Ah, looks great, Tangotreats. I noticed the beginnings of the post this morning before you had actually posted the download links and the description (whch is very nice, thank you) and I was excited to see another Michiru Oshima score. I will also get it when I'm home. :D

Also, I'm liking the rota quite a lot! I am espeically enjoying the tracks that are designated to be from "Il Gattopardo" (the leopard). Thanks, lens!

Well, I'm thoroughly enjoying Gokusen. Oshima has a very original approach to these short cues; she treats us to a series of self-contained dance miniatures. Is it just me? I find her ease and expertise with these forms utterly captivating and charming. A real breath of fresh air. By contrast, I'm less taken with the slightly nondescript beat tracks. The processional main theme though is an absolute joy!

Sirus - Rota for me is emotional, but it's the kind of emotion you get from hearing an assured composer with everything in hand and a distinct personal style just do his thing. The music balances itself miraculously between being suave and gushing. But, on that level, it's conceived very broadly (but I'd venture no more so than in Williams' or Horner's epic scores). If it doesn't touch you it doesn't touch you.

Try the opening title of The Leopard (track 22) before you write him off. It has all the grandeur and aching tragedy of a Tchaikovsky symphony, and just as beautiful a melodic flow :)


Also, I'm liking the rota quite a lot! I am espeically enjoying the tracks that are designated to be from "Il Gattopardo" (the leopard).
Ah, that's more like it! ;) One of my favourite scores, in all honesty.

Well that was ironic that I stopped listening right before I get to the good parts. Yeah Lens, I immediately could tell that Il Gattopardo is more the style of music I enjoy. Beautiful stuff.

Quo Vadis - Miklos Rozsa Conducting the
Royal Philharmonic Orchestra and Chorus
MP3 VBR V0 | 12 track Decca (London) version



This score is incredible. It reminds me of so many of my favorite things about Rimsky-Korsakov, Prokofiev, Vaughan Williams, and others, but has a style so much its own. Ecstatic moments simply bleed through the edges of the CD on this one, from explosive brass fanfares to sweeping string melodies to staunch choral sections, this has got it all. I have only listened to it once ( which I intend to remedy--I just bought it a couple days ago) but it is already one of my favorites.

Having said that, I'm very ignorant of which recordings of this are available, so I don't know if this is the best or most complete version of this out there, but this is a very nice performance and a great recording.


Quo Vadis (Multiupload) (http://www.multiupload.com/97W8D91D7K)

That's a wonderful score, Jakob, and I don't have this recording of it so I'm checking it out — thank you!

EDIT: It says it's a 17-track release, but I'm only getting 12 tracks with a CRC error on the 6th track that's keeping it from extracting properly. This is on a Mac using UnRarX — anyone else having issues with the archive?

Quo Vadis - Miklos Rozsa Conducting the
Royal Philharmonic Orchestra and Chorus
MP3 VBR V0 | 17 track Decca version



Thank you

Interestingly enough, according to soundtrack collector, the cover you posted is associated with a london records one while the one I believe posted by Sanico was from the Decca version. The tracklists are the same and they sound very similar. Of course both versions sound wonderful and should be downloaded and enjoyed by all! Thanks for posting this wonderful score here again Jakob.

Interestingly enough, according to soundtrack collector, the cover you posted is associated with a london records one while the one I believe posted by Sanico was from the Decca version. The tracklists are the same and they sound very similar. Of course both versions sound wonderful and should be downloaded and enjoyed by all! Thanks for posting this wonderful score here again Jakob.

From what I can find by my quick research, it would seem they are the same recording, especially since the UK Decca between 1947-1998 released classical albums in the US under the name London. I couldn't find another full version of Quo Vadis--just a track or two in different compilations--on the forum so I posted it again. Oh well. I changed the title to say Decca (London) to avoid confusion.



EDIT: It says it's a 17-track release, but I'm only getting 12 tracks with a CRC error on the 6th track that's keeping it from extracting properly. This is on a Mac using UnRarX — anyone else having issues with the archive?

Sorry about that. It should say twelve tracks, and does now. Also, I downloaded the mediafire version and did get the crc error, but the multipload one seems to be fine. I think I'll just delete the mediafire link and everything will be good!

Yes, Decca and London are basically the same thing. Recordings made in London were released here under that name I think. An excellent disc. Again, I believe there are clamourings at the FSM boards and the like for a for a new take, but this is superb! I haven't heard the full original or seen the film though, so I don't know what of significance is missing. Sometimes I think film score fans go way over the top wanting every last note.

By the way Jakob, having read your comparisons of this Rozsa work to Rimsky-Korsakov and Prokofiev and not recalling having ever listened to either, I am downloading various works of both from various sources and going to give them a try. It helps to have a rapidshare premium to use for downloading from that one blog that seems to still be around.

FIND EVERYTHING, DOWNLOAD IT ALL!!!!! Also, there is a good bit of Prokofiev in the Classical thread, although I can't remember what.

FIND EVERYTHING, DOWNLOAD IT ALL!!!!! Also, there is a good bit of Prokofiev in the Classical thread, although I can't remember what.

Alexander Nesky.

There is only Alexander Nevsky. Alexander Nevsky is all you will ever need.

THE FILM MUSIC OF ALEX NORTH
Eric Stern conducting the London Symphony Orchestra

Well what can i say. Alex North music is always difficult for me in every first hearing, but always rewarding after repeated listens.
The Bad Seed suite is really intense, and sometimes scary.
I have heard before on one of your custom compilations, the track from Viva Zapata, and forgot how much i liked that track alone, so it's great to heard it again.




Quo Vadis - Miklos Rozsa Conducting the
Royal Philharmonic Orchestra and Chorus
MP3 VBR V0 | 12 track Decca (London) version

Having said that, I'm very ignorant of which recordings of this are available, so I don't know if this is the best or most complete version of this out there, but this is a very nice performance and a great recording.

I think there is a more complete version included on the Rozsa box by FSM.
The liner notes are available online on their website:
http://www.filmscoremonthly.com/notes/quo_vadis.html
http://www.filmscoremonthly.com/notes/quo_vadis2.html

The version from the treasury includes:
Disc 3

1-34. Quo Vadis (Music and Effects Reconstruction) (78:46)

Total Disc Time: 01:18:46

Disc 4

1-12. Quo Vadis (Archival Music) (26:19)
13-24. Pre-Recordings (17:15)
25-28. Pre-Recorded Marches (18:14)
29-34. Pre-Recorded Fanfares (03:05)
35-42. Original Soundtrack Fanfares (02:23)
43-44. Additional and Alternate Cues (04:28)

Total Disc Time: 01:12:37

I need to get a hold of that Rozsa box. First I'm gonna buy the Bernstein set of recordings, which includes Young Bess, Thief of Bagdad and Madame Bovary :swoon:


There is only Alexander Nevsky. Alexander Nevsky is all you will ever need.
What about Ivan the Terrible?? Romeo and Juliet, Symphonies 5 & 7, Cinderella? ;)


Well what can i say. Alex North music is always difficult for me in every first hearing, but always rewarding after repeated listens.
The Bad Seed suite is really intense, and sometimes scary.
I have heard before on one of your custom compilations, the track from Viva Zapata, and forgot how much i liked that track alone, so it's great to heard it again.
Goldsmith recorded the whole score of Zapata. I've been meaning to get my hands on it; his other North recording are perfection. I'd recommend the film too - Brando in fine form, attractively shot, great music, and cheap as chips on dvd :)

Lens, having listened to the Rozsa box I need to warn you that the sound quality isn't up to par with say this Quo Vadis or FSM's release of Knights of the Round Table, The King's Thief. Many of the scores are simply the best they can get from the existing tapes from the original recordings and some contain sound effects. I couldn't get into a single piece from the box and subsequently backed them up and deleted them from my hard drive. If you can find samples from them I suggest you make sure that you decide whether you can stand the versions contained therein before you plop down the dough. I will check with the person who I got the box from to see if I can share some of it here for sampling purposes.

For essential Prokofiev don't forget the Scythian Suite, piano concertos 1 and 3, Lt. Kije, The March from The Love for Three Oranges, Peter and the Wolf, violin concerto no. 1, and the Cantata for the 20th Anniversary of the October Revolution gives Carmina Burana a run for its money.

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

Speaking of the Rosza box set, i agree with Sirus. These are recordings that did not hold up well over time. The original recordings were severly damaged (some of them thought lost in a fire). Some of the recordings are only found in "glorious" mono. I love Rosza's work but the quality of the recordings doesn't do him justice. Still a great set but I recommend finding some of the great Elmer Bernstein and Bruce Broughton Re-recordings.

For essential Prokofiev don't forget the Scythian Suite, piano concertos 1 and 3, Lt. Kije, The March from The Love for Three Oranges, Peter and the Wolf, violin concerto no. 1, and the Cantata for the 20th Anniversary of the October Revolution gives Carmina Burana a run for its money.

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

Yeah I remember liking the October Revolution quite a lot when I got it from your thread.

Also, I neglected to mention Scythian Suite, which streich did :D :D
It's one of my favorites. Yay, Prokofiev! I could rave all day.

I searched the thread to see if this had been shared and only found a few passing remarks about it (from tango i believe).
Anyway its one of the best orchestral game soundtracks of all time so if you haven't heard it, enjoy.
If you have heard it, maybe its time to give it another spin. ;)


Bruce Broughton
Heart of Darkness


Sample (http://www.fileden.com/files/2009/6/24/2487612//08%20Meteor%20Destroyed.mp3)
1. Main Title
2. Andy's Mission
3. Big Mistake
4. Andy's Friend
5. Space Island
6. Vicious Servant
7. Back to the Lair
8. Meteor Destroyed
9. The Plot
10. Andy's Victory
11. End Credits

http://uploadmirrors.com/download/185OXJUJ/BBHOD.zip

Haha guys well I grabbed the piano concertos 1-5 and a LSO recording of Prokofiev complete symphonies, Romeo and Juliet, Cinderella Summer Night. That should last me long enough until I go searching out for more. (all in lossless of course). Then I found Rimsky-Korsakov Sheherazade and a 2cd symphonies set. That total should keep me for quite a bit :D But I will consider your other suggestions once I crave more.

Then I found Rimsky-Korsakov Sheherazade and a 2cd symphonies set

Scheherazade makes me melt. I cannot explain the joy i felt when i found out that i was going to be able to play timpani for it (and then the joy of playing it).
Man i miss playing in an orchestra...


I just downloaded Gokusen, this is wonderful. thank you tango

Tango - rest assured many of us in this thread fully appreciate your always-informative careful presentations of excellent music. If only you didn't have all the flippin bases covered already, there'd be something we could offer in exchange! ;) Don't let the anonymous grabbers get you down mate. People just give up after a certain point on the thankyous.

Back to Gokusen: what wins me over in this score are the wonderful smiling melodies and toe-tapping rhythms. The show must've been given a real zing by these pieces. Like the other top rank Japanese composers Oshima seems to be able to incorporate many different styles without the whole thing turning into a hodge-podge. How? Even some of Hollywood's best can really labour over a touch of jazz or swing, or the dreaded celtic/ethnic lipservice.

Further MO recommendations would be most welcome. I may be missing some. As well as recent posts, courtesy of yourself, Sirusjr and Sanico, I've listened to FMA, Xam'd, ICO and Queen Emeraldas.

Re: Rozsa Box - how does Asphalt Jungle sound? I'm not sure it's available in any other form. I'm also curious about the 'Great Movie Themes' disc. It would be a lot cheaper for me to buy Lust for Life, King of Kings and The Power separately, if I can do without those.

Still on the subject of Rozsa: Sodom and Gomorrah was shown recently on the BBC, and I forced myself to sit through the whole bloody thing just for the music. Not one of Rozsa's most inspired (I believe he thought the movie was trash), but still solid, with some of his best action stuff late-on. The film is as crap as everyone says, but quite risque for the time - incest, homoeroticism, sadism and the boundaries of rape are all none-too-subtly thrown into the mix. I enjoyed the climactic pillar of salt scene (how could that go wrong?!), Lot's wife was the most compelling character and Rozsa really delivered at that point; shades of El Cid. Overall, I have to say, it left an impression on me (note: not a recommendation!). The idea of a bargain between extreme affluence and decadence on the one hand and ultimate ruin on the other is universally resonant, obviously; got me thinking what a modern version would be like (preferably with embellishments or even a completely different setting, and certainly with a more sophisticated sense of moral questioning..). We like our disaster movies these days, but they all ring so hollow. It says something that an execrable, ham-fisted, flat, dated, cheap wince-fest got to me more than the likes of Armageddon, Day After Tomorrow, Cloverfield, 2012, Watchmen etc etc. That's the Rozsa effect for you ;)

Who these days would you have score it? Gabriel Yared or James Peterson probably.. or how's about Masamichi Amano? :D

Does anyone have the Violinist of Hamelin? It was orchestrated by Shiro Hamaguchi and I haven't been able to find the score anywhere. If someone could upload, I will be very grateful!

I searched the thread to see if this had been shared and only found a few passing remarks about it (from tango i believe).
Anyway its one of the best orchestral game soundtracks of all time so if you haven't heard it, enjoy.
If you have heard it, maybe its time to give it another spin. ;)

It would be one of the best orchestral game soundtracks of all time if it wasn't half a score. Even the final track is just a direct repeat of previous cues. What's there is fantastic orchestral writing. What's not there is more fantastic orchestral writing. I understand there was lack of funding involved and the game was delayed for years, possibly to Broughton's dismay, but damn, there should have been a lot, lot more.

It would be one of the best orchestral game soundtracks of all time if it wasn't half a score. Even the final track is just a direct repeat of previous cues. What's there is fantastic orchestral writing. What's not there is more fantastic orchestral writing. I understand there was lack of funding involved and the game was delayed for years, possibly to Broughton's dismay, but damn, there should have been a lot, lot more.

Very true, its tiny almost half a soundtrack as you say.
But still I'll take a brilliant half soundtrack over a 5 cd crapfest any day ;)

Lens, I am uploading the Rozsa Box disc with Asphalt Jungle and Great Movie Themes per your request. I got permission from the source who I got the box from in the first place.

Miklos Rozsa Treasury - Disc 2
1. The Red Danube (13:54)
2. The Miniver Story (09:19)
3. The Asphalt Jungle (09:00)
4. East Side, West Side (03:43)
5. The Light Touch (41:29)

Download (http://rapidshare.com/files/374133031/MRT-Red_Danube_Et_al.rar)

Miklos Rozsa Treasury - Disc 14
The V.I.P.s and Great Movie Themes Composed by Miklos Rozsa
Download (http://rapidshare.com/files/374128596/MRT_-_Great_Themes.rar)

Lens, I am uploading the Rozsa Box disc with Asphalt Jungle and Great Movie Themes per your request. I got permission from the source who I got the box from in the first place.[/url]
Thank you for this from me too, Sirusjr. I think it's the first time someone uploads the Rozsa Box.

Well i'm not uploading the full box, just the two discs he requested. I don't think it would be worth my time to upload it all because once you listen to a few discs you will realize how bad the audio quality is.

Well i'm not uploading the full box, just the two discs he requested. I don't think it would be worth my time to upload it all because once you listen to a few discs you will realize how bad the audio quality is.
I didn't thought the rozsa box had a so bad audio quality as you describe it. What a pity.

A number of the soundtracks in the box have superior sounding recordings available separately so it wouldn't be worth uploading by themselves. I'll be happy to upload a few other discs from the same set if requested but things like archival Quo Vadis or Knights of the Round table you are better off with the shorter releases.

Yes, in fact I know how excellent the sound is that from the FSM's previous release of Knights of the Round Table.

Thanks for Quo Vadis-great work by Rozsa and good sound also--

By the way, for those who listened to the Nosferatu soundtrack of the silent film posted here some time ago, you may be interested to hear that I will be going to a performance of the San Diego Symphony in the beginning of next month to watch it performed live with the movie playing as well. I originally thought my mom wouldn't want to go with me but she does so it will be interesting to see whether she enjoys the music. Also if I hadn't heard this wonderful piece of music here I would never care to go watch it live as I am.

For those who are interested, I posted a box set of all 7 prokofiev symphonies + Lt. Kije here, as we've been talking about prokofiev:

Thread 75519

I mostly uploaded it for Sirus, but I imagine some of you might like to have it as well.

Anyone who hasn't heard Prokofiev's symphonies but loves the stuff posted here absolutely MUST download it and listen to it all. There is some wonderful music in those symphonies.

If I may, I'd like to present this evening one of the finest scores ever to grace a motion picture. A score written a prominent British classical composer, which in my eyes is one of those rare times when everything just works beautifully. A score that was forcibly ejected from the film by over-zealous studio executives, and replaced by a tacky 80s synthpop score by Eurythmics. Ladies, and gentlemen, I give you...



NINETEEN EIGHTY-FOUR - The Music Of Oceania (1984)
Composed, orchestrated, and conducted by
DOMINIC MULDOWNEY
Performed by
The Endymion Ensemble
The London Voices (chorusmaster Terry Edwards)



My rip - LAME 3.98.4 - V0 - Scans Included

http://uploadmirrors.com/download/MNF2GNP0/DM-1984.rar

[Note on this release: This score was and still is obscure to say the least - this very limited release was made in 1999 on the now defunct Airstrip One label, and distributed by the also defunct Supertracks. I got my copy in '99. It's been out of print and virtually impossible to find since probably 2002, 2003. If you see a copy, expect to pay a fortune for it.]

It's the same old story; a truly wonderful film gets made, and to score it the director hires one of the finest living classical composers. He works on the film throughout its gestation process, writes source music, and creates a complete, inseperable musical world in which the story can unfold. Then the executives arrive, throw out the score, and replace it with some cheap pop music so that it appeals to hip young people. Yup, this bollocks was even happening in 1984.

Fortuitously, in later releases, Dominic Muldowney's wonderful score was reinstated in the movie - although if you're buying the film on DVD, it seems to be pot luck as to whether you'll get the Muldowney score or the Eurythmics score.

Well, to the score itself - usually I like to natter on and on and on about it, and tell you why I think it's so great, and why you should too, etc. And sometimes, I just say "Listen to it, folks" - on those occasions - and this one, I find that the music defies explanation. I'll just say that this is not an easy ride; it's a very tightly wrought score - sumptuous at times, cold as ice at others. Knowing the film (or at least, being fairly well aquainted with Orwell's original novel) will help you to appreciate this immensely. If you enjoy a film that's more relevant now than ever, and don't mind doing a bit of detective work tracking it down with the Muldowney score, I urge you to do so. If nothing else, it'll make you think.

So will this music - it gets inside you and it doesn't leave you; ever. It was an immense influence on me - it was possibly the first film score I ever really, really noticed as a kid; though at the time, the finer points of the film and music were lost on me, it ferreted into my subconscious and remained there.

Even if you hate it, I'll wager you won't forget it. You'll either hate it, or you'll adore it. (With apologies to Julia.)

It's also a masterclass in orchestration; Muldowney's arrangement makes it sound truly unique; an orchestra (with saxophones) and small chorus (plus a soprano soloist, and a contralto soloist) blends expertly with Ondes Martinot (played as it always seems to be by Cynthia Millar) and a whole variety of other instruments electronic and acoustic; a grand pipe organ, a pennywhistle, a melodian, a concertina, and even a Fairlight synthesiser. But it is a piece of modern classical music - in construction and tone. Don't think film score - think symphonic scenario.

Give it a try - if it's not your cup of tea, I apologise; even if you hate it, and you then hate me for wasting your time in downloading and listening, I hope that you'll at least have appreciated the opportunity of discovering something wonderful.

Hopefully your reactions will be positive. :)

Huge thanks for this post Tango.
Its strange that this score was rejected in favor of some pop group because as I am going through the beginning of the album, the synthesizer stands out as almost un-fitting although as the liner notes suggest, it was used to denote the futuristic setting of the movie. There certainly are some interesting cues and as far as the first half goes, I really dig the main theme. More comments to come.

I think I'm also noticing a similarity between the main theme and Prophecy by Leonard Rosenman. While the quotation if you will isn't that long, there is a clear similarity with the trumpet-lead rising beginning of the theme and the main theme in Prophecy.

This thread needs more Robert Folk. I of course am more than willing to help with this small problem. Here we have a rare intrada release of Toy Soldiers for you all. This score is wonderfully lyrical and romantic.

Robert Folk - Toy Soldiers - Intrada 1991
Orchestration by Robert Folk. Additional Orchestration by Randy Miller and Peter Tomashek.
Performed by the Dublin Symphony Orchestra
|Romantic|Orchestral|Sweeping|
MP3 VBR V0 110MB

Download (http://rapidshare.com/files/374838911/Toy_Soldiers.rar)
PSW: smile

This thread needs more Robert Folk. I of course am more than willing to help with this small problem. Here we have a rare intrada release of Toy Soldiers for you all. This score is wonderfully lyrical and romantic.
Hoping that this will be rereleased one day, along with other memorable Folk stuff.
I always looked for his double-cd promo SELECTED SUITES in lossless format. Any chanche you can upload it? :rolleyes: Thanks.

That suites album was uploaded in mp3 here in this thread before but not FLAC. I haven't seen it in lossless.

Takeshi Hama - Kobato OST2
Orchestral|Relaxing|Strings
MP3 320kbps + Scans - Originally downloaded from Nipponsei

Download (http://hotfile.com/dl/38293781/4844fdb/Nipponsei_Kobato_Original_Soundtrack_2_-_Sakura_Saku_Koro.zip.html)
If you haven't listened to the Kobato soundtracks, this one is as good a start as the first one. Both are highly recommended and, as the cover may suggest, very cute beautiful music.

Nino Rota | Il Gattopardo
AAC 256kbs (Itunes)



Il Gattopardo (Multiupload) (http://www.multiupload.com/FMS9U32S72)

I bought this on Itunes and didn't want to risk further quality degradation from transcoding to any other format, so I kept the original .m4a's. They still sound good.

This is the score from the movie, selections from which were on the Nino Rota album Lens posted just recently. I hadn't heard this before that album and I just love it! It feels like a simpler Tchaikovsky while retaining all of the wonderful themes and emotion, which I think Lens mentioned earlier, but that is just what I thought as well! I hope you like it. I will mention as a disclaimer though, that the recording of the orchestra in the "Music for Film" is much better, and better played as well. I just wish we could get that orchestra to play more from Il Gattopardo, because it ends just as I am really enthralled in my listening. The music just feels so ALIVE in the Ricardo Muti recording, and it is so well done! This album I've uploaded here is certainly a more complete representation of the film score (although I'm not sure HOW complete) but not quite on the level of the other that was posted previously. I still enjoy it a lot, and just give this information for your benefit!




Takeshi Hama - Kobato OST2
Orchestral|Relaxing|Strings
MP3 320kbps + Scans - Originally downloaded from Nipponsei

If you haven't listened to the Kobato soundtracks, this one is as good a start as the first one. Both are highly recommended and, as the cover may suggest, very cute beautiful music.

I'll definitely give this a shot, because I am completely unaware of Takeshi Hama. Thanks, sirus!

Thank you, tangotreats, for the 1984 score. For all the soundtracks nearly impossible to find, this is the one I cherish the most...

Partly because it's based on the most surprising/sad story I ever read, but mostly because of the quality of this well-inspired music. Thank you again!

Wow, glad to see the forum back online...was getting a little worried there...

Tango; thanks for Gokusen and 1984, both are really awesome to listen to and I am enjoying them immensely! 1984 is not what I was expecting (read the book, NOT seen the movie adaptation) But it works really well, I like it!

Ah, seems we're back at last...

Good to see you back, mates. Thanks a lot for the last albums, too. I'm really amazed by the quality and variety of what's posted here: I leave 1 week and I then come back and there's a ton of superb music to grab - this place has really become a treasure chest.

If the board is accessible this weekend, I've planned some posts of interest. So *hopefully* more stuff to come!

Btw, not to mention the board being frequently down, I noticed that there's no more "search" function, and the click counter hasn't moved since weeks... What's the problem in here?

yeah, the new post button is gone too... Lots of stuff is broken on the board. All of the broken stuff here plus the lack of any updates on the main site since what...2007? and dead email links for contacting the operating staff, really starting to make me wonder how much longer this forum is going to be around :(

Thanks for 1984, Tangotreats. I listened to it once when you first posted it, but then the forums were down and I'm just now getting the chance to say thank you! I'm listening to it again, and I must not have been paying attention the first time I listened to it, because this is some really fantastic writing. Thanks again.

Also: The search functions are gone because they were being exploited to hack the forums. As far as I know, they should be back some time in the near future, but I really don't know. For contacting the "operating staff", follow the chat link in the forum index and talk to sarah, she's the site owner and basically the sole operator. She's there in chat most of the time.

