enough at the same time. He's got some of his dad's rhythmic verve and ballsy action on the go (Helen of Troy and Moon 44 come to mind) but to be honest I think he would be better finding a more original style of his own. As competent and talented as he is I never get the sense of any true inspiration behind the music - or at least it doesn't translate over to me that way. Jerry can sweep you away; sometimes even against expectations with a cheesy melody (Powder, Rudy.. heck even the synth rendition of the main theme to Hoosiers has joie de vivre to spare!). This is because you get the intimate sense of a warm human being behind it all (especially in the 'innocence' of those just mentioned).

I know Joel hasn't had many great assignments, but the way he writes he's asking to be in the shadow of his father.

Joel Goldsmith... is stuck between a rock and a hard place. His father was one of the most legendary composers who ever lived, and essentially his most well known music (additional scoring for Star Trek - First Contact) was a very deliberate imitation of Jerry's style.

After that, I would guess that his Stargate scores are most well known - and these, as dictated by the genre and the history of the franchise, demanded a slightly more florid style - not to mention copious usage of David Arnold's theme.

Living in Jerry's shadow must be a terrible thing. If my father was Jerry Goldsmith, I would've chosen a career as far away from music as I could because I would've realised how it would all play out:

a) You get the reputation for "Jerry-on-a-budget"
b) You never get a chance to develop your own style, because almost 100% of your musical influence is coming from your father.
c) People moan at you because, if you emulate his style but don't match his greatness - that's bad. People smell a cheap knockoff and forever associate your name with being second class.

If you reject that and forge your own style, who's going to hire you?

Then people will say, "Heh, he wasn't good enough to follow in his father's footsteps / he disrespects his father's memory by abandoning his style!" - end result, second class composer once again.

I wonder if he balanced up the options earlier in his career and decided to become the lesser of two evils; a mini-Jerry?

As Lens observed, with Joel I sense technical mastery but not a great deal of soul. It's all a strangely mechanical, hollow emulation of Jerry.

Kull The Conqueror is a real guilty pleasure of mine - you're probably all expecting me to hate it because it has a beat, but taken on its own merits, it's a shed-load of fun and has enough of that Goldsmith vibe to keep my mind interested. But - when all is said and done - it's a pale imitation of Goldsmith senior.

Brotherhood Of The Gun (Hollister) (1991)

Here a rare work. A collaboration between the two Goldsmith, the main theme was composed entirely by Jerry Goldsmith, the rest by Joel:

http://www.4shared.com/file/111274253/3e3324a4/01_-_Main_Title__Version_1_.html

(http://www.postimage.org/)

http://www.megaupload.com/?d=B88NC7M8

01. Main title - version 1
02. Main title - version 2
03. Main title - version 3
04. Startin' trouble
05. Situation at sunset creek
06. Hardship
07. Welcome to hollister
08. Someone's gonna die today
09. Riding out
10. A more involved situation
11. Brothers
12. A plan comes together
13. Brotherhood of the gun
14. Legends - end title

Enjoy!

Coronado (2003)

Nice adventurer score by Ralf Wienrich (John Williams style)

Sample:

http://www.4shared.com/file/111281813/e2460395/Track_No01.html


(http://www.postimage.org/)

Full:

http://www.megaupload.com/?d=D2XUGGTX

Track listing

1. Overture (02:34)
2. Switzerland (02:41)
3. 30.000 Square Miles (03:44)
4. Scherzo For Truck & Orchestra (04:01)
5. Train Chase (02:33)
6. Campfire (02:22)
7. The Place Of The Dead (04:56)
8. The Bridge (06:23)
9. Through The Waterfall (05:52)
10. The Big Cave (02:46)
11. Rafael's Speech (01:57)
12. I'll Do It! (03:21)
13. One Step Ahead (02:20)
14. Revolution (04:38)
15. Finale (06:06)
16. Epilogue (01:37)
17. Revolution In Paradise (03:03)
18. Mercy (03:25)
From The Coronado International Release

Total Duration: 01:04:19

Enjoy!

And a film music one I did earlier:
http://forums.ffshrine.org/showpost.php?p=1230035&postcount=1713

Lens! Your Action Pack is too action-packed for one CD! I tried burning it, but it looks like there's 45 seconds excess space (that's with gapless playback). Is there 45 seconds of anything I can trim down? Damn, I hate the limitations of CDs...

Yeah, I know, I could listen to it on an MP3 player, but I'd much prefer to enjoy it on my car stereo... Anyway, I'll figure it out.

Lens! Your Action Pack is too action-packed for one CD! I tried burning it, but it looks like there's 45 seconds excess space (that's with gapless playback). Is there 45 seconds of anything I can trim down? Damn, I hate the limitations of CDs...

Yeah, I know, I could listen to it on an MP3 player, but I'd much prefer to enjoy it on my car stereo... Anyway, I'll figure it out.
Or you could get a car stereo with an auxiliary input and plug in your mp3 player...

Lens! Your Action Pack is too action-packed for one CD! I tried burning it, but it looks like there's 45 seconds excess space (that's with gapless playback). Is there 45 seconds of anything I can trim down? Damn, I hate the limitations of CDs...


You could fade out on the long trilll at 4:37-4:48 in 'Escape' from Prince Valiant. I intended to edit the very end of that track anyway as it's rather abrupt, originally flowing on straight into the next. Sorry, I didn't really think about cd length when I made this :)

Garcia, isn't the theme from Brotherhood of the Gun brilliant! I only have a cd with the various iterations of this tune, so I'm curious to hear the rest. Will check out Coronado too - Wienrich is new to me. Cheers.

Garcia, isn't the theme from Brotherhood of the Gun brilliant! I only have a cd with the various iterations of this tune, so I'm curious to hear the rest. Will check out Coronado too - Wienrich is new to me. Cheers.

Je, je.

Yes, the main theme is really good. I love it since the first time that I listened it.

It is clearly superior to the rest of the work.

Normal!!

I recommend you to listen to this game soundtrack, the musics are beautiful. It's a real pleasure :

Thread 64555

Thanks Garcia, hollister is a solid western style soundtrack. I will comment on Coronodo later.

.

thejoyrider, i believe that was posted here before but I welcome a FLAC version and reiterate how fantastic it is!
Thanks a lot!

Garcia - I find Coronodo to be a solid romantic/adventure orchestral score but lacking in anything that stands out by way of themes. Thanks for sharing nonetheless.

.

my bad. i thought it was NEW new.
No worries, some people might have missed it. The reason it appeared to be new is it was recently re-printed after the initial printing sold out and there was demand for it.
http://www.squareenixmusic.com/musicnews2.php?subaction=showfull&id=1242813464&archive=&start_from=&ucat=2&

A Mel Compilation of Orchestral:
Death & Life

http://melkoret.com/Death_and_Life-Mel~Comp.rar


This is a collection of mostly sad songs and a few more upbeat and lively ones thrown in too. Tell me what you think, and dont forget to save that album art, because I forgot to include it! :)


Sorry for the delay of the reply, Mel, but my free time is so limited that I have to procrastinate a lot. Thanks again for this nice and diverse compilation. I'll say it straight, I'm not a fan of slow / sad / minimalistic music, so I prefer a lot the pieces not in this vein in your pack. Here are my favorites:

Track 1 (title?): very nice relaxing and semi-romantic piece. I especially like the use of the saxophone in it, as I'm a big fan of this instrument, which has such melodic timbre and natural sensuality.

The Great Jedi Purge: you can't go wrong with Williams, especially when he's in big orchestral SF / fantasy / adventure mode.

Ronfaure is a true marvel. The arranger took Uematsu's simple but beautiful melody and tastefully arranged it into a very nicely crafted symphonic version. The result is delightful. This is probably my favorite piece with "Nuclear Scam" in your compilation.

Nuclear Scam: It's Poledouris at his best. This piece is an epic masterpiece, featuring several exceptional cues, like the grandiose outburst at :46, or the choral part at 5:02. In fact, its long and complex nature makes it sound like a (virile) tone poem.

Quigley Down Under: Poledouris can be good in apparently any genre. When I 1st listened to this score I was fascinated by his remarkable mastery of western music. A greek-born composer managing to render so brilliantly americana music, that's quite a tour-de-force!


Ps: This weekend I'll post my Sakuraba flute compilation for you. :)

Garcia: Thanks a lot for Brotherhood Of The Gun and Coronado. Both are unknown to me. I'm especially interested in Coronado because of the Indiana Jones similarity. I appreciate the name of the track "Scherzo For Truck & Orchestra" which is a direct homage / reference to "Scherzo For Motorcycle & Orchestra" from Indy 3. I just started listening to it and it's clearly inspired from the Indiana Jones series (which is a very good point :)) and it sounds very good. I'll post more comments after a full listening.


thejoyrider: thanks for Symphonic Shades in flac! This beautiful album really deserves a lossless version.

Many thanks for the links, kind sir.

EDIT: streichorchester, would you mind re-uploading Hardcore Ballet for me? Dang link is down.

Sorry, but where I am now I have no access to my music, probably won't until July at the earliest. If someone else can repost it, I will edit my post to include the new link. My bad for initially using a hosting service that deletes the content in a few days I guess.

I'm still keeping my eye on this thread though. There's a lot I have to play catch up with.

Coronado (2003)

Nice adventurer score by Ralf Wienrich (John Williams style)



WOW! Thanks for this.

This movie is a guilty pleasure for me. Great SFX and a wonderful score, but Coronado is what happens when special effects wizards (they did the FX to Independence Day) decide to make their own movie. Still great fun.

And the score helps a lot!

One of the most underrated composer I've seen is Robert Folk. He's one of those incredibly talented neo-classical composers who emerged in the eighties, like Horner or Poledouris, but for some reasons his career didn't expand as much as his peers, even though his skills are IMO at the same level. Anyway, here's an exceptional (and incredibly rare) album containing a good number of selected suites from his scores. I especially recommend The Thief and the Cobbler aka. Arabian Knight and The NeverEnding Story II: The Next Chapter, but the other ones are fantastic too. Note: the cover is the composer's self-portrait.



Robert Folk - Selected Suites

Music composed by Robert Folk
Released in 1993
Also contains music from:
To Dream of Roses
Arabian Knight
Toy Soldiers
The NeverEnding Story II: The Next Chapter
Tremors
A Troll In Central Park
Miles From Home
The Planets
Can't Buy Me Love
Police Academy

MP3 320 kbps

Thanks to Joserael


http://rapidshare.com/files/137120159/Folk_1.zip

http://rapidshare.com/files/137145976/Folk_2.zip







Track listing

CD 1

01. The Thief and the Cobbler (13:05)
aka. Arabian Knight, performed by the London Symphony Orchestra
02. Toy Soldiers (13:51)
performed by Dublin Symphony Orchestra
03. The Neverending Story 2 (16:58)
performed by Munich Symphony and Berlin Radio Symphony
04. Tremors (09:00)
performed by LA Philharmonic Orchestra
05. Troll In Central Park (13:00)
performed by Dublin Symphony Orchestra

CD 2

01. Miles From Home (21:35)
performed by Dublin Symphony Orchestra
02. The Planets (20:31)
performed by Paris Philharmonic Orchestra
03. Can't Buy Me Love (10:04)
performed by Dublin Symphony Orchestra
04. Police Academy (09:13)
performed by Dublin Symphony Orchestra
05. To Dream Of Roses (15:37)
performed by the London Symphony Orchestra

Total Duration: 02:22:54

There's some gorgeous stuff on this. I think I prefer Folk in lyrical mode. The two scores you single out are indeed panoramically beautiful; such fluid orchestrations. The main themes are 'variations' on one another too :)

This reminds me, Disney have to get their fingers out and reconstruct The Thief and the Cobbler to its original design! There's some wonderful stylised animation in there. Shame the eventual release version is so botched.

Robert Folk


Official website:
http://www.robertfolk.com/


IMDB:
http://www.imdb.com/name/nm0006077/


Short biography from his website:

Robert Folk is a graduate and former faculty member of the famed Juilliard School in New York City. Since completing his doctorate, Mr. Folk has composed and conducted the musical scores for over 50 feature films. His extensive credits include ACE VENTURA: WHEN NATURE CALLS, NOTHING TO LOSE, TREMORS, THE NEVERENDING STORY II: THE NEXT CHAPTER, TOY SOLDIERS, POLICE ACADEMY, KUNG POW! ENTER THE FIST, BOAT TRIP, BACK IN THE DAY, AMERICAN PIE: BAND CAMP and most recently, VAN WILDER 2 and VIVALDI.

Robert Folk has worked with many top filmmakers including Steve Oedekerk, George Gallo, Dan Petrie Jr., Gary Sinise, Hugh Wilson, Jonathan Betuel, Don Bluth, Jon Davison, Gary Goldman, Steve Rash, David Permut, Andy Hurst, Gene Quintano, Roger Birnbaum, Ron Underwood, Mark Burg, Thom Mount, Paul Maslansky, Michael Caleo, George Miller, Fred Zollo, Marty Bregman, Gale Anne Hurd, Marco Weber, Ringo Lam, James Robinson, Richard Williams, Jake Eberts and Gary Barber, to name a few.

Mr. Folk has also composed and conducted numerous concert works including Symphonic, Vocal and Chamber music compositions. His Ballet “To Dream Of Roses,” composed for the Osaka Worlds Fair, was recorded by the London Symphony Orchestra. Mr Folk is a member of the Academy of Motion Picture Arts and Sciences, and the American Society of Composers, Authors and Publishers.

He is a prolific songwriter and producer, and has conducted many prominent orchestras including: The London Symphony Orchestra, The Royal Philharmonic Orchestra, The Berlin Radio Orchestra, The Munich Symphony, The Dublin Symphony Orchestra, The Moscow Symphony Orchestra and the London Sinfonia.

Interview with Robert Folk:
http://www.scorenotes.com/Robert_Folk.xml

Vivaldi is going to be huge for Folk. Let's face it, even total classical music philistines LOVE Vivaldi. Wished he had gone into a little more detail about how he's going to approach 'tying everything together'. Guess we'll have to wait and see :) Also mentions the possibility of releasing a 'best of' all the Police Academy films on disc and an expanded Neverending Story II!! If the You're Dead sample on his website is anything to go by then I can see why he says its a favourite - let's hope it gets a release!

@arthierr - I've re-ripped the Biohazard Orchestra Album (http://forums.ffshrine.org/showpost.php?p=1262736&postcount=2725) complete with CUE/LOG files and high-res scans of the covers, enjoy.

Sorry for the delay of the reply, Mel, but my free time is so limited that I have to procrastinate a lot. Thanks again for this nice and diverse compilation. I'll say it straight, I'm not a fan of slow / sad / minimalistic music, so I prefer a lot the pieces not in this vein in your pack. Here are my favorites: ................

Ps: This weekend I'll post my Sakuraba flute compilation for you. :)

Hey well you actually have perfect timing, as I have been away since I last posted that compilation.
I no longer have a internet connection on my desktop, and havnt been able to download much of wel... anything in quite a while lol.

I'll definetly check out your compilation tho. (smuggle it from my work computer haha)

ANTHONY ADVERSE (ERICH WOLGANG KORNGOLD) � 1936

Thanks to str2





Track listing

1. The Lovers (11:01)
2. Anthony Is Born (10:30)
3. Casa Da Bonnyfeather (08:38)
4. Anthony And Angela (07:47)
5. From Leghorn To Cuba (07:09)
6. Adventures In Africa (11:18)
7. Anthony Returns To Europe (16:44)

Total Duration: 01:13:07


http://rapidshare.com/files/61764766/ANTADERWOKO.rar


Pass:
str2-tai

Nice post Garcia, may I ask does it have that really old movie sound to it or is it a better master?