Maybe we should start up our own forum guys? I mean, just how much longer than this place last? I am really starting to worry. :(

Ok. I don't like 1984 (movie was goood actually), but thanks for posting it Tango. Nice to see things that are interesting and awesomely rare... but I just don't get this score.

And yes, I'm worried about the forum. Why it was dead for whole week? I was like - WTF? Where's my music?;)

And where is Book of Bantorra?;)

And yes, I'm worried about the forum. Why it was dead for whole week? I was like - WTF? Where's my music?;)

Tell me about it. I wanted to download that complete rip of Assassin's Creed II that was posted mere hours before the forum went down. Oh, what a horrible wait that was. The site was being F5ed every couple of hours. T__T

Steiner's Light Brigade under Stromberg-tremendous stuff-OK bombastic and over the top but some great music! Also the 2CD Krull one of Horner's best along with more recent The New World-

JAMES SEYMOUR BRETT
WALKING WITH DINOSAURS - The Live Experience
composed, orchestrated, and conducted by James Seymour Brett
performed by The Sydney Scoring Orchestra

LAME 3.98.2 - V0 / Inc. scans
http://uploadmirrors.com/download/MXR6X4SH/JSB-WWDTLE.rar

AAC -Q0.2 (~40kbps) - no scans - for the bandwidth limited user, the very impatient, and the deaf
http://uploadmirrors.com/download/WZLGFW0X/JSB-WWDTLE-AAC-LITE.rar

...

I know we'll end up playing "spot the temp track" so I'll point out right away that there are some fairly close-to-the-mark "homages" herein, but I'll forgive them because the whole is so appealing.


I just got around to listening to this one. The orchestrations are really well done, unexpectedly good. I think I hear Horner's theme to Deep Impact but I don't know, sounds fairly clean by my ears. Why do dinosaurs tend to bring out the best in composers?

Maybe we should start up our own forum guys? I mean, just how much longer than this place last? I am really starting to worry. :(


well, I have an old free forum that's laying around unused....

I just got around to listening to this one. The orchestrations are really well done, unexpectedly good. I think I hear Horner's theme to Deep Impact but I don't know, sounds fairly clean by my ears. Why do dinosaurs tend to bring out the best in composers?

You know, I missed that one. Looking at the posts before that, I think I was still too interested in Symphony Yamato, which I still think is fantastic. This is really good as well, and is also one of those things I would have never ever stumbled across by myself, so thanks, Tango, and thanks for reminding me, streichorchester.

Hello and sorry in advance for my English (Google translation french=>english).

Is there a CD "Passion Of The Christ" version Oratorio for the concert which took place in Rome with an orchestra in 2005? If yes where I can buy it, or what connection the download?

Excerpt: http://www.youtube.com/watch?v=rFKu1Cs8wqo&feature=related

Hello and sorry in advance for my English (Google translation french=>english).

Is there a CD "Passion Of The Christ" version Oratorio for the concert which took place in Rome with an orchestra in 2005? If yes where I can buy it, or what connection the download?

Excerpt: http://www.youtube.com/watch?v=rFKu1Cs8wqo&feature=related

First off, let me just say that your english is excellent! It's better than some native speakers on these forums. Or the rest of the internet for that matter. ;)

In regards to the Passion of the Christ concert, I have heard little in regards to it. I know it has happened, but as to if it was recorded I have heard nothing.

No no, actually my English is very bad. All the honor goes to google translation ^ ^. Google is making efforts on its system of machine translation for some time.

For the concert of "Passion of the Christ" I heard it could be another concert soon (2010), but I'm not sure. For the 2005 version I'm waiting to see if anyone else knows.

Anyway, thank you to you for your answer. :-)

Wow, we're back... I have to say I was getting ever so slightly nervous that time. I know the forum disappears from time to time but it always comes back... I had 404 errors for days.

The lack of Search is irritating... but we can live without it for however long it goes on for. I'm just grateful to still be here. Something tells me this place isn't going anywhere; Sarah's iron will being what it is, I think the Shrine will still be here even then 99% of the current internet is a nostalgic memory. And this damn thread will still be at the top.

Thanks for your thanks, everybody - it's always a pleasure, and it always amazes me to see comments (like Streich's) turning up on posts from months and months ago - that I'd even forgotten about myself. I shall endeavour, of course, to continue offering up various things whenever I am able.

Off to bed now (just had an exhausting drive home from the missus' house) so will be back tomorrow.

Cheers all :)
D

YAYYYYY!

You guys weren't the only ones fretting.. Some of us were already in the process of beginning to attempt to formulate a "Plan B" (yes: we even had to resort to facebook). Thankfully, for the time being anyway, that can be put on hold :)


Lens, I am uploading the Rozsa Box disc with Asphalt Jungle and Great Movie Themes per your request.
You're a wonderful human being. Comments to follow.



NINETEEN EIGHTY-FOUR - The Music Of Oceania (1984)
Fantastic post yet again! And what a marvelous score. I've avoided this film on the (flimsy) assumption that great novels rarely make great movies. Dominic Muldowney, John Hurt and Richard Burton should have convinced me otherwise. Hearing the associated Eurythmics album can't have helped. Don't get me wrong, I like a bit of Annie Lennox as much as anyone; this one's a real embarrassment though!

Thanks once again for the post and for the recommendation :)

The funny thing is, Muldowney is a composer that's kind of on my radar - I've just never really looked into him properly. I do, however, have a couple of items.. So as a little follow-on, here we have:


DOMINIC MULDOWNEY

SHARPE
Moscow Symphony Orchestra
Also featuring John Tams and The Band and Bugles of the Light Division



http://uploadmirrors.com/download/CPU0ZVAT/Sharpe.rar

I've removed some of the more egregious songs, making a better listening experience, and a more streamlined 'suite', that should play better to the denizens of this thread.

It's remarkable what Muldowney can do with only a few brush strokes. If you like the more low key, sombre moments from Goldsmith's Under Fire then I think you'll like this - guitar, soft synth pads, clarinet.

Now, I'm not claiming to be a sound whiz of any kind, but there were clearly a few careless issues with the mastering of this disc (f*ckups might be the better word). I've done my best to rectify them, save one, which was beyond repair (at least to my limited skills). With any luck, you won't notice ;)

THE BRONT�S
John Pryce-Jones, Northern Ballet Theatre Orchestra



http://uploadmirrors.com/download/LPGLPP5S/Muldowney

A short ballet based around episodes in the lives of the Bront� sisters, from childhood to maturity, as seen through the eyes of their aging father. Atmospheric, deft orchestrations and flowing melodic lines (that never quite become 'melodies') - very attractive if you're in the right frame of mind. Highlights include the erotically charged third movement and the trip to finishing school in 'Charlotte in Brussels'!

Both in V0.

Thanks for the Muldowney Lens. I'm interested to hear more of his work.

Some of us were already in the process of beginning to attempt to formulate a "Plan B" (yes: we even had to resort to facebook). Thankfully, for the time being anyway, that can be put on hold

I want to hear more on this. :D

I want to hear more on this. :D

Nothing fancy. We were considering a blog. Specifically as an afterlife for this lovely thread.

As long as thing keep going strong on the shrine, I don't see the need. Tango has made me feel a lot more optimistic about what I previously thought was a shaky future..

Nothing fancy. We were considering a blog. Specifically as an afterlife for this lovely thread.

As long as thing keep going strong on the shrine, I don't see the need. Tango has made me feel a lot more optimistic about what I previously thought was a shaky future..

Why do a blog when we'd probably be better off with a forum?

But yeah, since the Shrine is still here why bother? We might as well create a forum though, just in case. :D

Speaking of 1984-the book, the concept of these nefarious sources who try shut things down like the Shrine-Big Brother lives my friends-I hope he fails!

Thanks for the the Alex North stuff-Looking for his Under the Volcano-Brando stuff excellent-

Nothing fancy. We were considering a blog. Specifically as an afterlife for this lovely thread.

As long as thing keep going strong on the shrine, I don't see the need. Tango has made me feel a lot more optimistic about what I previously thought was a shaky future..

Though, may not be bad for us inhabitants of this thread to set up some form of alternate contact outside the forum. In case we hit a point where the forum doesn't come back, so we don't lose contact :/

Though, may not be bad for us inhabitants of this thread to set up some form of alternate contact outside the forum. In case we hit a point where the forum doesn't come back, so we don't lose contact :/

A forum really isn't that fancy. We could always register with one of the free forums, like I-nvisionfree or Zetaboards. And I think it is more of the community idea than a blog is. A blog is a very personal thing. A forum is meant to be a community.

I don't know.. Forums can feel very cold and empty if there are only a few members. The point with the blog idea would be to let anyone who wants to contribute make a post. It wouldn't have to be all download orientated either - people could post thoughts, reviews, articles. This thread is a haven, as we all know, but elsewhere in the forum the attitude seems to be anti-discussion. Even our beloved Shrine has its own voluntary task force of Thought Police (and I don't mean the mods!).

I will mention as a disclaimer though, that the recording of the orchestra in the "Music for Film" is much better, and better played as well. I just wish we could get that orchestra to play more from Il Gattopardo, because it ends just as I am really enthralled in my listening.


NINO ROTA
LA STRADA - CONCERTO SOIREE -
IL GATTOPARDO
Josep Pons, Orquesta Ciudad de Granada



LINK (http://i-bloggermusic.blogspot.com/2009/10/nino-rota-la-strada-il-gattopardo.html)
(thanks to expanium!)

More dances from the ballroom scene in Il Gattopardo + a suite from Rota's ballet reworking of La Strada. Riccardo Muti also recorded the same programme, coupled with a different concerto, and it's available on itunes. I'd be very surprised if it had one-up on this excellent recording though. Check it out :)

As a bonus, here's the beautiful drifting main theme from La Strada played by the twelve cellists of the Berlin Philharmonic, in what I believe is their own arrangement:

Theme from La Strada (http://uploadmirrors.com/download/LQ7BISCC/12 Cellists)

I don't know.. Forums can feel very cold and empty if there are only a few members. The point with the blog idea would be to let anyone who wants to contribute make a post. It wouldn't have to be all download orientated either - people could post thoughts, reviews, articles. This thread is a haven, as we all know, but elsewhere in the forum the attitude seems to be anti-discussion. Even our beloved Shrine has its own voluntary task force of Thought Police (and I don't mean the mods!).

Well Lens it's not like a forum will prevent new people from joining our little community. With a forum, we can create a new thread for each download, and it's not like we cant' a part of the forum dedicated to reviews and discussions.

Forums are just a more effective way of doing what we want. With a blog we would need a guy to designate who can post new entries and who can't. A forum is much easier in this respect.

Forums are just a more effective way of doing what we want. With a blog we would need a guy to designate who can post new entries and who can't. A forum is much easier in this respect.
You're probably right. I don't know much about this sort of thing. I just think a new forum could either get out of hand (seriously think of what Sarah has on her plate!) or become a ghost town.

All worth considering anyway. At least now there's no urgent 'need' ;)

Paul Sawtell and Bert Shefter - Jack the Giant Killer (1962, Intrada 2010)
|FLAC|LOG|CUE|M3U|SCANS@300DPI|433MB|2CD|81:44|
|Orchestral|Fantasy|Epic|Action|

TRACK LISTING
CD 1
01. Main Title 3:20
02. The Present 6:41
03. The Giant 6:44
04. Jack Kills Giant 3:06
05. Garna’s Report 2:17
06. The Lady Constance 4:04
07. The Sea Voyage 3:29
08. The Wind Witch 6:50
09. Elaine Transforms 4:55
10. The Mirror 1:17
11. Jack and Peter Rescued 0:54
CD 1 Time: 44:06

CD 2
01. The Imp and Ghostly Warriors 10:25
02. Evil Elaine 3:24
03. Witches’ Drink 3:31
04. Transformation 2:02
05. Monsters Fight and The Way Home 18:00
CD 2 Time: 37:38

MP3 VBR V0 - 126MB
Download (http://rapidshare.com/files/377831759/PS_BS-JtGK.rar)
PSW= smile

Lossless
Download Part 1 (http://hotfile.com/dl/38765633/13fe40d/PSBS-JtGK_FL.part1.rar.html)
Download Part 2 (http://hotfile.com/dl/38767881/b129d69/PSBS-JtGK_FL.part2.rar.html)

World premiere 2-CD set of original soundtrack music from colorful Nathan Juran fantasy with Kerwin Mathews, Torin Thatcher, Judi Meredith. Paul Sawtell & Bert Shefter create fantastic, energetic score for full orchestra in full-color fantasy mode! Battles with giants, other monsters of all shape and size get rousing cues replete with swirling strings, blazing brass. Highly tuneful, heroic main theme anchors. Dazzling ideas follow. Intrada presents complete score in crisp mono sound from master elements sourced by MGM, Taylor White of Percepto Records. Colorful packaging plus liner notes from Jeff Bond are icing on the cake! Paul Sawtell conducts. Intrada Special Collection release limited to 1000 copies!

This fantastic soundtrack sold out WITHIN 24 HOURS of becoming available to buy not only through Intrada but every major soundtrack store. If you weren't ready to jump at whatever Intrada was planning on announcing last week, you may have missed out and will have a hard time finding this anywhere but EBAY.

Having finished my second full listen back to back I must say this is a fantastic score and I am VERY glad that I bought a copy when I did. It would be a shame if people weren't able to listen to this beautiful music so I am glad I can post it here for you all. The score has a heroic main theme as well as a very romantic love theme. One of my favorite parts of the music is the ever-recurring Irish Jig. I recommend everyone listen to this score at least once while reading the liner notes for each track. I never realized just how fantastic it is to have such detailed liner notes included.

Wow, thanks Sirus! This one passed me by completely.

About the Rozsa discs - they sound ok to me. I'm used to listening to old soundtracks though, and after the horrible ear-bleed of high violins in Song of Bernadette, I can take anything. Particularly love the Great Film Themes selection. Lovely to have the gorgeous 'Theme and Answer to a Dream' from Sodom and Gomorrah and 'Lydia Waltz'.

Wow, lots of new stuff!! Thanks a bunch, Lens, for the alternate Gattopardo and the Muldowney, both of which I'm downloading right now. Thanks also, sirus, for Jack the Giant Killer and selections from the Rozsa box set!

Edit: There is a password required for the Gattopardo link, but it's in the comments of the blog post, and it is "aire" .

EL CHEVALIER D'EON


DOWNLOAD (http://www.megaupload.com/?d=0XD8S1HR)

There is nothing like a good period soundtrack. Some of the most engrossing and memorable scores are dedicated to film and television series that take place in a time not quite our own. Some other great pieces of visual art take place in a world not our own.

El Chevalier D'Eon is something in between. It takes place in romantic France, during the height of the Kingdom, before that gorey Revolution. Using elements of the real life spy Chevalier d'Eon, a man who lived his life as two parts: a man and a woman. Fantastic elements are added into an engrossing mystery play, with elements of the occult mixed in to create an engrossing History-Fantasy narrative.

Michiru Oshima's score is great. We really don't need to think about why it's great. Oshima is one of the master composers of our era, and it is a blessing that she was not born in America so that she would not be pushed to the side in favor of Zimmer & Co.

There are plenty of action pieces here, such as "Gargoyle -H∴O-" and "Echo of Flashing Sword", but it is the leitmotifs and themes that really shines.

It's a hell of a score. Check it out. MP3, V-0, 1211x1200 cover image. The OP and ED have been removed, leaving just the orchestral bits. This is the Orchestral thread: what else do you expect? :)

I'm starting to listen to the first track now, and I hope they are all as good as this one! Thanks, doublehex.

I'm starting to listen to the first track now, and I hope they are all as good as this one! Thanks, doublehex.

It's Oshima. What do you expect?

Looks like the forums are back ^^

Thank you Sirusjr for Jack the Giant Killer. This music, the composers and the movie, are totally unknown for me, but you seem so enthusiastic about it and it's a sold out title on Intrada, so it must be really good.
Thank you Doublehexfor for El Chevalier D'Eon. There's always time to listen some more Oshima.
As for the rest of you, it's great to see you all again on board.
Thanks :)

Yeah Sanico, the two composers have very few CDs available. There is one release by them in FSM besides this (Voyage to the Bottom of the Sea) but otherwise many of their soundtracks are unavailable on CD.

Lennertz Christopher Saint Sinner

Performed By Budapest Film Orchestra And Budapest Film Choir

http://rapidshare.com/files/222330564/ChLS.rar

verry good

TORU FUYUKI conducts ULTRA SEVEN
The Tokyo Symphony Orchestra
orchestrated and conducted by The Composer



My rip. LAME -V0 3.98.4 - Full scans included (Another in my series of "CDs I Bought In Tokyo" - this time in Mandarake in Shibuya... a completely insane, truly amazing store that you really should visit if you have any interest at all in anime/manga and are in the neighbourhood...) ;)

http://uploadmirrors.com/download/1L88STOE/TFCUS2009.part1.rar
http://uploadmirrors.com/download/0H9FU0XW/TFCUS2009.part2.rar


Everybody knows who Ultraman is. Most people who do, most fondly remember Ultra Seven - to this day the most popular and well known of the Ultra series, it made its TV debut in 1967. Toru Fuyuki contributed a truly remarkable score; he took a potentially silly looking series and scored it straight as an arrow, as a powerful sci-fi epic. His orchestra in 1967 was respectable, although time has not been kind to the original recording.

How fortuitous then, that Toru Fuyuki was commissioned to write two symphonies based on themes from Ultra Seven! Both the symphonies on this disc have been previously released in concert recordings (and are virtually impossible to find today) but this is the first time they've appeared together. These were recorded in March 2009 at a special concert in Tokyo Opera City; a wonderful venue from an acoustic perspective, and to my ears an absolutely ideal one to showcase this wonderful music.

Fuyuki's scores were always bigger than the ensembles that performed them. In making these self-contained symphonic re-imaginations of his original themes, we can finally appreciate how forward thinking his music was - and how unabashedly grand and heroic he made that silly man running around in a red lycra suit.

Ultra Cosmo Symphony (no relation to Ultraman Cosmos, which was also scored by Fuyuki in 2001) was written in 1979, and is cast in four movements.

Ultra Seven Symphony was written in 1993, and is cast in five movements.

There are also three bonus tracks that will probably offend the more purist sensibilities in this thread, but will absolutely delight Ultraman fans; Song Of The Ultra Guard, a Wandaba Medley (an onomatopoeia used to describe one of Fuyuki's trademark choral techniques), and the phenomenally famous Song Of Ultraseven.

All in all, this whole album just makes me cry!

...For a number of reasons - Ultraseven nostalgia is certainly one of them. The fact that Japanese audiences are beating each other up for tickets to these concerts, and that the 75-year-old Fuyuki (still sprightly, healthy, and as his Ultraman Cosmos score of 2001 proves, still at the top of his game - and long may this continue) is so respected, and held in such esteem is another. But most of all, it's just this wonderful music - old fashioned, thematic, larger than life, science fiction epic... like they just don't make any more.

Without intending to disrespect our non-religious contributors, or offend those who are not of any Christian denomination... Thank God for the Japanese, and thank God for whatever system that country has in place that allows grand symphonic music to live and flourish... not to confine it to history as a nostalgic relic of the past, but to propogate it and to teach its power to new generations.

Tango, I just love everything you post, so I'm waiting for this one to finish downloading with quite a bit of anticipation! Also, those other symphonies sound very interesting, I'll have to look them up, thanks.

Tango, I just love everything you post, so I'm waiting for this one to finish downloading with quite a bit of anticipation! Also, those other symphonies sound very interesting, I'll have to look them up, thanks.

It's a pleasure. :)

Just to clarify - both symphonies (1979's Cosmo and 1993's Seven) are included in this download; both are approx. 30 minutes each.

Wonderful post Tango! I can't wait to hear more orchestral ultraman.
I'd also like to echo Jakob's sentiment. I pretty much download everything you post without hesitation at this point.

It's a pleasure. :)

Just to clarify - both symphonies (1979's Cosmo and 1993's Seven) are included in this download; both are approx. 30 minutes each.

Ah, I misunderstood! I'm starting to listen to it now, and it seems like it's going to be great!

[Doublehex logs onto FFShrine]

[Doublehex sees new post in THE BIG ORCHESTRAL ACTION THEREAD.]

[Doublehex is amused.]

[Doublehex clicks on New Post.]

[Doublehex sees new upload by TangoTreats.]

[Doublehex... http://img130.imageshack.us/img130/7816/eg9860.gif]

How are you not surprised?

I guess that's the last we'll be seeing of 'hex..


EL CHEVALIER D'EON
And I never got to say thank you :sad:



TORU FUYUKI conducts ULTRA SEVEN
The Tokyo Symphony Orchestra
orchestrated and conducted by The Composer


WUUUNNNDERFULL!! (as we say in the Pool) Look forward to listening to this one tomorrow! :-D

You really don't write like a Scouser... ;)

Randy Edelman - Tall Tale: The Unbelievable Adventures of Pecos Bill
|MP3 VBR V0 - 81MB - Scans - SFV|
|Orchestral|Adventurous|Rowdy|Relaxing|

Download (http://rapidshare.com/files/379004569/RE-PcsBll.rar)
PSW: smile

Well as always, what first seems as if someone is trying to piss you off sometimes teaches you something and leads to improvements. In this case, those of you who saw the fun discussion about SFV files, I am now including an SFV file in my uploads! (At least when I remember).

What the hell is a SFV file you ask? Apparently its going to tell you that the music files you downloaded weren't corrupted in transit (or in the case of Mediafire, just which ones did!). I used a free (and light) program called quicksfv and made my own SFV to include with this upload. (http://www.quicksfv.org/) My understanding is if you open the SFV with the program after you download the files it will tell you whether or not they are the same as they were when I first zipped them up.

But enough about SFV checks, how awesome is this upload? Well you may have noticed that I have a soft spot for Randy Edelman. With a cover like this I couldn't resist checking out this soundtrack and it was a nice time. It doesn't exactly give me the feeling of an unbelievable awesome adventure as the title suggests but its a solid western score.

Today, Ultraman (Ultra Galaxy Legends) arrives on DVD/Blu-Ray. To celebrate, this weekend only, hear the full score - including tracks not available on the soundtrack CD. Just click on this link: Ultra Galaxy Legends Full Score - Streaming (http://sc2.spacialnet.com:28174/listen.pls), and listen with your favorite stream player, such as iTunes.

Enjoy.


_Mike

Tango, yet again you wow me with something i would not have found or heard of otherwise. When it comes to Japanese music I mostly know game music. A huge thanks goes out to you.

And for Mike's link, I will definitely be listening to the score. It is a joy to hear.

Sweet!! Mike, thank you again for letting us listen to your wonderful music! And with more? This is fantastic :D Thank you man!

Yeah Sanico, the two composers have very few CDs available. There is one release by them in FSM besides this (Voyage to the Bottom of the Sea) but otherwise many of their soundtracks are unavailable on CD.

Actually Intrada has released two other scores of theirs some time ago (on a two-disc set): Five Weeks in a Balloon and The Lost World (the former actually being a solo effort by Sawtell--they didn't always work together...see below). They're very good and still in print (1200 copies made). In fact they probably didn't sell well enough and that's why Intrada limited this to only 1000 so it went wooosh...but seeing as it's cheaper and there's a high profile remake coming up from Bryan Singer I wish they'd made this one 1500 copies at least. Thanks for the share, Sirusjr, for the people who weren't able to nab a copy in less than 24 hours.

Here's a link to Intrada's Five Weeks in a Balloon/Lost World page if people are curious about sound clips:
http://store.intrada.com/s.nl/it.A/id.4662/.f

They also had a deluxe set (with an amazing booklet) of their three scores in the 60s The Fly franchine released by Percepto. Unfortunately it was supposed to be limited to 3000 copies but with no warning sold out at 1000 copies and since it hadn't sold quickly enough Percepto records decided to press no more copies for people like me who missed out. Here's the page with sound samples:
http://percepto.com/projects/008/

I should mention that the final score, The Curse of The Fly, was a solo effort by Shefter this time. I don't suppose anyone here at the forum has this set and could post it (preferably with scans?)

Anyway, between the two of them Sawtell and Shefter have beautiful complete releases of seven of their scores, which is more than can be said for many an underappreciated Golden or Silver Age composer, so let's not be too sad for them. There's also more from them coming up: Kritzerland is putting out The Last Man on Earth and Monstrous Movie Music is putting out Kronos and It! The Terror from Beyond Space (this label has actually done rerecordings of a little of their music but this will be the first time they're releasing original tracks by them). So probably before the year is out the Sawtell/Shefter discography will include ten scores!

Ivanova

P.S. As a special favor could somebody post the Kritzerland release of Elmer Bernstein's Love With the Proper Stranger/A Girl Named Tamiko? This sold out so fast I didn't have a chance to order it.

Thanks Mike, your score is a true joy.

It's great to be back here. Where else can I find a forum where composers, orchestral lovers and musicians alike, gather to talk about music and share their favorites.
I must also thank you, tangotreats , the Ultra Symphonies are really amazing.
Since I'm now in the mood for Ultraman Music, I have a really special gift for you all:

Ultraman Gaia: Battle in Hyperspace

Composed by Toshihiko Sahashi

Orchestral/Jazzy/Joyful/Thematic



Click Here (MP3 Album) (http://www.megaupload.com/?d=SGH6OBND)

My Advice: Start with Track 3 (A beautiful heroic fanfare)


Ultraman Max

Composed by Kuniaki Haijima

Orchestral/Regal/Action/Majestic/Thematic



Part One (MP3 Album) (http://www.megaupload.com/?d=A9ISJFZV)

Part Two (MP3 Album) (http://www.megaupload.com/?d=ZQWKWJYD)


Ultraman Dyna

Composed by Tatsumi Yano

Orchestral/Regal/Action/Rock/Jazzy/Thematic



Part One (MP3 Album) (http://www.megaupload.com/?d=6NAMJQJJ)

Part Two (MP3 Album) (http://www.megaupload.com/?d=5UQ1SWSF)


Ultraman Mebius

Composed by Toshihiko Sahashi

Orchestral/Action/Jazzy/Majestic/Choral/Thematic



Part One (MP3 Album) (http://www.megaupload.com/?d=750PSG8C)

Part Two (MP3 Album) (http://www.megaupload.com/?d=WJ5BTPI8)

Mebius is really great. Beautiful Themes and Fanfares, wonderful choral pieces and majestic orchestrations (Track 8 on the second album is simply undescribable in it's beauty).

The Ultraman Franchise has some of the most joyful and orchestral thematic themes you will ever find in the Superhero genre.
Personally I find the score to "The Super 8 Ultra Brothers" by Toshihiko Sahashi to be the best Score of the Franchise but Ultraman Mebius is a close call (for reference listen to Track 38 on the second album)

You should also check out the other Ultraman Scores (escpecially The Super 8 Ultra Brothers) here:

Thread 72009

Thanks, Sirusjr

Thread 61322

Thanks, into the storm

Enjoy

Wow lots of ultraman thanks very much for your share!
Also very nice to have you share a stream again Mr. Verta, If I didn't have a copy of your wonderful soundtrack I'd jump on the opportunity to listen to it again :)

Ivanova - Thanks lots for this information. I don't know that I would buy other work by these same two composers just based on this. I really like the fantasy style and may or may not enjoy their other works. I did hear tell on FSM message board that they will be releasing another score by the two composers on Kritzerland or FSM soon.

Ivanova - Thanks lots for this information. I don't know that I would buy other work by these same two composers just based on this. I really like the fantasy style and may or may not enjoy their other works. I did hear tell on FSM message board that they will be releasing another score by the two composers on Kritzerland or FSM soon.

Well, if you really enjoyed Jack the Giant Killer as I do, then I suspect you will at least enjoy the other Intrada album I linked to -- very much their "fantasy style". And I know the Fly scores are technically horror but give those few brief clips a try. Or maybe some kind soul will post the set and you won't have to worry about buying it (pretty hard to do now anyway).

Ivanova

Tangotreats: thanks a lot for this new and incredibly hard-to-find share! You never fail to impress by the quality of your posts (music and comments). I've just tried Gokusen and it's excellent (well, it's Oshima), highly noble and melodious - a real treat for the ears.

More Gokusen coming later... ;)

Of course kudos also to all recent contributors: Sirusjr, Doublehex, Lens of Truth, jakob.nelson. Thanks a lot, mates! Will have to check progressively.

I'd just like to emit one little reservation: some posters sometimes remove some tracks from the albums they share. I perfectly understand this, since this is the orchestral thread, so non-orchestral tracks are out of context. But I generally consider that sharing full albums is a much better thing, because people who download can decide themselves which tracks to keep and which ones to remove, depending on their tastes. One can appreciate orchestral music AND other kind of music! (for instance, even though 90% of what I listen is orchestral, I have nothing against some occasional cute, sweet anime song, or some relaxing smooth jazz, or other non-orchestral stuff). Moreover, if one day a friend of mine desperately asks for this album, I'd be glad to provide him a full album, without missing tracks, you see? Just my 2 cents ;)


Klnerfan: What a great addition to this thread! There were so many Ultraman scores posted, but some were missing, notably Sahashi's Mebius scores. Now thanks to you they're available here for the fans. Massive kudos to you, Sir.



Ultraman Gaia: Battle in Hyperspace

Composed by Toshihiko Sahashi

Orchestral/Jazzy/Joyful/Thematic

Click Here (MP3 Album) (http://www.megaupload.com/?d=SGH6OBND)

My Advice: Start with Track 3

Track 3 is a superb heroic fanfare indeed. The 2 highlights of this album IMO are:
Track 23: it's Sahashi to his best, with a long and very powerful heroic and combative piece.
Track 24: a long and ravishing barcarolle-like piece, dreamy and charming. One of the most graceful piece I've heard from Sahashi.
In fact these 2 tracks are so good that I put them in my "Emergency Music Pack", a compilation of favorite tracks from various albums I made for my trips.


The Ultraman Franchise has some of the most joyful and orchestral thematic themes you will ever find in the Superhero genre.
Personally I find the score to "The Super 8 Ultra Brothers" by Toshihiko Sahashi to be the best Score of the Franchise but Ultraman Mebius is a close call (for reference listen to Track 38 on the second album)

I agree with this. Super 8 Ultra Brothers is thematically amazing. It doesn't have the same level of complexity than Mike Verta's Ultraman, but the number and beauty of themes is admirable.



What the hell is a SFV file you ask? Apparently its going to tell you that the music files you downloaded weren't corrupted in transit (or in the case of Mediafire, just which ones did!). I used a free (and light) program called quicksfv and made my own SFV to include with this upload. (http://www.quicksfv.org/) My understanding is if you open the SFV with the program after you download the files it will tell you whether or not they are the same as they were when I first zipped them up.

Excellent initiative. You have no idea how many times my files get corrupted, because of my old HDDs. Doing this will ensure that the original files are ok.

Btw, here's a tip: as I have much doubt about my HDDs' integrity, when I copy some files from one to another, I use TeraCopy, a free and effective tool that checks the checksums after copying / moving, thus ensuring error-free copies / moves.

http://www.codesector.com/teracopy.php

From the website:

TeraCopy is a compact program designed to copy and move files at the maximum possible speed, providing the user with a lot of features:
Copy files faster. TeraCopy uses dynamically adjusted buffers to reduce seek times. Asynchronous copy speeds up file transfer between two physical hard drives.
Pause and resume file transfers. Pause copy process at any time to free up system resources and continue with a single click.
Error recovery. In case of copy error, TeraCopy will try several times and in the worse case just skip the file, not terminating the entire transfer.
Interactive file list. TeraCopy shows failed file transfers and lets you fix the problem and recopy only problem files.
Shell integration. TeraCopy can completely replace Explorer copy and move functions, allowing you work with files as usual.



Today, Ultraman (Ultra Galaxy Legends) arrives on DVD/Blu-Ray. To celebrate, this weekend only, hear the full score - including tracks not available on the soundtrack CD. Just click on this link: Ultra Galaxy Legends Full Score - Streaming (http://sc2.spacialnet.com:28174/listen.pls), and listen with your favorite stream player, such as iTunes.

Enjoy.

Great stuff, Mike. People who don't have it already, HURRY UP to listen to this!





Bruce Broughton
Heart of Darkness

I remember having played the demo of this game years ago. I was so impressed by the music during the intro sequence that I reloaded the game many times just to listen to it again! Broughton was an heaven-sent choice of composer here.



Takayuki Hattori
Intelligent Qube: Final Perfect Music File

May I please ask for a re-up of this, Shadow?

i�ve listened through the avatar 5cd and found another good 30mins of previously unheard great music. the main highlight is obviously the hunt, which foreshadows the final battle and will be part of the extended cut , and the unedited final battle which contains several new and much better sequences. for christ sake, why the hell through out something so great and replace it with stuff the came before?
also, some of the alternate takes have great new moments. there is more classic horner then i thought here.
the new music in quaritch down which has been replaced but something from war is a big, rising full-battle mode version of the gathering of the navi clans, and the flow to the zimmer-like part is bridged with orchestra which works MUCH better, fight to the death unedited is also MUCH cooler and more powerful in unedited version, longer but more energetic and epic.

It has arrived!

Yoshihisa Hirano - Chu-Bra Original Soundtrack
|Chamber Orchestral | Emotional | Jazzy | Relaxing | Strings | Piano |
|MP3 320kbps|Scans|from Nipponsei|SFV|

Download Soundtrack (http://rapidshare.com/files/380078853/YH-ChBrST.rar)
Download Drama CD (http://rapidshare.com/files/380081645/ChBrDrama.rar)
PSW: smile

You may take one look at the cover, conclude that it is more of that annoying cutsey anime music that you can't stand and decide to ignore this. However, that would be a terrible shame because you would miss out on such a beautiful soundtrack that is NOT your ordinary cutsey soundtrack. Yoshihisa Hirano is one of the best anime composers out there today and has created such a beautiful soundtrack for Chu-Bra that really brings out the emotions of the characters as they struggle with acceptance in elementary school life. If you like relaxing soundtracks that use strings and piano heavily, you will love this. I separated the drama CD from the soundtrack so people who don't want both can grab only one.

Walton: Film Music (1986)

First of all, thanks a lot to everyone for all the marvelous music that has been posted here the last months. Really impressive.

It has been a lot since I posted some music in this great thread, but I moved from the States to Spain and was difficult upload some CD.

Today I want to post a CD with music composed by Sir William Walton. The conductor for this new recordings is the prestigious Carl Davis.

I hope you can enjoy this great music:

(http://www.postimage.org/image.php?v=gxpq0X9)


http://uploadmirrors.com/download/1MRVJOOF/_1986_ Walton.rar

Track List

Also contains music from:
- Chronicle History Of King Henry The Fift

- With His Battell At Agincourt In France

- The Battle Of Britain

- As You Like It

1. Prelude: The Globe (06:10)
2. Passacaglia: The Death of Falstaff (02:47)
3. Touch her soft lips and part (01:58)
4. Agincourt Song (02:25)
track 1-4 Henry V Suite
5. Spitfire Music - Battle in the Air (06:19)
6. March and Siegfried Music (06:07)
track 5-6 The Battle of Britain Suite
7. Troilus and Cressida - Interlude (Act II) (04:39)
8. Title Music (03:06)
9. Fountain Scene - Wrestling Scene (04:40)
10. Sunrise (00:38)
11. Procession (01:41)
12. Snake Scene (01:00)
13. Waterfall Scene (02:36)
14. Hymn (00:56)
track 8-14 As You Like It Suite
15. A History of the English Speaking Peoples - March (04:45)

Total Duration: 00:49:47

About the composer:

Biography
[edit] Early life and rise to fame

Walton, the son of Charles Alexander Walton and his wife Louisa Maria (n�e Turner), was born into a musical family,[1] in Oldham, Lancashire, England.[2] At the age of ten, Walton was accepted as a chorister at Christ Church Cathedral in Oxford, and he subsequently entered Christ Church of the University of Oxford as an undergraduate at the unusually early age of sixteen[3]. He was largely self-taught as a composer (poring over new scores in the Ellis Library, notably those by Stravinsky, Debussy, Sibelius and Roussel), but received some tutelage from Hugh Allen (organist of New College and then Professor of Music).[4] At Oxford Walton befriended two poets — Sacheverell Sitwell and Siegfried Sassoon — who would prove influential in publicizing his music.[5] Little of Walton's juvenilia survives, but the choral anthem A Litany, written when he was just fifteen, exhibits striking harmonies and voice-leading which was more advanced than that of many older contemporary composers in Britain.

Walton left Oxford without a degree in 1920 for failing Responsions[6], to lodge in London with the literary Sitwell siblings — Sacheverell, Osbert and Edith — as an 'adopted, or elected, brother'.[7] Through the Sitwells, Walton became familiar with many of the most important figures in British music between the World Wars, particularly his fellow composer Constant Lambert, and also in the arts, notably No�l Coward, Lytton Strachey, Rex Whistler, Peter Quennell, Cecil Beaton and others. Walton's first reputation was one of notoriety, built on his ground-breaking musical adaptation of Edith Sitwell's Fa�ade poems.

The 1923 first public performance of the jazz-influenced Fa�ade resulted in Walton being branded an avant-garde modernist (the critic Ernest Newman described him thus: 'as a musical joker he is a jewel of the first water'), though the first performances stimulated a considerable amount of controversy. An early string quartet gained only slight international recognition, including a performance at the 1923 festival of the International Society for Contemporary Music in Salzburg, with a much appreciative Alban Berg in attendance.

During the 1920s Walton spent most of his time composing in the Sitwells' attic. The orchestral overture Portsmouth Point (which he dedicated to Sassoon) was the first work to point toward his eventual accomplishments, including a strong rhythmic drive, extensive syncopation and a dissonant but predominantly tonal harmonic language. It was the Viola Concerto of 1929, however, which catapulted him to the forefront of British classical music, its bittersweet melancholy proving quite popular; it remains a cornerstone of the solo viola repertoire. This success was followed by equally acclaimed works: the massive choral cantata Belshazzar's Feast (1931), the Symphony No. 1 (1935), the coronation march Crown Imperial (1937), and the Violin Concerto (1939). Each of these works remains firmly entrenched in the repertoire today. Though Belshazzar's Feast is a cornerstone of the repertoire of any up-and-coming choral society, the First Symphony remains a challenge even to professional orchestras without generous rehearsal time to devote to it.
[edit] After World War II

During World War II, Walton was granted leave from military service in order to compose music for wartime propaganda films, such as The First of the Few (1942), and Laurence Olivier's adaptation of Shakespeare's Henry V (1944), which Winston Churchill encouraged Olivier to adapt as if it were a piece of morale-boosting propaganda. By the mid-1940s, the rise to fame of younger composers such as Benjamin Britten substantially curtailed Walton's reception among music critics, though the public always received his music enthusiastically. After composing a second string quartet (1946), his strongest achievement in the world of chamber music, Walton dedicated the considerable period of seven years to his three-act tragic opera, Troilus and Cressida (1947–1954). Walton composed the music for two more Shakespeare-Olivier films - the Academy Award-winning Hamlet, and Richard III.

After Troilus and Cressida, Walton returned to orchestral music, composing in rapid succession the Cello Concerto (1956), Symphony No. 2 (1960), and Variations on a Theme by Hindemith (1963). He was knighted in 1951 and received the Order of Merit in 1967. His one-act comic opera, The Bear, was well received at the Aldeburgh Festival in 1967, and commissions came from as far afield as the New York Philharmonic (Capriccio burlesco, 1968), and the San Francisco Symphony (Improvisations on an Impromptu of Benjamin Britten, 1969). His song-cycles from this period were premiered by artists as illustrious as Peter Pears (Anon. in love, 1960) and Elisabeth Schwarzkopf (A Song for the Lord Mayor's Table, 1962).

Walton was commissioned to write the score for the 1969 film Battle of Britain. The music was orchestrated and conducted by Walton's friend and colleague Malcolm Arnold, who also secretly helped Walton compose several sequences.[8]

The music department at United Artists objected that the score was too short. As a result, a further score was commissioned from Ron Goodwin. (Goodwin, when told he would replace a score by William Walton, reportedly replied, "Why?") Producer S. Benjamin Fisz and actor Laurence Olivier protested this decision, and Olivier threatened to take his name from the credits. In the end, one segment of the Walton score, titled The Battle in the Air, which framed the climactic air battles of 15 September 1940, was retained in the final cut. The Walton score was played with no sound effects of aircraft motors or gunfire, giving this sequence a transcendent, lyrical quality. Tapes of the Walton score were believed lost forever until being rediscovered in 1990. The score was been restored and released on compact disc with the Goodwin version. The Walton/Arnold score has since been remixed with the film and added as an alternative audio track on MGM DVD and Blu-Ray releases.

In his final decade, Walton found composition increasingly difficult. He repeatedly tried to compose a third symphony for Andr� Previn, but later abandoned the work. His final works are mostly re-orchestrations or revisions of earlier music, and liturgical choral music.

He settled on the Italian island of Ischia in 1949 with his Argentine wife Susana Gil Passo, where she created the gardens of La Mortella [9]. It was at his home there that he died on 8 March 1983. In his only acting role, he played King Frederick Augustus II of Saxony in the 1983 miniseries Wagner, while Susana as the King's wife "stood at his side in regal attire".[10]

His widow Susana, Lady Walton died on 21 March 2010, aged 83, from natural causes.

FSM support.

[EDIT: 24 hours later, 83 downloads; and the customary handful of thanks. To the other 75 bastards who download but couldn't even be bothered to say "cheers" - or the idiot who shared my links without permission, credit, or gratitute - I do not upload for you. I don't just pull these things out of my ass - I went into a record store in Tokyo, paid for this disc, brought it home to England, ripped it, scanned it, uploaded it on my crappy internet connection, and provided links for my friends. Why are 99% of people so goddamned ungrateful?]

Ungrateful, lazy, or having nothing to say? That is the question. I have the feeling that our large discussions here intimidates the average Shriner. The norm is for people to just say "Thanks", "Cool!" "Awesome rip!" and be done with it.

Here we have posts that are in comparison the War and Peace of forum posts. We probably scare the living crap out of people, I think. Remember when people were so aggressive towards the idea of discussing the old Titans and the new one?

They didn't want to be seen as juvenile when compared to us. So they just said "Shut up!" so as not to risk it. That's what happens when a select few actually likes to spread their ideas while the majority just prefer to keep silent.

A real shame. I like to say what I like about a soundtrack, or why I don't. We seem to be the minority, which is a horrible thing. I bet when the Internet first came out people expected it to be a great thing: a place for people to express ideas.

What a thing that turned out to be.

May I please ask for a re-up of this, Shadow?

Yep, ill reupload the Intelligent Qube later today



We probably scare the living crap out of people, I think.


I'll be honest with you, I was scared to death to post in this thread for a long time. (well not literally...unless I'm a zombie poster) I don't know why, I mean you are all lovely people with great taste. I just wasn't sure how exactly I would fit in, especially since I'm not great with the big descriptive posts. Eventually I wrote a few posts and found this thread to be a wonderful place filled with great music and intelligent yet fun discussion.

Point taken - but there's nothing juvenile about "thanks!" and it takes five seconds. I don't see anybody getting mistreated in this thread should they happen to write a post of less than fifty thousand words. It's pure idleness, ignorance, and yet another manifestation of today's dispicable "take take take" culture. I never really intended that as a rant though - as I said, I never post for those people and I know you don't either. I post for my friends, and for the people who truly appreciate good music. Sometimes it's just a bit galling when you see that your post has been downloaded ten thousand times and only four people stopped by to express thanks.

But that's the way it goes!

I fully expect that a lot of people worry about this thread... mainly because some other parts of the forum are so anti-intelligence, anti-discussion, anti-opinion, and anti-debate. Part of the beauty of this thread is you can say nothing, you can say a little, or you can say a lot. Nobody is in the slightest bit bothered.

I will never understand why others are so against the concept - I can only assume that it's because they feel it will make them seem stupid. Well, to be blunt - stupidity will come out one way or another. It frequently does, when some arrogant fool declares that debate is stupid, or this opinion is wrong, etc. Only the stupid agree. The rest of us turn around and say "Yeah, whatever." and get on with talking like grown-ups. And it's business as usual. :)

NOW......... :)

Sirusjr: I love you. Chu-Bra is delicious. Only Yoshihisa Hirano would score an anime about tits like this. Beautiful, beautiful, beautiful.

klnerfan: Thanks for the Ultraman stuff. I wish you hadn't posted Max, though, because that was going to be my next big post. ;)

Would you object to me going ahead? My uploads will be fresh rips with scans, and I have the customary five thousand word essay to go along with it. With absolutely no disrespect to your post.

It's just that I've spent a bit of time on the ripping, the tagging, the scanning, and the write-up. It's my favourite Ultraman score, and I believe it needs a bit more signposting than just getting jumbled in with a bunch of other scores.

Would you object?

Cheers :) TT

[EDIT: 24 hours later, 83 downloads; and the customary handful of thanks. To the other 75 bastards who download but couldn't even be bothered to say "cheers" - or the idiot who shared my links without permission, credit, or gratitute - I do not upload for you. I don't just pull these things out of my ass - I went into a record store in Tokyo, paid for this disc, brought it home to England, ripped it, scanned it, uploaded it on my crappy internet connection, and provided links for my friends. Why are 99% of people so goddamned ungrateful?]

Actually, I've been myself a HUGE downloader. I downloaded SO much that it would have been quite some hassle to thank every single uploader. So 90% of the time I didn't thank, but in the same time I also accepted that my own uploads are often downloaded massively and thanklessly. I guess it's the way things works.

Now, there are some boards where you HAVE to thank before having access to the stuff, but in fact the result is absurd:
- massive bumping
- you thank BEFORE you know the quality of what you download!
- tons of useless "thx" posts, hence you have to search for the interesting comments, etc.

Maybe the "thanks" button feature would be the best solution, here. (but even then, a lot of people seem to lazy to simply click on it!)



Yep, ill reupload the Intelligent Qube later today

Thanks :)

I'll be honest with you, I was scared to death to post in this thread for a long time. (well not literally...unless I'm a zombie poster) I don't know why, I mean you are all lovely people with great taste. I just wasn't sure how exactly I would fit in, especially since I'm not great with the big descriptive posts. Eventually I wrote a few posts and found this thread to be a wonderful place filled with great music and intelligent yet fun discussion.

Interesting point.

Actually, I've noticed a few comments posted in this thread before, and I've received a substantial amount of PMs showing something similar: an abnormally high number of people seem to be intimidated (to avoid saying scared) to post something here.

Does someone have some explanations about this curious phenomenon?



Walton: Film Music (1986)

First of all, thanks a lot to everyone for all the marvelous music that has been posted here the last months. Really impressive.

It has been a lot since I posted some music in this great thread, but I moved from the States to Spain and was difficult upload some CD.

Hey, Garcia, welcome back my friend! It makes a long time I haven't seen you here. In fact I was wondering if you were ok. Glad to see you back.

You don't necessarily have to upload something to come here, you can also just come here to post some comments and participate to the ongoing discussions.

However, thanks a lot for this new tasteful contribution. I'm not very familiar with Walton's music, so this looks very interesting indeed.


Sirusjr: thanks a lot for this new Hirano! And I actually do like cutsey stuff, in small doses. ;)

Well Tango, the Max soundtracks posted are in 192kbps so your fresh VBR V0 rip would be very much appreciated. I also think that giving it your usual treatment would be more likely to get people to grab it what with your obligatory followers who download everything you post.\

Also I should note that despite Tango's suggestion that Chu-Bra is about tits and the general ecchi in the show, Chu-Bra is at its core a story with some well-developed characters and well deserving of a watch if you can get past the dirty feeling you get at the pervy parts.

Also my Tegami Bachi and Tatakau Shisho the Book of Bantorra are being delayed more due to Yesasia taking a while to actually get Tegami Bachi in stock once my order actually was paid for finally this past week. With any luck I will be getting those two within the next two weeks. I also should mention that I will be contributing those two scores to the group LosslessONE because they have been so wonderful at times and I really want to get these two wonderful scores some exposure they deserve.

Tango, feel free to add your rip, it is much appreciated.
Infact, I am actually surprised that Max is your favorite.
Since you usually provide excellent scores and unknown gems to most of us there is absolutly nothing wrong with uploading Max in great quality.
If you already have the other Ultraman Scores I've posted as well, you can also give them your special "treatment" without any complains from myside.

Considering the number of Ultraman Scores out there I would even suggest a new thread entirely about the franchise.
Perhaps someday there will be a complete collection of Ultraman, now that would be wonderful.

Thanks folks. :)

I'll add to the chorus for Chu Bra. It could easily have been a pervy show about tits. It actually is a touching, incredibly powerful human drama. Hirano's score mostly plays the emotional side of the story. The show comes highly recommended.