Today I uploaded a nice score for certain chapter from the British series Greatest Performances, in this case belonging to the episode titled Monsignor Quixote, a contemporaneous history written by Graham Greene and of course inspired in the old Don Quixote. Two great actors as Alex Guinnes and Leo McKern have the main roles in this episode as Father Quixote and Sancho Zancas:

(http://www.postimage.org/image.php?v=aVFrAQJ)

http://en.wikipedia.org/wiki/Monsignor_Quixote

The score has a typical Spanish style, so if you don't like Spanish guitars or things as The Concierto de Aranjuez forget it, if you like enjoy it. The soundtrack was composed by a very known composer in Spain Anton Garcia-Abril:

Samples:

http://www.4shared.com/file/112099216/1b4fc805/01_-_Monsignor_Quixote.html

http://www.4shared.com/file/112100528/69d15e1a/03_-_Streets_of_toboso.html

(http://www.postimage.org/image.php?v=aVFrSiJ)

http://www.megaupload.com/?d=QCLGSSIY

Track listing

1. Monsignor Quixote (03:05)
2. Rocinante (02:24)
3. Streets of Toboso (04:00)
4. Twilight in La Mancha (04:41)
5. Companeros (03:38)
6. Windmills or Giants? (03:35)
7. Let Me Feel Temptation (04:58)
8. Dulcinea (04:57)
9. Adventures in the Mind (03:36)
10. 'In a Certain Village...' (03:50)
11. Thoughts of a Distant Friend (03:50)

Total Duration: 00:42:34

Nice post Garcia, may I ask does it have that really old movie sound to it or is it a better master?

It is a new recording by the great John Scott, so the sound is good, however the files are to 160. Sorry about this last.

Best

It is a new recording by the great John Scott, so the sound is good, however the files are to 160. Sorry about this last.

Best
Thanks! Will check it out.

Joel Goldsmith... is stuck between a rock and a hard place. His father was one of the most legendary composers who ever lived, and essentially his most well known music (additional scoring for Star Trek - First Contact) was a very deliberate imitation of Jerry's style.

After that, I would guess that his Stargate scores are most well known - and these, as dictated by the genre and the history of the franchise, demanded a slightly more florid style - not to mention copious usage of David Arnold's theme.

Living in Jerry's shadow must be a terrible thing. If my father was Jerry Goldsmith, I would've chosen a career as far away from music as I could because I would've realised how it would all play out:

a) You get the reputation for "Jerry-on-a-budget"
b) You never get a chance to develop your own style, because almost 100% of your musical influence is coming from your father.
c) People moan at you because, if you emulate his style but don't match his greatness - that's bad. People smell a cheap knockoff and forever associate your name with being second class.

If you reject that and forge your own style, who's going to hire you?

Then people will say, "Heh, he wasn't good enough to follow in his father's footsteps / he disrespects his father's memory by abandoning his style!" - end result, second class composer once again.

I wonder if he balanced up the options earlier in his career and decided to become the lesser of two evils; a mini-Jerry?

As Lens observed, with Joel I sense technical mastery but not a great deal of soul. It's all a strangely mechanical, hollow emulation of Jerry.

Kull The Conqueror is a real guilty pleasure of mine - you're probably all expecting me to hate it because it has a beat, but taken on its own merits, it's a shed-load of fun and has enough of that Goldsmith vibe to keep my mind interested. But - when all is said and done - it's a pale imitation of Goldsmith senior.


i think joel is limited to doing tv shows, but when hes given the big toys to play he emulates his father very well. i want him to carry on that style. goldsmith is the real sound of hollywood, not williams, in my view. i think an album like sg1 continuum was a really good showcase of what he can do when he's not doing the tv show music scores with synths and cheap sounds.

do miss that modern movies will never sound like the mummy or innerspace again.....

goldsmith is the real sound of hollywood, not williams, in my view.. do miss that modern movies will never sound like the mummy or innerspace again.....

So glad to hear someone say this - I know exactly what you mean! Williams is a brilliant composer and a great melodist, and all the Lucas-Spielberg collaborations have implanted his music in the mass consciousness.. BUT Goldsmith has unassumingly excelled in every genre and scale of film. His is a truly 'modern', original sound, whereas I think Williams is perhaps a bit safer and conservative. And even though Jerry generally has a reputation for his 'edgier' qualities - powerful action, experimentation, synths - he stands out just as much for a sense of pizzazz and 'showmanship' virtually unequalled in Hollywood. The wonder of it is that he manages to be so big and Hollywood and entirely sincere at the same time, so much the consummate artist!

@arthierr - I've re-ripped the Biohazard Orchestra Album (http://forums.ffshrine.org/showpost.php?p=1262736&postcount=2725) complete with CUE/LOG files and high-res scans of the covers, enjoy.

Nice, Protium. I was satisfied with the previous one, but thanks for doing a better rip. :)


Garcia: thanks a lot for these rare treasures you frequently post here. I'm quite impressed by the variety of the orchestral scores you can find.


It is a new recording by the great John Scott, so the sound is good, however the files are to 160. Sorry about this last.
John Scott is indeed a superb orchestrator / conductor. Not only is he a remarkable composer, but he can also greatly enhance other composers' music.



Interview with Robert Folk:
http://www.scorenotes.com/Robert_Folk.xml

Vivaldi is going to be huge for Folk. Let's face it, even total classical music philistines LOVE Vivaldi. Wished he had gone into a little more detail about how he's going to approach 'tying everything together'. Guess we'll have to wait and see :) Also mentions the possibility of releasing a 'best of' all the Police Academy films on disc and an expanded Neverending Story II!! If the You're Dead sample on his website is anything to go by then I can see why he says its a favourite - let's hope it gets a release!
The link doesn't seem to function. Here's a link to the audio interview:


Discussion with Composer Robert Folk
http://www.scorenotes.com/interviewArchive/robert_folk.html




I'd also like to point out that I already posted the full score of The Neverending Story II long ago in this board, but the link has expired...

Good evening ladies and gentlemen :)

Today, I present to you a REAL STUNNER - and one which is absolutely impossible to find online, and very nearly impossible to find on sale due to its out-of-print status. It's a much sought-after score, and for good reason - it's one of the very best. If you're into Giant Robo, you're going to LOVE this. In many ways it exceeds the more famous Robo scores and manages to do so with considerably less plagiarism!


MASAMICHI AMANO
Super Atragon (Shin Katei Gunkan)
The Warsaw Philharmonic National Orchestra of Poland
The Versailles Orchestra
conducted by Masamichi Amano

(LAME -V0, all covers and booklet included)



http://www.rapidspread.com/file.jsp?id=02efepo7qa (PART ONE)
http://www.rapidspread.com/file.jsp?id=fmwyor9qbi (PART TWO)

1. 1945, Day of Destiny
2. Theme of the Hyuga Family
3. Theme of the Undersea Battleship (Main Title)
4. Departure for the South Pole
5. Giant Column Indra
6. Menace of the Gravity Lenses
7. Theme of the un Forces
8. Fortress Bimarna, Spotted
9. Theme of Eternal Love to the Ends of the Deep Blue Sea (Theme of ...)
10. Mystery of the Giant Meteorite
11. Battle in the Sky
12. Return of the Ra
13. Truth of 1945
14. Go and Annette
15. Deepening Love
16. Triangle Battle
17. Launch of the Water Dragon
18. Attack of the Super Vibration Wave
19. Decisive Battle When the Pacific Ocean Was Dyed Red (Ra vs. Liberty)
20. Launch into the Unknown (Ending)


Note: The original Japanese CD released in 1997 is impossible to find and has been out of print for a decade or more. This rip is from the 2003 short-lived American repressing, released by ADV Music - which is also impossible to find, but nevertheless I have the disc in my greasy paws. ;)

The contents and sound quality are identical.

Amazing post Danny !!
I'm looking for this awesome music for ages
Thanks so much

Good evening ladies and gentlemen :)

Today, I present to you a REAL STUNNER - and one which is absolutely impossible to find online, and very nearly impossible to find on sale due to its out-of-print status. It's a much sought-after score, and for good reason - it's one of the very best. If you're into Giant Robo, you're going to LOVE this. In many ways it exceeds the more famous Robo scores and manages to do so with considerably less plagiarism!


MASAMICHI AMANO
Super Atragon (Shin Katei Gunkan)
The Warsaw Philharmonic National Orchestra of Poland
The Versailles Orchestra
conducted by Masamichi Amano

(LAME -V0, all covers and booklet included)



http://www.rapidspread.com/file.jsp?id=02efepo7qa (PART ONE)
http://www.rapidspread.com/file.jsp?id=fmwyor9qbi (PART TWO)

1. 1945, Day of Destiny
2. Theme of the Hyuga Family
3. Theme of the Undersea Battleship (Main Title)
4. Departure for the South Pole
5. Giant Column Indra
6. Menace of the Gravity Lenses
7. Theme of the un Forces
8. Fortress Bimarna, Spotted
9. Theme of Eternal Love to the Ends of the Deep Blue Sea (Theme of ...)
10. Mystery of the Giant Meteorite
11. Battle in the Sky
12. Return of the Ra
13. Truth of 1945
14. Go and Annette
15. Deepening Love
16. Triangle Battle
17. Launch of the Water Dragon
18. Attack of the Super Vibration Wave
19. Decisive Battle When the Pacific Ocean Was Dyed Red (Ra vs. Liberty)
20. Launch into the Unknown (Ending)


Note: The original Japanese CD released in 1997 is impossible to find and has been out of print for a decade or more. This rip is from the 2003 short-lived American repressing, released by ADV Music - which is also impossible to find, but nevertheless I have the disc in my greasy paws. ;)

The contents and sound quality are identical.

Downloading. Have never heard of this, but the cover looks cool. :)

OKay people! The Transformers 2 soundtrack has been leaked. I want you hardcore music fanatics (I'm looking at you Dannyfrench :) ) to post a big rant by day's end! Move out!

Today, I present to you a REAL STUNNER - and one which is absolutely impossible to find online, and very nearly impossible to find on sale due to its out-of-print status. It's a much sought-after score, and for good reason - it's one of the very best. If you're into Giant Robo, you're going to LOVE this. In many ways it exceeds the more famous Robo scores and manages to do so with considerably less plagiarism!

[CENTER]MASAMICHI AMANO
Super Atragon (Shin Katei Gunkan)
The Warsaw Philharmonic National Orchestra of Poland
The Versailles Orchestra
conducted by Masamichi Amano

(LAME -V0, all covers and booklet included)

http://www.rapidspread.com/file.jsp?id=02efepo7qa (PART ONE)
http://www.rapidspread.com/file.jsp?id=fmwyor9qbi (PART TWO)

Remarkable post, Danny! This is truly some ultra-rare stuff (and hence, by posting it, you don't actually do piracy, but popularize culture and great music). My listening of Amano's music was mostly limited to the series you mention and Battle Royale, which are great scores but awfully vitiated by multiple and blatant plagiarisms. Concerning this one, it's the very 1st time I hear about it, so it'll be a great pleasure to try it.

Thanks for such a great present for us to enjoy. :)

Sorry, but where I am now I have no access to my music, probably won't until July at the earliest. If someone else can repost it, I will edit my post to include the new link. My bad for initially using a hosting service that deletes the content in a few days I guess.

Haha, good news! I've found the HARDCORE BALLET deep inside one of my numerous external HDD. I'll repost it ASAP.

Well, this one really is an antidote to all these modern scores that think they're "epic" but really what they are loud, incompetent, artless, and superficial. If anybody is wondering what it's like and whether it's worth downloading or not... It's one of those larger-than-life, absolutely monolithic scores with operatic scale, memorable themes, lush and sumptuous orchestrations - and, in this case, a magnificent performance by a massive ensemble. One of those scores that loudly proclaims "I am absolutely, positively NOT going to hide in the shadows; I am music and I am here to be heard!"

There are powerful, full-throttle action setpieces (Triangle Battle). There is dissonant, desperate symphonic pandemonium (Giant Column Indra). There is sumptuously melancholy romance (Go And Annette, Deepening Love). And the end credits piece (Theme of Eternal Love to the Ends of the Deep Blue Sea) is a powerful, rousing tone poem for full orchestra and chorus - that evolves into the most amazing, expansive romantic theme for full ensemble - rolling timpani, proud brass, soaring strings, fluttering woodwinds, and gorgeous late romantic harmonies that bring me to tears every single time.

What more can I say? This is absolutely a classic. Not just in the world of anime, or even in the world of film scoring; this is simply superb music.

As for Transformers... I wore out my ranting skills on Wolverine - I've adopted a somewhat different style on the forum since that time and I think I've learned from my mistake. When I see the nonsense in that thread (best score of the year, absolutely amazing, sooo epic) I honestly don't think any comments I could make would be received with anything but aggression and childish mudslinging. I've had enough of that. I much prefer the atmosphere in threads like this one.

I haven't listened to Jablonsky's Transformers score yet, and to be honest I don't think I will. I've really got to the stage where I don't see any point in constantly giving these scores "a chance" when I know that, inevitably, they will be more of the same - repetitive, derivative, incoherent racket with amateurish orchestrations, bathed in noise and percussion and cliched synthesisers; all to try to disguise the fact that, underneath it all, the music is heartless, emotionless cobblers written by "composers" who couldn't score their way out of a wet paper bag. These aren't musicians; they're unskilled businessmen - who take advantage of low audience expectation and, yes, low audience sophistication (and dare I say it, the general shitness exhibited by most contemporary movies) by filling up multiplexes with auditory wallpaper. [RANT OVER - Thankyou for listening.]

Remarkable post, Danny! This is truly some ultra-rare stuff (and hence, by posting it, you don't actually do piracy, but popularize culture and great music). My listening of Amano's music was mostly limited to the series you mention and Battle Royale, which are great scores but awfully vitiated by multiple and blatant plagiarisms. Concerning this one, it's the very 1st time I hear about it, so it'll be a great pleasure to try it.

Thanks for such a great present for us to enjoy. :)

I'm a big fan of Battle Royale. The guy helped himself to great swathes of other scores - including one of my favourites (Poledouris' Starship Troopers) but he has enough of his own style going on that I could still enjoy it. It's a different feeling than the one I get from Kanno; if you take away Kanno's plagiarism and clever orchestrations, you've got nothing left. But Amano's plagiarism - whilst very noticeable at times - almost feels as though it's just along for the ride, aboard something much much greater.

Giant Robo is, for this reason, one of my absolute guilty pleasures - I love it all, every single note. But I've been looking for Super Atragon for years and years and years, and having heard it for the first time today, it really floored me. It's Giant Robo grown up - stylistically they're similar scores (particularly in Amano's absolutely unique orchestral technique) but it seems as though he's switched off the temp-track generator and just went along with his instincts. There is a vague sound of Akira Ifukube in one track, but that's clearly a homage as Ifukube scores the original live-action version of Super Atragon in the sixties.

Reading through the sleeve notes for this album, it's clear that Amano is very deeply proud of his work on Atragon - his introduction borders on arrogance: He spends roughly half of his time talking about how great his score is, and how everybody involved in the production was in awe of the music. Oddly enough, the brilliance of the score seems to justify this: He was obviously hyped throughout the production (he confesses a strong affinity to the genre and is a big fan of the original sixties film) and it shows through in his music.

For more Amano in orchestral-mode, I wholeheartedly reccommend the second disk of The Urotsuki. Only in Japan would you get an 80-piece orchestra performing an operatic score to a tentacle-rape show...

He doesn't seem to be doing much anime lately - I think his last was Stratos 4 Advance in 2005. Recently he's scored the Saint Seiya game in the USA (that's going to be AMAZING) and done some orchestration for various other things (Phantasy Star Universe comes to mind) but not a great deal of actual original music. It's a GREAT pity. I wonder why. I hope he gets some good assignments again soon, and is handed a big pot of cash and a bloody big orchestra to record them with...

What happened to those "prestige" shows where you just KNEW you were going to get good music?

Ooh - Tytania coming up tomorrow as well if I remember. Now there's a prestige show!