I may have to go to my local book-off and see if I can't find some of these scores on CD for a reasonable price sometime soon. Once I get through listening to them all of course. I know they have a whole ultraman section.

I will listen to Chu Bra now, thanks Sirusjr.
But I still couldn't get past the first episode. I guess I was too fascianted with Sora No Woto at that time.

To each his own. I actually never made it into Sora no Woto very far because the plot was going nowhere and it felt like one of those shows where nothing happens. I found that Chu-Bra and Sasameki Koto were two of my favorites I recently watched. Such beautiful romance and character development. It of course helped that both had wonderful soundtracks.

Sasameki Koto? My missus talks constantly about how great that show is. Perhaps I should give it a try...

Well if you can stand mushy girl romance and high school girls drama about dealing with homosexuality then you should by all means check it out. I posted the soundtrack around here somewhere a while back. I should note that it has no nudity or even the pantie shots of Chu-Bra.

Reuploading this for Arthierr :)
An orchestral score to a puzzle game. Thank god for the Japanese


Takayuki Hattori
Intelligent Qube: Final Perfect Music File


http://www.fileden.com/files/2009/6/24/2487612//12%20Compass%20Points%20to%20the%20Future.mp3

Sample (http://www.fileden.com/files/2009/6/24/2487612/12%20Compass%20Points%20to%20the%20Future.mp3)
1. Opening Chorus
2. Sign
3. The 1st Tide
4. Ecliptic
5. Depths
6. Crisis Visit
7. Courage and Hope
8. Ending Chorus ~ Beginning of the Universe
9. Continental Shirt
10. 4-Horned Tower
11. The 2nd Tide
12. Compass Points to the Future
13. Crisis Evasion
14. Theory
15. Battle to the Death
16. March of the Dark Army
17. Pharoah's Treasure
18. Tectonics Opened Gate
19. Healing Light
20. Sleeping Forest's Song
21. Morgan's Theme
22. Short Blessing
23. Praise the Vanquished

http://uploadmirrors.com/download/FACSX0QO/THIQ.zip

[QUOTE=ShadowOnTheSun;1468046]Reuploading this for Arthierr :)
An orchestral score to a puzzle game. Thank god for the Japanese

[CENTER]Takayuki Hattori
Intelligent Qube: Final Perfect Music File


Muchas gracias! Yes, the Japanese produce the finest scores and animation in the world. As well as some cool gadgets.

Does anybody else notice some pretty constant clicking during Jack the Giant Killer (MP3 version)? It plagues the vast majority of the tracks. Just wondering if it was a problem with the CD or the MP3 conversion...

Ivanova

Does anybody else notice some pretty constant clicking during Jack the Giant Killer (MP3 version)? It plagues the vast majority of the tracks. Just wondering if it was a problem with the CD or the MP3 conversion...

Ivanova

Only during one of the tracks, and during just one section of that particular track. Can't especially remember which track it was, but I do remember one being there.

Hi, which track do you guys refer to? I will check it out on the lossless version as well to see what you mean.

Hi, which track do you guys refer to? I will check it out on the lossless version as well to see what you mean.

Ah, this is the same thing I was talking to you about a few days ago. I believe it happens in the first couple of tracks (most definitely the second, but I can't remember if it was in any of the others). Like doublehex says, it's just in one or two tracks, not the whole album.

Hi, which track do you guys refer to? I will check it out on the lossless version as well to see what you mean.

I think he means in the tracks:

Elaine Transforms
Jack and Peter Rescued

You can hear minor clicking sounds in the beginning of the tracks..

-

I like The Sea Voyage. Nice music, thanks sirusjr.

Yes, those clicks are present in the CD itself. I just confirmed it. It must be in the original recordings due to age.

Also, New Intrada release of The Miracle Worker by Laurence Rosenthal is amazing. I will post it if it seems like its selling out as it is only 1000 copies.

http://www.youtube.com/watch?v=S55c-10eITg&feature=player_embedded

5 minute track from Iron Man 2. Pretty Bad-Ass.

I'll just quote what I said in the Hunt thread:


The juxtaposition of electric guitar and traditional orchestra is...well, kind of crazy. But this actually excites me for the coming soundtrack. It is not in the same filed that RC is, thank God. Unlike RC this is actual instruments being played, not synths interlocked with an actual orchestra.

tl;dr: It sounds really good, and even the orchestral music accolade such as I like what I hear.

Debney knows what he is doing.

I somewhat take back my initial hate for that track because I realize on listening to it a second time that its terribly low bitrate or improperly encoded or both. I still will wait to hear it in the film to decide.

Point taken - but there's nothing juvenile about "thanks!" and it takes five seconds. I don't see anybody getting mistreated in this thread should they happen to write a post of less than fifty thousand words. It's pure idleness, ignorance, and yet another manifestation of today's dispicable "take take take" culture. I never really intended that as a rant though - as I said, I never post for those people and I know you don't either. I post for my friends, and for the people who truly appreciate good music. Sometimes it's just a bit galling when you see that your post has been downloaded ten thousand times and only four people stopped by to express thanks.

But that's the way it goes!

I fully expect that a lot of people worry about this thread... mainly because some other parts of the forum are so anti-intelligence, anti-discussion, anti-opinion, and anti-debate. Part of the beauty of this thread is you can say nothing, you can say a little, or you can say a lot. Nobody is in the slightest bit bothered.

I will never understand why others are so against the concept - I can only assume that it's because they feel it will make them seem stupid. Well, to be blunt - stupidity will come out one way or another. It frequently does, when some arrogant fool declares that debate is stupid, or this opinion is wrong, etc. Only the stupid agree. The rest of us turn around and say "Yeah, whatever." and get on with talking like grown-ups. And it's business as usual. :)



Here is my 2 cents.

Thank you to everyone who has taken the time to upload and post music here.
I guess (for me anyways) the reason many don't post is because it does feel quite intimidating. Everyone here is so knowledgeable about music, which is a great thing. I enjoy reading eveyones comments as it allows me to learn a bit about the music I am listening to. I don't know much (or anything at all) about music, so I can't "talk" music. I just listen and enjoy it.
I would have never thought 6 months ago I would be listening to so much anime/classical/soundtrack music.
So Thank You all once again for everything you guys do here. It is much appreciated.

Jo.

Here is my 2 cents.

Thank you to everyone who has taken the time to upload and post music here.
I guess (for me anyways) the reason many don't post is because it does feel quite intimidating. Everyone here is so knowledgeable about music, which is a great thing. I enjoy reading eveyones comments as it allows me to learn a bit about the music I am listening to. I don't know much (or anything at all) about music, so I can't "talk" music. I just listen and enjoy it.
I would have never thought 6 months ago I would be listening to so much anime/classical/soundtrack music.
So Thank You all once again for everything you guys do here. It is much appreciated.

Jo.
Thanks for taking the time to comment. I should mention that I didn't know very much about music when I first started posting and I still don't think I really know much. The point is to try to describe what you enjoy about the music you love and share that joy with others. When I first started adding descriptors to my uploads, I didn't really have any clue how to label things "properly" but I just used words that I thought described what I expected to accompany the music on screen. Any comments by new users who enjoy what is posted is welcomed and encouraged :)

In some famous words: "Practice, practice, practice." I know it is very cliche, but that is the truth of the matter: you begin to learn what the heck you are talking about by talking about it. You won't improve your knowledge of musicology by not saying a damn thing.

And hey, if you get humiliated in the process, just take it at heart and move on. :D

Mutiny On The Bounty (1962, Bronislau Kaper)

I don�t know if this was posted before, however I remember that someone requested it.

(http://www.postimage.org/image.php?v=gxsOqo9)

http://www.mediafire.com/?zzufy2n4qj0
http://www.mediafire.com/?jyeyzzzmewj
http://www.mediafire.com/?mmmgmnylmmn
http://www.mediafire.com/?1onzr5nm0em
http://www.mediafire.com/?zulygmcznmn
http://www.mediafire.com/?iyfiwtxdvhd

Track list:

Disc/Cassette 1

1. Overture (04:37)
2. Main Title / Portsmouth Harbor (04:23)
3. Leaving Harbor (03:27)
4. Two Dozen Lashes / Men break Ranks (03:48)
5. Bounty / Chart (01:12)
6. Making for the Horn (02:07)
7. Norman (00:41)
8. The Storm (03:02)
9. We've lost (01:08)
10. Whiplashing Montage (02:53)
11. Tahitians (04:50)
12. Maeve, Maeve / Te Manu Pukarua / Go on then /
Girls and Sailors (03:48)
13. Follow me (Love Song) (03:07)
14. Rule Britannia / Rubbing Noses / Lovemaking Montage / Potting Shed (03:57)
15. Maimiti / Goodbye Maimiti / Deserters and Outrigger Chase / Prisoners / Intermission (09:47)
16. Tahitian Drums / Entr'Acte (03:47)
17. Maururu A Vau (Tahitian Farewell Song) / Dead Plant (02:50)
18. The Ladle (01:19)
19. One (01:44)
20. Keel Hauling / Headsails and Foresails (04:52)
21. Sea Water (02:47)
22. Breadfruit overboard (01:41)
23. Back to Tahiti / Torea (01:56)
24. Maimiti Go Too (04:32)

Disc/Cassette 2

1. Searching / Wrong Chart and Pitcairn (06:19)
2. The Vote / They've given up / Gentle / Christian's Death / Definite End (15:20)

Alternate Recordings (March 1962):
3. Main Title / Prologue / Chanties (06:29)
4. Leaving Harbor (03:31)
5. Bounty / Chart (02:04)
6. Making for the Horn (03:32)
7. The Storm (05:02)
8. Whiplashing Montage (02:40)
9. Tahitians (05:14)
10. Native Folk Song / Kids and Leis / Go on /
Girls and Sailors (04:24)
11. How very sweet (02:46)
12. Maimiti / Goodbye Maimiti / Chase / Prisoners /
Plotters and Intermission (09:59)
13. Dead Plant (01:31)
14. The Ladle (01:45)
15. One (01:54)
16. Keel Hauling / Headsails and Foresails (04:49)
17. Sea Water (00:58)

Disc/Cassette 3

1. The Mutiny (03:21)
2. Breadfruit overboard (02:20)
3. Tofoa be damned (01:05)
4. Burial Service (02:02)
5. Maimiti go too (04:14)
6. After Court / Wrong Chart / Pitcairn (05:13)
7. The Bird / Little Mutiny (01:18)
8. The Vote / They've given up / Gentle / Christian's Death
and Epilogue (15:21)

Bonus Material (Additional & Album Versions):
9. Overture Introduction (00:29)
alternate version
10. Theme from Mutiny on the Bounty (02:18)
album track
11. Leaving Harbor (02:38)
intermediate version
12. Two Dozen Lashes / Bounty (00:28)
intermediate version
13. Making for the Horn (01:41)
intermediate version
14. Whiplashing Montage (03:00)
intermediate version
15. Arrival in Tahiti (03:16)
album track
16. Ori E Ori E / Te Manu Pukarua (02:12)
Native Festival Music
17. Girls and Sailors (01:56)
album track
18. Love Song from Mutiny on the Bounty (Follow Me) (02:11)
Tahitian album track
19. Torea / Tahitian Drums (02:18)
Native Festival Music
20. Rule Britannia / Lovemaking Montage (03:47)
alternate version
21. Outrigger Chase (02:01)
album track
22. Burial Service (02:01)
alternate version
23. Pitcairn Island (01:49)
album track
24. Christian's Death (04:40)
album track
25. Tahitian Outtakes (03:43)
26. Leaving Harbor (02:37)
album track

Total Duration: 03:54:31

Review:

This, the 100th title issued by Film Score Monthly, is a massive album. A three CD set offering almost 4 hours of music from the 1962 version of Mutiny on the Bounty. The music is divided into three sections; 'Film Recordings', featuring the complete original score, 'Alternate Recordings', including cues recorded for but unused in the final release cut of the feature, and 'Bonus Material', including further alternate cues and tracks as arranged and recorded for the original 1962 soundtrack LP. Packaged in a beautifully produced 'clamshell' case, the lavish booklet is everything and more we have come to expect from FSM, filled with pristine colour stills, poster reproductions and detailed notes on the making of the film, the composer, and each and every track on the CDs. The whole is, not unlike the film it celebrates, a massive and somewhat daunting production. For more details about the album contents see the FSM press release and track listing below this review.

1962 was the height of the super-spectacular 70mm road-show blockbuster era, and following the massive success of MGM's 1959 Ben-Hur, a version of which had been produced to huge popularity in 1925, the studio looked into the archives for other properties suitable for relaunching as widescreen 70mm Technicolor epics. Thus three years after Ben-Hur, came a new MGM production of Mutiny on the Bounty, a title which in its 1935 version took home an Oscar for Best Picture besides seven other nominations. The new film starred Marlon Brando and Trevor Howard, and recounted one of the most famous adventures in British naval history. Argument continues over which screen version of the tale is the best - personally the 1983 film The Bounty, with Anthony Hopkins and Mel Gibson, remains one of my favourite movies - but the 1962 version is unarguably the most lavish and spectacular, marred perhaps most by a highly eccentric performance by Brando as Fletcher Christian. What is not in dout is the stature and scale of the score, the crowning glory in the career of Bronislau Kaper, who if not one of the star names of the Golden Age of film music, remains a major composer with around 160 films to his name, from now forgotten German films from the early 30's to songs for the Marx Brothers' A Night at the Opera and A Day at the Races, to Gaslight, Them! And Somebody Up There Likes Me.

MGM had originally wanted Mikl�s R�zsa, the studio's undoubted champion of the epic film score (he had scored the 1959 Ben Hur, as well as King of Kings, and was then currently working on El Cid) to pen the music. But R�zsa wanted nothing to do with the project, so eventually, and justly - given one of his first Hollywood assignments had been to contribute an uncredited song to the 1935 version of Mutiny on the Bounty - scoring duties fell to Kaper. The result is a fresh and vital score with an energy quiet different in sensibility from R�zsa's Hungarian folk-rooted style, a musical world which rightly sets the film apart from MGM's previous Biblical epics.

Here the music may have something of the pomp and glory of Mikl�s R�zsa's style spectaculars, but equally draws upon the by 1962 well established template of the swashbuckling adventure score, dating back to Korngold's Captain Blood (1935) and The Sea Hawk (1940), but also the likes of Robert Farnon's Captain Horatio Hornblower (1950). Other MGM epics show influence too - early on in the score, in 'Main Title/Portsmouth Harbor (sic)' Kaper introduces a folk-dance theme which could have stepped right out of Jerome Moross' score for The Big Country (1958). Then again, the influence of the score on future productions is evident in 'Leaving Harbor' - if you ever wondered where Jerry Goldsmith found his influence for the Starship Enterprise 'Leaving Drydock' look no further…

The range of Kaper's score is considerable, from the powerful crescendo finale of 'Making the Horn' through the stunning set-piece 'The Storm' to wonderfully triumphant music for the rounding of the Cape of Good Hope, through the dramatic and tense sequence where the crew of HMS Bounty first encounter 'Tahitians' - pungent, stabbing brass in violent collision with relentless ethnic drumming… Then there is the exceptional 10-minute set piece which brings the film to its intermission, a blistering sequence climaxing with 'Outrigger Chase/Prisoners' and the introduction to the intermission itself.

And that's just half the film. The score turns darker once the lights dim again, with many terse, brooding and darkly anguished cues - for example 'Breadfruit Overboard' - which while highly effective in context do make for a protracted listening experience. As indeed does the morbidly expressive 15-minute finale montage of 'The Vote/They've Given Up/Gentle/Christian's Death/Definite End'.

This is clearly a film score of the highest order, though hearing every last note through several times - running a total of 100.57 - could almost be enough to drive a music reviewer to mutiny.

That said, there are more gems among the 'Alternate Recordings', including a more brooding, mysterious opening, for a version of the film which was to have been cast in flashback. Many tracks are longer versions of pieces featured in the complete score, or cues presented in a different orchestration or arrangement. For instance, 'The Storm' is 5.02 long in its complete version, a full two minutes longer than the version which appeared in the finished film. Also radically different is the version of 'Tahitians' which features a symphonic score throughout, dispensing entirely with the native percussion used in the final film version, while an alternative version of "Follow Me' dispenses with the native choir featured in the final version. The alternate version of 'Sea Water' is far more dynamic and aggressive than the film version, but also only around one third the length.

The alternative music is essentially the same, but there are differences in timings, and often the emphasis is more intense, aggressive and menacing. There are also cues unused in the completed film, including a rousing set piece for the Mutiny itself. There are also several more playful cues which were deleted from the latter part of the film: for instance the sprightly 'The Bird'. Meanwhile the finale, returning to the framing device which originally enclosed the flashback structure of the film, the music is largely different in the closing moments.

Personally I found myself preferring many of the alternate cues to the versions used in the film simply because they prove to have a harder, more propulsive edge. Perhaps as conceived with this music the film would have had great impact, erasing any hint of sentimentality delivering a modern tightly honed, less commercially compromised feature.

As for the 'Bonus Material', these tracks, some 44 minutes worth, are really yet more alternate cues, plus some material as originally presented on the 1962 soundtrack album. Here we enter the realm of the serious film music fanatic who must have everything, but again, the music is here for those who love it so much they really must have four hours of material from the movie.

Sound is generally excellent throughout, though some of the cues with native percussion sound decidedly less hi-fi than the orchestral recordings. Packaging is as previously mentioned, first rate.

This is an absolutely essential purchase for serious fans with the money to spare as this is a classic action adventure score forming a bridge between the Golden Age of film music and the tradition which still continues today in the better summer blockbusters. Perhaps though, were it legally possible, FSM should have released a single disc edition of highlights which could have captured a much broader audience. Nevertheless, a hugely significant release and a vital addition to any film music collection.

Gary Dalkin

Hater - I hate to be a hater, but regarding the IM2 music - it is not, musically, appreciably different from anything that's come before, or from the vast majority of soundtracks being produced these days, right down to the cliched choir chants and its complete inability to hold a subject or motif for more than 30 seconds at a stretch. There was a time when 2-bar ostinato figures rarely sufficed as compelling subjects upon which to develop. Music is a language, and people who can't stick to the same subject for more than a few seconds, have no clear thesis upon which they're expounding, and use a pedestrian vocabulary are not particularly interesting to listen to, in my opinion, and in no cases deliver compelling speeches or profound messages.

_Mike

The Heart of darkness score, i doubt anyone would have noticed, but Bruce blatently steals a piece of the score from an old TV series called

"Dink the little dinosaur" composed by John Debney, i watched that show as a kid ALLL my life, and if i could obtain music from it i would DIE in happiness,

upon listening to the HoD OST briefly, i noticed that in Track2, called "Andy's Mission" at 00:26 till about 00:44, it may aswell have been pulled straight from the cartoon!

i LOVE John's work, and i LOVE HoD, it's a game i still play today, and i'm just glad that i can listen to a part of the "Dink the little dinosaur" soundtrack, even though it's not quite the same, it's probably the closest anyone's ever gonna get to a Dink the- soundtrack...

Shame, it's AMAZING
http://www.youtube.com/watch?v=3yfdowEqsvM

many episodes can be watched and DLed from youtube if anyone wants to get a taster of the music John composed

I have a semi off-topic question for Mike Verta, Tangotreats, or anyone else who thinks they may have a good answer. I've been wanting to do some studying of music to get a better understanding of all the things going on behind the scenes of various classical music and film scores. I wonder if you guys think this is something that is best learned through a classroom setting or if you had some books to suggest that would be adequate for self-study. If I were to take classes I'd likely be limited to local community colleges by reason of cost. Thanks for any answers or suggestions.

Sirusjr -

My opinion is to best learn from classroom. You can learn a lot from books, but one of the most important things is that you can talk with fellow composers/music lovers about the subject. That is ofcourse most likely if you're following a hingher grade of study.

I, myself am resently studying music for media, and working my way up to compose music for films.

Hope I am a bit of a help, and sorry for the bad english. It's not my first language.

Well I am already in my last year of studying a completely different area of concentration (Law) for the purposes of a career so this study of music would be completely for fun and to enhance my understanding of the music I listen to constantly. On the other hand, I am sort of afraid that if I were to learn about how a lot of things are done that I may become too critical of things I previously enjoyed.

Sirus, I took alot of classes over the years. I'm a teacher.
I completely agree with Lord Colin that the best thing you can do talk to fellow music lovers and experts like we do here.
I learned a good amount through classes but not nearly as much as I learned just from active listening(and thinking about) music and discussion with other musicians, teachers, and fans.

For what it's worth, I have no formal musical education whatsoever; all that I know predominantly from listening, thinking, thinking about listening, and listening with thought! Not that I consider myself a particularly fine composer, or even a good one. ;)

I take Sirusjr's point though, that knowing too much can affect your enjoyment... I refer to the story of an old friend of mine who, on returning from the prestigious Royal Northern College Of Music, completely lost his ability to enjoy music on an emotional level... because his brain was so intent on analysing it, figuring out its structure, decoding intricacies in the orchestration, etc... that he actually forgot how to enjoy it. He's a composer now - he writes horrific modern music that nobody actually enjoys - but he doesn't care because his music is incredibly complicated, well constructed, and imaginatively arranged. That's all music means to him today.

But that's not a symptom of knowing - it's a symptom of being a smug, intellectual git more interested in showing off long musicological terminology and prestigious degrees than he is in music as a means of communicating feelings.

In short, it's not what you know... it's how you use it.

I don't believe people should be "trained" in how to appreciate music, because you can't teach people how to feel and you can't teach them how to react to a given stimulus. That comes from inside your heart.

Obviously if you want to appreciate something on a more intellectual standpoint, then go for it - but be prepared to read stupendously dry, over-wordy essays written by crusty grey-haired gentlemen which have everything to do with being a smart-ass and nothing to do with the reasons you and I love music. Learn all that clever stuff, but never EVER forget that it doesn't (and shouldn't) replace your current means of appreciating good music. It'll help you understand why it's smart (huaaah - The Piper Dreams and Ave Satani are really the same theme played at different speeds in different keys, etc) but it won't make you like it more. Nothing is a substitute for careful and attentive listening.

Knowing that the Cheeky Girls "Touch My Bum" is an artistically bankrupt, musical disaster doesn't bother me because I don't care. It's a stupid song, it's fun to listen to, and it cheers me up.

Thanks for the input everyone :)

Also Garcia, huge thanks for Mutiny on the Bounty. I've read things about how wonderful this is and miraculously it is still available to buy through FSM. I have been wanting to listen to it myself before taking the plunge so this is a wonderful post.

Hater - I hate to be a hater, but regarding the IM2 music - it is not, musically, appreciably different from anything that's come before, or from the vast majority of soundtracks being produced these days, right down to the cliched choir chants and its complete inability to hold a subject or motif for more than 30 seconds at a stretch. There was a time when 2-bar ostinato figures rarely sufficed as compelling subjects upon which to develop. Music is a language, and people who can't stick to the same subject for more than a few seconds, have no clear thesis upon which they're expounding, and use a pedestrian vocabulary are not particularly interesting to listen to, in my opinion, and in no cases deliver compelling speeches or profound messages.

_Mike

But what about Michael Kamen's Iron Giant score? It is a beautiful soundtrack, but he does not have motifs and themes. Each track can be thought of as a mini-symphony all on it's own.

Although themes can be of great aid to any score - look at Goldsmith and Williams - I don't think they are necessary for a good one. A great one, perhaps. But a score that you can easily enjoy? I'm not so sure. :)

Tango I couldn't agree more. I've known way to many people who have gotten lost in the technical aspect of music.
My classroom learning only really comes into play when I am "stuck" and need a logical solution. What I rely on most is what I've learned from listening. Of course I'm referring to my writing in that example. For understanding what you hear, listen more...don't just hear the music, listening is a thoughtful process. If there is something that really affects you in a song sit there and try and figure out what it is that is striking you.

I'm learning the ways for ochestrating and (what really comes in handy these days) digitally finish and produce you work. Writing notes and songs is something I do as from childhood. However, you shouldn't take anything from anyone who tries to change you way of working or hearing a piece. Because that will inflict your view to the music.

OK, here we go guys... ;)



KUNIAKI HAISHIMA (HAIJIMA)
Ultraman Max (OSTs 1 and 2)

The Asian Philharmonic Orchestra (Beijing)
conductor unknown
Orchestrations by Sachiko Miyano



My rips - LAME -V0 3.98.2 - Full Scans included - Track titles in English

OST 1: http://uploadmirrors.com/download/1X2OZ93B/KH-UMOST1.rar
OST 2: http://uploadmirrors.com/download/0DXYVZIR/KH-UMOST2.rar

BONUS: 15 Minute Symphonic Suite arranged from fourteen individual cues from across the two OSTs... A very satisfying listening experience and a good sampler for the rest of the score. Of my own making, 2008.

http://uploadmirrors.com/download/1MVXFWX4/Ultraman Max _orchestral suite_.mp3

K1nerfan actually posted both these scores a couple of days ago - for which he deserves much gratitude. I had been planning to upload them myself - in brand new rips, with cover scans and other interesting information, which I am doing now in the hopes of highlighting this wonderful score a little more than it would've otherwise been. K1nerfan's original post included a lot of other stuff, and I do believe Max deserves some spotlight, rather than getting lumped in with some others...

So here it is!

Ultraman Max is my favourite of the Ultraman TV scores - with Toru Fuyuki's Ultraseven in second place, and pretty much all of Toshihiko Sahashi's multitude in joint third. It's rather difficult to explain why, but I will make an attempt. This score is, for me, as close as Ultraman ever got musically to the Godzilla franchise; Kuniaki Haishima's music is so delightfully out of time that it's sometimes hard to know whether you should laugh or be terrified out of your wits. There's a very rough, seat of the pants feeling to the music, which may be a symptom of Haishima's relative inexperience at writing for orchestra (hence the involvement of super-orchestrator Sachiko Miyano) but whatever caused it, the immediacy and grit do wonders for the dramatic intentions of the score. Some of this music fell right out of the 1940s and 1950s - some of it wouldn't go far amiss in a cartoon; to hear it you'd think that Tom and Jerry were fighting the Kaiju instead of Ultraman!

That this score was written in 2005 is just amazing to me.

Toshihiko Sahashi's scores (and indeed most Ultraman scores by others) are many things - but what they are most of all is very, very slick. Ultraman Max is not at all slick - it's raw, unpolished, uncertain, frequently over the top, and all the more absolutely brilliant for it.

This is also possibly the brassiest of the Ultraman scores - and the brass isn't just your typical heroic french horns and trumpets. Some of the brass is awfully dissonant - you have to love those dense chords - a lot like what James Horner would do with his trademark crashing piano, but Haishima does it with his complete brass section; creating these wonderfully complex harmonies that literally heave and thump through the music, a lot like the terrifying monsters Ultraman is fighting. It's uniquely difficult to describe. This is where perhaps the laughter will come in - some of the action cues are so insistent, that it's rather hard to take them seriously. Every trick in the golden age book of scoring is used here; we've got growling trombones, strident horns, trilling trumpets and flutes, cascading string flourishes... And some of this music is so bloody fast as well, hence the Tom and Jerry connection; the action cues which are a constant accelerando (ie, they get faster and more frenzied) are wonderful. See "Dash Bird" (track 4 on the first album) - particularly the final half. Bearing in mind this music accompanies a man in a lycra suit beating up rubber dinosaurs... I haven't seen Max so I can't comment on how well it works in the show... but as a pure musical spectacle, you have to go a long way to beat this.

Perhaps we can thank Miyano for some of the more uncharacteristic orchestrations here - who knows? At any rate, Haishima is not known for his orchestral music, and I get a feeling of that in the score - he's jumping into the unknown, and is throwing absolutely everything he knows about symphonic music into a big pot, mixed in a few hundred mg of speed, and hoping for the best. High art this ain't - a ridiculously fun ride, it IS.

One interesting facet that may explain some of the odd orchestration choices - the percussion section in this score is synthesised - and not very well. This appears to have influenced the arrangers into writing a score that uses percussion fairly conservatively and instead has brass, woodwind, and strings all playing at a hundred miles an hour.

It's massive amounts of fun.

In this score, you'll find some of the most forthright, impactful action music in the entire repertoire. Ultraman Max says "Holy crap we're all going to die!" to me very, very clearly.

And, you'll also find some gorgeous romantic cues - 22 (Proof) and 23 (Concept) recall Edward Scissorhands, at least chordally - but they're gloriously harmonised, shamelessly romantic pieces with grand orchestrations and wonderful lyrical melodies played by the high strings.

I feel that this is an absolute mess of a description - I apologise; usually I'm able to be a bit more coherent. This score is absolutely crazy - and my post is somewhat like that too. Please enjoy. And if you can still find these CDs anywhere, buy them. :)

That is all. Enjoy. :)

Hater - I hate to be a hater, but regarding the IM2 music - it is not, musically, appreciably different from anything that's come before, or from the vast majority of soundtracks being produced these days, right down to the cliched choir chants and its complete inability to hold a subject or motif for more than 30 seconds at a stretch. There was a time when 2-bar ostinato figures rarely sufficed as compelling subjects upon which to develop. Music is a language, and people who can't stick to the same subject for more than a few seconds, have no clear thesis upon which they're expounding, and use a pedestrian vocabulary are not particularly interesting to listen to, in my opinion, and in no cases deliver compelling speeches or profound messages.

_Mike

mike, you know that they wanted this kind of music for the film, so i a m glad to hear some proffessional orchestra work here. and how can you hate a theme that combines total recall with executive decision? Impossible...

OK, here we go guys... ;)

Well Tango, damn you. Just damn you to hell. Why do I even bother trying to say anything eloquent with the stuff I post? You always find a way to blow me out of the water and make me appear like a chimpanzee in comparison.

Then again I'm a stubborn bastard, so I'll continue to do it anyways. Ha!

Thanks for the release Tango. I'm sure I'll appreciate it when it stops "being temporarily unavailable" on MegaUpload.

Huge thanks Tango for this collection of HQ Ultraman Max soundtracks with scans :)
For those interested I will be uploading Chu-Bra in lossless today thanks to bittorrent :)

mike...how can you hate a theme that combines total recall with executive decision? Impossible...

:) Well, then I stand corrected.

_Mike

Mike, you can't give up that easily. ;)

Seriously though... I agree. Regardless of who is to blame for the limp Iron Man 2, the quality [or lack thereof] of the music does not change. This is a step up from Djawadi's - but then again, the noises I made whilst sitting on the toilet a couple of hours back were more musical than that monstrosity... but what we have here is still a largely generic, overly simplistic, nicely orchestrated nothing. I really don't consider Debney outstandingly clever for ripping off two Jerry Goldsmith themes, and simplifying the arrangement... I think I'll go and put Total Recall on for the real thing, rather than this sleepy ripoff.

Hater, my friend, you're doing it again. You're giving a (probably) bad score unfair praise because it has shades of Goldsmith, and because it appears to have a vague thread of orchestral acumen running through it. That doesn't make it good. It just makes it better than Djawadi's, which is no achievement worth writing home about.

SHAME. Massive shame. Though I haven't heard the score, based on the samples, plus the full track recently posted, plus reading Mike's observations [which I fully trust are right on the money] I am not left breathlessly anticipating Debney's Iron Man 2. Perhaps it's a step in the right direction, but we still have a long long long way to go.

I'm willing to bet that Mr Verta here would have been able to write the prototypical rock, percussion, electric guitars score the producers seem to want for this movie... but it would've been music of substance. Not some themes nicked off a twenty year old Goldsmith score, mixed with a bit of heavy metal.

Mike - find Debney and Djawadi, tie them up some place (give Djawadi a kick in the nuts from his No. 1 anti-fan in England) and then get to work on your agent... Here's to Iron Man 3. ;)

:) Well, then I stand corrected.

_Mike

don�t be silly, i know you�re right but i enjoy debney too much. just look at lair. every single track is a rip-off/variation of something else and it works. thats how he works. combining and altering the works of others. like yoko kanno. good enough for me. there is some mystery around cutthoat island and why it is soo much better than everything he wrote...

I have a semi off-topic question for Mike Verta, Tangotreats, or anyone else who thinks they may have a good answer. I've been wanting to do some studying of music to get a better understanding of all the things going on behind the scenes of various classical music and film scores. I wonder if you guys think this is something that is best learned through a classroom setting or if you had some books to suggest that would be adequate for self-study. If I were to take classes I'd likely be limited to local community colleges by reason of cost. Thanks for any answers or suggestions.


I think that it depends of why do you want to know when you start to studying music. I assume that if someone want to play an instrument or compose and be a professional, then i guess it's essential at a certain stage, to learn how to do it.

I will speak for myself. I don't have any music education. I'm a primary school teacher (years ranging between 6 to 10 in my country), and it's a profession that is far away relatively to music because you don't need here to be graduate on music to teach childrens of this age, so my technical knowledge of it is almost nothing. Unless you consider something the music that you learn when you are at the secundary, and playing a flute for your parents at the Christmas school party!

Yet listening music is my favourite hobby, and my experience says the more i listen the more i understand it, but only on a surface level. For example i don't need to know what a quaver is and why is it there or is function, or if a conjugation of notes is correct accordingly to the music language. I'm more interested if i like the music, if it affect me on an emotional level, and the story behind it. Why did the composer create this piece, what is he trying to communicate with me through his music, and for what purpose.
Of course there's always a case when you consider, for example, Goldsmith's Planet of The Apes against Star Trek:TMP, where the former can be a superior work on a technical level, even if i prefer the later as a music piece. Which means that music is always subjective to a personal preference regardless it's value.

So to know these things, i believe that i dont need to have any formal music knowledge, for a better understanding of what the music is about. That's why the thread we have here, is a great resource to learn, discover and tell what we experience when we listen music, without any kind of arrogant snobbery from individuals that you see on others message boards, or the usual juvenile comments "this music sucks because it's bad", "this music is the best ever because it's epic", and lossless/lossy war posts that you very often read on other topics.

DRAGON QUEST IX: SYMHPONIC SUITE
KOICHI SUGIYAMA



Hi everyone!

Sorry to interrupt conversation, but in case you missed it on GameMP3s, you owe it to yourselves to check this out. It's the latest symphonic suite set in the mighty Dragon Quest legacy, and it's absolutely magnificent. If you're familiar with the material, you'll get noticeably refreshed arrangements with clear respect for the originals, and if you're totally new you're in for a real treat � sumptuous themes and gorgeous performances.

Is it particularly bombastic? Not frequently. But is it wonderful, memorable, and surprisingly heartfelt and sophisticated at times? I think so. Your mileage may vary, but either way it doesn't hurt to give this a spin. Wish I had in lossless for you, but all I've got is what GameMP3s has given me. :)


Download: http://anonym.to/?http://rapidshare.com/files/381010929/DQIX.zip

OK, here we go guys... ;)



KUNIAKI HAISHIMA (HAIJIMA)
Ultraman Max (OSTs 1 and 2)

The Asian Philharmonic Orchestra (Beijing)
conductor unknown
Orchestrations by Sachiko Miyano



I got all the ultraman stuff here and the Toshihiko Sahashi albums from Sirus' thread the the other day, and still haven't listened to most of it (That's a lot of music!) but I will add this to the list that I must greedily devour next!! Thanks for these two albums, Tango, and thanks to klnerfan for the many other Ultraman albums.

About Iron Man 2: I was very unimpressed. From what I can tell, it just seems to be the typical bland action music that is being pumped out in hollywood these days (with some rock elements this time). I understand that this type of music is demanded by the terrible action movies that are being produced in our modern age, but that doesn't mean I like it any more. I really just think that the many dull scores in the last few years are (mostly) the product of the drivel that is pouring into movie theaters. My reaction to the score might change as more of it is available, but it would have to be pretty freaking awesome, and I don't see it fulfilling that desire.

Also, about your question, Sirus... Being a recent dropout from a music degree program, I can say that there are benefits to studying in a classroom, but also disadvantages. This is not always the case, but I believe that people that study music outside of the normal academic setting take a more organic approach. That is, listening, learning and loving to listen, thinking about elements of the music that excite you, etc. I'm not saying that those that study in a classroom don't listen to and love music, but the routine of study seems to detract (at times) from the goal: great music.

You could (even if you do take a class or two this is a good idea) check out some books related to some element of music that you're interested in, such as composition or theory, but depending on your learning style, that may either be great or a total disaster. Depending on how you go at it, you could be teaching yourself very incorrect things. A good professor would be able to help you develop skills and understand concepts more quickly in an ideal situation. All in all, the answer to your question depends on you.

For me, studying music made music less enjoyable at times, not because I appreciated bad music less as a result of acquired knowledge, but because it became work. ( I don't really think the "appreciating music less because you know more about it" thought has ever been an issue. There is good music out there, and I try to find it. ) Honestly, this was just an error of perception and attitude on my part. Your experience might be completely different.

I will say, however, that if you're studying law, taking a music class is probably a waste of time unless you're just doing it to satisfy an elective. Maybe when you graduate and have some extra time (? Maybe you'll have less extra time than before) it might be enjoyable to take a music class, but it seems that studying a bit on your own--if you really want to--might be better in your circumstance. Once again, this is completely subject to your learning style/time available/dedication/desire/etc. I went on quite a bit more than I expected to just now, but hopefully something I said will be of value, unless of course it was just aimless rambling, which it is starting to resemble... :D :D

Hopefully some of that made sense, and good luck!

Mutiny On The Bounty (1962, Bronislau Kaper)

I don�t know if this was posted before, however I remember that someone requested it.



Garcia! Man! Thank you! :D! I owe you big time :) I requested this a while back and figured no one had it. You're brilliant! :)

Great posts everyone! I've enjoyed the reading :) Can I throw in a bit of my own experience on this issue?

Nothing has taught me more about music than going to concerts and hearing and seeing a live orchestra perform. It was overwhelming at first - without a musical background of any kind, I didn't know what to concentrate on, how to listen, where to look, or even whether to look at all. It was a sensory overload, such a different feeling to listening to bits and pieces at home on the hi-fi. Music consumption is pretty 'passive' these days; we stick the old headphones on while we're on the web, on the bus, making tea, doing the washing up, or (heaven forbid) working out ;) At a classical concert the spotlight is not only on the orchestra, but on YOU, on your own private relationship with what you're seeing and what you're hearing. Please forgive this talk if it sounds ridiculous and subjective - it's a hard thing to describe.

As for 'education', well, in our school what passed for a music lesson was giving the teacher a nervous breakdown by repeatedly hitting the 'demo' button on the keyboards. I tried to learn classical guitar for a short time and failed miserably (I have appalling coordination and I'm a chronic skiver!), and I bluffed my way through choir, aping my mates who could actually sing and read music. On that point, I think you pick up more by talking with friends and sharing thoughts about a given piece, composer etc (and that includes outright disagreements!). Music is a social thing as much as it's a private pleasure. It makes a WORLD of difference to be able to share what you feel.

Everyone's heard the saying "I don't know much about it, but I know what I like". The reverse, that the more you know about something the more you lose touch with it, is pedaled a lot. Let me just say, as far as I'm concerned that's BOLLOCKS - just a conceited refitting of '"Ignorance is Bliss". If you kill passion through knowledge and curiosity, was it ever really a passion in the first place??

Genuine intellectual curiosity is different to bookishness or 'theory', and it shouldn't get such a bum rap! Why does it? Why are we told that knowledge diminishes pleasure? Because a lot of contemporary culture depends on just that level of superficial acceptance.

Some awareness of the nuts and bolts of musical structure IS helpful, but only insofar as it brings you closer to the music, not as an end in itself. If all someone's interested in deep down is status and oneupmanship, if all they want is to look 'smart', that's all they'll get. Tango, I think your friend is an extreme example. I get uncomfortable when oppositions are drawn between 'thought' and 'feeling', 'intellect' and 'emotion'. It's not a division I can relate to, and in my view, music itself obliterates it! Of course, you can focus on one aspect or the other (and both have their claims to 'purity'), but that's not the complete picture. [..preaching to the Pope I know ;)]

Different types of music require different levels of attention too. It's not elitist or snobby in any way to say that a good portion of classical music requires more of you, emotionally, intellectually, and gives more too. The first time I heard Mahler's 7th I was devastated, my head felt like it was going to explode! Did I 'understand' it? No. Could I even take the whole thing in? No. But I desperately wanted to!

You absorb more than you think by simply listening (really listening), as Tango, Shadow and Sanico have said. You learn incrementally through your relationship with the music. Good film scores do this too, and have their own set of complexities that are puzzling and rewarding.

I'm with Jakob on the idea that self-directed study is best, more organic and more personal. You might want to consider other avenues outside of the classroom. Do the San Diego Symphony offer any pre-concert talks or education-slanted events? If you speak to someone there and explain your interest I'm sure they'd let you sit in on a couple of rehearsals for free (the RLPO allow this). They'll probably have some better suggestions as to classes and reading and such as well. I'm really at a loss to recommend good books myself!


Of course there's always a case when you consider, for example, Goldsmith's Planet of The Apes against Star Trek:TMP, where the former can be a superior work on a technical level, even if i prefer the later as a music piece. Which means that music is always subjective to a personal preference regardless it's value.

Slightly tangentally, I'm glad you mentioned this Sanico! :D I don't know if I could say that Apes was more technically accomplished than Trek - they're about equal for me (ie top tier JG!). POTA even has a 'rough and ready' quality and the serialist language is used very loosely, not academically. Jerry himself alluded to this in the dvd commentary, describing it as 'impressionistic'. In orchestration too, both are wonderfully resourceful and surprising. STTMP is mindboggling, so subtle and haunting in the V'ger sequences. What I love about Goldsmith is that he's not bothered about writing 'correctly' or artificially padding out orchestrations to sound 'symphonic'. Perhaps Goldsmith's self-effacing character is partly why Williams' Star Wars scores, as amazing as they are, are wrongly heralded as the (re)birth of modern orchestral film scoring? Goldsmith was producing incredibly powerful, developed, inventive orchestral music right throughout the 60s and 70s, as were others. I'm inclined to think it's more that Williams music put it firmly on the map, due to the popularity of the films, the 'Star Wars phenomenon', and all the flashbacks to Korngold, Wagner, Tchaikovsky, Holst. ;)



Yoshihisa Hirano - Chu-Bra Original Soundtrack

Walton: Film Music (1986)



KUNIAKI HAISHIMA (HAIJIMA)
Ultraman Max (OSTs 1 and 2)

Garcia mate, great to see you back! :) Thank you all!

Briefly, about Chu-Bra: I had a cursory look on youtube after it came up previously in the thread and found only the barest of clips and an angry vlog claiming it to be sickening "paedo-bait" masquerading as a show for young girls. Undeterred, and with Hirano firmly in mind, I watched the first ep. Had me in stitches! Should I stick with it? The positive comments have rekindled my interest. :)


*Apologies for the bloated post!*

IM2 will be... well, crap. Samples sounds bad, the one whole track is total mess, sounds like some kind of megamix of everything... But in the end it's nothing. I actually had a little hope that Debney (who's not bad, but generic composer) will actually write something a bit more interesting. Well, I guess he didn't. Hope the movie will rock though:).

As for learning to theory of music - don't do that Siriusjr! I know to many snobs, who think that knows everything, but they actually forgot what music should be about (actually, a lot of them are self-styled music critics;)). I write a bit, and there was a time I wanted to learn something about theory... U know, it can be quite helpful. But - surprisingly - after that I almost lost all of my ideas (not that they were good before, but at least they were), cause I was only thinking what is right and what's not. So I told to my books to go fu*k themselves. Now I live in a beautiful world without theory behind music. It doesn't make me better music-writer, but it gives me a lot more joy to it:).

Mastering music theory while still being able to hear your music with the ears of the layman is not only possible, but essential if one wishes to have any chance at being a great composer. Music is a language, and despite your Doctorate in Advanced Linguistics, you can't hope to deliver a compelling speech if you insist on using words nobody knows in contexts they don't understand. You begin your speech in approachable, confidence-inspiring ways, so your audience knows you understand them, they can relate to you, and they have a chance to become absorbed in your story. With that rapt attention, you can begin to pepper your performance with things they haven't heard before - advanced things which your doctoral program friends will give you props for. The audience is entertained, they've learned something new, and you have advanced the art without sacrificing its appeal.

As with all things, balance. No matter how much you know, you can still enjoy simple, fun work for what it is. It is the people who deliberately learn in order to lord information over others and feel better about themselves by belittling them who refuse to find this balance. What separates the majority of work from the great work, is that the great work seems to effortlessly blend the truly academic/the truly advanced, with the raw, compelling, entertaining and fun experience of commercial music. Listeners can be both completely informed, and yet totally flexible.

As a composer, I often give scores out early to a few individuals who I know possess this ability, because I want to know how they feel about the music in their gut, while still having the ability to provide the analytical insight and scrutiny that the hardcore musician and academic audiences will seek.

_Mike

Thanks for the additional comments :) Its quite refreshing to hear that most of my esteemed co-posters here have little musical education besides hardcore listening and I think I will do the same for now.

As far as Chu-Bra, YES if you like the first episode you will enjoy a good amount of the series. I actually find that I learned a lot from the show about girls and the functions of underwear as well as their development. It may sound a little bit strange and even creepy but I think that Chu-Bra should be shown to anyone who is (a) a developing young girl with questions about the changes going on in her body or (b) taking care of a young girl and trying to answer those same questions. But beyond that, there is some solid comedy and most of all emotion and character development. I shed tears watching Chu-Bra on a few occasions and I will always hold that show dear to me. Don't even get me started on the wonderful comedy associated with the boy in their class who becomes wrapped up in it all.

Mastering music theory while still being able to hear your music with the ears of the layman is not only possible, but essential if one wishes to have any chance at being a great composer. Music is a language, and despite your Doctorate in Advanced Linguistics, you can't hope to deliver a compelling speech if you insist on using words nobody knows in contexts they don't understand. You begin your speech in approachable, confidence-inspiring ways, so your audience knows you understand them, they can relate to you, and they have a chance to become absorbed in your story. With that rapt attention, you can begin to pepper your performance with things they haven't heard before - advanced things which your doctoral program friends will give you props for. The audience is entertained, they've learned something new, and you have advanced the art without sacrificing its appeal.

As with all things, balance. No matter how much you know, you can still enjoy simple, fun work for what it is. It is the people who deliberately learn in order to lord information over others and feel better about themselves by belittling them who refuse to find this balance. What separates the majority of work from the great work, is that the great work seems to effortlessly blend the truly academic/the truly advanced, with the raw, compelling, entertaining and fun experience of commercial music. Listeners can be both completely informed, and yet totally flexible.
...
_Mike

Really compelling stuff! I didn't mean to imply that a study of theory is not awarding, and I would clarify, but Mike just did it for me! I think I was emphasizing listening so much more because this aspect seems to be neglected much of the time in a study of theory. This shouldn't be so, but it is.

I completely agree with your sentiment, Mike, and thanks for sharing it!

DRAGON QUEST IX: SYMHPONIC SUITE
KOICHI SUGIYAMA

Its been posted here twice already, but thanks anyway.

Screenarchives Entertainment is having a moviescoremedia sale right now with most of their titles only $12.95 (normally $17.95). This pretty much only excludes very recent releases. More importantly, it includes the following highly recommended orchestral scores!
I Sell the Dead
Merlin Season 1
Merlin Season 2
The Red Canvas
Imago Mortis
Emma
Cinema Symphony
No-Do the reckoning
This sale only lasts until May 4

As with all things, balance.
Truer words never spoken.

Just don't tell that to today's concert hall set! ;)


Screenarchives Entertainment is having a moviescoremedia sale right now with most of their titles only $12.95 (normally $17.95). This pretty much only excludes very recent releases. More importantly, it includes the following highly recommended orchestral scores!..
Cheaper for me to buy from Amazonuk. Thanks anyway though - you've reminded me it's about time I upgraded from itunes on Pearce's wonderful Symphony. Maybe I should check out Emma too.. I like a good period score :)

Its been posted here twice already, but thanks anyway.
My bad! I hadn't noticed this one in the thread, must have slipped past me. Ah well, still a pleasant listen. :)

Cheaper for me to buy from Amazonuk. Thanks anyway though - you've reminded me it's about time I upgraded from itunes on Pearce's wonderful Symphony. Maybe I should check out Emma too.. I like a good period score :)
Well those of us in the US have to pay more for importing. And SAE is the best source for MSM releases in the US.

I am sorry, mine is the third Edition.

Here is the one by Silvestri in 2007 as part of Soncinemad

Musica De Cine 2 (Alan Silvestri)





Tracklist:
1. Forrest Gump (09:52)
2. The Polar Express (07:34)
3. Back To The Future (Regreso Al Futuro) (07:35)
4. Judge Dredd (Juez Dredd) (11:15)
5. Father of The Bride (El Padre de la Novia) (06:26)
6. The Mummy Returns (El Regreso de la Momia) (08:10)
7. Night At the Museum (Noche en el Museo) (06:42)
8. Cast Away (N�ufrago) (05:00)
9. Mouse Hunt (Un Ratoncito Duro de Roer) (05:55)
Duraci�n: 00:68:34

http://rapidshare.com/files/72148431/Musica_de_cine_2__Soncinemad_-ALAN_SILVESTRI.rar.html

It is not my upload, credit to juanginger.

could you please reupload this concert since the link seems to have been removed.