[CENTER]MASAMICHI AMANO
Super Atragon (Shin Katei Gunkan)
The Warsaw Philharmonic National Orchestra of Poland
The Versailles Orchestra
conducted by Masamichi Amano


http://www.rapidspread.com/file.jsp?id=02efepo7qa (PART ONE)
http://www.rapidspread.com/file.jsp?id=fmwyor9qbi (PART TWO)


This just looks like all kinds of PIMP'ness. Mucho thanks :)

PS- transformers 2 score appears to be out, someone oughta post it here :P

-chao

These aren't musicians; they're unskilled businessmen - who take advantage of low audience expectation and, yes, low audience sophistication (and dare I say it, the general shitness exhibited by most contemporary movies) by filling up multiplexes with auditory wallpaper. [RANT OVER - Thankyou for listening.]

I see your point of view, but as per your own admittance that said movies are shat, do they really deserve truly emotional and fantastic scores? lol.

Probably some of them, yeah. I also would go so far as to agree with you on the business-man point to an extent. A lot of modern scores for these types of movies are meant for maximum epicness and movie experience with far less life of their own in a purely listening environment. Which can be perfectly okay if I'm watching the film with the music, but not so much when I separate the two.

Still though, its all about taste and usage. For example even a score/soundtrack such as "The Island", which is mostly synth can be good for background music during gaming, etc etc.

I have to wonder what wouldda happened if Howard Shore had done the new Star Trek...

I see your point of view, but as per your own admittance that said movies are shat, do they really deserve truly emotional and fantastic scores? lol.

Goldsmith was giving great scores to shit movies for most of his career. ;)

In most cases, the music has outlived the movies.


Which can be perfectly okay if I'm watching the film with the music, but not so much when I separate the two.

True, although I tend to think it's even worse than that. I don't think modern film music is actually serving the film in any way beyond the superficial. Modern composers think music shouldn't be heard so it shouldn't *do* anything except be loud, quiet, etc as the action dictates. Decent composer have a different idea; music shouldn't INTERFERE with the visuals, and perhaps it shouldn't be HEARD in the sense that you're thrown out of the movie to visualising a big orchestra sitting on a scoring stage... But the music is THERE, and it's playing with your subconscious. That's what modern music isn't doing.


I have to wonder what wouldda happened if Howard Shore had done the new Star Trek...

Now THAT is a novel idea for a scoring assignment! I'd love to have heard that one. (Provided Shore was allowed to do his own thing and wasn't flattened with temp track, studio bullshit, directorial meddling, etc.)

For more Amano in orchestral-mode, I wholeheartedly reccommend the second disk of The Urotsuki. Only in Japan would you get an 80-piece orchestra performing an operatic score to a tentacle-rape show...

Oh, you mean these? ;)


Urotsukidoji: Legend of the Overfiend

Music composed by Amano Masamichi

Thanks a lot to Zero Kyori


Urotsukidoji: Legend of the Overfiend Complete Collection I

(http://img519.imageshack.us/my.php?image=uro001gt3.jpg)

Disc 1 - Legend of the Overfiend
www.megaupload.com/?d=5YH7EZ1I

Disc 2 - Legend of the Demon Womb
www.megaupload.com/?d=KJLBXUO1


Urotsukidoji: Legend of the Overfiend Complete Collection II

(http://img144.imageshack.us/my.php?image=uro2001rrqm7.jpg)

Disc 1 - Future Story & Wandering Story (Return of the Overfiend & Inferno Road)
www.megaupload.com/?d=LY3LBKT1

Disc 2 - The Wanderer (The Urotsuki)
www.megaupload.com/?d=EM4NXT0L

!!!!!!

That be they! Warning - the orchestral music is on the very last disk (The Wanderer - Urotsuki).

!!!!!!

That be they! Warning - the orchestral music is on the very last disk (The Wanderer - Urotsuki).

Is it wrong that I am scared to look at it? :<

Is it wrong that I am scared to look at it? :<

I am O_o lol.

Kinda like how I didnt download Lesbian Vampires or whatever its called haha

As for Transformers... I wore out my ranting skills on Wolverine - I've adopted a somewhat different style on the forum since that time and I think I've learned from my mistake. When I see the nonsense in that thread (best score of the year, absolutely amazing, sooo epic) I honestly don't think any comments I could make would be received with anything but aggression and childish mudslinging. I've had enough of that. I much prefer the atmosphere in threads like this one.

I haven't listened to Jablonsky's Transformers score yet, and to be honest I don't think I will. I've really got to the stage where I don't see any point in constantly giving these scores "a chance" when I know that, inevitably, they will be more of the same - repetitive, derivative, incoherent racket with amateurish orchestrations, bathed in noise and percussion and cliched synthesisers; all to try to disguise the fact that, underneath it all, the music is heartless, emotionless cobblers written by "composers" who couldn't score their way out of a wet paper bag. These aren't musicians; they're unskilled businessmen - who take advantage of low audience expectation and, yes, low audience sophistication (and dare I say it, the general shitness exhibited by most contemporary movies) by filling up multiplexes with auditory wallpaper. [RANT OVER - Thankyou for listening.]

okay Danny... I get you don't care for some of Hans' team, I get that. but if that's the case.... your avvy, (awesome pic by the way!!) by some out there consider him everything and more by your definition.... very repetitive, boring, business man.

now I'm not taking anything away from the man, or his Horde for that matter.. ppl will get mad... don't care though when I say: Hans is GOD, his Barbarian Horde is amazing. they create memorable themes. and right now, Jablonsky and Gregson-Williams are on fire right now.
you love Hans. and we are friends figuratively speaking. but you gotta like his team at least too....
just saying...

they create memorable themes.

Creating memorable themes is not hard; I've written hundreds of memorable themes, just like John Williams, just like Howard Hanson, just like Mozart, just like The Beatles, just like The Backstreet Boys, just like Hans Zimmer. The hard part is making them worth listening to. Just being able to hum it in the shower is not enough. Instead I have to hear it performed by a full orchestra in every possible combination and permutation. But that's just me. Complexity is key in my personal listening experience making it difficult for me to like Zimmer just as it is difficult for me to like Alanis Morissette.

I'm seriously on a Howard Hanson kick right now. That guy can write some memorable themes and make it worth my while.

arthierr: if you could repost the hardcore ballet collection in the classical thread you will be my hero.

i'll take a listen to Mr. Hanson, but memorable themes are only easy to those who do them like you, like me. the real trick is arrangement. with exception to The Backstreet Boys, you mentioned ppl who do this stuff in their sleep.... I just don't understand the Zimmer hate? he does the exact thing Williams does.... and HE'S been around longer...

I'm seriously on a Howard Hanson kick right now. That guy can write some memorable themes and make it worth my while.


I love Hanson's music! I wish I had more of his stuff, sadly at the moment I only have his Romantic Symphony, which is one of my favorite pieces of classical music :D

okay Danny... I get you don't care for some of Hans' team, I get that. but if that's the case.... your avvy, (awesome pic by the way!!) by some out there consider him everything and more by your definition.... very repetitive, boring, business man.

now I'm not taking anything away from the man, or his Horde for that matter.. ppl will get mad... don't care though when I say: Hans is GOD, his Barbarian Horde is amazing. they create memorable themes. and right now, Jablonsky and Gregson-Williams are on fire right now.
you love Hans. and we are friends figuratively speaking. but you gotta like his team at least too....
just saying...

Just so you know - my avvy was an April Fool's joke which I just haven't got around to changing yet: I hate Zimmer's team and I hate Zimmer most of all. Just wanted to get that clear. :)

Also - I disagree wholeheartedly with you but I completely applaud your fire, and the fact that (unlike a lot of people here) you gave your opinion without going off into "Hey, you diss Zimmer - you're a fuckbag! Bow and kiss his shoes! He rules and you SUCK!!!" -------- you have no idea how sick I am of that cobblers.

streich: A Hanson kick, eh? Have you got to the seventh symphony yet?

Doublehex: Haha! I know what you mean; you need a strong stomach to appreciate the movies (there's actually a GREAT story going on if you can get over the rape, violence, graphic sexuality, masturbation, tentacles, etc) but listening to the score, you can thankfully put that right out of your mind. It's absolutely sumptuous - very much in the same style as Super Atragon actually; big orchestra, big music, and a theme that will make the hairs stand up on the back of your neck.

Melkoret: By all accounts, the film is piss-poor (it stars two "Comedians" called Horne and Corden, who have a comedy show on BBC Three over here in the UK at the moment - [Recent newspaper review of their live show] - "As my will to live fizzled away, I wondered: how has it come to this? Their final sketch, in which two frilly magicians flounce around, performing crap tricks to a bombastic soundtrack, suggests they can't even make basic silliness funny. Surely they can't sink further.") but the score by Debbie Wiseman, if you don't mind a bit of temp-track-itus, is exceptionally good. :)

MASAMICHI AMANO
Super Atragon (Shin Katei Gunkan)

Thank you so much for this - best score I’ve heard in ages!! I was spellbound from the opening bars. There’s real clarity and energy throughout, barely a redundant moment. ‘Fortress Bimarna, Spotted’ begins like Carl Stalling on steroids but then works itself into something much more nail biting; thrilling brass counterpoint and a rhythmic determination, rhetorically playing phrases off one another, that reminds me of Goldsmith. I got a bit of Lionheart in ‘Triangle Battle’, and ‘Attack of the Super Vibration Wave’ (great title!) forces me to make the obligatory ‘pulled something out of Uranus’ joke. And perhaps I’m in a delicate state at the moment, but I found the love theme incredibly moving too. I’ll have to check out more of this guy!! Thanks again :)

Garcia, Anthony Adverse is a sumptuous treat! Thanks for your continuing excellent posts.


Creating memorable themes is not hard; I've written hundreds of memorable themes, just like John Williams, just like Howard Hanson, just like Mozart, just like The Beatles, just like The Backstreet Boys, just like Hans Zimmer. The hard part is making them worth listening to.
I’m not sure I agree entirely on this. In my view so few composers (and even fewer song writers) actually have a talent for creating good melodies. Count yourself blessed as being among them! A theme can be memorable and still worthless if it doesn’t have a 'resonance' (for want of a better word). Take Giacchino’s proud showboating of his tune for Trek – it couldn’t be more emotionally empty. Or better still, the majority of pop music, which couldn’t be more featureless and generic, yet people don’t have a hard time remembering it. Also, I’m sure I don’t need to say this round these parts, but good music needn’t have themes at all, and nor does this affect its potential memorability.

Having said all this, one of the main reasons I consider Zimmer’s Batman scores a total failure is their pitifully bland approach to thematicising the character – surely unforgivable in this kind of movie. You only have to compare them with Elfman’s or Goldenthal’s for a split second to realise their astounding deficiency in this regard. But I guess it may perhaps be a suitable approach for two such dull, unsubtle, unatmospheric films. I almost gasped at the shameless lowest-common-denominator tactics in Dark Knight when Zimmer (or whoever) simply has a piercing high synth/string glissando getting louder and louder AND LOUDER during the scenes of ‘tension’. What music! What movie-making!


I just don't understand the Zimmer hate
You say this as if Hans Zimmer is somehow being victimised – he’s one of the most insanely popular film composers of all time, and he’s laughing all the way to the bank!!

I love Hanson's music! I wish I had more of his stuff, sadly at the moment I only have his Romantic Symphony, which is one of my favorite pieces of classical music :D

In that case you'll be chuffed to see that Streichorchester has been kind enough to post his complete symphonies!!
http://forums.ffshrine.org/showpost.php?p=1262679&postcount=429

Streich, I've listened to the first two and am in love already! :)

I�m not sure I agree entirely on this. In my view so few composers (and even fewer song writers) actually have a talent for creating good melodies. Count yourself blessed as being among them! (snip)

I also disagree (with Streich) - I find melodies nearly impossible to come by. It's always the part of any new composition that I dread the most; not the orchestration - but simply the themes. Themes don't come easily and good, memorable ones seem even rarer.

A melody doesn't make a piece of music - but it certainly gives the listener something to hook on to.


Take Giacchino�s proud showboating of his tune for Trek � it couldn�t be more emotionally empty.

Indeed... You see why composers don't force themes down your throat like this any more. If you're going to write a theme, make it the central motif, and play it regularly and forcefully... you'd better bloody well make sure it's a good one.

The theme in Star Trek was bland, entirely predictable, emotionally baren, and to top it all off, inappropriate both for a rollicking space adventure and a character based friendship drama; Giacchino claimed he scored Star Trek more from the perspective of the latter.


Or better still, the majority of pop music, which couldn�t be more featureless and generic, yet people don�t have a hard time remembering it. Also, I�m sure I don�t need to say this round these parts, but good music needn�t have themes at all, and nor does this affect its potential memorability.

It does affect memorability to Average Joe. Ask your friends - ask them if they can whistle Indiana Jones. Then ask them if they can whistle The Matrix. Both excellent scores - but the melody will win every time.


You only have to compare them with Elfman�s or Goldenthal�s for a split second to realise their astounding deficiency in this regard. But I guess it may perhaps be a suitable approach for two such dull, unsubtle, unatmospheric films. I almost gasped at the shameless lowest-common-denominator tactics in Dark Knight when Zimmer (or whoever) simply has a piercing high synth/string glissando getting louder and louder AND LOUDER during the scenes of �tension�. What music! What movie-making!

I agree 100% - however, saying that kind of thing round these parts is quite dangerous. It's our very own version of sending Bruce Willis out into Harlem with his infamous plackard. I'll play Samuel L Jackson if you get in trouble, but you may still get beaten up. ;)



You say this as if Hans Zimmer is somehow being victimised � he�s one of the most insanely popular film composers of all time, and he�s laughing all the way to the bank!!

It is the way it goes: The sort of people who love Zimmer/MV are, by definition, the sort of people who will see any criticism - no matter how mild, courteously delivered and well conceived, as a straightforward criminal assault. Musical taste says a lot about personality. I see it all the time.

(This is not a criticism of Zimmer fans and is not intended as an insult; just an interesting [and admittedly off topic] psychological musing.)

It should be noted that this psychological profile is not just limited to music. Criticize any of the following, and you will get interesting results:

The Twilight Saga
Harry Potter
The Elder Scrolls IV: Oblivion
Fallout 3
Final Fantasy VII

I’m not sure I agree entirely on this. In my view so few composers (and even fewer song writers) actually have a talent for creating good melodies. Count yourself blessed as being among them! A theme can be memorable and still worthless if it doesn’t have a 'resonance' (for want of a better word). Take Giacchino’s proud showboating of his tune for Trek – it couldn’t be more emotionally empty. Or better still, the majority of pop music, which couldn’t be more featureless and generic, yet people don’t have a hard time remembering it. Also, I’m sure I don’t need to say this round these parts, but good music needn’t have themes at all, and nor does this affect its potential memorability.

I agree on this distinction between GREAT melodies and MEMORABLE melodies, memorability isn't necessarily a criterion of excellency in music. Many popular or drunk songs are extremely memorable, but I won't call them great music, on the contrary if you listen to Debussy's Nocturnes, the melodies aren't easy to catch, but the maestria of the writing and the sumptuousness of the orchestrations are dazzling. John Williams is IMO the composer who can conciliate these two aspects the best: he can write fantastic melodies, unforgettable AND highly meaningful (for want of a better word, too), moreover he can use them with an uncomparable brio, twisting them in many ways in his scores, AND, he can also orchestrate them with a great taste. No wonder why he's called "The Maestro".

Concerning Zimmer, I have to agree on the fact that he sometimes wrote memorable AND "resonant" (as you say) melodies, like the beautiful and heartfelt theme of Rain Man. But my problem with him is mostly what Streich pointed out: simplicity of the composition, and poorness of the orchestrations. Complexity is also very important to me, and not only in music but in any form of art.

Here's something interesting in the same topic. Giacchino explaining in an interview how Williams' approach to thematic / motivic writing greatly influenced him:


CC: How has John Williams influenced your work?