Does anyone have it? Very beautiful and moving soundtrack.
Links at cdjapan : http://www.neowing.co.jp/track_for_c...?KEY=ESCL-2881

Thanks...

Reuploaded:

Musica De Cine 2 (Alan Silvestri)





Tracklist:
1. Forrest Gump (09:52)
2. The Polar Express (07:34)
3. Back To The Future (Regreso Al Futuro) (07:35)
4. Judge Dredd (Juez Dredd) (11:15)
5. Father of The Bride (El Padre de la Novia) (06:26)
6. The Mummy Returns (El Regreso de la Momia) (08:10)
7. Night At the Museum (Noche en el Museo) (06:42)
8. Cast Away (N�ufrago) (05:00)
9. Mouse Hunt (Un Ratoncito Duro de Roer) (05:55)
Duraci�n: 00:68:34


http://uploadmirrors.com/download/PYTMHPHS/_2007_ Musica___ Soncinemad.rar

Fantastic interview with Conrad Pope on youtube!
He mentions he is going to be working on The Last Airbender (James Newton-Howard), Salt (James Newton-Howard), and Tintin (John Williams). Of course there are many other interesting things to watch as well in the 25 minutes of interview :)
http://www.youtube.com/watch?v=wI76M0qvkP4&feature=related
http://www.youtube.com/watch?v=VB5tBvtxL6s&feature=player_embedded
http://www.youtube.com/watch?v=s40ioBRoBcQ&feature=related

TOSHIHIKO SAHASHI
Swan no Baka (2007 Television Drama)
Studio Orchestra
conducted by
Koji Haijima



My rip / LAME 3.98.4 -V0 / Track titles in English / Scans included

NEW LINK (FEB 2012) - Download TS-SNB.rar from Mirrorcreator - Upload files to multiple file sharing sites (http://www.mirrorcreator.com/files/YLM56VO1/TS-SNB.rar_links)

Because you can never have enough Sahashi, here's Swan No Baka; a live action romantic comedy originally broadcast on Fuji TV. The title is a pun on the name of the protagonist (Daisuke Suwano) and also a reference to the way he compares his life to that of a swan; gliding elegantly on the water, but struggling desperately under it. Likewise, Daisuke is a popular, cool, and generous guy but under the easy-going exterior lies a man under pressure, counting the pennies until payday.

Sahashi's score is a mostly light-hearted affair for orchestra - brimming over with cheerful melody (including a wonderful "dream" theme that recalls Gershwin) and sincere romance. There's six minutes of Sahashi's typical action style to be had in three consecutive cues (tracks 11-13 - Action, Incident, and Hostile) but for the most part there's a certain carefree elegance in this score that sets it apart from the rest. This is one of those lazy summer afternoon scores, to play whilst relaxing in the warm sunshine. It's music that should bring a contented smile to your face.

Enjoy! :)

TT


TT



[/CENTER]

Well i'm not sure if you have yet to post the link or simply forgot but in either event I will wait for it with baited breath. Please post it as a reply to the Sahashi collection thread and give it a bump while you are at it :) Thanks so much for new Sahashi even though I am in absolute music overload at the moment I am just loving it!

Wow, you're fast. ;)

I was just doing my annoying placeholder thing. I fiddle with the post during the upload to get everything looking right... and by the time I'm happy with it, the upload is usually finished. (Which it is now.)

I'll definitely stick it in the Sahashi thread. :)

And thanks for the Conrad Pope interview... I'll be giving that my fullest attention tomorrow. He is a clever guy who really should be doing more than being John Williams' pencil pusher. Has anybody had a chance to listen to "In My Sleep" yet? I bought it from MSM - a little more electronic than I would've liked but nevertheless, a score which immediately reveals itself to be living, breathing music - not sound design or nicely orchestrated amateur keyboarding...

By the way - my car insurance renewal came around yesterday and I had a most pleasant surprise; my premium is down �300 on last year's! (Aaah, the joys of being 25, having a 24 months no-claims discount, and a 1.4 litre engine car!)

Naturally I have turned this sudden, unexpected extra cash into a hastily convened CDJapan order - so I should have some more magnificent stuff turning up in the next couple of weeks. (Including another new Sahashi, and one of those "I don't believe this kind of music is in that show!" scores that make you thank God once again for the Japanese.)

Thanks a bunch, Tango! I'm still getting through the rest of the Sahashi from the TS thread, but I'm loving it so far. I'll be happy to listen to this!

I haven't listened to In my Sleep yet, I have been downloading so many scores in another area including catching up on some goldsmith and michael small that I haven't listened yet.

I love Pope and purchased In My Sleep. Not terribly well known but living breathing music, a solid effort. :)

Fantastic interview with Conrad Pope on youtube!
He mentions he is going to be working on The Last Airbender (James Newton-Howard), Salt (James Newton-Howard), and Tintin (John Williams). Of course there are many other interesting things to watch as well in the 25 minutes of interview :)
http://www.youtube.com/watch?v=wI76M0qvkP4&feature=related
http://www.youtube.com/watch?v=VB5tBvtxL6s&feature=player_embedded
http://www.youtube.com/watch?v=s40ioBRoBcQ&feature=related
What a sound guy! He's got it sorted. Really - this sort of thing makes me feel better about life in general, to say nothing of Hollywood/film music.

He has to be so careful in the last section, but manages to remain honest and optimistic.


Has anybody had a chance to listen to "In My Sleep" yet?
Yes! I ordered immediately upon hearing the samples. In the interviews Pope talks about the importance of 'carving out a space' for particular sonorities - that strikes me as exactly what's going on in this score. Can't arrive soon enough - hurry up postie!!

Thank you for the Sahashi too. You posted another TV drama score of his a while ago that was a little different (Kanryo..), and I enjoyed it greatly. :)

Conrad is mincing words, for understandable political reasons, but his message is abundantly clear: the composers have little skill, and the music is barely that. Putting it on "the movie business" which is stopping these composers from "spreading their wings" is gracious of him, but isn't actually true, and doesn't address his earlier points that they're not dipping into particularly profound wells to start with, because they don't have the training or experience (or interest) and that is likewise bleeding into the oft-poor performances given by orchestras led by non-performing musicians.

I've been over at Hans' place a bit of late; aside from whatever one thinks of Hans' and Co.'s music, truly the process of film scoring is nothing today like it was when I first dreamed of being a film composer 32 years ago. I feel a bit like I've spent my entire life running towards the light of a star that had already burned out. But the only constant is change.



_Mike

Mike, as long as you're composing, the star will still shine :) :angel:

We know why Conrad won't put so fine a point on it, but it's not all political correctness - he's giving the future the benefit of the doubt!

Another man of extraordinary talent, in a similar position I believe, is Peter Boyer. I've been bowled over by the quality of his music (what little is available). And yet he remains an unsung orchestrator to the likes of Giacchino. Dying for that breakthrough score.

Hey guys. Found out what was up with Jack the Giant Killer. From Doug Fake at the Intrada forum: "The masters did have tiny rhythmic ticks throughout. Virtually every source master we had access to showed this anomaly. It's not a digital pop or error and seems to have been permanently wedded to the tapes at some point many years back, perhaps due to some faulty alignment of the tape machines that did the initial transfers way back when. We removed lots of them where possible but just couldn't take them all out without diminishing the crisp punchy dynamics the tapes displayed. "

These clicks were definitely not present in the film so must have been something added in a tape transfer in the past. I guess Intrada did all they could but it really sucks and mars important sections of this marvelous music.

Yavar

Laurence Rosenthal - Miracle Worker, The (1962, Intrada 2010)
|Orchestral|Haunting|Emotional|Romantic|

FLAC|LOG|CUE|M3U|SFV|300DPI Scans|158MB|
Download (http://rapidshare.com/files/382054357/LR-MWT-FL.rar)
PSW: smile
|MP3 VBR-V0|SFV|300DPI Scans|51MB
Download (http://rapidshare.com/files/382056743/LR-MWT-M.rar)
PSW: smile

I present to you another wonderful Intrada release that sadly has sold out virtually everywhere so fast that many people won't get a chance to buy a copy but through EBAY or other secondary markets. I took one listen to the samples on Intrada's web site and was mystefied and overwhelmed with emotion. Anyone who is familiar with the story of Helen Keller knows the powerful images this movie presents and, by extention, the powerful music composed by Laurence Rosenthal. There is a deep sense of struggle presented in this music as a little girl (struck blind and deaf when she was only 19 months old) attempts to grasp the intricacies of language and interact with the world around her. At the same time imagine the struggle of the teacher who is faced with such a task as teaching this little girl who is unable to understand things through traditional methods.

Further description from Intrada's Web page
Laurence Rosenthal's early landmark becomes available as CD, showcasing highly sensitive side of famous veteran composer. Oscar-winning Arthur Penn drama from famous William Gibson play about Annie Sullivan working with blind, deaf Helen Keller stars Anne Bancroft, Patty Duke in career-defining roles. Rosenthal creates incredibly intricate music that helps unfold mysteries, pains, ultimate joys of this incredible story. Climactic sequence at water pump is an all-time masterpiece of movie music scoring. CD presented in newly mastered assembly, prepared from composer's own first generation 1/4" mono tapes, the best surviving master elements available. Gorgeous project, courtesy of MGM, preserves one of the sixties greatest scoring triumphs! Laurence Rosenthal conducts members of New York Philharmonic. Intrada Special Collection release limited to 1000 copies!

If by some rare chance you can find a copy for yourself in an online store after listening, I highly suggest you snag it! As always, the liner notes are a worthwhile read. There are some interesting bits of information in the notes that will satisfy the curious. (Side Note: I have taken the time to properly tag the MP3 version this time as I received a few complaints the last time from people who were used to my tagging from before I became lossless only. However, with this Lossless version only 150mb I suggest you listen to it in lossless!!!)

A random question here but I think it would be wonderful if, besides the orchestral gundam albums, someone made an orchestral collection of the best orchestral gundam tracks from all the soundtracks. I am having a hard time getting through G Gundam soundtracks with so many varied styles. I'm not sure if Gundam Wing will be the same.

A random question here but I think it would be wonderful if, besides the orchestral gundam albums, someone made an orchestral collection of the best orchestral gundam tracks from all the soundtracks. I am having a hard time getting through G Gundam soundtracks with so many varied styles. I'm not sure if Gundam Wing will be the same.

Gundam Wing is all synth. It has some good tracks mind you, but you will never find a single orchestral piece in any of the volumes.

Gundam Wing is all synth. It has some good tracks mind you, but you will never find a single orchestral piece in any of the volumes.

I'm not the biggest fan of the score, but Treize's theme and some variations of Relena's theme are obviously acoustic.

Guys, do you please have this one? I'd really appreciate it to be posted here:

American Journey - Winter Olympics 2002 - John Williams



http://www.amazon.com/American-Journey-Winter-Olympics-2002/dp/B00005UN9G

Hi, first time poster. I'm a sucker for Olympic games music. This post piqued my interest. Does anyone happen to have the other two Salt Lake albums:

Salt Lake 2002: Music of the Games


Salt Lake 2002: Light Up the Land


I don't think there are any orchestral arrangements on them, unless they included the John Williams-produced theme.

Anyone happen to have them? I believe both are OOP now.

The way I see it, I think the rules are shifting again in favor of more "industrial" methods of scoring, with orchestration playing a reduced role behind other instruments or the synth, much like a lot of 80's scores. This shift has already been pronounced in many scores like The Dark Knight or just about anything produced by Hans Zimmer or the fellow composers at Media Ventures. John Williams gradually fading away, James Newton Howard experimenting with the MV style, and very few composers stepping up to the plate in terms of full orchestrated scoring has made this shift quite noticable.

Japan, oddly enough, has gone the opposite direction, in favor of orchestrated scoring. Even lower-budget scores have traces of live instrumentation, like Kobato's usage of the string quartet to provide a lively, warm, full feel without the big budget of hiring an entire strings section. The classic Gurren Lagann score, would, on paper, be like a MV score, but comes out so much better because the score doesn't attempt to swallow you. It immerses you instead into the characters and the crazy post-apocalyptic world of Gurren Lagann and the hot-blooded antics of Simon, Kamina, Yoko, and everyone else. But it reminds you all the way that there is a beating heart underneath with soulful strings and elegant piano.

And then there is, of course, Yoko Kanno, Michiru Oshima, Toshihiko Sahashi, Akira Senju, etc., who use full orchestras in many of the scores released since the late 90's. Heck, Kanno practically kick-started Japan's shift into live instruments when she hired the Warsaw Philharmonic Orchestra for Escaflowne.

Hollywood needs to look beyond MV muck and start looking at the Asian composers who make do with tinier budgets and still manage to manufacture memorable and beautiful work. That or give Michael Giacchino and his associates more work.

As an end-note, possibly the only reason Giacchino came out a full-orchestration person was because he had to be. Those early Medal of Honor games would not have worked without the fully orchestrated music composed in classic Western style. That's what Giacchino cut his teeth on, and made him the composer he is today.

Orchestration is exactly the same in a Zimmer score as in a Williams score, orchestra-compliment-wise. Last week they recorded Inception with the same symphonic palette one might use for Star Wars. While the orchestrational timbre itself might vary from composer to composer, the real difference in music is not orchestration, it's composition, and the difference there is depth and complexity of structure. Even Giacchino displays short motif-based writing, versus the long-form structural depth of "the greats." I doubt he'd have either the delusion or narcissism to believe otherwise - I certainly don't. Goldsmith, for example, was a master symphonist in his own right - he could sustain the development of a single subject for 20, 30, even 60 minutes without ever repeating what he's said, nor losing focus or interest. The first, best example I can think of in a film scoring context for this is his cue The Enterprise from Star Trek: The Motion Picture, a 6+ minute, unbroken orchestral suite. This one cue represents a level of skill which absolutely no up-and-comer possesses. When one does not have the ability to write concert music, one cannot write the concert-music-based filmscores which define virtually all the greatest scores in the last 100 years. Devoid of this ability, one is left with ostinato-as-subject, filler, and sound-design to complete individual cues, which together do not add up to the satisfying symphony-like structure of the scores we admire so much, keep so close to our hearts, and enter and stay in the lexicon.

They are still filling the Hollywood Bowl for concerts of Williams music written 40 years ago. But they're already ignoring the work produced today - it's not compelling.



_Mike

Goldsmith, for example, was a master symphonist in his own right - he could sustain the development of a single subject for 20, 30, even 60 minutes without ever repeating what he's said, nor losing focus or interest. The first, best, example I can think of in a film scoring context for this is his cue The Enterprise from Star Trek: The Motion Picture, a 6+ minute, unbroken orchestral suite. This one cue represents a level of skill which absolutely no up-and-comer possesses.


I've been meaning to listen to Goldsmith's Star Trek: The Motion Picture, but with your comments, Mike, it is now at the top of my list with Stargate (which i've heard alongside the film multiple times but not by itself).

I also listened to your score from Forbidden Warrior that you have streaming from your website (well, part of it, I'm too tired to stay up and listen to the rest) and it is just really really terrific!! I must say, your ultraman score is up near the top of the list of scores I want to buy now, along with anything else you've composed.



...But they're already ignoring the work produced today - it's not compelling.


And how right they are to do so. Great to have you around and hope you continue to be hired for big projects so that we can hear the results!!

Glad you enjoy Forbidden Warrior. I was 30 at the time, and these are the years a composer learns an awful lot, so I personally hear some immaturity in there; lots of stuff I'd do differently even today, but that's how it always is :)

"The Enterprise" is one of my favorite film cues of all time. There are virtually no sound effects or dialogue to interrupt its presentation in the film - it's just naked, right out in front. And it's so patient, so competent, so mature, and deceptively, masterfully simple. You know, it's easy to sound impressive with a lot of flourishes and bells and whistles, but Jerry's writing here is so confident of purpose, that he can make these broad gestures with direct, straightforward orchestration, and it holds up to the harshest academic criticism. In fact, I can think of no other single cue better to demonstrate what is completely missing from modern film scoring. And the afterthought - the afterthought! - on this cue was that it had audiences absolutely rapt and emotionally transfixed during the presentation of a 6' plastic model.

Another good example is Fortuitous Encounter/Wyatt and Josephine - Broughton, Tombstone and tons of Williams stuff. Most of it, actually.


_Mike

Pan Tadeusz Original Soundtrack
Composed by Wojciech Kilar
Conducted by Antoni Wit
Performed by The Polish Radio Symphony Orchestra
Orchestral / Romantic / Relaxing
http://merlin.pl/Pan-Tadeusz_EMI-Music-Poland,images_big,13,4999492.jpg


MP3 320kb/s
http://www.hotshare.net/en/file/247215-5506803e6b.html

Password: 7epan



Review from moviemusicuk.us


Rating: 5/5

Original Review: The vast majority of Wojciech Kilar's work remains undiscovered by the film music public at large. Despite having written music for well over 100 films during a career which started in 1959, only four of these have been in the English language: Bram Stoker's Dracula, Death and the Maiden, The Portrait of a Lady and The Ninth Gate. As a result, a huge amount of music written by Kilar for European (and especially Polish) cinema has passed by without the slightest hint of recognition. A couple of domestic albums and compilations of his work exist, albeit on rather obscure labels which make obtaining them somewhat difficult, but those whose opinion of Kilar and his work are based solely on his American projects would do well do seek them out. There are many, many gems to be found.

Pan Tadeusz is one such score, completely dispelling any and all preconceptions about Kilar's work. The film is a period drama directed by the great Andrzej Wajda, based on the famous poem written in 1834 by Adam Mickiewicz, who is widely regarded as the Shakespeare of Polish culture. Starring Boguslaw Linda, Daniel Olbrychski, Andrzej Seweryn and Michal Zebrowski as Master Tadeusz himself, the film is a dramatic, affectionate, and sometimes humorous illustration of the life of the Polish gentry during the early 19th century, concentrating specifically on a feud between two noble families - one Polish, one Lithuanian - and the way in which their escalating dispute affects the community of Soplicowo. It played in eastern Europe during the latter half of 1999, featured at the Berlin Film Festival, and endured a limited, albeit financially unsuccessful, run in the US early in 2000 before vanishing from screens forever. Thankfully, the Polish EMI subsidiary label Pomaton saw fit to release Kilar's amazing, beautiful score and distribute it world-wide.

The centrepieces of the score are the two long romantic themes, 'Swiatynia Dumania' and 'Kochajmy Sie', both of which are heartbreakingly beautiful. Kilar is essentially a minimalist, taking short melodic phrases (in this case just five notes) and repeating them in an endless, hypnotic loop - but this is not to say the music is anything like Philip Glass. Kilar's orchestrations are lusher and more velvety, with the familiar cello passacaglia grinding underneath a series of sumptuous violin patterns that sound more like something John Barry might have written than anything from Kilar's past. Kilar is also surprisingly good at invoking dreamlike textures and inducing soft moods, as cues such as 'Tadeusz i Zosia' and 'Tadeusz i Telimena', which reprises the thematic material from the romantic suite, attest. Having now heard this side of his musical nature, I would give anything to hear what he wrote for A Midsummer Night's Dream before being removed from the project.

The thing that makes Pan Tadeusz so unlike any of Kilar's more famous scores are the vibrant and (at times) quite humorous cues that pop up from time to time. 'Polowanie' and 'Rok 1812' are both bright, heraldic calls-and-responses for brass and percussion, the latter eventually turning into a buoyant march, while 'Mr�wki' is a superb, dainty scherzo for the woodwind section that sounds like an outcast from his score for the French farce Fant�me Avec Chauffeur, passing a jolly little melody from oboe to clarinet to bassoon and back again. Conversely, both 'Tomasz, Karabele!' and 'Bitwa' are stormy action cues, with loud and heavy ostinatos occasionally reminiscent of some of his work on Bram Stoker's Dracula.

In addition to all this, there is a lively folk dance in 'Koncert Jankiela' and wonderful, neo-classicism in 'Polonez', a large-scale, hugely attractive pastiche of the polonaise Fr�d�ric Chopin himself wrote in recognition of Mickiewicz's work, and which effectively illustrates yet another side to Kilar's talent. If I didn't know any better, I would swear that I was listening to a concert hall piece from 18th century Vienna; this one cue could well be the best single track I have yet heard Kilar write. Capping it all off is a Polish-language pop song, 'Soplicowo' by Grzegorz Turnau and Stanislaw Soyka, which has the lyrics printed in the booklet so you can sing along! All together now... "O te jezoira co wok�l rozlane, Bor�w i las�w i ciszy potega..."

In many ways, and although I admit I am unfamiliar with the vast majority of his output, I would proffer that this is the most accomplished score the Pole has composed to date. In broad terms, if you imagine all the best bits from his four American scores and increase the beauty and impact of each element, then you'll be much closer to understanding just how good Pan Tadeusz is.

Track Listing:

* Inwokacja (Invocation) (2:13)
* Polowanie (The Hunt) (1:31)
* Echo (Echo) (0:59)
* Swiatynia Dumania (4:34)
* Mr�wki (The Ants) (1:51)
* Tadeusz i Zosia (Tadeusz and Zosia) (2:06)
* Rok 1812 (Year 1812) (2:29)
* Tomasz, Karabele! (Tomasz, Rifle!) (1:38)
* Zascianek (Country House) (0:39)
* Bitwa (The Battle) (2:43)
* Smierc Jacka Soplicy (The Death of Jacek Soplica) (1:08)
* Tadeusz i Telimena (Tadeusz and Telimena) (1:11)
* Koncert Jankiela (Jankiel's Concert) (performed by Zesp�l Muzyki Dawnej) (1:15)
* Kochajmy Sie (Let's Love Each Other) (6:27)
* Polonez (Polonaise) (4:41)
* Inwokacja (Invocation) (words by Adam Mickiewicz, performed by Krzysztof Kolberger) (3:00)
* Soplicowo (written by Grzegorz Turnau and Aleksander Leszek Moczulski, performed by Grzegorz Turnau and Stanislaw Soyka) (4:47)
* Soplicowo - Instrumental (written by Grzegorz Turnau) (4:48)

Running Time: 43 minutes 44 seconds

Kilar! fantastic man, haven't gotten around to listening to it yet
I'll probably have plenty to say and gush over about it after I do though

Orchestration is exactly the same in a Zimmer score as in a Williams score, orchestra-compliment-wise. Last week they recorded Inception with the same symphonic palette one might use for Star Wars. While the orchestrational timbre itself might vary from composer to composer, the real difference in music is not orchestration, it's composition, and the difference there is depth and complexity of structure. Even Giacchino displays short motif-based writing, versus the long-form structural depth of "the greats." I doubt he'd have either the delusion or narcissism to believe otherwise - I certainly don't. Goldsmith, for example, was a master symphonist in his own right - he could sustain the development of a single subject for 20, 30, even 60 minutes without ever repeating what he's said, nor losing focus or interest. The first, best example I can think of in a film scoring context for this is his cue The Enterprise from Star Trek: The Motion Picture, a 6+ minute, unbroken orchestral suite. This one cue represents a level of skill which absolutely no up-and-comer possesses. When one does not have the ability to write concert music, one cannot write the concert-music-based filmscores which define virtually all the greatest scores in the last 100 years. Devoid of this ability, one is left with ostinato-as-subject, filler, and sound-design to complete individual cues, which together do not add up to the satisfying symphony-like structure of the scores we admire so much, keep so close to our hearts, and enter and stay in the lexicon.

They are still filling the Hollywood Bowl for concerts of Williams music written 40 years ago. But they're already ignoring the work produced today - it's not compelling.



_Mike

So Mike, this begs the question I've been meaning to ask for a while now. Have you ever considered releasing a CD of movie "inspired" music, similar to Joseph Curiale's Awakening or Andrew Pierce's Cinema Symphony? It might give you an opportunity to explore some ideas that you haven't had a chance to incorporate elsewhere.

From the beginning, your Madrid Waterpark Closing piece has been a staple on my MP3 player, and it would be great to have more themes like this available.