MG: One of the things that stuck with me, at an early age, from his material was that it always had a theme being worked out. What attracted me most to music was anything that had a memorable melody- something that you could lock onto while you were listening to it. In my writing, I find it hard to do things any other way. I try to do music which is more abstract and about texture, rather than melody, but whenever I complete it, it always ends up having some sort of melody or theme that carries it through. That comes from listening to people like Glen Miller, Louis Armstrong, Bennie Goodman, John Phillip Sousa, and John Williams. Those guys all work with melodies. It was always about doing something that people can zero in on and say, "Ah hah! I get this!" That has always been a huge part of me and is why I write that way. It is always about a theme, a melody, that you mold and shape and do all sorts of things with. That is what I love and what is so much fun for me. So I guess John Williams, along with the others I mentioned, was instrumental in influencing me this way.

In that case you'll be chuffed to see that Streichorchester has been kind enough to post his complete symphonies!!
http://forums.ffshrine.org/showpost.php?p=1262679&postcount=429


Dude! You have just made my day! :D





MASAMICHI AMANO
Super Atragon (Shin Katei Gunkan)
The Warsaw Philharmonic National Orchestra of Poland
The Versailles Orchestra
conducted by Masamichi Amano

Wow! I have never heard of Super Atragon before, but wow the music is amazing! Thank you so much for sharing this with us!


Concerning Mr, Zimmerman and his crowd. I do like some of their music. But really, (and especially with Zimmerman himself) the soundtracks tend to blend together and sound the same. Which is unfortunate. Now I do like listening to them, especially when I am working on stuff and I need something moody in the background. But when compared to stuff like the Super Atragon soundtrack Danny posted on the previous page, or George Fenton's Planet Earth, the repetitive and re-worked themes fail in comparison to the much more complex melodies in music written by others.

I really like when a composer tries to break out from their usual style and do something different. It's just so much more fun when the composer writes something totally different than we expect them to write. Example, when Howard Shore wrote the music for The Lord of the Rings. It blew me away. I had listened to plenty of his previous works and none of what I had heard prepared me for what he did for those movies. It was like, WOW! This is amazing!

Some fantastic discussion going on here. I think I take the middle ground between the "Zimmer is GOD!" and "Zimmer is a hack!" As i think i said before, downloading zimmer osts for my now ex gf and then listening to them was what led to my later appreciation for other, better composers. I initially did not like any of the goldsmith music I found on my way and only after repeat listenings of them years down the road after deciding to not delete them did I realize the genius. I think zimmer has a few soundtracks that are worth listening to from time to time, such as Gladiator or his Pirates music, or my personal favorite, The Last Samurai.

But just as I don't like every single goldsmith score, I don't like every single Zimmer score or even every Kotaro Nakagawa score. Different projects require different styles, which sometimes comes in the form of overly electronica music that lacks any hook or horror scores that, while brilliant, are not particularly easy to listen to when trying to relax with a good book.

I just posted the wonderful Soul Nomad Soundtrack by Tenpei Sato in FLAC

http://forums.ffshrine.org/showthread.php?p=1265801#post1265801

was that Joel or Jerry G. you can't stand?

dan: ew!! oh well....

look. my tastes vary from everyone else. I like simplicity. like Hans and his gang. I also like complex "wtf" music like Rachmaninoff too.

and Shore shock the crap outta me too with 3 of the best scores in his life! but was pretty simple when you over analyze it. same with Mansell.
simply put... if you over study something... you lose desire to love it. and as a former french horn player and struggling composer... I never tire of it.

simply put... if you over study something... you lose desire to love it.

Now, that I can agree with 100%. And it applies to all things in our lives - not just music. :)

was that Joel or Jerry G. you can't stand?

If this was directed to me, an example of Jerry Goldsmith soundtracks I don't like are Alien, Poltergeist, and Patton. I recognize that they are great scores but they are not enjoyable for me to listen to.

FSM support.

and there you have it.. tune in next week when our guests are Tom Cruis..... oh wait....

I think one of the reasons why Zimmer and is factory of composers is so hated and ignored by a large part of older listeners, music collectors, or general listeners of orchestral music, is due to the fact the he and his followers are selected to score most of the blockbusters movies made today.
Given that, the masses that watch those movies and are going to buy the music of the film, become "the soundtrack hit wonders", looking ad eternum for the same style of music, power anthems and end-of-the-world epic chorus, mostly created on software music progams.
The consumer buy, the producer sells and everybody is happy.

Remember Jaws in the late seventies?
A masterpiece of cinema and music arts. The first considered "blockbuster movie" as we know today. Directed by a person who have knowledge of how music can enrich a movie, unlike the directors of today. With a score composed by someone (you know who), that can actually write on paper, conduct an orchestra, and in the top of his form, like many in the late seventies and through all the eighties, like Horner, Goldsmith, Poledouris and others.
And why these composers weren't ignored and criticized by previous generations of film music listeners, the ones that grew up listening Steiner, Korngold; followed by Newman, Herrmann, Rozsa, Bernstein and many many others? Because all of them shared the same roots of the classical music hall. There is no "fake" or simplicity in his music

Zimmer?
Far to be my favourite somposer. For me he is just "there", but i will not deny that he createad a new trend and shacked the bases of foundation of the film music composing.
Like Sirusjr said, is in the midle ground. I like some of his works (The Thin Red Line, Da Vinci Code or Lion King), but that's it.



*My English is slightly better now, since i entered on the forum. :)

If this was directed to me, an example of Jerry Goldsmith soundtracks I don't like are Alien, Poltergeist, and Patton. I recognize that they are great scores but they are not enjoyable for me to listen to.

wow... really? never a big fan of Poltergeist either, and really never sat down to really listen to Patton. but Alien? there is very little music happening, but I kinda like what I heard.... must go back and listen again..

I think one of the reasons why Zimmer and is factory of composers is so hated and ignored by a large part of older listeners, music collectors, or general listeners of orchestral music, is due to the fact the he and his followers are selected to score most of the blockbusters movies made today.
Given that, the masses that watch those movies and are going to buy the music of the film, become "the soundtrack hit wonders", looking ad eternum for the same style of music, power anthems and end-of-the-world epic chorus, mostly created on software music progams.
The consumer buy, the producer sells and everybody is happy.

Remember Jaws in the late seventies?
A masterpiece of cinema and music arts. The first considered "blockbuster movie" as we know today. Directed by a person who have knowledge of how music can enrich a movie, unlike the directors of today. With a score composed by someone (you know who), that can actually write on paper, conduct an orchestra, and in the top of his form, like many in the late seventies and through all the eighties, like Horner, Goldsmith, Poledouris and others.
And why these composers weren't ignored and criticized by previous generations of film music listeners, the ones that grew up listening Steiner, Korngold; followed by Newman, Herrmann, Rozsa, Bernstein and many many others? Because all of them shared the same roots of the classical music hall. There is no "fake" or simplicity in his music

Zimmer?
Far to be my favourite somposer. For me he is just "there", but i will not deny that he createad a new trend and shacked the bases of foundation of the film music composing.
Like Sirusjr said, is in the midle ground. I like some of his works (The Thin Red Line, Da Vinci Code or Lion King), but that's it.



*My English is slightly better now, since i entered on the forum. :)

the best synopsis I've read in a long while!! but Hans has said many times over how he idolizes the greats before him like Morriconne Herrmann and others even he who will not be named... (but you know who)
but if it's hatred for him and his horde because of the way composed film scores are changed today (but not really) could be because of the fact that while we long to to do what the greats did and still are doing.... Hans gives the opportunity to those who want to be like the greats and compose. never have I seen a composer take on so many protegees give them a place to create and a chance to be heard.... I think that's why I like Hans the most. at least he gives credit to those who help him....

The thing I hate the most about RC is that they all sound so similiar. I don't mind the synthesized score. I don't mind the vocals.

I just hate how they all seem to copy each other!

Given that, the masses that watch those movies and are going to buy the music of the film, become "the soundtrack hit wonders", looking ad eternum for the same style of music, power anthems and end-of-the-world epic chorus, mostly created on software music progams. The consumer buy, the producer sells and everybody is happy.

I will speak no more. That sums it up.


And why these composers weren't ignored and criticized by previous generations of film music listeners, the ones that grew up listening Steiner, Korngold; followed by Newman, Herrmann, Rozsa, Bernstein and many many others? Because all of them shared the same roots of the classical music hall. There is no "fake" or simplicity in his music

Well, funnily enough the hard core "Golden Age" fans did have a bit of a problem with trendy upstarts like Williams, Goldsmith, Bernstein, etc - and there are still people for whom nothing written beyond the 1950s will do. I personally think they're missing out on a lot; and I'm sure that their opinions aren't motivated by a lack of quality in post Golden Age music - but simply a taste for older music.

By comparison, there is a real feeling that standards have fallen, quality has suffered, and moreover the music isn't about the music any more. Sure, there were film music factories (of sorts - the studios had their music department, in house composer, orchestra, studio, etc) in the 40s and 50s but the thing was, they were actually working towards good ideals; the production of effective, good quality, artistically valuable music - and to that end, they were staffed by skilled, trained, established composers. And when I say composer, yes, I mean somebody who has musical education, and the ability to write out manuscripts, orchestrate, arrange, and conduct. I do NOT mean some guy who happens to be friends with the director who can play some chords on a synthesizer and then pass it to somebody else - who arranges those very same, uninspired chords for 110 piece symphony orchestra!



Far to be my favourite somposer. For me he is just "there", but i will not deny that he createad a new trend and shacked the bases of foundation of the film music composing.

Indeed. My big beef with Zimmer has always been that he's infiltrated film music to the extent where a) most scores are written by him or one of his sweatshop clones, and b) even scores by actual musicians are making very real concessions to the "Zimmer Sound". Time and time again, we're seeing great composers either adopt "that" technique, or they simply stop getting work. Where are Bruce Broughton, David Shire, Arthur B Rubinstein, Joel McNeely, Lee Holdridge, Elliot Goldenthal, etc, etc, etc? OK, a few of them are still floating around doing TV movies (Holdridge), or the occasional indy flick (Shire), or crummy straight-to-video Disney trash (McNeely), or scoring the occasional picture for their wife/partner/friend (Goldenthal) -- but that doesn't really count. About the only composer who probably still has the power to say "I'm doing it my way, or I'm not doing it" is John Williams - and he's nearly eighty and has pretty much retired!

If there was some choice, some quality, out there... I'd probably be a lot more positive about ZImmer scores, and I'd probably take it upon face value, and review it more like "Very exciting electronica/orchestral, unique style" etc - but as it goes, I'm afraid, it's all the same old shit again and again and again (as far as I'm concerned, anyway!) :)



Though I must admit that this recent discussion was quite possibly the most civilized and informative I have seen/read in a very long time. It is obvious to this humble music lover that everyone here has a great deal of passion for music, but also a well developed degree of respect for the opinions of others, even when they differ greatly.
Thank you for the opportunity to witness something sadly lacking in the rest of the world.

Amen to that, brother!

It's a testament to every single participant in this thread - and of course to the atmosphere it cultivates. It's amazing how well people can get along - even people with completely different points of view - when you don't get arrogant posturing assholes trolling around, stiring up trouble. :)


Hans gives the opportunity to those who want to be like the greats and compose. never have I seen a composer take on so many protegees give them a place to create and a chance to be heard.... I think that's why I like Hans the most. at least he gives credit to those who help him....

I'll agree with the concept - but in my eyes, Hansy trains these guys up to write music exactly the same as he does, and then packages them up as machines that all write the same sort of music - Hans busy? Get Badelt. Badelt busy? Get Jablonsky? Jablonsky busy? Get Dooley - who cares, they're all the same. He gets them assignments and money at the expense of artistry and integrity. The composers who work for him don't get a chance to be great, even if they were (which I doubt) because RC has ruined the film music industry to the extent where they are being hired exclusively to provide Zimmer knockoffs. Once again, my humble opinion only. :)

This is quite on topic and deserves to be reposted now.



Giant Robo OSTs 1-7

Music composed by Amano Masamichi

Thanks to dannyfrench and to the original uploader

Thread 49552





One of the best scores you've never heard of.

I'm an Anime fan with reservations. I don't leap up and watch every fish-eyed, robot-fighting, demon-slaying, cosmic martial-arts fighting show that comes around. Giant Robo was a seven episode OAV series released in the mid 90's following the adventures of Giant Robo, a skyscraper sized robot and Daisaku, the twelve year-old boy who controls him. Daisaku is part of The Experts of Justice, an elite team of international superheroes dedicated to stopping the evil brotherhood of Big Fire from sending the world into a permanent night!!! This is pure Saturday afternoon serial territory and the strength of series comes from the serious approach taken towards the material.

When an episode begins, the first thing you notice is Masamichi Amano's stunning score, which is considered one of the greatest ever written for Anime. Amano is one of Japan's not-so-hidden talents with plenty of credits on other influential Japanese shows such as the notorious Urotsukid�ji Hentai series and the equally notorious cult classic Battle Royale.

The Japanese are the world's best imitators. They mimic without any irony or exaggeration. Amano's take on the material is obvious; a traditionally romantic adventure score. He pulls from everywhere: Ennio Morricone, Jerry Goldsmith, John Williams, Elmer Bernstein, 30's serials, Classical Opera and Symphonies. Amano combines the best moments of each to create a hyper-charged neo-tradition score that's extraordinarily universal. While Star Wars (another romantic pastiche) was timeless, this score has an antiquated quality. It's a delightful throwback to a more innocent style of music that comes off with an utter lack of self-consciousness. Cues like "Train Chase!" are shamelessly energetic, emulating the boyish enthusiasm of a child playing make-believe.

This opening episode introduces the many motifs that will be developed throughout the series: The title theme (the Theme of the International Police Organization) will undergo a gambit of emotion coloring, here it is idealistic ("Main Title") and pastoral ("The Storing of G"). The Robo Theme (revealed in "Charge! His Name Is Giant Robo!") is a maritime march, imposing and steady like the big guy. The Big Fire theme is straight from Italian horror with a descending moaning chorus and mournful strings. As with Battle Royale, Amano's not afraid to work classical music into the fabric of the score much like Michael Kamen's use of "Ode to Joy" in the original Die Hard. The Tragedy of Paris theme contains "The Wrath of Fire" from Dies Irae while and the Bashtarlle theme takes from "Elixir of Love L'Elisir d'Amore: Una Furtiva Lagrima". Amano's choices of these pieces are both specific and iconic, where you can't listen to the music and think of it any other context.

With the backing of the Poland National Warsaw Philharmonic Orchestra, Amano presents a blockbuster sound on par with the best that The London Symphony Orchestra has to offer. This album isn't about being a fan of Anime or animation in general, this is album is about great music period. I cannot recommend the score enough.

Review by Rafael Ruiz

Splendid! Are those links still alive then?

Incidentally, I caved in and bought Amano's 2007 score to Mushiking this afternoon. It's costing me equivalent of $50 for ONE CD (import fees, postage to England, etc). I think I'll be posting this when it finally shows up. CDJapan are usually quite quick.

I will post my own rip of Giant Robo OST2 from a CD i got for $4 in a rightstuf.com sale.

I'll go along with all said here today. this has been the best debate about MY favorite composer in a long, long time.... and I word the sentence that way because after all, he is my favorite composer like you have yours (everyone) and I admit, you guys don't generally like him for very valid reasons. but it's music I like. like it's made for me. but it's all opinion... good talking to you guys! on with more music!!

Amen! :)

Let's all celebrate with...


HIROSHI TAKAKI
Sinfonia Tytania

The Kanagawa Philharmonic Orchestra
conducted by Takemoto Taizo

**NOT MY RIP -- LAME 192kbps**

http://www.mediafire.com/?limht5jzlzo



1. Tytania (2:37)
2. TV Size (I) (1:35)
3. Andante Grandioso (2:22)
4. Andante Grandioso(2:43)
5. Andante Grandioso (2:03)
6. Adagio (I) (2:26)
7. Adagio (3:12)
8. Moderato (3:15)
9. Moderato (2:10)
10. Moderato (1:35)
11. Moderato (1:57)
12. Lento (5:09)
13. Lento (4:22)
14. Lost in Space - TV Size (1:34)
15. Original Karaoke without Chorus (3:39)
16. Lost in Space - Original Karaoke without Chorus (4:29)
17. Lost in Space - TV size Karaoke (1:31)

More comments and a review later on, but for now: This is a fully symphonic masterpiece - grand and stately, superb composition and an excellent orchestral performance.