_Brendan

Glad you enjoy Forbidden Warrior. I was 30 at the time, and these are the years a composer learns an awful lot, so I personally hear some immaturity in there; lots of stuff I'd do differently even today, but that's how it always is :)

"The Enterprise" is one of my favorite film cues of all time. There are virtually no sound effects or dialogue to interrupt its presentation in the film - it's just naked, right out in front. And it's so patient, so competent, so mature, and deceptively, masterfully simple. You know, it's easy to sound impressive with a lot of flourishes and bells and whistles, but Jerry's writing here is so confident of purpose, that he can make these broad gestures with direct, straightforward orchestration, and it holds up to the harshest academic criticism. In fact, I can think of no other single cue better to demonstrate what is completely missing from modern film scoring. And the afterthought - the afterthought! - on this cue was that it had audiences absolutely rapt and emotionally transfixed during the presentation of a 6' plastic model.

Another good example is Fortuitous Encounter/Wyatt and Josephine - Broughton, Tombstone and tons of Williams stuff. Most of it, actually.


_Mike

I enjoyed this post a lot. You are incredibly articulate and have a gift for helping readers inexperienced in the discourse appreciate your sentiments.

Kudos, sir.

So Mike, this begs the question I've been meaning to ask for a while now. Have you ever considered releasing a CD of movie "inspired" music, similar to Joseph Curiale's Awakening or Andrew Pierce's Cinema Symphony?
_Brendan

Between gigs, I tend to write approximately 2 hours of orchestral music per year, usually in the form of short sketch pieces. There are many of these posted to my facebook page (http://www.facebook.com/mikeverta) under the Music tab.

I've been saving up several of them for exactly such a thing - but it's outrageously expensive. Which brings me to another important point: orchestral performance. Film music is a very specific idiom, and no orchestra in the world, anywhere, can approach the level of virtuosity of the first-call musicians in Los Angeles for performing this style. There are a handful of first-chair players who are present on virtually every film score call recorded here, and trust me, the worst player in that room is transcendently good. Like, God-like good. I have never seen anyone attend one of those sessions and not find themselves awestricken. Second to Los Angeles' first-call is the London Symphony Orchestra, especially after lunch when the Brits have had a couple pints.

For a two-hour session in LA, with a full symphonic palette, say about 92-100 players, you're looking at approximately $40,000, during which you might get 5-7 minutes of music recorded, depending on the difficulty. So you can see how pricey that would get for an album's worth (60-70) minutes.

Also, personally, I have a reputation for writing extremely difficult music, but it's written for the instruments' sweet spots - the musicians' most comfortable and favorite ranges to play in, for example - so you get that combination of music which requires virtuosic skill to play, in the hands of virtuoso musicians in their happiest places and best moods. The local guys love me for it, but the couple of times I've tried to record with other orchestras, it was an unmitigated disaster; the musicians simply couldn't hang with the material. Now, this is nothing unique - any of the symphonic film composers I've studied, like Goldsmith, had the exact same challenges, and this is why composers like himself, Williams, et. al, actually have a fixed roster of players they call for every gig - same concertmaster, same principals, and usually the same engineer recording the session (Shawn Murphy, whom I also use as he is one of the most musical human beings I've ever met).

So it's simply a question of money, and there aren't tons of labels/companies out there willing to make that kind of investment. I know better by this point in my career than to attempt to do that sort of project with a "budget" orchestra, and disappointing performances would negate the effectiveness and purpose of the entire project anyway.

But, perhaps someday... it would be an absolute joy!


_Mike

Kilar! fantastic man, haven't gotten around to listening to it yet
I'll probably have plenty to say and gush over about it after I do though

Fantastic man, indeed. I'm glad this soundtrack caught your interest:)

Mike, I was just wondering, why is it that two hours of recording only equals about five hours of actual music? I mean, when an orchestra plays in front of a live audience two hours of music equals two hours of music! I always imagined that a soundtrack could be recorded in just a few days, but by what you seems to be saying it would take a week at the very least.

Mike, I was just wondering, why is it that two hours of recording only equals about five hours of actual music? ...I always imagined that a soundtrack could be recorded in just a few days, but by what you seems to be saying it would take a week at the very least.

Yes, most soundtracks take a week or two (or more) to record. And I assume you mean 5 minutes, and the answer to why they only get a few minutes recorded is: because they've never seen the music before, yet have to perform it like they've known it for years. Symphonies take weeks or months to prepare. The fact that these guys can see music that complex, and in a few passes have it perfect is astounding, but that's why. I have personally seen the top studio pianist sight-read a Rachmaninoff piano concerto, flawlessly.

What generally happens is they get a first pass, just a run-through, which orients the orchestra as to what the piece is even about. The second pass is orders of magnitude better and usually illustrates any errors in the parts, etc. By the third or fourth pass, the notes are together, and now the composer/orchestrator may begin making subtle (or dramatic) adjustments in orchestration, dynamics, tempo, etc. Remember, the composer has never heard the music before, either. You can eat up an hour very quickly with these sorts of adjustments. There are also usually pauses for the recording team to make adjustments, move microphones, etc. By this time, it's usually "recordable," with further finessing/rehearsing being necessary or not depending on the cue. With my music, and the most complex pieces, 6-7 minutes in 2 hours (including mandatory union-supervised breaks) is about the limit. But if you're Thomas Newman, you can probably do 2 hours of music in a 2 hour session, because of all the whole notes :) The fastest I've ever gone was 15 minutes in a two-hour session, but things like my Batman Simulator Ride, which is actually very difficult to play sight-unseen, barely came in under the wire, time-wise. We almost didn't get the "money" recording in time.

_Mike

Holy crap. I never even envisioned it took such a long period of time just to make a single soundtrack. Makes me appreciate Goldsmith more, what with him sometimes doing as much as five scores in a single year! Mike, thanks for the insight. I truly never had any idea that a single score took so much time to prepare. Now another question: just how much does the average score tend to cost? Is it $40,000 for each session, or for all of the weeks combined?

Jerry just always said, "Yes, I'll do it." If he wasn't as virtuosic as he was, he could never have pulled that off at the level he delivered. Still, it is not difficult to hear the quality differences between scores he did when he was less "prolific," versus when he was banging them out 5 a year... but his worst soundtrack is still better than most of today's best.


_Mike

It's propogated by the same sort of people who spend $100,000 on special magical cables for their Hi-fi that are technologically proven to offer absolutely no benefit whatsoever, but continue on anyhow believing that they know better; "I'm an audiophile - I can tell..."
Gotta love the suckers who buy those cables...


Obviously FLAC is superior in quality to MP3, that much is obviously beyond dispute. But I do wish that people would stop pretending that MP3 is hell and FLAC is heaven. MP3 (and other lossy codecs) are - when used correctly - excellent, and provide sound quality that a high proportion of even seasoned audiophile listeners cannot distinguish from the source. Insisting that file sharers adopt a codec which on average creates files four times the size of a good quality MP3, to satisfy a negligible percentage of unusually picky listeners (a significant percentage of which probably actually can't hear the difference but think that by pretending they can, they appear more "hard core") is absolutely idiotic.
If people want a bit perfect copy, then give it to them. MP3 was good in the days that space was expensive, and the bandwidth was 56k.

We get 1tb drives for $80 now. Bandwidth is not an issue unless you're in some ghetto 3rd world country or are being scammed by a bad isp.

Even if you can't tell the difference, it's perfectly logical to want the best copy available (especially if you wanted to alter it - remixes, hard coded normalization for your hardware player, etc).


As far as I'm concerned, if you're that concerned with getting the very very best, you can damn well go and buy the CD. Unless the CD is rare or difficult to obtain (in which case, a FLAC rip would be justified as it's the closest 99% of people will ever get to the physical CD) a lossless rip is just lunatic.
Anyone who buys a cd is a lunatic. Unless the cd has little to no dynamic range compression, and NO CLIPPING.
99% of cds these days have horrible distortion from clipping. Several OSTs I have download have about 2 db of dynamic range, and clip like you wouldn't believe, sounds terrible.
And as I always say: bad recordings are FAR worse than lossy rips. Hell, it's often more important than your playback gear.

When you buy a bad cd: you support what was done to it. When you refuse to buy it, and mail the producer saying you won't buy loudness war crap chock full of clipping, they may get the idea.

In short: pirate that shit. Unless they DESERVE your support. Then you buy NEW (not used, no support there).


(Retailers are already getting the message with FLAC. Slowly but surely. First we had 128kbps as standard, then we had -V0 LAME, and now we're seeing the first lossless retailers break out. For them, it's not a priority, because by and large, people don't notice - and I don't just mean deaf teenagers with cheap PC speakers and Apple earbuds plugged into an iPhone.)
Too bad they aren't getting the idea to master music properly.


If most people (from a group of seasoned audio professionals, with high-end playback equipment and a trained ear) can't ABX LAME from FLAC, that's the deal breaker.
Some can, some can't. It depends on a lot of things. If you're listening to some horrible recording, you may have a harder time to tell. You probably WILL be able to tell if you needed to edit (and thus transcode) the mp3 for some reason, though.

It's irrelevant anyways, the size of lossless is negligible.


3) Bandwidth, which for a vast majority of people is limited (moreso than ever with ISP's new criminally insane "fair usage" policies) is needlessly wasted and users who don't care / can't tell are forced to download enormous files... or they go without.

Just because yo momma's using a shitty ISP doesn't mean you can't go get a real ISP after you talk some sense into her rofl.


Music sharing is about sharing music; it's not an exclusive club to which only superhuman, more-ego-than-brains audiophiles can join; it's about getting people to hear music.
That's hogwash.


If I were a content producer making a pot of money selling crappy bitrate MP3s, and I saw people pirating FLAC, I'd think "F**k you guys. Now I'll NEVER offer FLAC. I'll take the money I would've spent buying in the additional servers and software, and I'll use it to shut you scumbags down instead."
Good thing you're not one of them. They already have enough morons hired already.


In summary, I'm whining out of my ass.

Thank you, ladies and gentlemen. :)

This live recording discussion has been an interesting to me. I've never been in any situation like that before. Mostly I have to use synth orchestra and when i do use live musicians its usually for pieces I write for a concert orchestra that has plenty of practice time. I'm sure the live recording process is pretty intense.


Edit: Cam if you are going to post discussions in this thread, please be mature about it. Name calling and insults do nothing for your point.

Edit: Cam if you are going to post discussions in this thread, be mature about it. Name calling and insults do nothing for your point.

QFT. Serves no-one; accomplishes nothing.


_Mike

Guys, just ignore him. He goes from thread to thread, being an ass to everyone to satisfy his own satisfaction. He is exactly the type of person as tango described in that first post, except he obsesses over file formats instead of cables.

Guys, just ignore him. He goes from thread to thread, being an ass to everyone to satisfy his own satisfaction. He is exactly the type of person as tango described in that first post, except he obsesses over file formats instead of cables.

Your comprehension isn't very good.

Your comprehension isn't very good.
I get your points that lossless is important to get the highest quality copy of the music you are downloading especially considering in your mind space isn't an issue and neither is download speed. Then you mention that anyone who hates clipping as much as most of us in this thread shouldn't buy any album that has clipping because it is just rewarding companies for putting out an inferior product. I can agree with this to some extent and I have to constantly check new releases of major film scores to ensure that not only does the music live up to the style I enjoy but that it lacks clipping.

I think you are missing Tango's point that the general masses don't care about lossless. The point of this thread when it was created was to share music with people that many of the posters here consider to be beautiful and the kind of music that makes life worth living. If every time I posted something it was lossless only, a lot of people would not want to take the time to download it and try it out. Granted depending on your internet speed, downloading lossless doesn't take that long but it takes time for people to become used to lossless and everything that it comes with.

It may be easy for you to afford both the hard drives and the ISP you need to properly support your lossless appetite and if so thats wonderful. However you need to consider that (1) the quality and speed of internet service is not universal and you may not be able to get the same service in every part of the world. Some areas have caps on downloading and only let you download a certain amount in a given month until you are cut off or your speed is reduced to a crawl. (2) Hard drives are fairly cheap now but that doesn't mean everyone has extra money with which to buy one.

Your post generally felt like it had a condescending tone and an attitude of "I am right, you are wrong" rather than the open-minded discourse that people on this thread try to foster and support. Posting in that manner is just going to get yourself ignored by the posters here rather than acknowledged.

Well back to what the thread is really about, the music.

I'm about 3/4 of the way through the recent Kilar share "Pan Tadeusz". And first of all, wow! I love Kilar and other polish scores and I only wish they were easier to obtain in my area. This is truly appreciated.

Part of the reason I'm only 3/4 of the way through the score so far is that I've enjoyed some of the tracks so much I decided to give them another spin. The album starts out beautifully. Inwokacja (Invocation) allowed me to just close my eyes and let myself just drift away to somewhere wonderful. The light woodwinds under the violin melody is sensational and the pure tone of the horn melody later on just adds to the wonder of the track. I've listened to it at least 4 times already. Another track that struck me was Swiatynia Dumania. The music speaks for itself, absolutely sublime. I really like that this score doesn't take itself too seriously. Its almost playful at times (the ants). To sum up my feelings, I love it. Its powerful in so many ways, but not in your face about it. Thank you for introducing me to this beautiful, intelligent score.

Hell, in the years where 128Kbps was standard, I could enjoy the music just as much as I can now. And I can tell the difference! Sure, the higher the quality, the better, but that's not what music is about imao.

I love Kilar and other polish scores and I only wish they were easier to obtain in my area.

I wish they were easier to obtain in my area too. And my area is Poland;). Film music market in here practicaly doesn't exist. Few scores from Kilar (mostly his works from non-polish movies and published by non-polish publishers), few by Lorenc, few from crappy romantic comedies (but nice music sometimes) and few from Polish big productions (you know, like one per 2 years;)). People here do not care about film music, so publishing companies do not care 'bout it either. And quality (or rather lack of it) of Polish movies doesn't help here either.

I wish they were easier to obtain in my area too. And my area is Poland;). Film music market in here practicaly doesn't exist. Few scores from Kilar (mostly his works from non-polish movies and published by non-polish publishers), few by Lorenc, few from crappy romantic comedies (but nice music sometimes) and few from Polish big productions (you know, like one per 2 years;)). People here do not care about film music, so publishing companies do not care 'bout it either. And quality (or rather lack of it) of Polish movies doesn't help here either.

Allegro is the answer in that case;) Take a look here (http://www.allegro.pl/item1011563896_wojciech_kilar_pan_tadeusz_cd.html) , herbaciak. For a good price too;)


To sum up my feelings, I love it. Its powerful in so many ways, but not in your face about it. Thank you for introducing me to this beautiful, intelligent score.


I'm very happy you liked it so much, ShadowOnTheSun :)

I'm terribly sorry for the double post:(

Szczepan, I wasn't talking about availability of things that was previously released, but about things that never got any official (or unoffical) distribution. There's a lot of great music, that exists only in movies. There is no will to release film music in Poland, but I can see why. It's not very good business to release something for few people who are actually interested.

Well, in that case you are right. Good example of this, would be music from "Wino Truskawkowe" by Lorenc. One of his more interesting creations, that was never released in any form and even the fanmade rip is hard to come by...

Even Giacchino displays short motif-based writing, versus the long-form structural depth of "the greats."

People have said the same thing about Herrmann...

And what about his Roar! Overture? Wouldn't you call that long-form development? (I know it's not on the level of your superb Goldsmith example, also one of my favorite cues of all time.) Or one of my favorite cues of his, The Battle of Monte Cassino from Medal of Honor: Underground...



They are still filling the Hollywood Bowl for concerts of Williams music written 40 years ago. But they're already ignoring the work produced today - it's not compelling.

God, I wish. If that's true then why do I get subjected to stuff like the godawful Pirates of the Caribbean in concert? :) It's still hanging around, and worse, it's stuff from the first (and worst) score that sounds even more absolutely terrible without the synths to cover up the horrible orchestration (meaning -- how the orchestra is used).

I get your point overall though, and agree with it. I just wish more variety of older scores were performed, rather than the seemingly constant staple of Gone With the Wind, North by Northwest, Adventures of Robin Hood, Ben-Hur, etc. etc.

Williams is actually one of the worst offenders with his Hollywood Bowl programs: Star Wars, Indiana Jones, Jaws (the Main Title with its fake little concert ending that I hate), Harry Potter, Memoirs of a Geisha (oops those are both newer) -- I'm so sick of it. David Newman's programs at the Bowl are very refreshing in comparison, but even he can't be as adventuresome as I suspect he's like to be...

Ivanova

Motif-based in this context doesn't mean the subjects alone are motif, but that there is no long-form development based on these motifs; they tend to degenerate into ostinato almost immediately. And no, The Battle for Monte Cassino is in no way long-form. It is elementary theme and development, and even so, can't sustain a color for more than 30-45 seconds before having to switch flavors to stay interesting. Time it. It's certainly decent work - I'm not bashing Giacchino here - but it's important we keep our terms and musicological analysis accurate. Simply returning to a subject every once in awhile does not symphonic structure make. And three minutes? That's a pop-song; no test for what one can do with 20 minutes, or an hour - the real test of one's mettle.

Also, I'm not 100% sure I understand how Williams is a "worst offender" by playing the handful of pieces from his most prolific period, which audiences continue to love. I can't think of a single composer for whom that isn't the case. The Rite of Spring and The Firebird have been played a couple of times, if I recall... :)

_Mike

Hey Mike,

Been listening to your sketch pieces on your facebook. And I have to say I really enjoyed El Elegante. Really digging it, reminds me in a way of some of Joaqu�n Rodrigo's music :)

Yes Mike, I hadnt even noticed you facebook, but its some great music there, I have to agree with JRL3001. Also I just watched the video on your website. Brilliant!

Thanks for the kind words, guys - glad you enjoy the work. I like doing those little sketch pieces, for sure. Great practice!


_Mike

I got my tax return and ordered some soundtracks (bear with me, I'm new to film music):

Star Trek 1, 2, 5, First Contact, and Nemesis

The 13th Warrior

Jason and the Argonauts

The Golden Voyage of Sinbad

The Goonies (pure nostalgia)



I doubt anyone is missing these, but I'm going to be ripping them when they come in and would be happy to upload any of them (those that aren't varese releases, of course). Otherwise, I'm just a little excited to listen to these when they arrive...

Great list! All of those are great. I hope you mean the re-recordings for the two Hermann scores on the list. And I hope for Wrath of Khan you mean the FSM one.

Great list! All of those are great. I hope you mean the re-recordings for the two Hermann scores on the list. And I hope for Wrath of Khan you mean the FSM one.

Unless I'm mistaken, the only Hermann score on my list is Jason and the Argonauts, which is the re-recording. Sinbad should be Rozsa, which is purportedly the complete original. Wrath of Khan seems to be the FSM version.

Unless I'm mistaken, the only Hermann score on my list is Jason and the Argonauts, which is the re-recording. Sinbad should be Rozsa, which is purportedly the complete original. Wrath of Khan seems to be the FSM version.
Silly me, wanting confusing my classic composers' scores. Thats great haul there then :) Rumor is that another one of the Star Trek scores is going to be released soon in a more complete form. I can't remember which one though.

"The Enterprise" is one of my favorite film cues of all time. There are virtually no sound effects or dialogue to interrupt its presentation in the film - it's just naked, right out in front. And it's so patient, so competent, so mature, and deceptively, masterfully simple. You know, it's easy to sound impressive with a lot of flourishes and bells and whistles, but Jerry's writing here is so confident of purpose, that he can make these broad gestures with direct, straightforward orchestration, and it holds up to the harshest academic criticism. In fact, I can think of no other single cue better to demonstrate what is completely missing from modern film scoring. And the afterthought - the afterthought! - on this cue was that it had audiences absolutely rapt and emotionally transfixed during the presentation of a 6' plastic model.

Thinking of other fine examples of fully elaborated, self-contained Goldsmith cues that would play brilliantly in concert:

- 'Pillow Talk' from Basic Instinct shapes and expands almost all of the score's main motifs into a beautiful, pained, arching piece that turns a sex scene into a super-natural psycho-drama. If you didn't know the context it could almost be accompanying some alien mutation or pulsing sci-fi trip (a la V'ger)!

- 'The Sentry Reel / The Story of Nimh' from Secret of Nimh: a haunting impressionistic tone poem (like the whole score in microcosm).

- The sublime and terrifying passacaglia that ends Papillon. It exists in a very different sound world to the rest of the score and yet is built out of one of its minor motifs. An inspired extra-diegetic moment that arrives quite unannounced and casts a long shadow on what went before.

- 'Marlin' from Islands in the Stream and 'The Monument' from Logan's Run. Nuff said.

One other thing - surely ostinato taking centre-stage and development aren't mutually exclusive? - As evidenced to breathtaking effect in countless Goldsmith scores. Off the top of my head: The Omen (if pushed, maybe my fav JG score!), Capricorn One, Rambo II, Breakout.. 'Isabelle Comes Back' / 'This is Science' from Hollow Man are simply stunning, so concentrated. Perhaps I'm misunderstanding the terms here (probably).


Unless I'm mistaken, the only Hermann score on my list is Jason and the Argonauts, which is the re-recording. Sinbad should be Rozsa, which is purportedly the complete original. Wrath of Khan seems to be the FSM version.
Yes, Sirus must've been thinking of 7th Voyage.

All great choices.

Jason and the Argonauts is a Masterpiece. Is this your first Bernard Herrmann score? He's the only film composer I rank higher than Goldsmith for sheer individual genius. Herrmann is so totally himself and totally in control that he makes talk of 'leitmotif', 'theme' and even 'development' seem like childsplay. You know that spontaneous feeling you get from the great classical composers, where the music feels like their thoughts directly implanted into your brain?? Well, that's what Herrmann does for me. :D

Star Trek I, II and V are all of the highest order. The virtues of the first two are well known, but The Final Frontier has some amazing action music. 'Open the Gates' and 'Let's Get Out of Here' - wow!

I have to confess.. even as a hardcore Goldsmith-worshiper, I've never been able to love the later Trek scores. Jerry fashioned a rather 'efficient', plastic style over the course of the nineties (for understandable reasons) that pales compared to his earlier work. Nemesis has it's moments; the action is exiting, and there's that gorgeous rising cello idea that's a direct descendant of motifs in both Final Frontier and First Contact (but left undeveloped); it's not, however, the swansong for the series you'd have hoped for. All the same, an introspective, melancholic strain runs though certain passages that I find very moving (most obviously, the simple, unbearably sad theme that's sandwiched in the middle of the end credits - makes me feel like curling up in a corner and dying).

There's plastic and there's plastic.. Give me any Trek score over Giacchino's soulless attempt. Puts things into perspective a bit ;)



Laurence Rosenthal - Miracle Worker, The (1962, Intrada 2010)


Pan Tadeusz Original Soundtrack
Composed by Wojciech Kilar
Conducted by Antoni Wit
Performed by The Polish Radio Symphony Orchestra
Thank you! Marvelous! I'll get downloading these asap!!

Goldsmith conducting the Royal Scottish National Orchestra:

THE ENTERPRISE (http://uploadmirrors.com/download/IFUQW9LH/Star Trek-)

Mike, how about working with these guys? :)

I haven't seen that here before, so... I'm posting it;). Not my rip, just did a bit of retaging.


Brave Story by Ben Watkins (the guy behind Juno Reactor)

a bit of piano/ a bit dark/ a bit of choir/ a bit of drumming/ a bit beautifull/ a bit of: I have no idea why I like it

mp3s VBR about 224 kbps



http://www.megaupload.com/?d=UET706KZ

Although it's wrote by guy behind Juno Reactor it's almost pure orchestral score, with few Irish folk inspired tracks (at least I think it's Irish). To be honest I have no idea why I like it, cause it's quite mediocre score, with rip-off from Goldenthal Spirits Within (8th track is a copy of Code Red), it has no strong themes, no great orchestrations, it's completely unoriginal etc., but somehow I really enjoy it. Every time I listen to it, I'm glad I did it, cause it has a lot of fun little things, completely forgetable, but very nice while listening to it. So try it, and tell me: am I crazy or what?;)

Mike, how about working with these guys? :)

Not bad, but the first chairs need work, trumpet especially. Can you hear it? Not a fan of 1st Oboe's tone, either. But orders of magnitude above those slavic videogame groups, that's for sure! Plus, Jerry's milking this - a few bpm below where it think it belongs, personally.

I wonder why there isn't some sort of model where fans can donate small amounts of money, like $2-5, with a whole mass funding special projects - whatever they really care about, and are then entitled to the final product at no additional charge. The labels are always so worried and hesitant because they have no idea if an album will sell and recoup. If they were already recouped before heading out the door... I dunno. I bet some version of that sort of thing would work. Hell, fans could vote on an album's content based on demos, even.