WHOA WHOA WHOA!! Awesome share Danny. I have been looking for that for a long time!

Arthierr - I have to say the tentacle rape music is not very good compared to other works by the composer and the one Danny posted right before.

holy crap!!!! thanks alot!! this IS the beginning of a great friendship.....

Giant Robo OST2 - Masamichi Amano


http://rapidshare.com/files/246061623/MA-GR2.rar
PSW: smile

Sanico – thanks for your excellent post. I agree with this almost entirely. You’re certainly right to imply that there’s discernable lapse in quality and musicianship in recent blockbuster scores. Zimmer isn’t entirely to blame of course – I would say standards are slipping all round in the film industry. Films these days have to be loud, brash and obvious, and above all else ‘cool’. Over-reliance on effects is tempered with spurious rhetorics of ‘grittiness’ and ‘realism’; and the utter lack of original ideas leads to endless sequels and tasteless remakes. Let’s not even go into the latest empty hype-fetish of the ‘reboot’.

I quite like certain Zimmer scores – enjoy Lion King, Prince of Egypt, and Da Vinci Code is growing on me. It was when I saw Gladiator in the cinema (back in, what was it, 2000?) that something began to seem a little cynical about his music. The lifts (and horrible deformation) of Holst and Wagner in this score are just painful for me to listen to (there’s even a quote of the ‘madhouse’ motif from Psycho at one point if I remember correctly – why?). Though of course this may have been due to Ridley Scott’s attachment to the temp-track (he’s not known for his musical affinities after all). Also can’t stand the wailing of Lisa Gerard.

Arthierr – great stuff!! Can’t wait to hear more Amano.

And regarding Giacchino: he seems to make some pretty disingenuous comments.. I mean like he wrote Star Trek concentrating on the friendship between Kirk and Spock (pull the other one!) and "gee, I try to write non-thematic scores, I really do, but I just can’t help coming up with great themes"..! Oh dear.

Sirusjr- will also check out. Would you give me a brief description so I know what to expect? Cheers :)


I'll go along with all said here today. this has been the best debate about MY favorite composer in a long, long time.... and I word the sentence that way because after all, he is my favorite composer like you have yours (everyone) and I admit, you guys don't generally like him for very valid reasons. but it's music I like. like it's made for me. but it's all opinion... good talking to you guys! on with more music!!
I don't know what to say.. This is one of the most good natured posts I've ever seen on the forum! Feel like I've been insufferably negative now. *smiles humbly and bows* :)


It's our very own version of sending Bruce Willis out into Harlem with his infamous plackard. I'll play Samuel L Jackson if you get in trouble, but you may still get beaten up. ;)

Surely no one would want to beat up little ol me... :erm:

Giant Robo music is huge orchestra similar to the one Dannyfrench posted a few pages back.

Sorry Sirus, I meant Soul Nomad. Looks interesting.

Thanks for Tytania too Danny! An embarrassment of riches here today :)

HIROSHI TAKAKI
Sinfonia Tytania


Another new and obscure symphonic treasure?!? Fabulous! Thanks a lot.


More comments and a review later on, but for now: This is a fully symphonic masterpiece - grand and stately, superb composition and an excellent orchestral performance.

Great, I enjoy your reviews. Please edit your post to include one as soon it's written.

FSM support.

Sorry Sirus, I meant Soul Nomad. Looks interesting.

Thanks for Tytania too Danny! An embarrassment of riches here today :)
Ah well Soul Nomad is sort of synthesized lyrical music with a unique sound of the composer.
SAMPLES
http://www.youtube.com/watch?v=-Cehf9YYUmQ&feature=related
http://www.youtube.com/watch?v=tCrAOAxGWkQ&feature=related
There are a number of rock/metal style tracks to fit the demonic themes of the game but overall the soundtrack is wonderful. If you don't want to download FLAC I will be making a thread soon with all the Tenpei Sato music I have in mp3 format.

if you listen to Debussy's Nocturnes, the melodies aren't easy to catch, but the maestria of the writing and the sumptuousness of the orchestrations are dazzling.

Glad to hear you're enjoying them! There's a knock-out of a theme in 'Fetes' about half way through - a strange, almost supernatural march that sends tingles up my spine every time.

Sirusjr, in that case I'll wait to check out the mp3s. I'm uploading some Goldsmith for you at the mo too :)

wow great music giant robo ost thanks

Following my Toshihiko Sahashi posts / links, here's BLACK BLOOD BROTHERS OST. As usual with anime scores there are some filler tracks, but the highlights... WOW THE HIGHLIGHTS! Many tracks are indeed fantastic, I'd even say exceptional, powerful, epic, and masterfully composed - just listen to 07-Katazu.mp3, 19-Shimei.mp3, 21-Kanashiki Ken.mp3, 29-Haseru.mp3 or 41-Gin Katana.mp3, among others, superb stuff. This one is one of my favorite Sahashi scores. Highly recommended.



BLACK BLOOD BROTHERS

Music composed by Toshihiko Sahashi

MP3 320 kbps

Thanks to usagi

www.megaupload.com/?d=YL4DLZ0F






wow amazing thanks my style of music

Glad to hear you're enjoying them! There's a knock-out of a theme in 'Fetes' about half way through - a strange, almost supernatural march that sends tingles up my spine every time.

Sirusjr, in that case I'll wait to check out the mp3s. I'm uploading some Goldsmith for you at the mo too :)
Thread created
http://forums.ffshrine.org/showthread.php?p=1266025#post1266025
Check it out for all your Tenpei Sato needs.

Yankee Doodle Dandy by Heinz Roemheld & Ray Heindorf (1942)



Track listing

1. Main Title: Warner Bros. Signature/Yankee Doodle/Yankee Doodle Boy/Mary's A Grand Old Name/Off The R (01:53)

2. Early Years Sequence: Columbia The Gem Of The Ocean/The Dancing Master/While Strolling Through The P (03:12)

3. I Was Born In Virginia (02:05)

4. The Warmest Baby In The Bunch (01:10)

5. Harrigan (02:01)

6. Yankee Doodle Boy (00:33)

7. Little Johnny Jones Sequence: The Yankee Doodle Boy/Good Luck Johnny/Little Johnny Jones Special/Fin (10:23)

8. Medley: Oh, You Wonderful Girl/Blue Skies, Gray Skies/The Belle Of The Barber's Ball (00:42)

9. Mary's A Grand Old Name (01:53)

10. Forty-Five Minutes From Broadway (01:01)

11. Fay Templeton Medley: Mary's A Grand Old Name/Forty-Five Minutes From Broadway/So Long, Mary (04:39)

12. You're A Grand Old Flag (05:42)

13. Over There (03:26)

14. Medley: In A Kingdom Of Our Own/Love Nest/Nellie Kelly, I Love You/The Man Who Owns Broadway/Molly M (01:29)

15. Off The Record (03:13)

16. Finale And End Cast: Over There/Yankee Doodle Boy (02:46)

17. You Remind Me Of My Mother (Outtake) (01:29)
Track 17-20: Bonus Tracks
18. Medley: Oh, You Wonderful Girl/Blue Skies, Gray Skies/The Belle Of The Barber's Ball (Piano Only Ver (00:42)

19. Give My Regards To Broadway (Rehearsal) (01:08)

20. You're A Grand Old Flag (Rehearsal) (01:38)



http://rapidshare.com/files/231114909/Yank42.rar.html

i'll take a listen to Mr. Hanson, but memorable themes are only easy to those who do them like you, like me. the real trick is arrangement. with exception to The Backstreet Boys, you mentioned ppl who do this stuff in their sleep.... I just don't understand the Zimmer hate? he does the exact thing Williams does.... and HE'S been around longer...

The only thing he has in common with Williams is they both have their music accompanying movies. While some Zimmer scores could be argued to be a step up from scoring the movie entirely with licensed pop songs, it is ten to twenty steps down from anything Williams has accomplished in his career. But I'm looking at things from a purely academic standpoint. That's just how I appreciate music.

Anyone can imitate Zimmer and his sound, but I've only heard two or three composers who've managed to imitate Williams, and even then they couldn't quite recreate his thematic ingenuity. Zimmer can sing, Williams's imitators can dance. Williams can both sing and dance while playing the harmonica and acoustic guitar on a tightrope. It's leagues above most other film music (again, on a purely academic level) and most modern classical composers too (Glass, Corigliano, Penderecki.) That he's outcasted by classical purists is the real crime.

And I'm actually more of a James Horner fan :P

I almost forgot, thanks to everybody for all these impressive uploads!!!!

I also disagree (with Streich) - I find melodies nearly impossible to come by. It's always the part of any new composition that I dread the most; not the orchestration - but simply the themes. Themes don't come easily and good, memorable ones seem even rarer.


Melodies are extremely easy to make. Take the "Ode to Joy" theme from Beethoven's 9th or the 4-note motif from the opening of the 5th. Way way simple to conceive, but somehow I don't think he came up with the melody first and the variation second. The hard part is coming up with a melody or motif that lends itself to some kind of orchestral treatment, so you're trying to think up a melody with the treatment in mind.

If the end goal is just a melody, as Zimmer and friends might attempt, then their work is a matter of coming up with something that stands repetition, because variation is out of the question. Admittedly the theme from Gladiator is catchy and memorable, but doesn't lend itself to orchestral treatment or variation very well. Too many block chords, too linear a melody, and very little opportunity for counterpoint. It functions more as a pop song then a symphonic gesture.

Still, I find it all really simple. I have such an easy time making melodies and motifs, but when I actually try to put it into the context of a sonata-allegro or scherzo, things never quite work out the way I want them to.

Good evening ladies and gentlemen :)

Today, I present to you a REAL STUNNER - and one which is absolutely impossible to find online, and very nearly impossible to find on sale due to its out-of-print status. It's a much sought-after score, and for good reason - it's one of the very best. If you're into Giant Robo, you're going to LOVE this. In many ways it exceeds the more famous Robo scores and manages to do so with considerably less plagiarism!


MASAMICHI AMANO
Super Atragon (Shin Katei Gunkan)
The Warsaw Philharmonic National Orchestra of Poland
The Versailles Orchestra
conducted by Masamichi Amano

(LAME -V0, all covers and booklet included)



http://www.rapidspread.com/file.jsp?id=02efepo7qa (PART ONE)
http://www.rapidspread.com/file.jsp?id=fmwyor9qbi (PART TWO)

1. 1945, Day of Destiny
2. Theme of the Hyuga Family
3. Theme of the Undersea Battleship (Main Title)
4. Departure for the South Pole
5. Giant Column Indra
6. Menace of the Gravity Lenses
7. Theme of the un Forces
8. Fortress Bimarna, Spotted
9. Theme of Eternal Love to the Ends of the Deep Blue Sea (Theme of ...)
10. Mystery of the Giant Meteorite
11. Battle in the Sky
12. Return of the Ra
13. Truth of 1945
14. Go and Annette
15. Deepening Love
16. Triangle Battle
17. Launch of the Water Dragon
18. Attack of the Super Vibration Wave
19. Decisive Battle When the Pacific Ocean Was Dyed Red (Ra vs. Liberty)
20. Launch into the Unknown (Ending)


Note: The original Japanese CD released in 1997 is impossible to find and has been out of print for a decade or more. This rip is from the 2003 short-lived American repressing, released by ADV Music - which is also impossible to find, but nevertheless I have the disc in my greasy paws. ;)

The contents and sound quality are identical.

Really good score, with parts that remind me of Silvestri and Goldsmith (Fortress Bimarda Spotted, for example) and that Hyuga Family theme was reused in Battle Royale so I was already familiar with it. It's a great theme, probably my favourite theme by Amano. For some reason he makes the Warsaw Philharmonic sound smaller than Kanno does, especially in terms of the reverb used, but I'd rate the score 4.5/5, losing half a point only because some tracks seemed to drag a bit, especially the marches.

The only thing he has in common with Williams is they both have their music accompanying movies. While some Zimmer scores could be argued to be a step up from scoring the movie entirely with licensed pop songs, it is ten to twenty steps down from anything Williams has accomplished in his career. But I'm looking at things from a purely academic standpoint. That's just how I appreciate music.

Anyone can imitate Zimmer and his sound, but I've only heard two or three composers who've managed to imitate Williams, and even then they couldn't quite recreate his thematic ingenuity. Zimmer can sing, Williams's imitators can dance. Williams can both sing and dance while playing the harmonica and acoustic guitar on a tightrope. It's leagues above most other film music (again, on a purely academic level) and most modern classical composers too (Glass, Corigliano, Penderecki.) That he's outcasted by classical purists is the real crime.

And I'm actually more of a James Horner fan :P

Actually, this statement about Williams and Zimmer doing the exact same things gave me a big LOL... There's no possible comparison IMO, it's quite a different league. It's like comparing the gastronomic value of McDo's food and La Tour d'Argent's food.

And in fact, I'm more of a Horner fan too (but Williams is just a inch behind).


Garcia: Thanks for Yankee Doodle Dandy by Heinz Roemheld & Ray Heindorf. Another new score for us to enjoy. I searched for some infos about it and noticed that it won an Oscar in 1943: Academy Award Winner (Best Music, Scoring of a Musical Picture). Looks interesting. :)

.

Many thanks lens! Great presentation as well :3

I am agree with Sirusjr, great presentation Lens !!!!

Of course The Hunt is one of my favotites themes ever, this is a example that how the music should be interact with the images. In my opinion is the perfect theme, perfect for listening and perfect with the images.

Best !!!

Someone should post Dave Roylance Tall Ships Suite. Blow my socks of. If you were disappointed by Gordans Master and Commander you�ll gonna love this huge orchestral sea adventure music. almost an hour of perfection. And by the way...this is the best freakin thread in the history of ever. many thanks to all of you.

Call me a newb, but had Howard Shore done anything else nearly as good as his work on LOTR? Not many people seem to mention him on here, but thos films had some of the most memorable music I had heard in a long time.

Same with the original Star Wars. The new ones werent quite as good, but still quite good.

And as far as Giacchino is concerned too: He should stay away from Star Trek and keep to things like "UP". The latter really made me rethink about possibly really liking him as a composer.

Melkoret - I don't think he has. I listened to a few of his but they weren't nearly as good.

But I loved Giacchino's work for Star Trek! He is one of my most favorite composers.

In fact, he is behind Goldsmith, and he is my upmost favorite!

To be absolutely honest, given the almost unheard of amount of time (and budget) Shore was given to compose for The Lord of the Rings films, I really wasn't impressed with the results. Stultifyingly conventional and lacking in imagination. A bit of Titanic, a bit of The Omen and a bit of The Ring, all mixed together with some by-the-number chord progressions and choral mush, and there you have it. The mind boggles at what composers like Williams, Goldenthal, Broughton, Goldsmith, Folk, hell even Horner (a more evocative pastiche job!) would have come up with given similar circumstances. I'm only saying this because I'm a little drunk and should be in bed, but his Lord of the Rings 'Symphony' is the most pretentious thing EVER!!

Doublehex - you seriously hold Giacchino's Trek above Goldsmith's?? I wish you wouldn't state it so baldly and provocatively. Please elaborate :)

I agree. Shore had all the right intentions with what he was doing, he just doesn't have the genius to come up with themes on the level of Horner, Goldsmith, Williams, Poledouris, Herrmann, or a number of other composers who have more direct (and apparent) classical roots. It seems that every time I give the Lord of the Rings scores a listen, it's the same thing over and over again, whereas with scores like Krull and Star Wars I hear something new each and every time.

As for the LotR scores themselves, it just seems like there are not enough notes. There's very little counterpoint, and the wall of sound (and infinite reverb) makes the orchestra sound like it has four instruments: strings, brass, choir, taiko drums (or whatever he used.)

*wipe tears* At last! Some people having the same opinion as me about Shore's LOTR! At last someone NOT saying "It's AWESOMMMMME" or "the best orchestral score EVERRRR".

I believed I was the only one judging it as heavy, unsubtle, lacking some elegance, complexity and variety - multiplying trombone blasts and timpani hits DOES NOT make good action music in itself.

This was a dream assignment for a composer, a once in a life opportunity to create something exceptional. But Shore's score was IMO quite disappointing. Well, my points of reference for judging it was Willow, Krull and Conan (what fantasy music SHOULD be), so now wonder why my judgment is a bit severe.

Lens: you're a man of great taste! Thank you for adding so much quality to my thread. Exceptional post.

I completely agree with you...
It's so strange to finally meet people who don't worshipe the LOTR.

Some Shore's work is pretty good (all Cronenberg so far, The Score, Panic Room...) but LOTR is just intellectual pretentious wanking. "The Two Towers" is a little bit better, maybe because the film is better, I don't know...

Doublehex - you seriously hold Giacchino's Trek above Goldsmith's?? I wish you wouldn't state it so baldly and provocatively. Please elaborate :)

Is THAT what I said? No, no, no, no! In no way, shape or form, did I ever intend for Giacchino to be over that of Goldsmith himself. I mean, come on! That's just crazy!

I am still stunned with the works of Star Trek: The Motion Picture. It is a breathtaking score.

Others come close - I am looking at Star Trek VI: The Undiscovered Country here. But once you hear the main theme, there is no turning back. It is over. Goldsmith made Star Trek music by the 4 minute line!

And what the heck? I thought The Lord of the Rings trilogy is one of the finer examples of modern film composition in later years, alongside The Matrix Trilogy. First you guys don't like Giacchino, now Shore's Lord of the Rings? What is going on! D:

Lens: What a fantastic post. The Final COnflict is majestic, grandiose and undoubtly one of the best soundtracks that Goldsmith wrote in his career, and by far the best of the 3, in my opinion.
I track that you haven't mentioned and i just adore is 'Trial Run'. It's a beautiful track with a flute accompanying the choir. Other tracks worth mentioning are 'Electric Storm' and 'The Blooding'.
What do you think about those tracks?

Girl in the Red Velvet Swing / St. Valentine's Day Massacre (OST) (1955/2009 Intrada)




World premiere of two 20th Century-Fox scores for big-city true-crime tales set during early twentieth century. GIRL IN THE RED VELVET SWING is Richard Fleischer drama with Ray Milland, Joan Collins. Leigh Harline offers sumptuous melodrama music to match. ST. VALENTINE'S DAY MASSACRE is Roger Corman gangster pic with Jason Robards Jr., George Segal. Lionel Newman offers original period-flavor swing tunes plus standards. Highlighting is brief but vivid original score by Fred Steiner, composed for stunning battery of percussion, multiple pianos, xylophone, chimes. Though still designed to evoke period, modernist Main Title, End Title offer more than passing resemblance to Jerry Goldsmith's many years later "Time Out" segment of TWILIGHT ZONE - THE MOVIE. Striking! Both scores presented in stereo from original multi-track elements vaulted at Fox. Liner notes by Julie Kirgo complete nice package! Lionel Newman conducts. Intrada Special Collection release limited to 1000 copies!

Thread 66862

Is THAT what I said? No, no, no, no! In no way, shape or form, did I ever intend for Giacchino to be over that of Goldsmith himself. I mean, come on! That's just crazy!

Sorry about this – I was so smashed last night I’m surprised I could even type. I misunderstood your meaning. God, that would be crazy!! Hehe.


And what the heck? I thought The Lord of the Rings trilogy is one of the finer examples of modern film composition in later years, alongside The Matrix Trilogy. First you guys don't like Giacchino, now Shore's Lord of the Rings? What is going on! D:

I’m not trying to out-right rubbish Shore’s LOTR. Streich is right that he had the best of intentions and clearly put his all into its composition. It may simply be that this kind of late Romantic symphonic writing isn’t his forte. On top of this the musical characterisation seems a little tired as well – the oh-so-faux-celtic stuff for the teletub.. I mean hobbits, and the rather wooden ‘Fellowship’ theme for example. Right from the opening of the first film it rubbed me up the wrong way – the idea for the Ring itself is clearly supposed to be a Wagner ‘homage’ (Parsifal in this case), and why not, couldn’t be more appropriate; but it just repeats over and over, as if it took all his creative juice just to make one musical phrase. I also think Streich is spot on about the orchestration being too vanilla for its own good. It’s simple clich�d music that thinks it’s the greatest symphonic tone poem of all time. There’s also just a bit too much of it! But the sheer size and ambition mean its at least notable – and by all accounts, many people find it to be Great music.



Shore’s work for Cronenberg as Yeti said is excellent - particularly Crash for me – not sure I’d listen to them much outside the film though. Going back to LOTR ‘Lighting of the Beacons' is very impressive, probably my fav piece in the whole trilogy.

Thanks everyone btw for the kind comments. Sanico – I was in a rush when I typed that appreciation so I had to miss out a lot of highlights (the whole score is strong!). I can certainly understand your preference for this above the earlier two. Like I said, it’s the rawness of the first I love so much. Thank god Jerry got at least one Oscar!! To think Herrmann never did! :(

‘Trial Run’ is indeed very beautiful. Isn’t this the bit where you see a simulation of the cosmic alignment? So ethereal.. or as my tutor would say EETHER-REAL! The rendition of the main theme in ‘The Blooding’ chills me to the bone – there’s one of the basses I think that really stands out here, totally putting his heart and [I]soul into it :cool: ‘Parted Hair’ is one of those masterfully subtle Goldsmith suspense tracks. Bits of it are reminiscent of Jerry’s scores from the 60s/70s, but I can’t put my finger on which. ‘Electric Storm’ is quite delicate for the most part, with some very precise, understated effects in the strings. It’s funny how this score exists in a very different sound-world to the previous two – the sci-fi-ish mystical aspect, and larger forces contribute to this – but earlier motifs aren’t really revisited either, perhaps only very obliquely.


I was walking back from the bank today past the park, and it was very windy and overcast, with this score running through my head. I felt like the priest running through the storm only to meet a nasty end! :ashine:

God's Little Acre (OST) (Elmer Bernstein) (1958/2009 Kritzerland)



Thread 66863

Invaders from Mars - Christopher Young

http://forums.ffshrine.org/showpost.php?p=1267485&postcount=12917
Thanks to Restlessgypsy for this post!
Samples: http://www.youtube.com/watch?v=pZiUCdrnA5M

Thanks Sirusjr. Christopher Young is someone I need to get into more.

One more little treat for you all this evening - another in my "I bet you haven't heard this before!" series.

Mike Dixon is a fairly well known English composer / orchestrator - probably best known for his arrangements for popular music and the stage.

In 2007, he was asked to composed original music for the opening of the newly refurbished St Pancras Station in London. (It is from here that Europe-bound trains leave for the Channel Tunnel, running a direct service to Paris and Brussels.)

He responded with the "St Pancras Suite" - performed by the Royal Philharmonic Concert Orchestra (basically the standard Royal Philharmonic under an assumed name) and conducted by the composer.

There are three movements but they are all grouped together in this recording:

1st Movement (00:00 to 1:27) - "The Barlow Shed Lighting" - an overture of sorts, it begins with shimmering strings and fluttering woodwinds, and breaks out into a nostalgic, pastoral theme. It concludes with a brass flourish

2nd Movement (1:28 to 4:43) - "The New Age Of Travel" is the score to a short film about the romance and majesty of modern train travel. It's a montage-like story about different kinds of people who travel by train.

3rd Movement (4:44 to end) - "Cavalcade Of Trains" accompanies the live unveiling of the new rolling stock. A live announcer welcomes Her Majesty Queen Elizabeth II to the station and speaks a little about the line - then the new trains are driven into the station accompanied by a light show.

All in all, it's a very powerful piece. WARNING - the third movement contains rock-ish percussion and electric guitars in accompaniment with the full symphony orchestra. It sounds magnificent, however!

http://www.rapidspread.com/file.jsp?id=s6dwt7vzjv

Thanks Sirusjr. Christopher Young is someone I need to get into more.

Here a impressive compilation with suites from his more important works that I posted previously. The links still work:

http://forums.ffshrine.org/showpost.php?p=1172050&postcount=668


Thanks to horsewoman.

Chris Young is a master of horror movies and more. I recommend you the suite of Hellraiser.

For me Young is clearly an unrated composer.

Size: 104 + 107 MB
Forma: MP3 a 192 kbps
Tracks: 11 + 8




To download:

CD1:

http://rapidshare.com/files/158798748/cd1horsie.rar

CD2:

http://rapidshare.com/files/158806910/cd2horsie.rar

Password: idgie

Wilson (OST) (Alfred Newman) (1944/2002 SAE)




NEAR MINT.

The music to Darryl F. Zanuck's 1944 production of Wilson was composed by the legendary Alfred Newman and, in addition to the composer's original thematic material, includes several dozen songs from the pre-Great War period.

The compact disc has been compiled from the original scoring sessions preserved in the Fox archive and features virtually every note of music that was recorded for the picture. Filled with rousing marches, raucous campaign songs and majestic fanfares, as well as insightful accompaniment to scenes of tension and pathos, Newman's score is highly evocative of the period in which Woodrow Wilson lived, loved and earned his place in American history as one of our most influential presidents.

According to statements issued to the press at the time of Wilson’s original release, the musical score was as carefully plotted and researched, as was every other aspect of the film. Conducting a symphony orchestra of 125 pieces and a chorus of 80 voices, Alfred Newman, Musical Director at Fox, said at the time that the score to Wilson should be reflective of a "broad slice of American life" and "chose music to give the proper feeling to every scene."

This historical biography of Thomas Woodrow Wilson, the 28th American president, provides a rich panoramic examination of the personal and professional life of the man who held office during World War I. It chronicles his career from president of Princeton and governor of New Jersey to his presidential election and two terms in the White House. Finally, the epic examines Wilson's staunch efforts to achieve peace through the League of Nations--efforts that failed and led to his ultimate political defeat. Even among the handful of presidents who have survived two terms of office, the events of Wilson’s life and career combine with his personal qualities to create a story of unusual dramatic power. Through accurately portraying his preacher-like oratory style and commitment to abstract ideals, along with his background as a history professor, the loss of a wife, his battles with the senate, the White House marriage, and Wilson's tragic and debilitating stroke, “WILSON” emerges with almost as much integrity as the man it portrays. Stars Alexander Knox, Charles Coburn, and Geraldine Fitzgerald. 1944

Producer Darryl F. Zanuck remarked that "Wilson" was the film of which he was the proudest.

SAE

Thread 66877

credit to scoremanscott

Two for the Seesaw (OST) (Andr� Previn) (1962/2009 Kritzerland)




TWO FOR THE SEESAW – THE CLASSIC ANDRE PREVIN SCORE MAKES ITS CD DEBUT!

Kritzerland is proud to offer a limited edition CD – the original motion picture soundtrack from Two For The Seesaw, with music by Andre Previn. We are especially pleased that the release announcement just happens to coincide with Mr. Previn’s 80th birthday.

A true Kritzerland Holy Grail, Two For The Seesaw is one of Previn’s most beautiful scores. The film, one of three that Previn scored in 1962 (the others were Long Day’s Journey Into Night and TheFour Horsemen Of The Apocalypse), starred Shirley MacLaine and Robert Mitchum and was adapted from the hit play by William Gibson. Robert Wise directed (fresh off his Academy Award-winning blockbuster, West Side Story).

Previn’s score is wonderfully evocative and haunting, and features one of his most memorable themes. It perfectly captures the loneliness, yearning, and neediness of its two leading characters in one fantastic cue after another. The solo trumpet, sax, and trombone work is breathtaking, as is Previn’s writing for strings – romantic, rueful, filled with love, pain, and the whole damned thing. And then there’s the jazz element – and no one did the jazz element in film scores quite like Previn. It’s forty-four minutes of pure Previn heaven.

The CD has been remixed from the original three-track stereo session masters and it sounds as if it were recorded yesterday, only things recorded yesterday don’t sound this good.
This release is limited to 1000 copies only.

Thread 66880



Angel on My Shoulder (OST) (Dimitri Tiomkin) (1946/2008 SAE)




Gangster Eddie Kagel (Paul Muni) is killed by a trusted lieutenant and finds himself in Harry Redmond Jr's special-effects Hell, where Nick/The Devil (Claude Rains) sees that he is an-exact double for a judge who Nick doesn't approve of. Eddie is agreeable to having his soul transferred to the judge's body, as it will give him a chance to avenge himself on his killer. But every action taken by Eddie (as the judge) results in good rather than evil and, to Nick's dismay, the reputation and influence of the judge is enhanced, rather than impaired by Eddie. And Eddie also falls in love with the judge's fianc�e, Barbara (Anne Baxter.) Even Eddie's planned revenge fails and Nick is forced to concede defeat. He returns to Hell, taking Eddie with him, after Eddie has extracted his promise that Nick will not molest the judge or Barbara in the future. 1946.

Thread 66881



I'll Cry Tomorrow (OST) (Alex North) (1955/2005 FSM)




I'll Cry Tomorrow (1955) was a first-rate "biopic" telling the story of Lillian Roth, the one-time "Broadway's youngest star" whose singing career was crushed under the weight of her alcoholism and failed relationships. By the '50s Roth had rehabilitated her reputation, and I'll Cry Tomorrow (based on her autobiography) received popular and critical acclaim in its powerful telling of her story, thanks to the careful direction of Daniel Mann and Oscar-nominated performance by Susan Hayward.

Scoring I'll Cry Tomorrow was the composer whose use of jazz in A Streetcar Named Desire (1951) had transformed film music forever: Alex North. I'll Cry Tomorrow was one of North's earlier assignments but his dramatic style was that of a seasoned master, favoring chamber-like strings and woodwinds for an intimate, melancholy effect. North's colors at first evoke Lillian's lost childhood, then become "boozy" tones for her years of alcoholism. Jazzy brass and heartfelt strings (in the Streetcar style) perform a memorable main theme to sum up the story as a whole.

I'll Cry Tomorrow is not a musical, but does feature three musical numbers performed by Hayward (as Roth) in the film: "Sing You Sinners," "When the Red, Red Robin Comes Bob, Bob, Bobbin' Along" and "Happiness Is Just a Thing Called Joe." The songs have been remixed in stereo from the original film elements and are presented in sequence with North's score, which is also in stereo.

Additional songs, album versions and instrumental source cues have been placed in a bonus section, to render this the definitive I'll Cry Tomorrow album. Liner notes are by Lukas Kendall.

Thread 66885



Summer and Smoke (OST) (Elmer Bernstein) (1961/2004 RCA)



Thread 66886



The Prince and the Pauper (Complete Score) (Erich Wolfgang Korngold) (1937/2009 TFC)




Complete re-recording of famous 1937 Erich Wolfgang Korngold score for William Keighley version of Mark Twain novel, starring Errol Flynn, Claude Rains, Billy & Bobby Mauch. Broadly-drawn, major-key main theme by Korngold launches right off, sets vivid tone for score that follows. Korngold uses idea in all manner of guise throughout, retaining major-key harmonic scheme but altering tempo, color for variety. But other ideas abound as well! Score is unusually busy, with harp glissandi, rollicking string figures, woodwind runs galore. Brass fanfares keep 16th-century England to the fore. In spite of busy ideas, orchestrations exhibit a certain lightness of touch that roots everything in good-sprited fun! Myriad colors are perfectly captured in clean, vibrant recording made in Moscow by Alexander Volkov. William Stromberg manages considerable feat of retaining dazzling tempos of composer's 1937 original, injecting his own incredible enthusiasm and still keeping various subtle orchestral colors very much in focus. Bravissimo! Detailed notes, richly handsome packaging are icing on the cake. William Stromberg conducts Moscow Symphony Orchestra, delivers the goods with a bullseye!