_Mike

Not bad, but the first chairs need work, trumpet especially. Can you hear it? Not a fan of 1st Oboe's tone, either. But orders of magnitude above those slavic videogame groups, that's for sure! Plus, Jerry's milking this - a few bpm below where it think it belongs, personally.
Yes. The xylophone fluffs its part too and there isn't enough snap in the rhythms of the final bars. They do make a very satisfying, meaty sound in the first big tutti statement of the theme (the only point where I don't mind the lingering tempo), which is nice to hear. I wasn't suggesting they're perfect. On the right day with the right prep they sound marvelous. McNeely got sumptuous atmospheric performances out of them - nothing less than Vertigo, Psycho, Patton, Sand Pebbles, Agony and the Ecstasy.. Still some of the finest film music recordings around IMO.

The studio orchestras that Goldsmith worked with weren't always up to snuff either, but it doesn't stop the music from sounding out in all its glory! Better to get it out there I say :)

Listening to STTMP again, my favourite bit in The Enterprise is probably that very free, rolling, 'nautical' variation (at about 4:40 in the original). Amazing! Another cue that always gets me is 'Total Logic' - who else would scale everything back in this way, with these textures? It sounds so alien!


I wonder why there isn't some sort of model where fans can donate small amounts of money, like $2-5, with a whole mass funding special projects - whatever they really care about, and are then entitled to the final product at no additional charge. The labels are always so worried and hesitant because they have no idea if an album will sell and recoup. If they were already recouped before heading out the door... I dunno. I bet some version of that sort of thing would work. Hell, fans could vote on an album's content based on demos, even.
Great idea! I've wondered about this sort of thing myself. You know we'd be behind you on a project like this, and I'm sure you could drum up support through facebook, the FSM forums etc.

Now, don't hate me - this was requested in the Film Scores thread ;)


JERRY GOLDSMITH - HOOSIERS (BEST SHOT)



http://uploadmirrors.com/download/1MSNMFQC/JGH.rar


First, it's only appropriate that I issue a warning: the opening track is shameless 80s feelgood synth. A guilty pleasure ;) The rest of this score, which is a forerunner to Rudy, is orchestral, but almost constantly jingling with synth additions. There are even samples of a basketball bounce worked into many tracks! Bright, cheery Americana is the name of the game. 'The Pivot' is great little Copland-ish piece, filled with infectious enthusiasm. At 15 minutes, 'The Finals' tops off this short presentation very nicely. No doubt we'll see an extended reissue before long. In the mean time, sounds great in V0! :)

I love Hoosiers and I don't mind if you listen synth. It's a perfect upload. Thanks lens!!!

Great news!!! I already ordered mine

http://www.pragueorchestras.com/alamo.htm

RELEASED NEXT WEEK !

THE ALAMO : THE FILM MUSIC CD EVENT OF THE YEAR

A Special Collectors Edition 3 CD Set featuring the greatest film score from DIMITRI TIOMKIN: Composer of THE GUNS OF NAVARONE, THE HIGH AND THE MIGHTY, THE FALL OF THE ROMAN EMPIRE, HIGH NOON, GUNFIGHT AT THE OK CORRAL

http://s3.subirimagenes.com:81/otros/previo/thump_4454116alamopr.jpg (http://www.subirimagenes.com/otros-alamopr-4454116.html)

* Celebrating the 50th Anniversary of the JOHN WAYNE Epic
* 3 CD Set with full Colour Booklet
* Specialist Collectors Edition
* Over 160 Minutes of Music
* Over 100 Minutes of Previously Unreleased Music
* Newly Recorded in Stunning and Dynamic Digital Sound
* Performed by the Acclaimed and Award-Winning City of Prague Philharmonic Orchestra and Crouch End Festival Chorus Conducted by Nic Raine
* Produced by James Fitzpatrick
* Recorded in the presence of Dimitri’s wife, Olivia Tiomkin Douglas
* All Original Orchestrations from 1960. New Score Preparation Supervised by Pat Russ
* 27 Minutes of Bonus Material including Alternative Cues
* “Ballad of the Alamo” and “Here’s to the Ladies” performed by Star of the West End David Shannon
* Crouch End Festival Chorus perform the Classic “The Green Leaves of Summer”
* Informative Sleeve Notes by Frank K DeWald
* Booklet Introduction by Olivia Tiomkin Douglas
* New “Directors Cut” of the Complete Epic Film now in Preparation

Recording Produced by James Fitzpatrick for Prometheus Records

Executive Producer: Luc Van de Ven

“I can't believe how exciting the recording is! I've had time for one listen and I am blown away! In the action music, the orchestra sounds like it is on fire! I totally see why you singled out the brass for praise, but the entire ensemble plays beautifully. It might very well be the best thing that you, Nic and the orchestra have yet done.” (Frank K DeWald)

“This recording of The Alamo is everything Dimitri Tiomkin would have wished for in a faithful reconstruction of his timeless score.“ (Olivia Tiomkin Douglas)

TRACK LISTING
CD 1:

1. Overture (3:00) [PLAY SAMPLE]
2. Main Titles (2:04)
3. Foreward/Houston’s Arrival/Huston and Travis*/Houston Departs/Bowie’s Hangover* (5:16)
4. Bowie’s Men Arrive* (0:51) [PLAY SAMPLE]
5. Flag Ceremony* /Meeting in the Mission* / The Seguins* / Adios Juan* (3:55)
6. Smitty and Parson / The Signal* / To the Cantina* (2:23)
7. Cantina Music - Here’s to the Ladies* (2:12)
8. Cantina Music – Adelita and La Pajarillo* (2:46)
9. Plan for the Republic (2:25)
10. Emil and Flaca* (2:33)
11. Emil’s Demands (aka Cantina Music) (2:04)
12. Mr. Tall American* (2:50)
13. Emil’s Thugs* (1:04)
14. Davey and Jim* / Flaca’s Secret* (2:59)
15. Powder Cache* / Emil Dies* / Someone to Lean on* (3:07)
16. Santa Anna’s Troops* (1:30) [PLAY SAMPLE]
17. The Letter* (1:31)
18. Bowie Blows Up* (0:59)
19. Here’s to the Ladies / Flaca Reads the Letter* (2:06)
20. Old Buck, Young Doe (Davey and Flaca : Love Scene) (7:03)
21. 23 Tennesseans (Davy Crockett and the Tennesseans) (2:32)
22. Lancers Arrive at Bejar / The Ultimatum /Short Cut to War / Intermission Time (2:28)
tt: 58:47

CD 2

1. Entr’acte – The Ballad of the Alamo (3:40)
2. The Massing of Troops* (1:36)
3. Patrol’s in Trouble*/She’s a Big One* (1:34)
4. Over the Wall* (3:49)
5. You’re Wrong*/Travis’ Plan* (4:38)
6. Bowie Stays* (1:35)
7. Texas Cattle* / Dragoon Chase* (2:48) [PLAY SAMPLE]
8. Untitled (Reel 19)* (0:46)
9. Dark Night* / Profound Sympathy* (348) [PLAY SAMPLE]
10. Flag Raising* / Food Poisoning*/Obvious Course* (1:26)
11. The Cattle Raid / The Wait * / Morning Over the Alamo* / Cattle Stampede (4:50)
12. The Long Horns* (0:53)
13. The He Bull*/ Evacuate Non-Combatants* / Exodus*/Three Cheers* (6:45) [PLAY SAMPLE]
14. Mexican Bugle Calls* / The First Assault* (2:36)
15. The Parson’s Death* / Mexican Wounded* (3:12)
16. Bonham Arrives * / Decision to Stay / Close the Gate (3:54)
17. Smitty’s Mission* / Untitled (Reel 24)* (5:02)
18. The Green Leaves of Summer (2:42)
19. I Believe* (2:33)

tt: 58:18

CD 3:

The Battle of the Alamo:

1. Marching Field Drums* / Santa Anna’s Mounted Band* (3:09)
2. The Charge / Lancer’s Charge / Travis’ Death / North Wall / Death of Crockett and Bowie (9:23)
3. Smitty Returns* / Tennessee Babe – Lisa* (2:37)
4. Finale – The Ballad of the Alamo* (1:13)
5. Exit Music – The Green Leaves of Summer (3:43) [PLAY SAMPLE]

Bonus Tracks

6. End Title – Alternative Version *(4:23)
7. The Signal – Original Version* (1:02)
8. Entr’acte – The Ballad of the Alamo (Orchestral Backing Track) (3:38)
9. Here’s top the Ladies – Vocal Version* - Vocal by David Shannon (1:11)
10. The Green Leaves of Summer – Guitar Version* (2:58)
11. I Believe – Original Version* (2:31)
12. Santa Anna’s Marching Band – Full Orchestra Version* (1:20)
13. Spirit of the Alamo* (2:08)
14. Tennessee Babe – Album Version (2:38)
15. Finale – The Ballad of the Alamo - Album Version (1:13
16. The Ballad of the Alamo – Vocal by David Shannon (4:00)

tt: 47:16

* = previously unrecorded

You are so quick Garcia! Yes that is amazing and I ordered it right away. P.S. if it wasn't for this thread I wouldn't know about Tadlow or care about this score.

You are so quick Garcia! Yes that is amazing and I ordered it right away. P.S. if it wasn't for this thread I wouldn't know about Tadlow or care about this score.

It's curious.

Just two weeks ago I ordered Exodus (still copies available) and Mad Max Beyond Thunderdome, together with more than 10 Cds from Silva Screen (Rambo II, The Quiet Man, All Murray Gold's Dr.Who and The Essential Elmer Bernstein Film Music Collection between others). Besides from Intrada Robocop and The Miracle Worker, from La La Land Independence Day, Poseidon Adventure and Dragonslayer plus the first four seasons of Lost via Screen Archives. Add Film Music Over The Years from Richard Band Productions (nice music in this last). And suddenly this!

I'm going to be in bankruptcy for the next months!!!

Best!

Yeah these labels just don't let up. Thankfully for me, I wasn't grabbed by Poseidon either by sound quality or the score itself and I never liked Robocop and have a hard time getting into Alex North music. I have to be very picky with what I buy because otherwise I spend all my money too!

Yeah these labels just don't let up. Thankfully for me, I wasn't grabbed by Poseidon either by sound quality or the score itself and I never liked Robocop and have a hard time getting into Alex North music. I have to be very picky with what I buy because otherwise I spend all my money too!

Je, je, je. You're lucky!!!

For me, Robocop is great and has one of my favorite themes ever, the Rock Shop one. Pure Poledouris:

http://www.youtube.com/watch?v=uK7IR38sBu0

About North, I don't know Dragonslayer, however for a lot of people is North's finest. I am going to check it.

From North I recommend you Spartacus or Cleopatra (if you like Rozsa, don't miss Spartacus, may be the best score ever????)

Some Spartacus samples:

http://www.youtube.com/watch?v=DZ6e8-94JRE

http://www.youtube.com/watch?v=Pdos02NooVI

Best!!!

Suddenly I remember this Prologue:

http://www.youtube.com/watch?v=Vliz5sl9GtA

Woaa!! A young Goldsmith composing music for North's The Agony and The Ectasy and he did that, a real master piece!!!

All great choices.

Jason and the Argonauts is a Masterpiece. Is this your first Bernard Herrmann score? He's the only film composer I rank higher than Goldsmith for sheer individual genius. Herrmann is so totally himself and totally in control that he makes talk of 'leitmotif', 'theme' and even 'development' seem like childsplay. You know that spontaneous feeling you get from the great classical composers, where the music feels like their thoughts directly implanted into your brain?? Well, that's what Herrmann does for me. :D

Star Trek I, II and V are all of the highest order. The virtues of the first two are well known, but The Final Frontier has some amazing action music. 'Open the Gates' and 'Let's Get Out of Here' - wow!

I have to confess.. even as a hardcore Goldsmith-worshiper, I've never been able to love the later Trek scores. Jerry fashioned a rather 'efficient', plastic style over the course of the nineties (for understandable reasons) that pales compared to his earlier work. Nemesis has it's moments; the action is exiting, and there's that gorgeous rising cello idea that's a direct descendant of motifs in both Final Frontier and First Contact (but left undeveloped); it's not, however, the swansong for the series you'd have hoped for. All the same, an introspective, melancholic strain runs though certain passages that I find very moving (most obviously, the simple, unbearably sad theme that's sandwiched in the middle of the end credits - makes me feel like curling up in a corner and dying).

There's plastic and there's plastic.. Give me any Trek score over Giacchino's soulless attempt. Puts things into perspective a bit ;)



I saw similar comments on amazon about one of the later Goldsmith scores and assumed the same, but I just had to get them to find out for myself. Also, I went a little Hermann-crazy and also ordered Vertigo, Psycho, North by Northwest, The Day the Earth Stood Still, and the 7th Voyage of Sinbad after listening to some samples online and hearing your comments. Go Go Soundtrack habit!!

I'm uploading some great scores from some thread favorites. First is a score from legendary Dragon Quest composer Koichi Sugiyama.


Koichi Sugiyama
Godzilla Vs. Biollante


Sample (http://www.fileden.com/files/2009/6/24/2487612/1-10%20Suite%2010%20Super%20X-2%20T-2.mp3)
1. Godzilla 1989
2. Republic of Saradia
3. Scramble March
4. Asuka
5. Countdown
6. Love Theme
7. Bio Wars T-2
8. Biollante
9. Requiem
10. Super X-2 T-2
11. Asuka (Piano Solo)
12. Asuka (Piano Short)
13. Bio Wars T-3
14. Super X-2 T-3
15. G-Cells
16. Godzilla Titles
17. Godzilla Vs. Army
18. Great Monster March
19. Ending

Part 1
http://uploadmirrors.com/download/1RMAYQMH/KSGVB.zip
Part 2
http://uploadmirrors.com/download/VYR6UYR0/KSGVB2.zip


Previous Sugiyama uploads:
Best of Dragon Quest (http://forums.ffshrine.org/showthread.php?p=1441388&highlight=sugiyama#post1441388)
Dragon Quest I & II (http://forums.ffshrine.org/showthread.php?p=1441395&highlight=sugiyama#post1441395)
Dragon Quest III: Into the Legend (http://forums.ffshrine.org/showthread.php?p=1441399&highlight=sugiyama#post1441399)
Dragon Quest IV: Guided People (http://forums.ffshrine.org/showthread.php?p=1441401&highlight=sugiyama#post1441401)
Dragon Quest V: Heaven's Bride (http://forums.ffshrine.org/showthread.php?p=1441403&highlight=sugiyama#post1441403)
Dragon Quest VI: The Phantom World
Dragon Quest VII: Warriors of Eden
Dragon Quest VIII: Journey of the Cursed King (http://forums.ffshrine.org/showthread.php?p=1441410&highlight=sugiyama#post1441410)
Dragon Quest IX: Protectors of the Starry Sky (http://forums.ffshrine.org/showthread.php?p=1456035&highlight=sugiyama#post1456035)


Up next Takayuki Hattori

My goodness jakob.nelson, the latest albums you have bought are top notch.
You certainly will not be disappointed with the money you spent, and when you'll have the chance there is Cliff Eidelmen Star Trek 6, in case you want to buy another album from Star Trek. It have some of the most aggressive and menacing music moments in any Trek album.
Maybe the best Star Trek soundtrack, if you take off the music that Horner and Goldsmith created for this series?


Also i'd like to say thanks to Szczepan for Pan Tadeusz. It is a heartbreakingly beautiful music.

As promised more Takayuki Hattori


Takayuki Hattori
Godzilla Vs. SpaceGodzilla


Sample (http://www.fileden.com/files/2009/6/24/2487612/1-29%20Epilogue.mp3)

Part 1
http://uploadmirrors.com/download/KRITGVT3/THGVSG.zip
Part 2
http://uploadmirrors.com/download/1M6NKRKB/THGVSG2.zip


Previous Takayuki Hattori uploads
Intelligent Qube (http://forums.ffshrine.org/showpost.php?p=1468046&postcount=4868)
Romance of the Three Kingdoms V (http://forums.ffshrine.org/showthread.php?p=1430042&highlight=hattori#post1430042)
Final Fantasy Symphonic Suite (http://forums.ffshrine.org/showpost.php?p=1339763&postcount=3344)
Falcom Neo Classic (http://forums.ffshrine.org/showpost.php?p=1448273&postcount=4541)

I got my tax return and ordered some soundtracks (bear with me, I'm new to film music):

The 13th Warrior

The Goonies (pure nostalgia)



The 13th Warrior soundtrack is very good. It's also one of my favourite movies - probably because I know the area where it was filmed.

I just got The Goonies soundtrack (score) in the mail today. A bootlegged version of Dave Grusin's score for the movie has been online for a number of years, but finally Varese Sarabande did a official 25th anniversary release - limited to 5000 copies. Another favourite movie of mine since I was a kid. Can't wait to listen to the score.

Finally some non-dragon quest music by Sugiyama! I was beginning to wonder if he did anything else.

I can't say I'm a big Godzilla fan, but I know I love Koichi Sugiyama and Takayuki Hattori! Thanks for both of those, ShadowOnTheSun.


Somehow I missed Hoosiers. I like the movie and didn't know Goldsmith did the score! Thanks, Lens.

Also, thanks to garcia for the Tiomkin collection. He is yet another film composer I haven't heard anything from.

I can't say I'm a big Godzilla fan, but I know I love Koichi Sugiyama and Takayuki Hattori! Thanks for both of those, ShadowOnTheSun.


Somehow I missed Hoosiers. I like the movie and didn't know Goldsmith did the score! Thanks, Lens.

Also, thanks to garcia for the Tiomkin collection. He is yet another film composer I haven't heard anything from.
I'll have to post some that I've been downloading other places lately. There is some great stuff out there.

Wow! I've been lurking here for a while to watch the discussion, and rather than the bashing I'm used to seeing at other places it's actually very informed, intelligent and civil. It's been a pleasure to follow, and I was surprised that talented composers such as Mike Verta were taking part! Anyway, I think it's about time I got involved, and shared one or two things...

I'm not sure if this has been posted already, but here is The Red Canvas by James Peterson. Very turbulent and aggressive action writing, offset with dark, brooding moments, it sounds like quite a tribute to composers such as Rosza or Goldsmith (with perhaps one or two mannerisms resembling Goldenthal...)! Well worth a listen!

http://rs457l3.rapidshare.com/files/304036245/Can09.rar

(I erm, borrowed this link as I don't have the connection to upload it myself... \:)

This has certainly been posted before. The thing is generally releases from the last 2 years we try not to post in this thread especially ones that are readily available. I think a few users who didn't get to listen to that one will enjoy your link. Also in the future please put more headings for your posts so people know what it is browsing quickly.

Right, thanks, I'll keep that in mind in the future. When posting up stuff, it's generally as I already own it and treat these downloads as big samples before actually buying. I'm hopeful that the other big enthusiasts here have a similar mindset...

I see Star Trek VI mentioned above, and I heartily recommend it as well. My only complaint about it is that the recording sounds a tad bit sparse at points... it's also quite different from the sound that Goldsmith and Horner established for their respective works from the series, but that's no bad thing.

Ryo Kunihiko - Tegami Bachi Original Soundtrack Nocturne ~a destiny~
2010 - LACA-15027
|Choral|Medieval|Relaxing|Harpsicord|

FLAC|LOG|CUE|M3U|Scans|307MB|
Download (http://hotfile.com/dl/41483764/16d4cb9/RK-TBST-FL.rar.html)
PSW: smile
|MP3|VBR V-0|Scans|91MB|
Download (http://rapidshare.com/files/384424511/RK-TBST-M.rar)
PSW: smile

SAMPLE
http://www.youtube.com/watch?v=HtET6k1qz2I

Yoshihisa Hirano - Tatakau Shisho the Book of Bantorra - 2cd - 2010 - LHCA-9007
|Choral|Orchestral|Action|Suspense|Piano|

FLAC|LOG|CUE|M3U|Scans|410MB|
Download Part 1 (http://hotfile.com/dl/41487837/059b9ec/YH-TSBB-FL.part1.rar.html)
Download Part 2 (http://hotfile.com/dl/41489604/c29297b/YH-TSBB-FL.part2.rar.html)
PSW: smile
|MP3|VBR V-0|Scans|150MB|
Download (http://rapidshare.com/files/384421386/YH-TSBB-MP.rar)
PSW: smile
[The mp3 version is tagged as if it is one disc because it is under 80 minutes long]

SAMPLE
http://www.youtube.com/watch?v=mgUkFvKq-WU

Ahh some Hirano, wonderful Sirus.
I didn't even know about this album.

Ahh some Hirano, wonderful Sirus.
I didn't even know about this album.
If you had paid close attention you would have noticed the anime mentioned a few times but no worries. I should note the only small problem with the release is 1) they are stupid and put it on 2cds when its really not even 80 minutes of music 2) the person who mastered it created audible clipping in some of the most epic choral parts. But it is fantastic.
Also, as you see the youtube samples, I will be doing this for most major posts from now on!

Thanks Sirusjr for the Book of Bantorra upload. Doing youtube samples is a great idea.

Jo.

I wanted to do youtube samples for a long time but it wasn't worth it until I got someone to show me how to do it properly. Now that I figured that part out, I put 3 tracks together into one long sampler video.

I foud this link somewhere and it claims to be the promo score to Iron Man 2 by Debney. There's 25 tracks and its 128Kbps. I only found the webrip here on the forum and since this has more tracks I figured its not the same. I dont know if it would be the actual promo score. You guys decide.

Link (http://www.yousendit.com/transfer.php?action=batch_download&send_id=863129759&email=7e602daef5c9783c2676bc9abb08e689)

I foud this link somewhere and it claims to be the promo score to Iron Man 2 by Debney. There's 25 tracks and its 128Kbps. I only found the webrip here on the forum and since this has more tracks I figured its not the same. I dont know if it would be the actual promo score. You guys decide.

Link (http://www.yousendit.com/transfer.php?action=batch_download&send_id=863129759&email=7e602daef5c9783c2676bc9abb08e689)

its the complete score. i love the internet! thank you very much!

TOSHIHIKO SAHASHI
Swan no Baka (2007 Television Drama)
Studio Orchestra
conducted by
Koji Haijima

Splendid! Oddly enough, I had the opportunity to listen to it some months ago ;) and it's quite a delightful and heartwarming score. Do you realize the number of people who would have missed this one if you haven't posted it ? Who would have the curiosity to search in obscure japanese dramas for such beautiful music ? Anyway, I enjoy it an awful lot, notably because apart from the orchestral music, there's also some very nice smooth jazz tracks in it.



I haven't seen that here before, so... I'm posting it;). Not my rip, just did a bit of retaging.


Brave Story by Ben Watkins (the guy behind Juno Reactor)

a bit of piano/ a bit dark/ a bit of choir/ a bit of drumming/ a bit beautifull/ a bit of: I have no idea why I like it

This one is quite unexpected. It's like if Jean-Michel Jarre composed an orchestral score - weird idea (although there was an orchestral arrangement album of his music published). Anyway thanks for the share, I just started it and it sounds good indeed, there's even some choir in some tracks. I'll have more comments after a complete listen.




Pan Tadeusz Original Soundtrack
Composed by Wojciech Kilar
Conducted by Antoni Wit
Performed by The Polish Radio Symphony Orchestra
Orchestral / Romantic / Relaxing

Excellent post: great music and nice presentation ! I believe it's your 1st album posted here, Szczepan, so it's a remarkable entrace you just made !


ShadowOnTheSun: Man, I totally missed those Sugiyama scores, I didn't even know he composed some music for the Godzilla franchise. Great stuff, thx a lot !

It's good to see the Forum back online.

Wow, over 200 posts and it is still growing, thanks to everybody who made this thread possible.
I hope there will be even more discussions and appreciations of scores posted in the future.

To celebrate this, I am planning to upload one of my favorite fantasy scores for a video game.
It's the score for the XBOX 360 Game "Kameo: Elements of Power" released in 2005.
But I'm not talking about the offical soundtrack or another gamerip.
Instead I will share with you the Complete Recordings done by Composer Steve Burke with The City of Prague Philharmonic Orchestra & Kings Choir, conducted by Nic Raine.
Special vocal performances are done by Aisling Duddy and Eveline Novakovic.

The Complete Recordings will consist of 3 CDs, 90 tracks and over 200 min of music including alternate versions of some tracks and previously unrelased cues in excellent quality (but still lossy).
It will take some time to upload it (500mb) so be patiened.

I foud this link somewhere and it claims to be the promo score to Iron Man 2 by Debney. There's 25 tracks and its 128Kbps. I only found the webrip here on the forum and since this has more tracks I figured its not the same. I dont know if it would be the actual promo score. You guys decide.

Link (http://www.yousendit.com/transfer.php?action=batch_download&send_id=863129759&email=7e602daef5c9783c2676bc9abb08e689)


Holy shit is this leaked from itunes!!??