Thread 66887


credits go to scoremanscott

Thanks a lot for your recent posts, guys! (In fact there are so much music posted here that I've stored a ton of downloads to be heard. Ha, I need more free time...).

Actually I just finished listening to Sinfonia Tytania . Magnificient! But way too short. What a pity the composer didn't have the opportunity to develop each track into a structured 5-6 minute piece. Anyway it's a gorgeous album - the aria in track 2 almost gave me tears. As a side note, did you know the composer, HIROSHI TAKAKI, was only 33 (born in 1976)?


Bi0: You're on a blazing row, man! Thanks a lot for these great posts, they're very appreciated.

Actually I just finished listening to Sinfonia Tytania . Magnificient! But way too short. What a pity the composer didn't have the opportunity to develop each track into a structured 5-6 minute piece. Anyway it's a gorgeous album - the aria in track 2 almost gave me tears. As a side note, did you know the composer, HIROSHI TAKAKI, was only 33 (born in 1976)?


Amazing, isn't it? There are two more Tytania albums to come (all orchestral - it looks like they recorded absolutely BUCKET LOADS) over the next six months or so; I can't tell you how much I'm looking forward to them.


Bi0: You're on a blazing row, man! Thanks a lot for these great posts, they're very appreciated.

That made me chuckle... With the utmost respect to you, my friend arthierr, where I come from, the term "blazing row" means a vicious argument. ;)

If only we could get the tracks translated....

Interview with Horner on the new Blu of Wrath of Khan:
http://www.youtube.com/watch?v=g-8D6j5LPho

The interesting point for me is that he finally acknowledges that he knew Goldsmith and was invited to the scoring sessions on TMP!! Perhaps he's getting more (cautiously) honest in his old age ;)

The footage in the sequence of the Enterprise leaving drydock which he's so impressed by is of course mostly a cut and paste job of effects from the much maligned first film. I'm glad he mentions his Spock music too because I think it's an inspired thematic treatment of the character. Damn this score needs a rerelease!

Here's the reupload and repost of streichorchester's HARDCORE BALLET, as requested.



HARDCORE BALLET

Thanks to streichorchester

http://www.megaupload.com/?d=G00UA1SB





streichorchester's notes:

Bartok - The Miraculous Mandarin: It's not an easy listen - no standout themes or tonal center. It kind of bridges the gap between Bartok's colourful folk-like compositions and his forays into the avant-garde.

Bartok - The Wooden Prince: Ah yes, much more thematically connected and down to earth. It's very reminiscent of Prokofievian ballet music or symphonies, which is why Horner used a bit of it in The Land Before Time.

Borodin - Prince Igor: Folk dances and choirs and beautiful chomaticism in the themes. It's full of popular tunes, but lots of people don't actually realize they came from an opera written by a chemist in his spare time. The Polovetsian Dances make up the most spectacular segment of this opera, and can easily be considered ballet music.

Copland - Rodeo: Speaking of popular tunes, everyone knows this one. Since Copland's music is so schizophrenic it's hard to find pieces that are through and through "action-oriented" so I went with the easy selection here you may remember from beef commercials. James Horner borrowed this sound for his score to An American Tail 2: Fievel Goes West.

Khachaturian - Gayane: pronounced "guy-nuh". The most famous part from this is the Sabre Dance, but everyone's heard that a million times so I went with a more obscure selection. Also, you might recall Gayane's Adagio was used in the movie 2001: A Space Odyssey, and subsequently Horner's score to Aliens.

Khachaturian - Spartacus: Does Khachaturian's genius know no bounds? He's perhaps one of the most underrated composers if you look at his more unpopular works such as this two-hour ballet. While the Adagio of Spartacus and Phrygia is everyone's favourite selection, for this I chose the Orgy at Crassus's Villa which was used to great effect in the movie The Hudsucker Proxy along with the Adagio.

Khachaturian - The Valencian Widow: Another relatively unknown Khachaturian ballet that takes place during the Spanish Renaissance. It's a comedy, so it carries that patented Khachaturian snare ostinato in full force.

Nielsen - Aladdin: The composer who will always be overshadowed by Sibelius was probably a better colourist than Sibelius as heard in his best work Aladdin. Yeah, he wrote six symphonies that people seem to like, but I can't for the life of me remember how they go even though I own all six.

Prokofiev - Romeo and Juliet: Sergei Prokofiev, one of film scoring's godfathers, was just as good at writing ballets, if not better. His Romeo and Juliet proved he was just as good as Tchaikovsky, and earned him a spot as the 20th century's foremost ballet composer (along with Stravinsky.) James Horner steals quite a bit from this work, as heard in the selection here which can be found in the Stealing the Enterprise cue from Star Trek III: The Search for Spock.

Prokofiev - Scythian Suite: After hearing Stravinsky's revolutionary The Rite of Spring, Prokofiev set out to do one better by writing a ballet called Ala and Lolli. He failed miserably (or so he thought) and the result is this colourful tale. James Horner used this in Battle Beyond the Stars.

Ravel - Daphnis et Chloe: When I first heard this I was in awe of its majestic grandeur and colourful orchestrations, not to mention it was a ballet accompanied by full chorus. The themes and harmonies during the openings of both acts really stuck with me, but here I present the exciting finale as per the action-oriented nature of my selections. There are also portions of this ballet ripped off by Joel McNeely for his Shadows of the Empire faux-soundtrack.

Shostakovich - The Golden Age: Here's a Russian composer who is actually NOT known for his ballet music, though he tried. For the most part they just seemed like extensions of his symphonies and film music, and don't carry the thematic inventiveness or pleasant listening experience of his Jazz Suites. This is only here because I'd hate to leave Shostakovich out. Go listen to his Jazz Suites and symphonies.

Stravinsky - The Firebird: Stravinsky is mostly known for his three big ballets: The Rite of Spring, Petrouchka, and The Firebird. Of the three, The Firebird is the most "listenable" in suite form since the melodies are simple, the harmonies are simple, and the result is good ol' fashioned Tchaikovskian tradition. The more flowery sections seemed to have inspired John Williams for his score to Hook, but here I've selected the Infernal Dance heard in Fantasia 2000.

Stravinsky - The Rite of Spring: I couldn't have made this collection of kick-ass ballet music and not included some selections from The Rite of Spring. Yeah, we all know the trivia: riots broke out at the premiere, John Williams borrows heavily from this, it scored the dinosaurs in Fantasia, etc. But did you know that Trevor Jones took a melody from this for his You Have the Power cue from Dark City? The more you know...

Vaughan Williams - Job: Vaughan Williams is a great composer who can write some of the most beautiful pastoral music you've ever heard, but he has a dark side that can be seen in his symphonies nos 4 and 6, and this ballet. His symphonic scherzos are often reminiscent of the kind his BFF Holst wrote, but this is just weird. Cool, but weird.

William Walton - The Quest: I think somewhere along the way Joel McNeely thought to himself "Gee, this ballet sounds a lot like Star Wars, so why don't I rip it off for Shadows of the Empire? No one will notice because who's ever heard of The Quest?" If you like Shadows of the Empire you will probably like The Quest, but if you LOVE Shadows of the Empire you'll hate The Quest for reminding you that Shadows is just a rip off of this. The selection here actually isn't any of the portions you hear in Shadows, but it's still awesome.

That made me chuckle... With the utmost respect to you, my friend arthierr, where I come from, the term "blazing row" means a vicious argument. ;)

Whoopsie... My dictionary translated "blazing" as "embras�" which means "flamboyant", "vivid". :p



Interview with Horner on the new Blu of Wrath of Khan:
http://www.youtube.com/watch?v=g-8D6j5LPho

The interesting point for me is that he finally acknowledges that he knew Goldsmith and was invited to the scoring sessions on TMP!! Perhaps he's getting more (cautiously) honest in his old age ;)

The footage in the sequence of the Enterprise leaving drydock which he's so impressed by is of course mostly a cut and paste job of effects from the much maligned first film. I'm glad he mentions his Spock music too because I think it's an inspired thematic treatment of the character. Damn this score needs a rerelease!

Are you trying to revive the old Goldsmith / Horner fans battle, Lens? ;)

Of course Horner is a renowned plagiarist who stole from many different places. This is a fact and doesn't need to be discussed further. BUT that doesn't affect the fact that he's an exceptional composer, a great melodist, with a very personal style (paradoxically!), and an impressive number of superb achievements. [Edit: I just noticed that when you talk about "cut and paste job", you mean the movie scene, not necessarily the music. So maybe you didn't aimed at Horner with this remark...]

Great video, very interesting and pedagogic about the making of a score. That drydock scene is chilling, it's a true marvel - and not only musically.

And while we're at it, here's the discussed score in MP3 320 and lossless:



STAR TREK 2 - THE WRATH OF KHAN

Thanks to Silvestri

Thread 65245





01. Main Title (03:03)
02. Surprise Attack (05:08)
03. Spock (01:13)
04. Kirk's Explosive Reply (04:02)
05. Khan's Pets (04:19)
06. Enterprise Clears Moorings (03:36)
07. Battle in the Mutara Nebula (08:05)
08. Genesis Countdown (06:36)
09. Epilogue/End Title (08:43)

Total Time: 00:44:45
Size: 221 Mb (Lossless) / 110 Mb (MP3)

Thanks for reposting the ballet music, artheirr. I won't have access to my collection for a week or so, so let me know if there's a way I can repay you at that time. :D

Damn this score needs a rerelease!

Actually, what is desperately desired (by some of us) is an expanded score (without sfx). I would give up my first born for such, uh, if I had a first born.

Which brings up an interesting point. Has there EVER been an expanded Horner score released on any of his scores?

Actually, what is desperately desired (by some of us) is an expanded score (without sfx). I would give up my first born for such, uh, if I had a first born.

Well, considering your avatar, I am not surprised at the very least. :)

Actually, what is desperately desired (by some of us) is an expanded score (without sfx). I would give up my first born for such, uh, if I had a first born.

Which brings up an interesting point. Has there EVER been an expanded Horner score released on any of his scores?

Krull and Aliens were expanded from a previous soundtrack release.

Great soundtracks, ladies and gentlemen, thank you very much therefor.

Ahm, i have only one track, enjoy ^^

Elvandia Story OST

Theme of Elvandia Story (full version.) (http://www.sendspace.com/file/t7mtnt), composed by Norihiko Hibino, Noriyuki Iwadare

btw, was my japanese and chinese compilation good? Or bad?

:O billienator!!! I am so glad to see that soundtrack!!! I am a huge fan of Noriyuki Iwadare and have never heard that score. Thanks much!!
EDIT: Oh its just one track. Still this is a wonderful piece!! Can i trouble you to post the full soundtrack? I would very much appreciate it :333

Hehe, you are welcome, i would upload the whole soundtrack, but it takes a while

Hehe, you are welcome, i would upload the whole soundtrack, but it takes a while
OH WAIT!! I have this already......but somehow never listened to it! If others want I can upload it instead to save you some time.

Also Bio, your scores are amazing! I am posting comments about which ones I like on each respective thread.

Hahaha, okay, thank you very much, you must listen this soundtrack, it is so great X3
here a review to this very enjoyable soundtrack


"Elvandia Story," developed by the company "Spike," is a PlayStation 2 RPG that had no hope of reaching the US. This is a shame, considering the prized composers who worked on this RPG. Noriyuki Iwadare wrote and arranged the extensive (read: long) opening and ending orchestral themes. The rest was done by a famous Konami composer, Norihiko Hibino, who has worked on Metal Gear Solid and Zone of the Enders.

Powerful, somewhat military-march-like orchestra pieces dominate this score. The softest, most airy of melodies come from Iwadare's contribution. As for Hibino, the military-esque music is mixed with a bit of jazz, some "tension theme" music we know and love from MGS, and some surprisingly typical RPG music (that, frankly, I didn't expect Hibino to write). When I say "typical," you know what I mean. Traditional, tonal melodies backed by simple synth emulations of chamber music instruments.

Though I really enjoyed the battle themes, I also loved some of the ambient stuff that Hibino did on this score, particularly in the first few tracks of the album. Everything from track 1 to 7 was solid gold, but then the "filler tracks" dominated for awhile, until (surprise!) near the end.

Don't pick this up simply because it was promoted with Iwadare's name. Only a small portion of this soundtrack is Iwadare. Instead, if you'd like to hear the MGS composer take on a traditional fantasy RPG, you'll definitely be interested. I was happy to hear something slightly different from the norm, though the album is only slightly above average in terms of composition. The sound quality, however, is excellent, which is another reason to consider adding it to the ol' VGM collection.

Reviewed by: Patrick Gann

Guys, you have to check this out.

http://forums.ffshrine.org/showthread.php?p=1268101&posted=1#post1268101

It is a soundtrack for the video game Demon's Souls. And it is absolutely phenomenal!

You'll be hooked from the Main Theme, I guarantee it. I just may write a review for it (gasp!).

Guys, you have to check this out.

http://forums.ffshrine.org/showthread.php?p=1268101&posted=1#post1268101

It is a soundtrack for the video game Demon's Souls. And it is absolutely phenomenal!

You'll be hooked from the Main Theme, I guarantee it. I just may write a review for it (gasp!).
I second this. I haven't gotten a chance to listen to this version posted yet but form the trailer alone the music was amazing!

I second this. I haven't gotten a chance to listen to this version posted yet but form the trailer alone the music was amazing!

Oh, I know! I so loved the trailer music that I was *THIS* close to actually converting the YouTube video to an .mp3 so I could listen to it, SFX and all!

Elvandia Story OST - Noriyuki Iwadare (first and last track) and Norihiko Hibino
Orchestral/fantasy/sweeping


http://rapidshare.com/files/247115870/NI_NH-ES.rar
PSW: smile
Credit for original rip goes to gamemp3s, who released it in 2007

Ok guys, here is something very cool:

A nearly 2 hours interview with Master Goldsmith himself! It talks about his early days at CBS.

http://www.youtube.com/watch?v=rQ7ICPKcqJc

Takes freakin' ever to buffer, though.

Are you trying to revive the old Goldsmith / Horner fans battle, Lens? ;)

Of course Horner is a renowned plagiarist who stole from many different places. This is a fact and doesn't need to be discussed further. BUT that doesn't affect the fact that he's an exceptional composer, a great melodist, with a very personal style (paradoxically!), and an impressive number of superb achievements. [Edit: I just noticed that when you talk about "cut and paste job", you mean the movie scene, not necessarily the music. So maybe you didn't aimed at Horner with this remark...]

I hope I'm not getting a reputation for being a trouble maker!

I wasn't attacking Horner for plagiarism here at all. It was indeed the film footage I was refering to when I said 'cut and paste job'. Takes me out of the film every time. It's so obvious - the Enterprise model doesn't even match! I'm actually one of the few people that likes the first movie, as much if not more than Khan (constantly and rather overbearingly asserted as THE greatest Trek); it has a sense of mystery, of the mesmerising unknowability of space, that the others don't. The small matter of the poetic imagination of a certain Mr Goldsmith helps too ;)


Actually, what is desperately desired (by some of us) is an expanded score (without sfx).

That's kind of what I meant. Also the sound could do with sprucing up a bit.

Doublehex - thanks, I've seen that interview before. It's pretty epic but Jerry seems rather wearied, even somehow melancholic. Makes me feel quite sad to watch. He's still so inspiring though - very modest and understated, but you can tell that he has a piercing intellect. He's also such an naturally elegant man.

Will definately check out Demon's Souls too.

Danny - thanks for the St Pancras Suite. Really fun piece! The theme sounds almost exotic/arabianish. Funny to see on Dixon's website that he's done music for Miss World too!

Garcia - I'm listening to the Young compliation now. Still haven't really clicked with him. Think Species is my fav so far.

Thanks for the previous uploads.

Today I uploaded one of the compilations that more enjoy. It contains the greatest woks by one of the best classic cinema composers, Dimitri Tiomkin. Each of its themes is absolutely marvelous, from western movies to historical movies, the most of them belonging to very known movies for all the people that like the cinema. I hope you enjoy.

The Alamo: Dimitri Tiomkin: The Essential Film Music Collection

(http://www.postimage.org/)

http://www.sendspace.com/file/qecxmk

Track listing:


Disc/Cassette 1

1. Night Passage (02:09)
2. Tension at Table Rock (04:44)
3. High Noon (02:34)
4. The War Wagon (05:05)
5. The Wild Wild West (02:08)
Main Theme
6. The Wild Wild West (02:12)
The Ballad of Jim West
7. Gunfight at the O.K. Corral (08:47)
8. Rio Bravo (05:05)
9. Rawhide (02:15)
10. Red River (03:29)
11. The Unforgiven (02:28)
Across the Texas Panhandle
12. The Unforgiven (03:08)
The Need for Love
13. The Unforgiven (02:13)
Horse Ballet
14. The Young Land (02:38)
15. Duel in the Sun (12:51)

Disc/Cassette 2

1. The Fall of the Roman Empire (03:57)
Overture
2. The Fall of the Roman Empire (03:09)
The Fall of Love
3. The Fall of the Roman Empire (05:31)
Pax Romana
4. 55 Days at Peking (04:06)
5. Land of the Pharaohs (03:04)
6. Circus World (The Magnificent Showman) (02:20)
7. Dial M for Murder (07:08)
8. Strangers on a Train (07:47)
9. Giant (02:09)
Main Title
10. Giant (02:45)
Love Theme
11. Giant (02:53)
The Jett Rink Theme
12. The High and the Mighty (01:58)
13. Wild is the Wind (02:40)
14. The Guns of Navarone (09:37)

Disc/Cassette 3

1. Cyrano De Bergerac (02:41)
2. The Well (04:19)
3. Friendly Persuasion (03:43)
4. Town Without Pity (04:06)
5. It's a Wonderful Life (02:33)
6. Tarzan and the Mermaids (05:47)
7. The Thing from Another World (07:35)
8. The Alamo (05:07)
Overture/Prologue
9. The Alamo (02:32)
Davy Crockett
10. The Alamo (02:14)
Tennessee Babe
11. The Alamo (08:42)
The Battle of the Alamo
12. The Alamo (03:29)
The Green Leaves of Summer
13. The Alamo (01:22)
Final

Disc/Cassette 4

1. Giant (02:10)
Vocal - This Then is Texas
2. Rawhide (02:18)
Vocal - Rawhide
3. High Noon (02:33)
Vocal - Do Not Forsake Me
4. Night Passage (02:08)
Vocal - Follow the River
5. Giant (02:52)
Vocal - The Ballad of Jett Rink
6. Friendly Persuasion (03:44)
Vocal - Thee I Love
7. It's Wonderful Life (02:35)
Vocal
8. Wild Is the Wind (02:34)
Vocal
9. The High and the Mighty (01:47)
Vocal
10. The War Wagon (02:36)
Vocal - The Ballad of the War Wagon
11. Rio Bravo (01:46)
Vocal
12. The Young Land (02:39)
Vocal - Strange are the Ways of Love
13. The Wild Wild West (02:13)
Vocal - The Ballad of Jim West
14. The Wild Wild West (02:54)
Vocal - The Wild Wild West

Total Duration: 03:29:49

About the composer:

Dimitri Tiomkin; Born Dmitri Zinovievich Tiomkin
May 10, 1894(1894-05-10)
Kremenchuk, Poltava, Ukraine
Died November 11, 1979 (aged 85)
London, England
Years active 1929 - 1979

Dimitri Zinovievich Tiomkin (Ukrainian: Дмитро Зиновійович Тьомкін, Dmytro Zynoviyovych Tiomkin, Russian: Дмитрий Зиновьевич Тёмкин, Dmitrij Zinov'evič T�mkin, sometimes translated as Dmitri Tiomkin) (May 10, 1894 – November 11, 1979) was a film score composer and conductor. Along with Max Steiner, Mikl�s R�zsa and Franz Waxman, Tiomkin was one of the most productive and decorated film music writers of Hollywood.

Biography

Tiomkin was born of Jewish parents in Kremenchuk, Ukraine, and educated at the Saint Petersburg Conservatory in Russia, where he studied piano with Felix Blumenfeld and harmony and counterpoint with Alexander Glazunov. In 1920, while working for the Petrograd Military District Political Administration (PUR), he was one of the lead organizers of two revolutionary mass spectacles, the "Mystery of Liberated Labor," a pseudo-religious mystery play for the May Day festivities, and "The Storming of the Winter Palace" for the celebrations of the third anniversary of the Bolshevik Revolution.[1]

In 1924 Tiomkin left the USSR[2] and moved to Berlin, where his father was practising as a doctor, and had lessons with Ferruccio Busoni. He emigrated to the United States in 1925, moved to Hollywood in 1930 with his wife, dancer Albertina Rasch (1895-1967), and became an American citizen in 1937.

Although influenced by Eastern European music traditions, he was able to score typical American movies like Frank Capra's famous Lost Horizon (1937) or It's a Wonderful Life (1946) and also Mr. Smith Goes to Washington (1939), both with James Stewart. He also worked on Fred Zinnemann's High Noon (1952), which also won him a "Best Song" Oscar for “Do Not Forsake Me, Oh My Darlin'” (“The Ballad of High Noon”). This song, years later, was recorded by the Brazilian rock band Legi�o Urbana in a disc. He won the Academy Award for best scoring of the John Wayne film The High and the Mighty (1954); during the telecast ceremonies in 1955, Tiomkin humorously thanked all of the earlier composers who had influenced him in writing this music; among them were Beethoven, Tchaikovsky, Rimsky-Korsakov, and many of the other great names of European classical music.

Tiomkin scored four films for Alfred Hitchcock: Shadow of a Doubt (1943), Strangers on a Train (1951), I Confess (1952) and Dial M for Murder (1954).

Many classic scores followed, many of which were composed for Western movies, such as High Noon (1952), Giant (1956), Friendly Persuasion (1956), Gunfight at the O.K. Corral (1957), Rio Bravo (1959), and The Alamo (1960). Tiomkin also composed the music for The Guns of Navarone (1961), Town Without Pity (1961), 55 Days at Peking (1963), The Fall of the Roman Empire (1964), and The War Wagon (1967).

He was the first composer to receive two Oscars (score and song) for the same dramatic film, High Noon. The film uses a song to introduce the film and the lyrics tell the whole story in under 2 minutes and 30 seconds.[3]

However, one of Dimitri Tiomkin's scores for a classic film has not become as famous as his others. His music for the 1950 Cyrano de Bergerac, the first screen version in English of Edmond Rostand's classic French play (and the film for which actor Jose Ferrer won his only Oscar), is very rarely heard outside the film, is almost never performed in concert, has never been given an extensive recording, and was not nominated for an Oscar.

Besides cinema he was also active in writing for the small screen, writing some memorable television theme-songs, as for Rawhide (1959) and Gunslinger. He was also hired to write the theme for TV's The Wild Wild West (1965), but the producers rejected his themes and hired Richard Markowitz. A cover version of the theme from Rawhide was performed in the 1980 cult musical film The Blues Brothers.

Besides writing music for several television series, Tiomkin made a few appearances as himself on television programs. These include an appearance on Jack Benny's CBS program in December 1961, in which he attempted to help Jack write a song.[4]

He also wrote the music to the song Wild Is The Wind. It was originally recorded by Johnny Mathis for the the 1957 film Wild Is the Wind. It is mostly well-known as a jazz singer Nina Simone's standard. The song carried on in a 1976 David Bowie's cover (Bowie being a long time admirer of Simone). In 1981, David Bowie released a single of the same name, which became a hit in the UK charts.

Dimitri Tiomkin died in London, England in 1979 and was interred in Forest Lawn Memorial Park Cemetery in Glendale, California.

[edit] Legacy

A number of Tiomkin's film scores were released on LP soundtrack albums, including Giant and The Alamo. Some of the recordings, which usually featured Tiomkin conducting his own music, have been reissued on CD.

In 1976, RCA Victor released Lost Horizon: The Classic Film Scores of Dimitri Tiomkin (US catalogue #ARL1-1669, UK catalogue #GL 43445) with Charles Gerhardt and the National Philharmonic Orchestra. Featuring highlights from various Tiomkin scores, the album was later reissued by RCA on CD with Dolby Surround Sound.

Garcia - I'm listening to the Young compliation now. Still haven't really clicked with him. Think Species is my fav so far.

My favorites without any doubt are his works for the classic horror movies by Clive Barker Hellraiser and the posterior sequel Hellbound. May be you will need more time, I understand that Young is not an "easy listening" composer.

Curiously one of the themes that we found in Hellbound was adapted by Young as additional music for Spiderman 2 when the director Sam Raimi had "creative" differences with Elfman and Young entered in the movie.

http://www.4shared.com/file/113319338/df90df6c/07_-_Dr_Octavius_Demise.html


Best

Amen! :)

Let's all celebrate with...

[CENTER]HIROSHI TAKAKI
Sinfonia Tytania

More comments and a review later on, but for now: This is a fully symphonic masterpiece - grand and stately, superb composition and an excellent orchestral performance.

Oooohhgghhh!!!! Thank you! I have been waiting for this to come out! *dies in musical glee!*

Elvandia Story OST - Noriyuki Iwadare (first and last track) and Norihiko Hibino
Orchestral/fantasy/sweeping


http://rapidshare.com/files/247115870/NI_NH-ES.rar
PSW: smile
Credit for original rip goes to gamemp3s, who released it in 2007

never heard this one . . .
really interested with the composers..Noriyuki Iwadare and Norihiko Hibino !
thanks for posting this =)

and..gotta be honest, i fell in love with orchestral music since i read about this thread...
you guys' choices are AWESOME !!!
thanks for all the recommendations out there ! :D :D

Hi!

I've really enjoyed reading the discussions for the last few pages. Amazing that a discussion of film music is more civil here than on the FSM board.

In the last few months I have been really digging into Golden Age scores. I grew up with Goldsmith, Horner, etc...then I discovered Bernard Herrmann. That made me into a "collector". Benny is by far my favorite composer of all time. Then I stumbled across the Gerhardt-conducted "Sea Hawk" / Korngold compilation and I was like - whoa - how could I have ignored this treasure trove! After immersing myself in Korngold, Steiner, Rosza and Waxman it really makes one realize how thin modern film music is these days. To be honest I used to like some of Zimmer's scores but when I listen to them now they seem closer to progressive rock music (which is fine, but not nearly as complex as classic film music). For the modern film composers I can say I still look forward to an Elfman score, tho lately he's been very hit and miss.

Anyways, thanks to all for the great shares here. I'll have to think of something to share - anyone interested in Goldsmith's FSM expanded Logan's Run? Kind of an old release so probably most people have that but I'll up it if there's any interest.

PS - I'm kind of pre-disposed against anime music after 1980 (possibly because of the sheer volume), but this Amano guy everybody's talking about has piqued my interest. I agree, that cover is pretty cool, especially since I am a huge Space battleship Yamato fan. Thanks Dannyfrench!

dooj17-I would be interested in Logan's Run expanded. I don't believe I have any version of that score. Thanks.

EDIT: If you want GOOD anime soundtracks after 1980 just look no further than everything by Yuki Kajiura from .hack//sign to the upcoming Pandora Hearts, Kotaro Nakagawa scores, Kousuke YAMASHITA scores, and most importantly, Joe Hisaishi's work for Studio Ghibli movies. I intend to make a Kotaro Nakagawa collection thread when his latest two scores come out.

Upping Logan now, but I have to go out before it's done so I will have to post the link when I get back.

I used to listen to a few Hisaishi scores, I have a few Ghibli "image" scores as well as the Nausicca disc somewhere around here. Lately Miyazaki's films have been so err.."unappetizing to a grownup" let's say, that I forgot about Joe. I'll have to revisit that stuff, about the same time I got into Joe I came into a huge Morricone stash and well...got kinda distracted :)

Update: Logan's Run 320k Jerry Goldsmith
http://www.screenarchives.com/title_detail.cfm?ID=2555



logrun1.rar (http://www.rapidspread.com/file.jsp?id=l4sk8rmrq5)
logrun2.rar (http://www.rapidspread.com/file.jsp?id=tbh3tymyql)
Artwork here (courtesy the crime lounge)
http://rapidshare.com/files/161568067/Artwork-LogansRun.zip

My personal track recommendations to make this into a condensed suite: 1,3,8,10, 12,13,15,17, 18, 20, 22.

Here is the beautiful main theme of Exodus by Ernest Gold.
Theme Of Exodus (http://rapidshare.com/files/247396018/01_-_Theme_Of_Exodus.mp3)

Tadlow will release a complete recording of this soundtrack, and they have posted on youtube a video from a recording session of this theme.
http://www.youtube.com/watch?v=kfzXE9RMf-k

dooj17: That's very nice. I presume that Logan's Run is Goldsmith in his more experimental side, but i will listen later to be sure.
Thank you for your contribution.

It starts out very electronic but once Logan gets out of the city it becomes much more Goldsmith in his 70's orchestral mode. The electronic cues get kinda annoying after awhile, tho, which is why I have a custom tracklist.


dooj17: That's very nice. I presume that Logan's Run is Goldsmith in his more experimental side, but i will listen later to be sure.
Thank you for your contribution.

I have listened Logan's Run.
It's one soundtrack with 2 distinct approaches, with one heavy on electronics and the other in more traditional orchestral mode.
The first half is filled with electronic sounds and isn't very easy to listen. Even the few string parts are austere. Liked the tracks 'Intensive Care' & 'Ice Sculpture'.
The second half is where the orchestra dominates, and it's the best part of the score, in my opinion.
This turn starts in 'The Sun', and 'The Monument' is probably my favourite track of the album. 'You're Renewed', is a complex action cue who Goldsmith is known how to write so well. I even like the 'The Interrogation' which is an electronic schizophrenic cue, and the last of this kind. 'End of the City' is a beautiful cue to finish the album.

Thanks for sharing, dooj.

As it's the 5th anniversary of Jerry Goldsmith's passing coming up in July, I thought I'd post some of my favourite scores of his over the next month or so. I'm sure many of you will have these already, but I know Sirusjr is keen for a few more that aren�t on his list :)

OMEN III - THE FINAL CONFLICT
320kbps / 145MB / 15 tracks / 1:03

Wow, this is a great find! I admit I probably like less than a third of Jerry's scores (mainly because I have much narrower spectrum of taste than Jerry did) but this is one I somehow missed. Thanks for sharing this.

Man, dig the Katchaturian in "ATV First". LMAO.

What? Less than a third?



Anyways, I am running an RPG Group (yes, the D&D type of RPGs) and I need some good Horror Music (as well as what some could call "Horror Battle" music). Any good suggestions as to where to turn besides the Alien scores and Dead Space?

Heh, well less than a third still adds up to...50? My problem is that I have very little appreciation for Westerns (aside from Morricone and some select Tiomkin and Newmans) and I can't stand most electronic scores, especially those from the 80s. It's my own issue I'll happily admit. Also post-90s Jerry doesn't really stick for me, the orchestrations just seem so simplified, but I blame the times, not the composer.

If you want scary music try Penderecki's "Threnody for the Victims of Hiroshima", or anything by Xenakis...hmm maybe too scary. Try Alex North's Spartacus for battle music (Gladiators Fight to the Death). Don Davis's Matrix scores have plenty of creepy battle music, especially the first.

Here's a request: Korngold's Anthony Adverse - The Tsunami release. The one posted here earlier is cool but I'd love to hear the original recording.


What? Less than a third?

Anyways, I am running an RPG Group (yes, the D&D type of RPGs) and I need some good Horror Music (as well as what some could call "Horror Battle" music). Any good suggestions as to where to turn besides the Alien scores and Dead Space?

I am already using the Matrix scores for Mage battles. :)

Threnody is definitely a keeper.